The aim of this typeface is to merge two historical moments in the form and style of writing, on the one hand calligraphy uncial, and on the other Roman serif was established as a universal standard for type fonts continuous text at the time. Is intended in terms of their functionality as a font for titles. The family includes some extended range glyphs as several Caps swashes and stylish alternatives for upper and lower case, standard and discretional ligatures, old numerals and other OpenType features.

Hachura is a sketchy typeface designed by Ricardo Esteves. Its general proportions are based on the garalde models, with traditional roman serifs. It was initially made by hand using a drawing technique to create a font that simulates the unfinished aspect of a work in constant progress. This textured face is useful for display sizes, making a very visible presence. Because of its basic dimensions and careful distribution of black and white, it still also very readable in text sizes like 10 or 8 points.

Our Marcellus Pro was inspired by classic Roman inscription letterforms. Clarity and beauty are embodied in the standard lowercase, while this historically influenced typeface also nods to the powerful presence of the Trajan titling style with its SmallCaps set. When combined together, Marcellus is a gorgeous flare-serif typeface, rich with presence and usability. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Miramonte Pro was designed by Steve Matteson in 2006 as a friendly sans serif design suitable for user-interface design, corporate branding and publishing. The name means 'behold the mountains' in Spanish, suggesting the rustic, unrefined type design. Miramonte is based on Stanislav Marso's humanist sans serif released by Grafotechna in 1960. This revival includes a cursive style italic rather than a sloped roman. Miramonte Pro includes an extensive character set for publishing Central and Eastern European languages. Its OpenType features include proportional figures, and tabular figures.

Gather Serif - The Modern Classic Let your creativity flow with Gather Serif. Beautifully crafted letterforms and ligatures to give your type a modern touch of elegance. Gather Serif is packed with extra ligatures and stylistic alternative glyphs. Ligatures: CH CO DO EH EA EO IJ KA KO LA LE LH OC OO QO QU RA RC RH RI RO RS RU TH TT Th ZO fl ffl fi ffi st Language Support for: Western European, Central European, South Eastern European, South American, Esperanto.

Alf Becker was a talented sign writer and a prolific contributor of unique alphabets to Signs of the Times magazine. More than one hundred of his designs were showcased in monthly installments with each new issue of the publication. One in particular is a casual, free form sans serif design which has been recreated digitally as Casual Signage JNL, and is available in both regular and oblique versions. Thanks to Tod Swormstedt of ST Publications for providing the reference material for this font.

This font is inspired by a horror film title or opening, taking inspiration from underground bands, made from watercolor brushes and so you get sharp textured results, with its defiant shape, rough edges and unadulterated imperfections. and give a spooky, firm, horror impression. There are several unique ligatures that can make sentences more unique. Regular Stylistic alternates SS01-SS03 Ligatures os, St, fl, ff, ffi, ffl, ae, si, ss, ha Multilanguge Support Latin Pro Uppercase & Lowercase Numerals & Punctuation 443 glyphs

Assembled for those less commercialized holidays, LTC Holiday Ornaments features over 80 printers' ornaments from Lanston Monotype and other historical foundries such as BBS and ATF. Holidays include Easter, Valentine's Day, St. Patrick's Day, April Fool's Day, Thanksgiving and 4th of July. There¹s even a pirate to represent international "Talk Like a Pirate" day. LTC Holiday Ornaments joins the Lanston Collection alongside the popular LTC Halloween and Christmas Ornaments. LTC Holiday Ornaments contains additional Halloween and Christmas ornaments as well.

Clarize is an elegant high contrast serif fonts family, with the best features of the Didone style. Designed with consideration for more functionality with smooth details and a touch of modern and luxury, this font is perfect for designers who are developing in the field of books, fashion, magazine, blog, advertising, packaging, branding, etc. The family includes 10 styles: five weights from Light to Black Multilingual Languages. Clarize includes Ligature and discretionary "ct" and "st" that can be accessed via an access feature.

