Many street nameplates in Britain use versions of Kindersley serif capitals designed by David Kindersley in the 1950s. K-Type Kindersley Sans is an unfussy alternative to the signage stalwart, perfectly suited to newer environments and more contemporary tastes. Kindersley Sans is a humanist sans-serif that conserves the Gill-inspired character and some of the calligraphic qualities of Kindersley’s lettering, it retains the Roman proportions and its Britishness, but traditional prettiness and intricacy are discarded in favour of a clean modernity. For purposes where Transport (MOT) is considered too formal and Kindersley too old-fashioned, Kindersley Sans offers an open and amiable up-to-date alternative. The typeface is comfortably spaced and carefully kerned to deliver beautiful results with ease, and although designed with nameplates in mind, it excels as an all-purpose text face in print and on screen. The tail of the uppercase Q has minimal descent to avoid constriction. Kindersley Sans includes a lowercase designed for signage with short descenders to prevent unsightly congestion. A generous x-height assists legibility, and characters are designed for easy reading and distinctiveness. The curved foot of the lowercase L distinguishes it from the uppercase i. The six fonts contain a full complement of Latin Extended-A characters, Welsh diacritics and Irish dotted consonants, so European language nameplates need not be a source of frustration. The ascent and descent of accented characters has been kept to an acceptable minimum.

Geometric Sans with Humanistic proportions Typeface (Roman a.k.a. ‘Capitalis Monumentalis’), Inspired on vintage minimalism, with a subtle Art Déco air, where the configuration of the basic and open shape (long ascenders/descenders and a moderate ‘x’ height) star a crisp and luminous look, manufactured under an analytical and handmade process as used to be in ancient times. Among its graphic virtues are a special focus on relaxed and fluid reading rhythm while looking clear and sophisticated, an upright version representing a formal voice paired with an Italic with a more expressive vocal tone, easily distinguished as a second quoted content in Editorial and Branding communicational contexts. Equipped with generous stylistic options controlled by OpenType features as: 17 glyphs variations stored as stylistic sets Standard and Discretionary Ligatures Lining and Old Style Numeral forms Tabular forms Superior and Inferior Scientific Numeric Notation Numerators and Denominators for fractional compositions Pre-Composed Fractions, ordinals Dotted Zero for alphanumeric contexts Circled numbers An Art Déco style Border Set Bullets set for multiple levels ordered list Arrow set Monetary Symbols Mathematical Operators Publishing and Social Media Markers Wide range of Diacritics allowing you to set contents in more than 200 Latin base languages. The access to all these options is also possible via character set panel. With no hesitation, PGF Now is a highly valuable publishing and Branding tool that deserves to flaunt in the more elegant contexts but also daily situations that need a clear and modern voice.

Designed from the perspective of a multi-purpose font family, comprehending the slab-serif and humanist-sans subtypes, the Distéfano typefaces were specifically developed and subsequently tested considering the needs of editorial products, for both print and digital media.   Includes a comprehensive program where formal, style, thickness and slant attributes are especially indicated for the composition of text and headings in newspapers, journals and magazines. For that reason, in addition to the more traditional weights, others, ranging from Light to Black were added. The identity and systemic criteria of this font family doesn’t fall short on diversity of specific solutions, flair and quirks for each variant, especially noticeable in the contrast of the italics to the roman styles. The original drawings of Distéfano date back to 1983; embodied in pencil on paper, provided only the alphabetical characters and punctuation signs for Spanish, and the Sans Serif family. By digitalizing them, their possibilities of use were widened, the set of characters of each typeface were considerably completed considering the current requirements for the majority of the latin and germanic languages, and the slab-serif family was developed. This type family bears the name of the most notable argentinian designer, and it is a homage to his work, that influenced the youth of the 50’s decade of the 20th century, and especially to him, whom I have always recognized as a friend, and a teacher.

