At the height of the Roman Empire’s reign of power, a bunch of guys wearing baxas, olive branch headgear and lined saffron togas told a bunch of guys wearing carbatinas, no headgear and cheapo coarse togas to go and hammer the proud history of the Empire onto every worthy slab of rock, obelisk and wall out there. This resulted in countless rocky manifestations of ancient clipart, interesting stories and weird messages becoming national tourist attractions and museum dressing all over the world to this very day, which is some 2000 years later.

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The design of Castellar is patterned after carved letters on a Roman column dedicated to Augustus. It is an elegant all-capitals titling face with an incised or shaded look. Castellar was designed by John Peters for Monotype in 1957, and named after a town in the Alps. Castellar is at its best when used for sophisticated, refined display work.

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The inspiration for this typeface family came from my childhood experiences at Monkton, amidst an historic part of the South West of England.

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Royal, majestic, elegant. These letters are based on Roman and Greek characters carved on stone. They come in 3 different styles. Normal and Shaded are designed to have serifs with a finer thinning. On the other hand, Metallic is bolder and simulates in the most realistic way three-dimensional metallic lettering. There are some alternate characters placed at lowercase positions as well as a few stylistic alternates which are accessed through the OpenType features. Pay attention to letters like Greek Omega (lowercase position) and Greek Xi (lowercase position) as well as B, R, K (lowercase position). Monumenta Pro was recently upgraded to support Latin, Greek and Cyrillic.

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Sursum, inspired by the Roman monumental letterform, was designed to provide the possibility to play with the 58 OpenType ligatures and the 25 alternates letters.

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In 2007, insigne released Aviano. It’s beautifully drawn extended letterforms were a hit with designers and Aviano quickly became insigne’s most popular offering of early 2007.

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Insigne’s popular Aviano series returns with Aviano Serif.

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Linotype’s Serlio looks like a text face, but it is a display type with small capitals in place of lowercase letters. It has a narrow width and fine, delicate serifs and hairlines.

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Record Title was designed by Frederic Goudy in 1927 as a proprietary commission for the Architectural Record magazine.

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The inscription on the base of the Trajan column in Rome is an example of classic Roman letterforms, which reached their peak of refinement in the first century A.D. It is believed that the letters were first written with a brush, then carved into the stone.

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Shàngó, inspired by the initials from Professor F.H. Ernst Schneidler's classic design released in 1936 as Schneidler-Mediaeval mit Initialen, is an elegant design that looks best when used at large sizes, as the original name suggests. Shàngó is available in two styles: Classic, available in 3 weights, and Gothic, available in 4 weights.

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Not to be confused with Adobe’s Trajan typeface (which is very similar), this face is based on the drawings by F.W. Goudy of his rendition of the capital letters inscribed on the Trajan column in Rome. The numerals are based on his subsequent metal type, but as it lost a great deal of subtlety and beauty in translation, they have been rendered to match the style of the alphabet drawings. Includes uppercase letters with some alternates, numerals and basic punctuation.

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Odyssey is a display face with a variety of ligatures and alternate characters. The family includes regular, alternates and ligatures.

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At the height of the Roman Empire’s reign of power, a bunch of guys wearing baxas, olive branch headgear and lined saffron togas told a bunch of guys wearing carbatinas, no headgear and cheapo coarse togas to go and hammer the proud history of the Empire onto every worthy slab of rock, obelisk and wall out there. This resulted in countless rocky manifestations of ancient clipart, interesting stories and weird messages becoming national tourist attractions and museum dressing all over the world to this very day, which is some 2000 years later.

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Aviano is an extended titling face with influence from the power and timeless beauty of classical letterforms.

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Durer Caps is four fonts in one.

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This type family can be seen as a historical approach that considers our increasing needs for freedom in a post-historical world. Jana Thork is a synthesis of the stone engraved capital letterforms and the uncial and half-uncial calligraphic styles.

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Eleganza is my most elegant typeface.

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Art Nouveau happened over Europe under different names.

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Principe is the Bodonian idea driven to the limit by abolishing most of the hairlines! The shape is completed only by the eye of the reader.

