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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In 1921, Walter Tiemann designed Narcissus for Klingspor after a suave set of ornamental inline capitals first cut by Simon Pierre Fournier about 1745.

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Journalistic is one in a series of fonts designed for use in creating replica vintage newspapers. It is inspired by the nameplate of a New England newspaper from the 1920s. Its rough character is apparent at headline sizes, and it remains nicely legible at smaller sizes for diplomas and other formal documents.

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The decorative title typeface was designed at Polygraphmash type design bureau in 1967 by Iraida Chepil.

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This bold, unique roman typeface has been reworked by Alan Meeks from Rudolph Koch’s 1914 original, Maximillian Antiqua. Ambrose features an aperture in the bold stroke of each letter that gives it an engraved appearance and enhances its classical roman pedigree. Ideal for advertising that requires a look of tradition and quality.

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A slightly bolder than normal copperplate script, Inscription incorporates a fine open line running throughout. Restrained initial capitals integrate with a lowercase where the tall ascenders and linking elements form a style of stunning elegance. Designed by English lettering and type designer, Alan Meeks.

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A 1926 travel brochure for a steamship line provided the basis for this darkly sparkly spritely font. Smooth curves and an off-center inline treatment gives this typeface a strong architectural feel.

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Tobias Sergel was the greatest Swedish sculptor and draughtsman of the 18th century.

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This elegant monocase design is based on a nineteenth-century offering from Britain’s Stephenson Blake Foundry named Fry’s Ornamented No. 2.

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The American Type Founders 1923 Specimen Book and Catalogue called the inspiration for this typeface “Engravers Text”; it could easily be called elegant, enchanting and erudite, as well.

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The Poole Chiselcut faces are a useful companion to the regular Poole fonts.

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This unusual headline font is based on lettering found on a travel poster, advertising passage to Morocco on the Paris-Lyon-Méditerranée line, designer unknown, circa 1930.

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A new take on the perennial Art Deco favorite, Broadway, interpreted by 1930s lettering artist Harold Holland Day, and named after a 1960s R&B song.

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ITC Hornpype is the work of California freelance designer Mott Jordan, a cheerful display face inspired in part by the cartoons of the 1920s and 30s. According to Jordan, the typeface’s name and three-dimensional quality can be traced to an early cartoon in which a cat blows on a horn with such force that the instrument bulges out. For the three-dimensional look, Jordan added highlights to the thicker strokes to create letters that look as though they were, in his words, “squeezed from a toothpaste tube”. Jordan suggests his eye-catching font for shorter words in larger point sizes. ITC Hornpype is a lively font perfect for anything needing a “fun, goofy” look.

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