Whether you call them slab serif, square serif, or Egyptian, you know them when you see them – sturdy, nearly monoweight designs with blunt, straight-edged serifs and a no-nonsense attitude. The Rockwell® Nova family is a fine example of this appealing and eminently usable type style. This is a design that is both robust and adaptable. Marked by the flat top-serifs on the cap A, unusual Q tail and high-legibility two-storied lowercase a, Rockwell has a bit of handmade charm that distinguishes it from the cool, more modern interpretations of the slab serif style. The family is excellent for branding, headlines and other display uses. The simple shapes and hearty serifs also make it a good choice for short blocks of textual content in both print and on-screen environments. The light and bold weights are perfect for setting blocks of text copy, while the extra bold and condensed designs bring authority to display copy. Throw in a little color, and you amp up Rockwell’s messaging power. The regular and italic designs perform handsomely, in the most modest of screen resolutions. With four weights of normal proportions, each with a complementary italic, and three condensed designs, two with italics, the family is a commanding and versatile graphic communicator. Rockwell’s large x-height, simple character shapes and open counters, make for an exceptionally legible design. It should not, however, be set so tight that its serifs touch, as this will erode legibility and impair readability. A benefit to Rockwell’s slab serifs, however, is that the design combines beautifully with both sans serif typefaces and a variety of serif designs. Rockwell OpenType® Pro fonts have an extended character set supporting Greek, Cyrillic, most Central European and many Eastern European languages, in addition to providing for the automatic insertion of ligatures and fractions. Looking for its perfect pairing? Look no further than ITC Berkeley Old Style, Between™, ITC Franklin Gothic®, Harmonia Sans™, Metro® Nova or Frutiger® Serif.

The Masqualero™ family is a versatile solution for a deep and broad range of applications. In large sizes, the heavier designs are dark and handsome, while the lighter weights are charming and friendly in text copy. Thanks to its many variations and distinctive demeanor, both print and interactive designers will find that Masqualero expands their creative options, while setting the perfect tone to catch and hold readers’ attention. It’s About the Design Like the legendary jazz song of the same name, Masqualero is haunting and sophisticated. Drawn as a tribute to Miles Davis, its letterforms are as beautiful as his “Masqualero” composition. “I approached drawing the letters as if they were marble sculptures,” Says Jim Ford about his typeface. “Many sharp, black, modern sculptures filling a large park. All of them created with the same qualities – the flair of Miles' electric funk and rock sounds, the sparkly smooth finish and serifs like trumpet bells, the sweet lyricism and the tone and clarity of Miles’ horn.” What’s Available With six weights and italics, in addition to Stencil and Groove display designs, Masqualero is available as a suite of OpenType Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. Thoughts About Use A book or album cover set in the Masqualero design sends a message: what’s inside is of value. Like jazz, the Masqualero typeface takes ordinary basic concepts and slips them into something special. Readers take notice and immediately recognize that what they’re viewing is a cut above – and radiates quality. “I see Masqualero as a luxurious typeface for exquisite typography,” says Ford. “I wouldn’t use it to sell toys or hot dogs. Masqualero sells diamonds, boats, real estate and champagne.” Perfect Pairings Antique Olive™ Neue Kabel® Neue Frutiger® Quire Sans™ Trade Gothic®

Type designers have been integrating the design of sans serifs with serifed forms since the 1920s. Early examples are Edward Johnston's design for the London Underground, and Eric Gill's Gill Sans. These were followed by Jan van Krimpen's Romulus Sans, Frederic Goudy's ITC Goudy Sans, Hermann Zapf's Optima, Hans Meier's Syntax and Adrian Frutiger's Frutiger. Now, ITC Stone Humanist joins this tradition. It is a careful blend of traditional sans serif shapes and classical serifed letterforms. ITC Stone Humanist grew out an experiment with the medium weight of ITC Stone Sans, a design that already showed a relationship to these sans serif-serif hybrids. ITC Stone Sans has proportions based on those of ITC Stone Serif, and its thick-and-thin stroke contrast suggests the bloodline of humanistic sans serif typefaces. But other aspects of ITC Stone Sans are more closely aligned to the gothics and grotesques, a tradition that accounts for the largest portion of sans serif designs. Enter ITC Stone Humanist. During his experiments with the earlier design, Sumner Stone recalls, I was actually quite surprised at how seemingly subtle changes transformed the face," moving the design firmly into the humanist tradition. "The form of the 'g,' 'l,' 'M,' 'W,' and more subtly the 'a' and 'e' are part of the restructuring of the family," he explains. The top endings of vertical lower case strokes have been cropped on an angle, as have the ascender and descender stroke endings. ITC Stone Humanist is a full-fledged member of the ITC Stone family. It has been produced with the same complement of weights, and the x-heights, proportions, and underlying character shapes are completely compatible with the three original designs. The original ITC Stone Sans is a popular typeface, in part because of its notable versatility. ITC Stone Humanist shares this virtue, and can be used successfully at very small sizes, in long passages of text copy, and even as billboard-sized display type."

