An unconventional classicistic Roman typeface This Roman typeface has a livelier effect than is typical of the epoch of classicistic style. In the lower case letters, an echo of the smoother forms of historically early scripts is identifiable. Typical of a classicistic Roman typeface are the emphasized and clear contrast in the weight of the strokes, the fine serifs and the accentuation of the vertical bold stem. Charpentier Classicistique is pleasantly legible. Its effect is much less harsh than other classicistic fonts. The pointed forms of M and N are uncommon. At 30°, the italic version of Charpentier Classicistique is unusually strongly slanted. The italic lower case letters refer, in part, to English handwriting, which also falls under classicism. Especially the curves show forms influenced by writing. Charpentier Classicistique supports all European languages including Turkish, Greek and Russian. It includes lots of ligatures, also discretional ones, as well as tabular figures and cap-height figures.

The Latin, or Roman, alphabet was originally adapted from the Etruscan alphabet during the 7th century BC to write Latin. Since then it has had many different forms, and been adapted to write many other languages. According to Roman legend, the Cimmerian Sibyl, Carmenta, created the Latin alphabet by adapting the Greek alphabet used in the Greek colony of Cumae in southern Italy. This was introduced to Latium by Evander, her son. 60 years after the Trojan war. There is no historical evidence to support this story, which comes from the Roman author, Gaius Julius Hyginus (64BC - 17AD). The earliest known inscriptions in the Latin alphabet date from the 6th century BC. It was adapted from the Etruscan alphabet during the 7th century BC. The letters Y and Z were taken from the Greek alphabet to write Greek loan words. Other letters were added from time to time as the Latin alphabet was adapted for other languages.

Low contrast and clean Roman Sans with capitals based on the classic Capitalis Monumentalis proportions with uniform and modern SmallCaps, with a subtle script touch on some curved strokes, that give it a less hard feel, more organic and friendly look. The design idea born on 2013 from Roman Schemme studies, where new version of Legan and other roman typeface projects was based on too. Orqquidea was developed in 12 sizes with 659 glyphs each enhanced with professional opentype features (aalt, ccmp, locl, subs, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, c2sc, smcp, case, dlig, liga, zero, salt, calt, ss01, ss02, ss03, ss04), plus a complementary Orqquidea Framed version with 226 glyphs and a Orqquidea Garden version that include floral ornaments and related dingbats with 102 glyphs. It can easily adapt to print and digital environments ideal for fashion branding and corporate purposes, magazine and book headlines and titles, cosmetic label design and even on contents with a modern and artistic air.

Buttoneer is a specialist symbol font for representing media controls such as play, stop, fast forward, and so on as well as other icons useful in developing multimedia or interactive applications. Also useful in printed materials for representing these items - for example software or hardware manuals. Layout optimised for use with codepage utilities e.g: CharMap.

Angelus is a flowing script that can be seen as a more casual modern version of the copperplate script, with a fresh take on the way the ascenders and descenders interact with the totality of the setting. Angelus is ideal for use in package design, as well as on personalized collateral and book covers.

Danielle Smith describes her friendly, hand-drawn typeface family, available in roman and italic, as ‘non-élitist and accessible’. Originally created for a theatre project at Massey University, Dandy is reminiscent of Pablo Ferro’s hand-lettering.

Absinette takes us straight back to 19th century France. Its a decorative family of Roman faces in three widths as well as a more elaborate inline style, ideal for posters with an Edwardian or Victorian theme.

Wind Factor is a display typeface with rough features and roman italic essences. This type features elements of crafting and design along with a bold elegance. Ideal for brochure design, menus, invitations, package design, and advertising.

Pantomime is an original and unusual casual Roman Script. Designed for using at larger sizes and headlines I have spaced the fortnight, as I believe this is the most effective way for producing interesting word patterns.

A revival of one of the popular serif wooden type fonts of the 19th century, tall x height, quite short descenders, thin, rounded serifs, thick stems, based on Roman styles, deliberate, accurate rendering of the original.

Artica Rough Pro is an elegant display typeface. It was inspired by classic Roman letterforms. Artica Rough Pro supports Latin, Cyrillic, modern Greek and Armenian scripts, and includes swash initial, final forms, stylistic alternates and ligatures.

The Vtg Stencil series of fonts by astype are based on real world stencils. The UK No. 2 design was derived from authentic one inch A2 Roman stencil plates from Great Britain, manufactured around the 1950s.

BRIGNELL BIG is a two font family designed by Ian Brignell. Bold and honest, it approaches like a dare: Go Big no regrets. A bold, personable sans serif headline font characterized by a stylized and geometric structure. Creatively, Brignell Big was born in 2011 and was inspired by lettering designs Ian was working on for CO Bigelow packaging that harkened back to early 20th century modern sans serifs. Recommended for headline use especially on packaging. Extended Latin set.