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Eterna is a very beautiful font with diverse uses.

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Carta Marina is based on the titling found on the famous map drawn by Olaus Magnus in 1539. The map of northern Europe took 12 years to complete, and the total size is a huge 1.7 meters tall by 1.25 meters wide. More information about the map, as well as the high resolution reference document used to create the typeface and illustration set can be found at the James Ford Bell Library, University of Minnesota.

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This font is based on an alphabet published by Luca Pacioli in his 1509 mathematical treatise De divina proportione. In this book, Pacioli describes how to build the Roman alphabet geometrically using lines, squares and circles.

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The Aviano series returns with a Didone or Modern face.

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Released by Berthold in 2003, Senatus is the third Berthold Exklusiv designed by Professor Werner Schneider (Schneider-Antiqua, Schneider Libretto).

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Kartago was inspired by the inscriptions in the Roman ruins in the city of Cartago in Tunisia.

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Arrus was designed at Bitstream by Richard Lipton and first released in 1991. Arrus is based on Lipton’s own hand-lettered calligraphic alphabets that draw their influence from classic inscriptional forms. Arrus has small cap and extension typographer sets available as well.

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Goudy Forum is a revival and dramatic expansion by Tom Rickner, type designer at Ascender Corporation, of Frederic W. Goudy’s 20th typeface design, “Forum Title”.

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Finura was inspired by American lettering from the 60s, specially the Stunt Roman for ruling pen and compass presented in the Speedball Textbook for Pen & Brush Lettering by Ross F. George, but also by looking carefully to University Roman characteristics.

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In 1998, Tobias Frere-Jones designed Grand Central for 212 Associates from late-twenties capitals hand-painted on the walls of Grand Central Station. The design is a distinguished Beaux Arts descendant of the great French Oldstyle originated by Louis Perrin in Lyons in 1846, known across Europe as Elzevir and in the U.S. as De Vinne.

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An elegant Large and Smallcap design great for magazine and all sophisticated designs.

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This typeface is based on Albrecht Dürer’s work “Die Underweysung der Messung” (Institutiones Geometricae, Instruction in Measurement). Please note that this font needs special treatment when typesetting text. If you need black text, you need to type just capital letters separated by spaces. If you need coloured text, type both lower case and upper case (with the lower case character first), and then assign a colour to the lowercase letters only.

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Inoxida is Oxida's softer and more graceful sister.

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Inscriptional capital titling face drawn for a magazine. Suitable for a variety of media if used at 30 point and above. New Horizon requires subjective display kerning and compensation.

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Absinette takes us straight back to 19th century France. Its a decorative family of Roman faces in three widths as well as a more elaborate inline style, ideal for posters with an Edwardian or Victorian theme.

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As a unique example of late nineteenth and early twentieth century Victorian type, Zinc Italian emits a strikingly beautiful and twinkling luminescence. Oversized initial caps, each containing intricate swirls and curlycues, vibrate stunningly alongside a variety of amusing lowercase letters. Also known as Zinco, this typeface is generously equipped with a charming set of alternate characters including capital figures and some easier-to-decipher lowercase letters.

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Leitura Display is part of Leitura Type System and was specially designed for editorial purposes.

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An original design by by Richard Isbell for ATF; in exaggerating the tapered stroke introduced eleven years earlier in Hermann Zapf’s Optima, Isbell created the first flareserif to achieve popularity in the United States.

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Appropriately named, Americana was designed by Richard Isbell for American Type Founders in 1966 in honor of the then upcoming U.S. Bicentennial.

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Designed by German graphic designer and professor Friedrich Poppl, Laudatio was released by Berthold in 1982, the year of Poppl’s death.

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Enzia is a friendly and flowing sans serif.

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Warren Chappell was the original designer of this handsome pen-formed roman typeface introduced by the Stempel Foundry in 1939. It was cast in Germany as Trajanus and named after the Roman emperor whose accomplishments are preserved on the Trajan Column in Rome.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Originally in one weight, Steve designed and produced three additional weights.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson.