Designed from the perspective of a multi-purpose font family, comprehending the slab-serif and humanist-sans subtypes, the Distéfano typefaces were specifically developed and subsequently tested considering the needs of editorial products, for both print and digital media.    Includes a comprehensive program where formal, style, thickness and slant attributes are especially indicated for the composition of text and headings in newspapers, journals and magazines. For that reason, in addition to the more traditional weights, others, ranging from Light to Black were added. The identity and systemic criteria of this font family doesn’t fall short on diversity of specific solutions, flair and quirks for each variant, especially noticeable in the contrast of the italics to the roman styles. The original drawings of Distéfano date back to 1983; embodied in pencil on paper, provided only the alphabetical characters and punctuation signs for Spanish, and the Sans Serif family. By digitalizing them, their possibilities of use were widened, the set of characters of each typeface were considerably completed considering the current requirements for the majority of the latin and germanic languages, and the slab-serif family was developed. This type family bears the name of the most notable argentinian designer, and it is a homage to his work, that influenced the youth of the 50’s decade of the 20th century, and especially to him, whom I have always recognized as a friend, and a teacher.

The Eskapade font family is the result of Alisa Nowak’s research into Roman and German blackletter forms, mainly Fraktur letters. The idea was to adapt these broken forms into a contemporary family instead of creating a faithful revival of a historical typeface. On one hand, the ten normal Eskapade styles are conceived for continuous text in books and magazines with good legibility in smaller sizes. On the other hand, the six angled Eskapade Fraktur styles capture the reader’s attention in headlines with its mixture of round and straight forms as seen in ‘e’, ‘g’, and ‘o’. Eskapade works exceptionally well for branding, logotypes, and visual identities, for editorials like magazines, fanzines, or posters, and for packaging. Eskapade roman adopts a humanist structure, but is more condensed than other oldstyle serifs. The reason behind this stems from the goal of closely resembling the Fraktur style to create harmony in mixed text settings. Legibility is enhanced by its low contrast between thick and thin strokes and its tall x-height. Eskapade offers an airy and light typographic colour with its smooth design. Eskapade italic is based on the Cancellaresca script and shows some particularities in its condensed and round forms. This structure also provided the base for Eskapade Fraktur italic. Eskapade Fraktur is more contrasted and slightly bolder than the usual darkness of a regular weight. The innovative Eskapade Fraktur italic, equally based on the Cancellaresca script previously mentioned, is secondarily influenced by the Sütterlin forms — an unique script practiced in Germany in the vanishingly short period between 1915 and 1941. The new ornaments are also hybrid Sütterlin forms to fit with the smooth roman styles. Although there are many Fraktur-style typefaces available today, they usually lack italics, and their italics are usually slanted uprights rather than proper italics. This motivated extensive experimentation with the italic Fraktur shapes and resulted in Eskapade Fraktur’s unusual and interesting solutions. In addition to standard capitals, it offers a second set of more decorative capitals with double-stroke lines to intensify creative application and encourage experimental use. The Thin and Black Fraktur styles are meant for display sizes (headlines, posters, branding, and signage). A typeface with this much tension needs to keep a good harmony between strokes and counters, so Eskapade Black has amplified inktraps and a more dynamic structure seen in the contrast between straight and round forms. These qualities make the family bolder and more enticing, especially with the included uppercase alternates. The Fraktur’s black weights are strident, refusing to let the white of the paper win the tug-of-war. It also won’t give away its secrets: Is it modern or historic, edgy or amicable, beguiling ornamentation or brutish presentation? That all depends on how the radically expanded Eskapade family is used, but its 16 fonts certainly aren’t tame.

The Quitador™ Sans family is a fresh and distinctive design with roots that go back to the original Quitador typeface. Like its slab serif relative, the Quitador Sans suite of typefaces is large with several weights of roman and italic designs, making it an excellent choice for a wide variety of print and on-screen projects.

