Titling: Glyphic

Stephen Coles

Last edited May 27, 2016

These inscriptional and glyphic typefaces have small, sharp serifs that could be described as wedge, thorn, or triangular serifs. This style is often associated with luxury brands, beverage labels, and classic architectural signage. While usually appearing in all-caps settings, some of these faces also have a lowercase (change the sample text to see which), expanding their versatility.

See also: Trajan Alternatives, Spiky Serif

Friz Quadrata font is the work of a number of collaborators. The first weight was created by Swiss designer Ernst Friz and made its first international appearance with the design release of Visual Graphics Corporations. ITC then arranged with VGC so that Victor Caruso could add a bold weight to the original. Finally, in 1992, French designer Thierry Puyfoulhoux designed italic weights for... Read More

ITC Élan combines a gothic simplicity with elegance in a distinctive yet subtle typeface design. There is also a feeling of architectural strength which is derived primarily from an optically even line-weight and a sense of vertical stress. The small, almost Latin, serifs add distinction at both display and text sizes. The large x-height, minimum stroke variance, and open counters are ideal... Read More

ITC Symbol font was designed by Aldo Novarese, a simple, straightforward design of understated elegance. It has just the hint of a serif to aid legibility. Book and medium weights have a light, even color and are perfectly complemented by the bold and black weights. The italics are clear and simple, a comfortable companion to the roman.

ITC Quorum was designed by Ray Baker to neatly fill the gap between serif and sans serif. The typeface displays a distinctive, subtle design that illustrates a gothic simplicity. Baker cleverly combined traditional and formal letterform elements with contemporary design considerations and aesthetics. ITC Quorum is an excellent choice for advertising and publication graphics.

ITC Newtext was designed by Ray Baker, who created a well designed and legible typeface and built into it every design refinement which could optimize its usefulness. The expanded shapes are generous and legible and the economical vertical set results in more lines to the page.

Cantoria was designed by Ron Carpenter in 1986. It is a serif font with characteristics of stone cut letters. Distinguished by its open forms and large capitals and available in 10 weights, Cantoria offers a wide range of possible applications.