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Digitally engineered by Steve Jackaman. The x-heights are radically different; the x-height on the light version is small, and gets larger as the weights progress.

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An original design based on Progreso from the Gans foundry circa 1923.

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Based on the original Stephenson Blake drawings.

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Based on the Albert Kapr design, circa 1959.

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Designed by R.H. Middleton for Ludlow, circa 1929-30. Digitally engineered by Steve Jackaman.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. Originally designed by Frederick Goudy for the original Life magazine, circa 1908.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

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Condé Nast commissioned the FB version of this popular oldstyle for Traveler magazine.

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Flexion developed out of design philosophy and ambigramatic artwork of John Langdon. Based on the contents in John’s book Wordplay, author Dan Brown hired John to create ambigrams for his forthcoming novel Angels & Demons. Mr. Brown was so impressed with his work he even named the main character Robert Langdon after John.

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Iliad was designed to bridge the gap between traditional serif faces and modern humanist fonts. It uses a gentle, traditional, partial serif combined with a subtle curving of many of the “corners” in the characters.

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Based heavily on Gill Sans especially in the mid weights, Astoria has a subtle top left serif which makes it not quite a Roman and not quite a Sans. Designed specificaly as a text face it still works very well as a headline font.

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Although a sans serif, Colosseum owes its style to the original Trajan Roman form. Borrowing some characteristics from Friz Quadrata, in its san serif form it is more adaptable to text usage whilst still having a modern and original look which works well in headlines.

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The design of Cyan was inspired by features found in classic Roman and styles like Trajan and Bodebeck. It shows the designer’s personal preference for geometric Roman proportions while incorporating open centers (B,P,R) and compact serifs. Unlike Trajan, Cyan has lowercase characters in the regular version. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. The Regular Capitals version contains Roman numerals. Cyan’s weight is similar to Trajan’s but the horizontal strokes are slightly bolder resulting in better legibility for small sizes, especially for lowercase characters.

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New Lincoln Gothic is an elegant sanserif, generous in width and x-height. There are twelve weights ranging from Hairline to UltraBold and an italic for each weight. At the stroke ends are gentle flares, and some of the round characters possess an interesting and distinctive asymmetry. The character set supports Central Europe, and there are three figure sets, extended fractions, superior and inferior numbers, and a few alternates, all accessible via OpenType features.

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Designed by Les Usherwood. Digitally engineered by Steve Jackaman. This beautiful recreation by Les of the Frederick Goudy typeface, Kennerley Old Style, circa 1911-24, may be superior to any other.

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An original design based on the Frederick Goudy design first shown in 1912. Originally a caps only design in one weight. Produced as a foundry face by Lanston Monotype 1924.

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Questal is an intriguing unicase serif.

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Forum Title was originally designed by Frederic Goudy in 1911. It was intended to be the heading font used for a book set in Kennerley. Based on inscriptional Roman stone cut capitals, this face is true to the early Roman forms which did not have a lower case. Forum exemplifies the classic Roman letterform at its finest. If a lower case were desired, Forum Title can be paired with Goudy Oldstyle for a harmonious hybrid font.

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Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000.

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Since Mommie I gradually got more into swirly ornaments. The massive contrast in the neoclassic style is perfect for thin swirly extensions to the characters. Even in an upright typeface. Narziss is very elegant in big headline sizes.

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The tradition at the New York Times magazine has been to dedicate the year’s last issue to the people who passed away during the year, especially those whose lives have affected us. Art director Nancy Harris Rouemy, whose typographic design sense has earned her many prestigious awards over the years, decided on an all-type magazine cover for the 2008 issue, and commissioned Canada Type to do a new typeface especially for that project. Now Memoriam is finally here in retail form—not least because hundreds of people have asked for it.

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Based on Hispalis from the Spanish foundry, Nacional.

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The design of Cheltenham, believed to be the first original type contracted to Linotype, began in Boston in 1900. Ingalls Kimball sketched the basic weight while architect Bertram Grosvenor Goodhue completed drawings in 1901.

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A display typeface, a didot in upper case only, but with a set of decorative alternate characters mixing semi-cyrillic and lower case influences.

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In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe.

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