Fine and Dandy JNL comes from the hand lettered title of the 1929 movie "Isle of Escape"; found on the sheet music for its theme song "My Kalua Rose". An engraved and fancy Roman, the style combines elements of Western, Art Nouveau and Art Deco into one attractive type design; available in both regular and oblique versions.

Paragon is a display Roman family of nine faces, combining elements of formality and fun. It embodies a high degree of contrast between near hairline horizontal strokes and bold vertical strokes. The family is offered in three widths and in regular, small capitals and title faces. Use Paragon to lend impact to your next design project.

ITC Humana font is the work of British designer Timothy Donaldson, an extended and versatile font family with a large array of variations. Donaldson first created ITC Humana Script with a broad-tipped pen and then went on to design the corresponding roman. ITC Humana is the perfect font for anything requiring both clarity and a touch of personality.

Centennial appeared in 1986 in honor of Linotype’s 100th birthday. The roman and light cuts of the font are reminiscent of the Century typeface, particularly on that of Linn B. Benton and Morris F. Benton, designed around the turn of the 19th century for the American Type Founders. Like Century, Centennial too embodies a cool, reserved neutrality.

Arcuata is a serif font family inspired by 1400 classic roman typeface with soft characteristics. It's featured with some uncial letterforms as alternates, for example in 'a' and 'd' letter, it also has a set of decorative capital letters alternates and ligatures. Arcuata complete family contains 10 styles, consisting of 5 weights from Light to ExtraBold with matching italics.

ITC Golden Cockerel font is based on designs created by Eric Gill in 1929 for the Gold Cockerel Press in England. These elegant and meticulously crafted typefaces were inspired by and modeled on Gill's skills of stone carving, calligraphy and wood engraving. The typeface family includes ITC Golden Cockerel Roman, Italic, Titling, and Initials and Ornaments.

Fashion Compressed and Engraved are the works of British designer Alan Meeks. Fashion Compressed is an elegant modern roman typeface suitable for a variety of advertising styles. The capitals can be used as initials or combined with the lower case letters. Fashion Engraved was produced when Meeks reworked Fashion Compressed, resulting in a beautiful, engraved typeface.

Burdigala X Sans is an open and spacious typeface, ideal for larger amounts of (printed) texts in brochures, magazines and books. Being wider than usual, it works especially well in media intended for on-screen reading, such as in Pdf-documents, e-books, applications and so on. Burdigala is the ancient Roman name of the city of Bordeaux France.

Piepie is very heavy typeface for titlings and captions. OpenType Format (.otf) with 461 glyphs! Super mini ascenders and descenders! Ultra big x-height! Fatty weight yet Sharpy sharp detail! Bring it on Retina display! OpenType alternates for K, R and Y! Mac Roman ✓ Windows 1252 ✓ Adobe Latin 1 ✓ Adobe Latin 2 Almost all Adobe Latin 3 Almost all

Hlad is incised sans serif family inspired by carved Roman letters. Hlad comes in 5 weights – Thin, Light, Regular, Semi Bold and Bold. It is a low contrast typeface, with asymmetric flare serifs and sharp bowl and shoulder endings. Hlad combines elegance of calligraphic endings with stable, solid constructional stems from sans serif group of typefaces.

Based on Times New Roman of Monotype, 1932, by Stanley Morison and Victor Lardent, and other versions of Times. It has many characteristics of an Old Style serif faces; it was designed for better legibility in combination with good economy. Widely used in books and magazines, reports and office documents, and also for display and advertising.

JY Pinnacle is a distinctive text family, with at least 3,100 kerning pairs (for text fonts) and collections of alternative characters for roman, italic and cap and small cap. Pinnacle has an awareness of tradition, but is individual and fresh. Its oblique axis for lowercase letters such as the o and e is meant to aid legibility.

Ponte is a high-contrast display typeface with smooth serifs, designed for impactful headlines. The ten-style typeface features over 80 decorative ligatures, with roman and italics available in five weights, ranging from extra light to bold. This offers a variety of options for sophisticated design applications. Elevate your compositions with Ponte's timeless elegance and aesthetic precision.