The Tazugane Gothic typeface family is the first original Japanese typeface created by Monotype. Designed by Akira Kobayashi, Kazuhiro Yamada and Ryota Doi of the Monotype Studio, the Tazugane Gothic typeface offers ten weights and was developed to complement the classic Latin typeface, Neue Frutiger. The design of the Tazugane Gothic typeface balances an original, humanistic style with elements of traditional Japanese handwriting. The two typefaces work together in a natural, seamless and adaptable manner so that Japanese and Latin texts can be used side-by-side for a wide range of applications, including in magazines, books and other print media; on digital devices; in branding and corporate identity systems; and in signage for buildings, highways and mass transit. Tazugane Gothic was updated to support the “Reiwa” new era symbol. Reiwa can be written as two kanji: 令和. This update to Tazugane Gothic includes Reiwa designed as a single ligature and is encoded as U+32FF. The inspiration for the Tazugane Gothic typeface is as elegant as its design. Since antiquity, cranes have been regarded in East Asia as auspicious birds for their noble appearance and elegance in flight. The typeface is named Tazugane Gothic in honor of the longevity of the crane, with the goal that it will be used for many years to come. The combination of the Tazugane Gothic typefaces’ traditional and humanistic elements, along with its intended ability to complement popular Latin typefaces, makes it one of the most uniquely flexible designs for applications where Japanese and Latin texts can be used together. The typeface family was created to have wide appeal, with a pleasing and consistent experience for readers, for use on screen, in print, in signage, packaging and advertising. Tazugane Gothic has 10 weights. The Light, Book, Regular, Medium and Bold weights are considered best for text sizes. The Ultra Light, Thin, Heavy, Black and Extra Black weights are recommended for headline sizes.

Besley Clarendon ML is our version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. Besley Clarendon ML represents a significant change from the slab-serif Antiques & Egyptians that had become so popular in the prior three decades. Like Caslon’s Ionic of 1844, it brackets the serifs and strongly differentiates between the thick and thin strokes. Besley Clarendon is also what today is considered a condensed face, as a comparison to the various contemporary Clarendons will show. Robert Besley’s Clarendon was so popular that many foundries quickly copied it, a fact that caused him to complain vigorously. The reason it was so widely copied is simple ó it was extremely useful. It provided the attention-getting boldness to highlight a word or phrase, yet at the same time was compact and easier to read than the fat faces and antiques of the period. It wasn't until sixty years later that the concept of a typeface family of different weights was developed with DeVinne and Cheltenham. Until then, Clarendon served as everyone’s all-purpose bold face. It can be used for ads, flyers, headers or even short text. Don't leave home without it. Besley Clarendon ML includes the following features: 1. Glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 353 glyphs. 158 kerning pairs. 2. OpenType GSUB layout features: pnum, salt, liga, dlig, hist and ornm. 3. Inclusion of tabular (std) and proportional (opt) numbers. 4. Kreska-accented letters.

An ebay purchase of a vintage Speedball lettering pen set yielded an extra bonus… numerous alphabets on paper rendered in both pen and ink and via pencil sketches. One such design in rough pencil layout is a classic serif typeface often found on many passenger and freight trains, trolley cars and busses. This “Railroad Roman” was scanned from the original sketches and then re-drawn digitally, all along retaining the charm and attractiveness often found in hand lettering. The end result is Streetcar JNL, which is available in both regular and oblique versions.

