From scrapbooking to intensive graphic design applications, Craft Roman is a wonderful choice for charming and lighthearted communications. Craft Roman is based on Speedball and signpainter books from the 1920s and 30s, and reminiscient of the style of some of the lettering accompanying Mary Engelbreit artwork. Craft Roman is perfect for capturing the feel of vintage posters and retro stylings dating back to simpler times or handworked arts & crafts projects- even elementary school and childhood art. Extended character sets and intensive kerning provide foreign language support for many regions, plus bonus glyphs for quick stylistic flair.

University Roman font is based on Speedball hand-lettering. Designed at the Letraset Type Studio in 1983. University Roman is notable for its narrow capitals with crossbars that sit well above the median line. This unique roman design evokes a romantic air in display work such as packaging and advertising.

Imperija Roman is a display typeface inspired by stone engraved lettering. Supporting west, central and east European languages it contains over one-hundred discretionary ligatures and a stylistic set for old style diacritics. The original letters were drawn from a memorial engraving in Ljubljana, Slovenia. Further development and several iterations later, Imperija Roman has a flowing organic feel while staying true to the rigid constraints of stone-cut letters. The alternative diacritics in stylistic set one were included to give the user more options for a historical feel to the lettering. The discretionary ligatures also offer a huge range of variation and were drawn based off of historical Roman sources and common frequency digraphs in major European languages.

An original design, based on a very early turn-of-the-century typeface from the defunct Keystone Type Foundry, Philadelphia.

HardTimes has been hard work, designing a handmade typeface must always have the right balance between rough and smooth, specially with this Times-like face. It has the big European glyph-set, so that it can be used all over the continent I come from. I gave this font extensive kerning. Times are too hard for boring typefaces, so try this one for a change. -Your hardworking type designer, Gert Wiescher

A unique display font based on the research in vintage and old fonts from the beginning of the 20th century. Perfectly work for headlines in print or can be a spice to any other design.

Oxonia Roman is a text family, offered in two weights and two widths, deriving it’s inspiration from classic Roman typefaces. It is intended for the setting of text legibly in quantity, and compliments our Anavio and Vectis faces particularly well.

Ames’ Roman is a stylish ‘New-Style’ Didone Roman family offered in divers weights and widths. It is designed to embody clarity combined with dramatic contrast between horizontal and vertical strokes. All typefaces include small capital forms, new and old style numerals (and indeed ‘small capital’ numerals for consistency). Ames’ is a Roman with the charm of the past and the spirit of the future! It’s ideal for headings and titles and anywhere else you need text of distinction. Watch out for the forthcoming Ames’ Text…

An ultra light thins all caps Victorian design with a slight stroke contrast. Elongated Roman requires subjective display kerning and compensation.

Intrigued by typefaces of the late 18th and early 19th centuries, the designer was surprised to find no digital renderings of the popular Old Roman typeface. This font is the designer's interpretation of this c. 1895 typeface designed by T.W. Smith.

Designing SoftTimes has been easy on my nerves after the strain of HardTimes. The harder the Times are the more do we need some soft typefaces, this one is the soft counterpart for HardTimes. -Your softspoken typedesigner, Gert Wiescher

A revival of one of the popular wooden type fonts of the 19th century, suitable for display, heavy stems, very thin serifs, short descenders. Heavily revised, very much improved, extensive kerning. Now in otf and ttf formats.

Elongated Roman is a Didone-style serif typeface. It was originally designed in 1950 by typographers at Stephenson Blake. After International TypeFounders, Inc. acquired exclusive licensing rights to the Stephenson Blake Collection, Steve Jackaman (ITF) digitally revived the typeface in 1997 for the Red Rooster Collection. Much like other Didone typefaces, Elongated Roman’s strong contrast between thick and thin strokes and hairline serif design strengthen its elegance as a “modern face.” Unlike other Didone typefaces in the Red Rooster Collection, Elongated Roman was designed with display size in mind thanks to its strong variance in stroke weight.

Informal is the work of lettering designer Martin Wait and is reminiscent of the late 1940s and early 1950s. Informal is worthy of its name and perfect for anything with a look of the mid-20th century or simply a casual, spontaneous appearance.

Mixtra is a versatile and complete type family designed by Bo Berndal. The three Mixtra family branches are Roman, Sansserif and Slabserif, each with a full set of weights. The Roman also has a Small Caps font. Combining the three family members is a good starting point for creating a coherent typographical design. Mixtra works well in magazines and all sorts of print in need of a strong visual identity. "Mixtra is a multiface", says Bo Berndal. "With or without serifs, or with powerful slabserifs, you can pick the version that best suits the design and printing technique you have chosen."

Introducing Roman Lover Elegant typeface + Bonus Boho Illustrations The Roman Lover Serif typeface is an elegantly themed font that has a dynamic serif style. The details of the shape of the "Roman Lover Serif Elegant typeface" are very smooth and flow to create unique and beautiful curves. Elegant Serif typefaces such as “Roman Lover Serif Elegant typeface” are very easy to apply to any design, especially those with an elegant and smooth concept, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Roman Lover Serif Elegant typeface contains 573 glyphs with many unique and interesting alternative options. Plus, there's a cool serif font family for header and description text from Thin to Heavy. In the poster preview all the letters are in the Roman Lover Serif Elegant typeface.

