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

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Caesario is Mike Scarpitti’s newest font, based on the famous inscriptory lettering on the Trajan column in Rome. After searching through many sources, he turned to the drawings of the original column lettering made by Frederic Goudy in 1936.

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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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Insigne’s popular Aviano series returns with Aviano Serif.

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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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Shàngó is CastleType’s beautifully-rendered interpretation of Professor F.H.E. Schneidler's elegant titling typeface released in 1936 with the name 'Schneidler-Mediaeval mit Initialen'. This latter design is usually referred to as Schneidler Initials.

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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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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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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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The style of the Renaissance lettering master Giovanni Francesco Cresci is classical and timeless. Among a number of Italian scribes and lettering instructors of the period, he was the first to combine the elegance and proportions of the Trajan Roman capitals, and interpret a humanistic solution for a lowercase - his ‘Lettera antica tonda’, as illustrated in two of his work books, ‘Essemplare di piv sorti lettere’ of 1560, and ‘Il perfetto scrittore’ of 1570.

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

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

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

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Inspired by the ancient carvings chiselled into Trajan’s column in Rome, Byington pays homage to Trajan’s venerable lines but strips away the subtle nuances usually associated with the classic design. Fortified to withstand the requirements of video and other low resolution applications, Byington’s strength lies in its beefier serifs and speedier transitional curves. And what’s this? Recent excavations revealed a lowercase, ten meters below the column’s foundation. Just kidding! Byington’s lowercase is interfused with Sabon and Garamond, mirroring the pared down simplicity of the capitals.

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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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Questal is an intriguing unicase serif.

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Eleganza is my most elegant typeface.

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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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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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Designed by Les Usherwood. Digitally engineered by Paul Hickson.

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Eterna is a very beautiful font with diverse uses.

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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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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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Based on the original Stephenson Blake drawings.

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The Aviano series returns with a Didone or Modern face.

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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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Durer Caps is four fonts in one.

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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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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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Missale Incana is a redesigned, new interpretation of a typeface from Herbert Thannhaeuser.

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

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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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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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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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The French interest in the revival of suitably edited Oldstyle romans as an alternative to a world of Modern typefaces started in 1846 when Louis Perrin cut the Lyons capitals.

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

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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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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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Based on the Albert Kapr design, circa 1959.

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Hadrianus is a full-featured text font with calligraphic qualities.

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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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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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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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Art Nouveau happened over Europe under different names.

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Carlomagno ND is part of Neufville Digital’s GRAFÍA LATINA Collection.

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Avaloc, named for the mythical king of Avalon, is an expanded sans serif face.

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The design of Cyan was inspired by features found in classic Roman and styles like Trajan and Bodebeck. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. The 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. Cyan Sans evolved out of the hugely successful Cyan Serif family. Cyan Sans retains the same geometric Roman proportions with open centers in B,P,R b, d, p . This helps create a thick and thin stroke illusion since the actual strokes don't vary much.

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Carbon 14 is a direct product of photosynthesis. It is produced when a carbon based life form (like you) absorbs sunshine. As a radioactive isotope of the element carbon, it is used as a tracer in biochemical research because of varying amounts detected in all living things past and present. It is the primary means of time dating archæological specimens such as skeletal remains, plant materials, and paintings found in caves. (When you leave this life your remains are still giving off a Carbon 14 “buzz”.)

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Uncial Romana ND is part of Neufville Digital’s GRAFÍA LATINA Collection.
Rousselot began as a freelance designer at a very young age, soon devoting himself to the alphabet. He tried to improve it each day, inspired by the text on Trajan’s column.

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In designing Trajan, Carol Twombly was influenced by the style of the chiseled writings of the Romans during the first century AD. Twombly completed the font with numerals and punctuation and added a bolder version for text which should be emphasized. Most importantly, her interpretation of an ancient style resulted in a font whose clarity and beauty come across in modern printed materials.

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Warren Chappell named his font after the Roman king Trajanus, who ruled in the first century AD. The Roman capitals on Trajanus’ memorial combined with the lower case style from the time of Karl the Great formed the models for the font characters. Trajanus will give a text a classic, almost calligraphic, feel.

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