Hercílio is a typographic family without condensed serif, modern and geometric inspired by the architectural forms of the Hercílio Luz Bridge in Florianopolis | Brazi Comprising eleven (11), weights of which ten (10) business are: Five weights Romans: Light, Normal, Regular, Medium and Bold Five Italics weights: Light, Normal, Regular, Medium and Bold And a weight (FREE) Hercílio Decorative Comprising 430 glyphs in each source, brings support for 56 languages (Latin and West, Central and East European) still has features Open Type, ligatures and tabular figures. http://www.cort9.com/wp-content/uploads/2016/05/Specimen_Hercilio.pdf

Elegant and idiosyncratic, AB Ticena is a display and extended typeface inspired by the ancient forms of Lombardic capitals. The sometimes quirky and capricious letterforms take their inspiration from medieval forms found in inscriptions and manuscripts where latin Roman capitals were taken to new stylistic and even extreme expressions. The ultra-wide horizontal proportions and its modulated, humanistic strokes gives it a more refined and contemporary edge. AB Ticena works best for logotypes, short and striking headlines, and editorial purposes. A set of ligatures and stylistic alternates is also available for selected characters and pairings.

ITC Mudville was Christopher Wolff's entry in the 1998 U&lc Type Design Competition, for which he won an Honorable Mention (Display). Mudville evolved from variations on hand-lettering that Wolff had done on a variety of projects over the years. The underlying shapes of the letters are formal roman letterforms, but the actual strokes retain the look of letters sketched casually on a layout. Mudville straddles the line between inline and outline type designs. It recalls some of the styles of popular lettering used in display advertising in the '20s.

The first cuts of Trade Gothic were designed by Jackson Burke in 1948. He continued to work on further weights and styles until 1960 while he was director of type development for Mergenthaler-Linotype in the USA. Trade Gothic does not display as much unifying family structure as other popular sans serif font families, but this dissonance adds a bit of earthy naturalism to its appeal. Trade Gothic is often seen in advertising and multimedia in combination with roman text fonts, and the condensed versions are popular in the newspaper industry for headlines.

Ring Netlike - Classic Serif Font Ring Netlike is a classic serif typeface called weiss roman. A unique modern font that is a mix of old and new. The Elegant curves also make for a unique logo or masthead. Ring Netlike comes with multilingual support also. The combination with the width of each letter forms a modern feel and is suitable for various magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites, etc. Files Includes: - Uppercase & Lowercase - Numerals & Punctuation - Multilingual - Ligature - Alternative Fridaytype

Zosimo is a neo-grotesque typeface created by designer Ron Gilad (Delicious Type) in cooperation with renowned typographer Oded Ezer based on his ubiquitous Alchemist typeface. Carefully drawn curves, robust shapes and a range of OpenType features make Zosimo a great choice for designing logotypes, signage, titling, texts and more. Zosimo now comes in three families: Standard (full Latin support), Cyrillic (basic Latin and Cyrillic) and Pro (all included). Totalling in 9 weights, roman and italic, Zosimo can accommodate all your type-related design needs in one big happy family.

The capital alphabet Charlemagne was designed in 1989 by Carol Twombly. The basic forms are modelled on those used in classical Roman engravings. They are distinguished by pointed serifs which sometimes extend beyond the bounds of the forms, for instance on the E, F and S. These serif forms have made other historial appearances, for example, in handwritten rectangular capitals of the 9th century. The serifs lend the typeface a light ornamental touch. Charlemagne is a typical titling typeface and is best used in large and very large point sizes to emphasize its classical elegance.

Diocletian fortiter in re, suaviter in modo Diocletian typeface captures the essence and glory of the Diocletian’s palace, one of the most imposing heritages of the late Roman empire. It is designed to bring the confidence and fortune to contemporary communication in a heroic and gentle manner. Diocletian typeface is based on the Uncial script, made up of wide, rounded letters. It is desirable for cafes, restaurants, shops, hotels and apartments. The typeface’s x-height is around 76% of its capitals. The font is enriched with ligatures and special characters.