Medium Roman is an engravers, all-capitals font for invitations and stationery. Particular characteristics of the Medium Roman font are the tail on Q and the spurs on J and U.

Kingston Roman is a modern and classic serif typeface with a unique style and fancy look. This typeface is perfect for an elegant & luxury logo, book or movie title design, fashion brand, magazine, clothes, lettering, quotes, and so much more. **Uppercase

Handmade, expressive, lively, organic— …words typically used to describe a script font or a casual sans. Spry Roman opens up new possibilities. It’s origin is handwritten letters created using a pointed nib on slightly toothy paper. While based on a Roman form, the letters are designed to break out of the mold and dance along the baseline. Spry Roman Pro is a fully featured opentype font. Among the 964 glyphs are loads of alternate characters and swash letters; a full set of small caps; simple fractions; case sensitive punctuation; and a variety of ornaments, border elements, and flourishes. It also includes a full dose of language support for not only main characters, but also for alternates and small caps. Ligatures have been kept to a minimum to allow users the option of tracking text. **Please note that the Pro version has all the glyphs of the others combined. The smaller versions are for those who don't have opentype savvy apps like Adobe Illustrator.

BECHAMEL ROMAN was born interpreting unicase letterings of the movie "Willy Wonka and the chocolate factory". Later these ideas matured with flexible tip nib and paper mixing their naive proportions with some classic ingredients of Baskerville, Bodoni, Didot, Round Hand Script, Graffiti and labels found in Venezuela and Colombia. BECHAMEL ROMAN designed to be combined with Bechamel. BECHAMEL Script, Vein, Words & Ornaments were hand drawn to design words and phrases in logos, packaging, posters, envelopes and greeting cards. BECHAMEL ROMAN 1,2,3 & 4 is an experimental font family designed by #carlosfabiancg. It includes an irregular look to communicate craftsmanship. Its multiple upper cases with condensed width and naive lines are notable for their expressive drawing with a high amount of contrast between thick and thin strokes.

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The Fred family is based on the casual hand lettering of Fred G. Cooper: cover artist, cartoonist, and letterer for Life magazine in the 1920s and '30s. His relaxed style captures the flavor of the Roaring Twenties, and the digital font was developed for use in the credits and title cards for a 1920s-style silent movie, The Call of Cthulhu. In an effort to keep the hand-lettered look, the OpenType font has numerous discretionary ligatures and contextual alternates, along with fleurons and ornaments.

Introducing Dree - typeface - 6 serif and display fonts Dree is creative and minimal typeface loaded with 6 fonts and multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol Serif and Display Alternate Italics Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

The Bree font family is a spry sans serif by Veronika Burian and José Scaglione that delivers a spirited look and feel for branding and headline usage. As an upright italic, Bree shows a pleasant mix of rather unobtrusive capitals with more vivid lowercase letters, giving text a lively appearance. Bree is clearly influenced by handwriting. As such, some of its most characteristic features are the single-story ‘a’, the cursive ‘e’, the outstroke curves of ‘v’ and ‘w’, the flourished ‘Q’, and the fluid shapes of ‘g’, ‘y’, and ‘z’. Alternates of these letters are available when a more neutral look is desired. Bree has a touch of cheekiness, a wide stance for each character, and an extra-large x-height. All this adds up to a big personality, so even when set in small text there is no skimming past the words Bree voices. In 2019, the Bree font family got a huge update. A few shapes were updated or added (the ‘k’ and German capital ‘ß’), two entirely new weights were added (Book and Book Italic), and spacing was perfected. More than that, Vietnamese support was added to Bree Latin, and the Bree Greek and Bree Cyrillic scripts were designed from scratch to parallel the Latin’s tone. Additionally, Bree was designed in variable font format for those who want complete control over the font’s appearance while simultaneously saving digital weight in the form of kilobytes and megabytes. Bree is in the perfect position for the next digital revolution. The complete Bree font family, along with our entire catalogue, has been optimised for today’s varied screen uses. Bree has been chosen for such wide-ranging uses as Breast Cancer Awareness Month in the US, the branding for the country of Peru, and numerous layouts including mobile apps, magazines, newspapers, and books. Awards – Tipos Latinos exhibition 2008 – Several best-of-the-year typeface lists of 2008 MyFonts Top 10 Fonts of 2008 Smashing Magazine: 60 Brilliant Typefaces For Corporate Design https://www.smashingmagazine.com/2008/03/60-brilliant-typefaces-for-corporate-design/ Die besten Schriften 2008 http://www.fontwerk.com/619/die-besten-schriften-2008/ – Selected for Typographica’s Best Typefaces of 2008 – Won Bronze for Original Typeface in the 2009 European Design Awards

It is the Ionian version of the ancient Greek script. Ancient Greek numerals are included. It's not Unicode, it's a Latin based font.

Tobi Greek Cyrillic is a typography based on Tobi (2015), now much improved with alternative ligatures and better than containing the Greek in capital letters and also in Cyrillic. Tobi Greek Cyrillic is a very cheerful typography, especially fun for children’s titles, juvenile children’s clothing comics, this typography was designed with a lot of love. Authors:  Rodrigo Araya https://www.behance.net/Rodrigotypo and Andrey Kudryavtsev.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.