TRAJAN PRO
Designer: Carol Twombly
Year: 1989
About the designer:
Carol embraced art in various forms, and pursued sculpting as a major at RISD. Eventually she changed her course to graphic design, claiming that it has more potential for a successful career. She was then introduced to typography, which allowed her experiment with letters, and worked in several studios after graduation. She won first place in an international competition, and got a full time job in Adobe Originals in 1988. A year after, she designed Trajan Pro as an inspiration from classical Greek inscriptions and a designer named William Caslon.
It's serif font that is only used in capital form. The letters are spaced out, allowing wide space for open smooth counters, and there are slight variations of the weight. The most distinct features are the slight flicks of the letters' legs, the descender of the letter 'J', and the elegant and delicately swirled tail of the letter ' Q'.
http://www.adobe.com/products/type/font-designers/carol-twombly.html
I believe it is a readable font that looks strong, elegant, bold and professional. However, because it relates very much to classical scriptures, it may slowly become unwanted if the upcoming brands seek modern appearances.
GOUDY OLD STYLE
Designer: Frederic W. Goudy
Year: 1915
About the designer and font:
Goudy designed this typeface for the American Type Founder. It was commonly used at his time. However, due to the increasing popularization of the typeface Cooper Block, Goudy was asked to design thicker variations of Goudy Old Style. In 1925, he established Goudy Heavyface and Goudy Heavyface Italic. The American Type Founder kept commissioning designers to create variations, until in 1927, Morris Fuller Benton designed Goudy Extra Bold.
The counter of the letters are almost complete circles. The diamond shaped dots and the ear of the 'g' that flicks upward are distant characters of this typeface.
I find this typeface, specifically the capital forms somewhat similar to Trajan. However, the small forms look more modern as a result of the unique dots and apostrophes. Even the tail of the 'Q' extends just like the Trajan typeface, but it's curve is more modern, asymmetrically extruding from both sides of the letter's base. I believe this typeface can be adjustable to both modern and classical anymore elegant designs, which is a strength.
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