Kumo Sans is a clear and comprehensible font stylized to mimic marker pen handwriting. The idea was to interpret swift and negligent hand movement in a distinct and easy to read familiar glyph silhouette. Family comes in three weights and italic slant option. Shadow version with outline and shadow effect is perfect for short catchy phrases, brand names and headlines use. Font contains Latin diacritics, Hebrew cursive writing, Bitcoin, Indian Rupee, New Israeli Shekel symbols, fractions etc.

Tulda is a very lively lettering font originally drawn for a German calendar. The optional symbols feature over 72 festive renderings for just about any occasion. This font is also available as an OpenType font with over 500 characters. For the OpenType version: standard Opentype features such as ligatures & oldstyle figures are available through the features menu in programs such as InDesign or other applications that support OpenType. Additional ornaments and alternate characters can be inserted through the glyph pallet.

Gábor Kóthay in Hungary has developed an archaic identity largely based upon lettering from a rare Type Specimen of the Jesuit Academy Press of Tyrnavia (1773). They have developed many baroque style typefaces of Hungarian derivation. Gábor wanted an authentic handwriting revival from that age as well. La Danse is a 'facsimile' font, based on the manuscript of an inventory found in the original Tyrnavia specimen. The manuscript was written in an archaic Latin alphabet therefore some modern interpretations have been inserted.

An interpretation of the lettering of contemporary illustrator Amanda Duffy. Each font contains four glyphs for each character (including all numbers, punctuation, and symbols), which OpenType coding sets in “random” order for a subtle, natural effect. Use a curved path to further accentuate the bounced quality of the letters. Try out different combinations of glyphs by inserting the cursor in front of your headline and hitting the space bar repeatedly: each time,the text will be represented by a different sequence of glyphs.

Blue Goblet Ornaments are the ornament complement to Blue Goblet, a fun and whimsical brush script. These lively and cheerful ornaments can be resized and rotated easily without any loss of quality and can easily be converted to outlines and modified. Combine them to form unique compositions or insert them into text to add some excitement to your designs. Please see the sample .pdf to see all 48 ornaments in action. Blue Goblet Ornaments is a collaboration between insigne Design and Portland Studios.

TWT Prospero is the kind of typeface you seldom find in blocks of continuous text these days. Similar fonts based on late-18th-century work by Bodoni, the Didots, and others tend to be reserved for display type: their exaggerated contrast and vanishing hairlines can make you squint and strain at small sizes. But TWT Prospero, with its moderate contrast and fairly robust hairlines, is impressively legible in book text while remaining ideal for use in display situations. The full family has seven styles: roman, italic, bold, bold italic, condensed roman, condensed italic, and condensed bold.

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."

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."

The Mramor family first appeared in the Stormtype catalogue in 1994. The first sketch arose in 1988 through the narrowing of Roman capitals. It has uniform width proportions and, above all, original lower-case letters, unprecedented with Roman Capitals. The text designs are discontinued since they were replaced by the related Amor Serif family (along with its -sans version). Now, Mramor has “only” 10 designs that each include true small caps, Cyrillics and a rich variety of figures, ligatures and alternates. Mramor excels in corporate identity or bottle-label design, also whenever there is a need for a “classic” looking face.

Anavio is named in honor of the ancient Roman name of an English Derbyshire town. Anavio is a classically inspired family of Roman faces, emphasizing simplicity of form and elegance. Regular and Bold weights are offered, along with condensed forms. Anavio is offered in both upper and lower case and small capitals faces. Its simple lines are immediately legible, lending it to both text and display uses. A range of ligatures, both standard and discretionary, are included as are stylistic alternates and two styles of numerals. Use Anavio to lend that indefinable air of elegance to your next project.

LeBrush is a contemporary Roman typeface based on real brush lettering, in 10 styles from Thin to ExtraDark, inspired on the classic Roman proportion of the “Capitalis Monumentalis” present into the Trajan Column and another Greek architectural structures. The “LeBrush classic” weight was specially developed to easily design ‘Movie titling’ graphics, cover books & magazines and posters. More skilled designers and pro-Users can even set the type, in a very smart way, in logotypes and labels as well, using its multiple advanced opentype options and extra ornamental sets. Lowercases allowed users to work in lecture size requirements.

