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

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Ceres is has its roots in Cyan, our other font family. Like Cyan, Ceres has a complementary lowercase that provides more versatility than a classic Roman. It is arguably more elegant than Cyan with its accentuated serifs. The lowercase “e” and “g” give Ceres a distinct calligraphic personality.

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

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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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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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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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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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A beautiful text font that works equally well as a headline font, great for books and magazines.

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This font is a slightly calligraphic roman font with one major difference. In place of the upper case characters, there are decorative lower case “Drop Caps” accentuated by a decorative rendering of the alphabet in script form. As enlarged decorative caps--great for beginning paragraphs set in any number of fonts including the lower case included in the font itself.

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Pompeijana is part of Linotype’s Type Before Gutenberg series. Adrian Frutiger designed Pompeijana in 1992 modeling it on the “scriptura actuari” (scriptura=writing; actuari=fast) used by the Romans for handwriting and stone and bronze inscriptions since the first century BC; this style of lettering is also seen on inscriptions six centuries later. These early letters were made quickly with a brush held at a steep angle, producing characters with horizontal strokes that are wider than the vertical strokes.

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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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Ablati is the commercial release of the font designed during the production of our new font design book, “Practical Font Design”. It is a new serif font in my continuing objective of designing book fonts that I can really use. In many ways, Ablati is a very different direction for me. Designed to produce gaphics to use in the font design book, I was forced to really reconsider many of my working methods to make them work for outside readership. Like all designers, my internal design processes can get really sloppy. The book helped me clean up my act.

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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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A very sophisticated formal design; great for packaging fine adds and many other applications.

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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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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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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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Houschka has the humanist qualities reminiscent of Gill and Johnston but is quite unique. It is more monolinear with rounded corners giving it a softer appearance, and has a few interesting character quirks like the capitals A, G, Q, W and lower case u and w.

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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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Insigne’s popular Aviano series returns with Aviano Serif.

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Sweet Gothic is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. 

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Goldenbook is based on the logotype of a literary magazine from the late 1920s called The Golden Book Magazine. It is meant to be used large and includes fonts with both old style and lining numerals in each weight.

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Hans Reichel designed Barmeno for H. Berthold in 1983.

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Young Finesse is a light, two-weight, announcement face with a large x-height whose characters contain only a few straight lines.

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Grandma is a lovely hand-drawn serif font.

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Adobe Jenson Pro captures the essence of Nicolas Jenson’s roman and Ludovico degli Arrighi’s italic typeface designs. The combined strength and beauty of these two icons of Renaissance type result in an elegant typeface suited to a broad spectrum of applications.

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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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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 on the Keystone Type Foundry design, circa 1919. The l/c ‘g’ appears as an alternate character in our font.

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In Cooke’s ongoing quest for simplicity and elegance he developed this striking alternative sans family.

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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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An original design.

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This family was inspired by the Fournier’s font named "Financière". It is a looking like manual font, carved in 1741 by Pierre Simon Fournier (le jeune) and published in his Manuel Typographique... in Paris (1764-1766).

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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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The Heinemann fonts were initially developed by the in-house design team at Heinemann educational publishing out of the necessity to find the perfect font for use in early primary reading books and literacy products.

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

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Questal is an intriguing unicase serif.

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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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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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Eleganza is my most elegant typeface.

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Loosely based on Prumyslava, an old Monotype design.

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Philip Bouwsma returns with his yet another great manifestation of historical calligraphy.

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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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Enzia is a friendly and flowing sans serif.

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William Caslon’s design as made regular by ATF at the beginning of this century.

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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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Based on Nacional by Carlos Winkow from the Spanish foundry, Nacional, circa 1941.

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Designed by the famous English (type designer) Eric Gill, it was created specially for the Silver Jubilee Wedding Anniversary announcement of George VI and Queen Mary.

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Eterna is a very beautiful font with diverse uses.

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Bodoni Classic Swashes is my personal addition to Bodoni’s family of typefaces.

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Sweet Gothic Serif is a 2009 addition to the Sweet Collection of engraved lettering styles from the 20th Century. It is a serif variant of Sweet Gothic.

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Cooper Black is a very heavy version of Cooper Oldstyle (also known simply as Cooper), an innovative typeface with rounded serifs and long ascenders designed in 1919. The Cooper family was the work of Oswald Bruce Cooper, co-owner of the Bertsch & Cooper design firm in Chicago. Cooper Black was first released by the Barnhart Brothers & Spindler foundry of Chicago in 1922. Oz Cooper was fond of saying that the Black fit the needs of “far-sighted printers with near-sighted customers.” Cooper Black set a trend in ad types which prompted such designers as Fred Goudy (one of Cooper’s early teachers) to follow suit with their own black faces (compare Goudy Heavyface).

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Rudolf Weiss designed this typeface in 1926 for the Bauer foundry of Frankfurt. Weiss is based on typefaces from the Italian Renaissance, and is one of the earliest contemporary serif types to have italics based on the chancery style of writing.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson.

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Bouwsma Text is what Roman type would look like if it had been designed by calligraphers instead of metalworkers. The formal harmony of the Roman capitals, with tapered stems, graduated curves and serifs which are natural entrances and exits for the broad pen. These serifs seamlessly work in relativity with the stroke weight, decreasing in size when the stroke increases.

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Angie Sans is a low contrast incised sans serif family which was issued one year before FF Angie (won a Morisawa awards in 1990) published by FontFont in 1995. Legibility is improved by keeping letter shapes open and distinct from one another. The Italics are lighter, narrower and more flowing than the romans.

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A creative variation of the Oldstyle form designed by E. Pechey for Stephenson Blake early in the twentieth century.

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The Scrivano family was designed by Ricardo Esteves Gomes, inspired by some handwritings from the Middle Ages and Renaissance period.

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During the reign of the Emperor Charlemagne in the eighth and ninth centuries, the use of classical roman letterforms was revived. These letterforms were the basis of the highly refined versal capitals of late tenth-century England, which were the inspiration for Carol Twombly’s 1989 Adobe Originals typeface. Charlemagne has spiky serifs, but retains clean lines and proportions.

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The vast popularity of William Caslon’s eighteenth-century types led to a practically endless range of Caslon copies, among them Caslon 540, from American Type Founders in 1902, and Caslon 3, a slightly bolder face also from ATF in 1905, which was later modified for use with Intertype and Linotype technologies. Both designs have the warm, solid, straightforward style that has made Caslon popular for over 200 years; these Caslons, however, have shorter descenders, and higher contrast, features that enable them to hold up better with the faster presses and the new varieties of paper introduced at the turn-of-the-century.

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This family was inspired by numerous documents and books printed in Paris during the end of the 1700s. Mainly, documents printed by P.G. Simon & N.H. Nyon, “Printers of the parliament” were used for the Normal and italic styles and “Caps”. “Titling” characters were coming from a collection of hymns printed by Nicolas Chapart. In France these Fournier characters, as Baskerville in Great Britain, were the most often in use in the late 1700s, just before the Didot designs.

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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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In 1543 was published in Bâle (Switzerland) the well-known “De humani corporis fabrica” treatise on anatomy by André Vesale, printed by Johann Oporinus. A various types of faces were used for this work, mostly in Latin but including Greek characters. Its Jenson-type font was the one who inspired this font software. It is a very elegant one, including “long s”, a few abreviated characters and ligatures. As it was a Latin text, there were any accented characters and a few capitals were to be lacking. I had to reconstruct them.

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