Bocksay Mira is a text font family inspired by the manuscript Mira Caligraphiae Monumenta created between 1561 and 1596 by Georg Bocskay and Joris Hoefnagel for the Holy Roman Emperor. All shapes were taken from the original records in both regular and italic style: lower case (p. 5, 72), uppercase (p. 47, 121), small caps (p. 122, 7). The high contrast forms and the wide spacing makes this family suitable for long texts but also for titling uses, having always that calligraphic and stylish look. Find the original script here

The Ehrhardt name indicates that this typeface is derived from the roman and italic typefaces of stout Dutch character that the Ehrhardt foundry in Leipzig showed in a late-seventeenth-century specimen book. The designer is unknown, although some historians believe it was the Hungarian Nicholas Kis. Monotype recut the typeface for modern publishers in 1937 to 1938. Ehrhardt has a clean regularity and smooth finish that promote readability, as well as a slight degree of condensation, especially in the italic, that conserves space. Ehrhardt is a fine text face, especially for books.

Jan Tomáš studied at the Universität der Künste, Berlin. He is a multi-talent – the author of many ideas, a font creator, designer, modeller, technician and web designer. In 2011, he founded Future Typo, the first web portal for advanced typography with original design typefaces and 3D typefaces. When you look closely to Linotype Alphabat, the figures start to change from letters into flying bats and scary faces. Linotype Alphabat can be used for very short texts however it is particularly effective for headlines in larger point sizes so that its details are emphasized.

Matthew Carter’s Miller is a seminal reinvigoration of the 19th-century Scotch Roman, serving forthright, authoritative body copy and headlines since 1997. Miller Text has always been the epitome of a reliable publication workhorse. Alongside the three-quarter-height Scotch numerals, Miller Text includes optional oldstyle and lining figures, each with appropriately aligned currency and other symbols. A complete set of fractions, with arbitrary superiors and inferiors, is also included. Miller Text features an Extended Latin character set, which covers all major languages and dialects written with the Latin alphabet.

Not your average monospaced typeface, Base Mono flourishes with several handsome OT features mostly found exclusively in text fonts. Despite the geometric and techno feel of the initial roman version, the cursive version is heavily influenced by traditional Finnish weaving and folk art! The contradiction is taken further by inclusion of such classical features as small capitals and lower case figures, usually found in slightly more traditional fonts. Base Mono family suits many editorial, corporate identity and logotype tasks. It can even be used for setting text such as captions and headlines.

Foundry Old Style was the first typeface to be released by The Foundry. Inspired by the incunabula typefaces of Nicolas Jensen, the letterforms were first created as calligraphy, with the aim of retaining the structure and free form of the pen stroke in the final drawing development. The resulting face is a contemporary translation that retains the classical tradition of the transitional roman style. Originally conceived as a text face, with a small weight range for good book work, Foundry Old Style is a versatile design that contrasts and compliments Foundry Sans.

Rokurou Display has a soft look that is expressed through delicate serifs and strong stems, so that it accentuates the impression of elegance and luxury. Rokurou Display has antique, classic "Roman" proportions. It can be used to set body texts and works well in titles and headlines too. It works perfectly for creative project such as logo, T-shirt / apparel, badge, invitation, packaging,headline, poster, magazine, greeting card, and wedding invitation. You can access the open type features and multilingual on mostly Adobe programs, such as Adobe Indesign, Adobe Illustrator, Adobe photoshop, etc.

Bilton is a sans-serif typeface with the personality of serif and an incredibly large X-height. Intended for headlines and display sizes, Hutton can also be used at body sizes if needed. High contrast, sharp angles, and subtle serif-like flares are used throughout the design, making Bilton feel playful yet classy. Featuring ten styles – five roman and five matching italics – Bilton is suitable for a wide range of uses. The family supports more than 300 latin-based languages, and features contextual alternatives for character combinations and languages.

Amster is an energetic & refined type created by Francisco Gálvez, with a sharp idea on how elegance & legibility can meet harmoniously. Amster can build a text that is highly readable as well as friendly. It has five weights of roman & cursive both with smallcaps and fully-equipped with all OT sorts and even a wonderful set of illuminated initials. Amster is a very versatile typeface, allowing for a wide range of uses: screen to print, small text to display, science to poetry. Amster speaks more than 200 languages.