Prospera was designed without reference to existing roman faces. In its initial form, development was partially supported by a grant from the National Endowment for the Arts (Design Project Grant), as a design for use on 'low-res' digital output devices. Early releases had simplified detail in cross-bars and serifs, and hand-tuned bitmaps. As an original design, Prospera draws on principles of letterform developed during my studies of lettercarving (in Wales with Ieuan Rees) and Roman proportion. The design is idiosyncratic, perhaps more akin to Gill's Perpetua than to the monotonous corporate flavors so prevalent today.

Back in 1800 - 1900, the Serif fonts or known as Roman styles were very popular. Used in so many media, came from calligraphic technique and refined till it became a solid style even so many sign painters use this letter style back in that era. And today, these kinda style still got their fans who love the elegant yet clean solid style. That's what this came for. Please welcome, Sicero Duo Fonts. Its a dynamic duo fonts that came in Serif and Sans-Serif style which is perfectly fit to each other. Bring the old vibes instantly to your project with them :) Sicero Roman A Serif style font with implementations of old-era style, clean and done in click-by-click to fulfil your perfectionist personal. And it comes in Old Style Numbering too, to make the vibes stronger in the whole vintage design when using it. Sicero Sans A Sans-Serif font to make a good pair with Sicero Roman still holding those old vibes but a little bit modern touch in here to reach wider range of trends. Use it all alone is still good to go if you want something different with not pairing it with Sicero Roman as well. Available in OTF, TTF, and Webfonts. Enjoy it more. Have some fun with it, Oldsport :) Cheers, Konstantine Studio

Old Style is an example of classic roman type design. It has little contrast in stroke weight, small rounded serifs, open characters, and is very easy to read. It is based on wood type of unknown origin.

Missale Lunea is a calligraphic uncial typeface with a female note. The font offers lots of stylistic alternates, signs, zodiacs & symbols. OpenType features: stylistic alternates signs, zodiac & symbols, proportional, medieval numerals, Roman numerals numerators, denominators and fractions

Sursum, inspired by the Roman monumental letterform, was designed to provide the possibility to play with the 58 OpenType ligatures and the 25 alternates letters. The Sursum family includes 3 weights, all with the same OpenType features.

Artica is an elegant sans serif typeface, offered in five weights. It was inspired by classic Roman letterforms. Artica Pro supports Latin, Cyrillic and modern Greek scripts, and includes swash initial & final forms, stylistic alternates and ligatures.

A pen stroke Roman with a medium thick to thin contrast and slightly flared stroke endings. Capital was designed for all media and works best at 30 point and above. Capital requires subjective display kerning and compensation.

Old Style is an example of classic roman type design. It has little contrast in stroke weight, small rounded serifs, open characters, and is very easy to read. It is based on wood type of unknown origin.

A typeface to be reckoned with. It's sharp lines and unruly angles are perfect for concert posters, blackmail, and wedding invitations. Keep punk alive and support your local electro goth band by using Death Ray. Available in only uppercase because all messages that merit Death Ray's use must command that sort of attention. And who said type shouldn't be expressive.

Yseult is a ultra-romantic, elegant handwritten font, reminiscent of pre-Raphaelite beauties and classical paintings. It refers to the opera Tristan und Isolde (also spelt as Yseul, Isolda etc.) in three acts by Richard Wagner. The opera was based largely on the romance by Gottfried von Strassburg. Its design was influenced by Genevieve and, less directly, by Silver Dagger. Suggestions for use: - wedding stationery - greeting cards - valentines day media - beauty product media - lingerie tags - women's magazine pages - classical music media - theatre posters The font is fully professional: carefully letterspaced and kerned. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). (It has all the accented characters used in the major European languages).

Stu is based on the penmanship of the late Raoul "Stu" Stuart. Raoul's penmanship was always admired by those who saw it; it was a first glimpse into the artistic and creative side of an otherwise easy-going, funny guy. The print variants exude a soft yet masculine feel, while the scripts evoke a sense of sentimentality and romance. Stu features dingbats which say something about Raoul: affectionate and romantic (heart), a big coffee drinker (coffee cup), a great cook (spoon and fork), a music lover (musical note), and a prankster (winking smiley). (The winking smiley is available in all the font styles, while each of the other four dingbats is unique to one font style.) Stu is a tribute to the coolest dad in the world.

Tulip Algarve font family showcases elegant and trendy glamour through a bold contrast between horizontal and vertical stems. The basic glyph design was inspired by the beautiful silhouette of a tulip flower, and a classical beauty was added to the typeface system. With a modern display sans serif personality, this type system will interact well with any layout design.

German type designer Florian Zietz created this symbol FontFont in 2005. It is a playful, interactive font, designed to invite experimentation. Using different combinations of letters from the four rows of the keyboard such as '0esx 0esc', you can create 'Headz' with different top, eyes, mouth and chin. In 2006, FF Headz received the TDC2 award.