Bitstream Amerigo, available in three weights (normal, medium, bold) with related italics, was designed by Gerard Unger and developed in association with Bitstream over a period of more than three years. The design follows the proportions of roman letter-forms and its flared, almost wedge-shaped, terminals place it in the category of incised types. Faces of this kind have been produced since the middle of the 19th century but the most well known examples in use today are Berthold Wolpe's Albertus (1937) and Hermann Zapf's Optima (1952–55). At the same time Gerard Unger's typeface is unmistakably a new design, being neither a revival nor an adaptation of an existing design.

When Hermann Zapf designed Optima in the 1950s digital type was not yet in existence. The subtle curves on the vertical strokes of Zapf's design were reproduced easily in metal type but present difficulties when used on laser printers with a resolution as low as 300 dpi. It was problems of this nature which Unger sought to overcome in the design of Bitstream Amerigo. Instead of a continuous gradual curve on vertical strokes, for example, Unger drew straight lines which turn into the curve of the fairly pronounced flare terminals.

Bauer Bodoni, issued in 1926, is a highly valued version of the original type by Giovanni Battista Bodoni. Its design is credited to Heinrich Jost who was appointed artistic director at the Bauer type foundry (Frankfort, Germany) in 1922.

Heinrich Jost worked through several trial stages before settling on a design of the right color, one which would emulate Bodoni's own printed results in an age of different papers, inks and processes. The punch-cutting skills of Louis Hoell enabled the design to be transferred to metal with subtle interpretation and high technical accuracy. Hoell already had over 40 years engraving and cutting experience, including work at the Klingspor and Flinsch foundries, before he cut Bauer Bodoni.

The complex history of Bodoni revivals has been subjected to intense critical examination. The clarity of shape in the characters of Bauer Bodoni, especially at 72 point, allows detailed comparison with the original faces. It has been pointed out that there are a number of features in the type, particularly in the capitals, which never appeared in Bodoni's work. However, most of these differences disappear at 24 point and below, allowing most critics to agree that Jost's design produced an authentic overall color and style.

Lithos is one of a pair of type designs issued in 1990, for the Adobe Originals program, which are based on inscribed lettering. The other face, Trajan, follows the forms of the best Roman capital letters, found on the Trajan column. Carol Twombly found her inspiration for Lithos in stone inscriptions carved by the ancient Greeks. Twombly studied at Rhode Island School of Design and Stanford University and has been a staff designer at Adobe since 1988. Lithos, Trajan and Charlemagne, the first three original display types from Adobe, are all her work.

Greek inscriptions of the kind studied by Carol Twombly reached a high standard of craftsmanship during the forth century B.C. The monoline geometry of the letters was emphasized by inscriptions where they aligned both horizontally and vertically.

Twombly's resulting typefaces are intended for use in posters, signage and other display applications. Adobe recommends a minimum point size of 18 points for typesetting and also stresses the need to optically letter space the capitals.