Hello! Do you need colorful neon-style lettering? Please use the ready-colored font I've made. What you will get: * Colored and regular B&W styles * Uppercase (lowercase glyphs are same) * Multilingual support * Numbers and symbols If you have any questions or issues, please contact me: kaer.pro@gmail.com Best, Roman. --- *You can use color fonts in PS since CC 2017, AI since CC 2018, ID since CC 2019, QuarkXPress since 2018, Pixelmator, Sketch, Affinity Designer Since macOS 10.14 Mojave, Paint.NET Windows only.* *Please note that the Canva does not support color fonts!*

Multilayer Roman font with 8 levels, inspired on ’70-80s, it wears sharp edges and compact proportions, with a way fresh contemporary retro volumetric style, ideal for branding & packaging, logotype, headlines, covers, sign letters, label, ticket design, and even 3D lettering. It contains a variety of design resources like stylistic alternates, sensitive case adaptations, old-style numbers, fractions, ordinals, ligatures, localized forms, all of them are accessible via character set panel. Design period: 2019 & 2021. Release: 2021 Graphic interpretation: Pedro González Concept: Bruno Jara Development: Peggo Fonts Foundry.

A few scant examples of some condensed Roman style water-applied decals inspired Sign Letters JNL. The decals were once part of the gold and black "Signmaker" letters and numbers once manufactured by the Duro Decal Company of Chicago and were sold through hardware and variety stores across the country. The condensed letters (which were eight inches in height) did not sell as well as Duro's mainstay sizes of 1/2 inch to 3-1/2 inches and were discontinued long before the rest of the line was supplanted by self-adhesive lettering.

Burdigala is a clean-cut, modern yet classic typeface inspired by Didones and Aicher’s Rotis family. The Semi Serif is ideal for larger amounts of (printed) texts in brochures, magazines and books. It is slighty narrow in order to conserve space, but spacious enough to faciliate reading and overall clarity. The expanded versions of the semi serif, being wider and more open, works equally well in media intended both for print and on-screen reading, e.g. in Pdf-documents etc. Burdigala is the ancient Roman name of the city of Bordeaux France.

Nerone is a quasi-unicase display type family in four weights, from light to black. In its lighter versions, it's reminiscent of dignified flared serifs like Albertus. In its black version, it's comparable to display faces like Serif Gothic, with a hint of Mostra-like despotism... Inspired by ancient Roman capitals, Nerone takes a whimsical look at how they might turn into a black fatface, and how a matching lowercase might give the whole affair a whimsical feel — specifically when applied to fun branding and marketing uses. Part of The Ampersand Forest's Sondheim Series.

When designing a font, I often imagine how I think it should be used or where I'd be likely to see it out in the real world. With Barataria I envisioned it on decorative, antique-looking signs hanging outside shops in the French Quarter of New Orleans - hence the name. Barataria is based on samples of 1920s period poster lettering. It's a bold, heavy roman font with strong, rounded character forms. Barataria also has some unique alternative character forms, like the super-looped 'g' shown in the sample.

Griffo Classico™ was produced by Franko Luin in 1993. It is a revival inspired by the types cut by Francesco Griffo for the Venetian printer Aldus Manutius at the end of the fifteenth century. The roman is based on the type Griffo cut in 1496 for Bembo's de Aetna," and the italic on a type he cut in 1501 for an edition of Virgil. Griffo did not make separate italic caps, so Luin designed his own for Griffo Classico. This is a serviceable family with five weights, including small caps.

Manuscript Felice blackletter font family with 2 styles. This font family based on vintage Italian Processional manuscript. The book block has disintegrated, and I don’t know who is the author. Luckily I found the last owner, Felice Osio and the last date 1634. That's all) I manually redesign original and regular style fonts from this folio. Also, I’ve added some modern symbols. With this set, you can precisely imitate medieval style text. You’ll get: * Initials & Regular styles * Uppercase and lowercase * Multilingual support * Numbers * Symbols * Punctuation * Ligatures Best, Roman. Thank you!