Goudy Titling was designed by Steve Matteson. It is based on the 2" wood engravings Frederic Goudy made for his book ‘The Trajan Capitals’ - a seminal book about the history of the Roman letter. These letterforms predate the work of Father Catich’s exhaustive study of the Trajan Column and, while remarkably faithful to the inscription, have Goudy’s interpretive fingerprints.

Romulo is a Roman typeface, inspired by the shapes and proportions of those used between the 19th and 20th centuries. Its height X is compensated to facilitate reading in blocks of text, providing readability in small bodies. With a crystalline appearance, it has a wide variety of Open Type functionalities that covers all the needs of the demanding designer.

As an ironic gloss on the unsophisticated “typewriter” genre, the Bodoni Egyptian Mono typeface channels the classic dignity of early 19th century letter forms, presenting a quite proper family of OpenType fonts, with a copious range of OpenType features—small caps, fractions, superior and inferior figures, alternate old style figures—rendered throughout five weights in both roman and italic.

Logotypia Pro is is made for one purpose: the design of modern logotypes, brands and headlines. Logotypia Pro offers: - unique and modern shapes - alternate swash glyphs - easy to build ligatures - connect glyphs with Logotypia's "connector-glyphs" - metrics optimized for display use - complete class based kerning - includes western (ANSI/Mac Roman) and russian alphabet (codepage 8859-5)

Roncial is an Ultra Bold font with a hint of serif. This is one of the fonts originally designed before the advent of digital and started out being a bolder, slightly serifed version of Folio Extra Bold which was one of the boldest fonts at the time (old metal set). It is available as Roman and Italic.

ITC Symbol font was designed by Aldo Novarese, a simple, straightforward design of understated elegance. It has just the hint of a serif to aid legibility. Book and medium weights have a light, even color and are perfectly complemented by the bold and black weights. The italics are clear and simple, a comfortable companion to the roman.

This elegant face with a few semi-script flourishes is based on Morris Fuller Benton’s Announcement Roman, designed for American Type Founders in 1917. It’s perfect for invitations, programs and all kinds of formal ballyhoo. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Flacon is a friendly, round and soft, yet elegant and extremely versatile typeface family with each seven weights for roman and italic. All fonts have an extended character set including small caps, ligatures and swash letters for better typography. Flacon can be used for texts as well as for headlines, logos, packaging, stationary and much more.

Amersham is a family of three copperplate display roman typefaces inspired by traditional sign writing techniques. The family consists of three typefaces which can also be overlayed to achieve multiple coloured typography. Use the Amersham family for headings, posters with a period theme and signage with flair. Just the thing for a retro-CD cover as well.

Alma Serif is a typeface that tries to combine the modern shape of serif magazines such as Times New Roman with the atmosphere of classic typefaces such as Baskerville. I was working on the universality of the typeface, so that it would be suitable for both long papers and books, but also for formatting narrow columns in magazines.

El Franco is a family designed by Ethan Dunham that represents what Roman lettering looked like in the 16th century. Derived from a typographic sample of Francisco Lucas, 1577, this font captures the feeling of rustic times. It comes in two versions regular and distressed. The distressed version has been weathered to appear old and worn.

Although designer Michael Gills was influenced by 18th century French type designer Pierre-Simon Fournier, Charlotte is best described as a modern roman typeface. Its clean cut style, accentuated by a strong vertical stress and unbracketed serifs, exudes an authoritative tone, guaranteeing its effectiveness for almost all text setting applications, but especially where a formal unmannered appearance is desired.

Hand lettering of the song title on the 1914 sheet music for “Dear Old Girl” was the working model for Old Songs JNL. A condensed Roman typeface available in both regular and oblique versions, this titling font exhibits a casual, nonconformist design that isn’t quite traditional, nor is it part of the Art Nouveau movement popular at the time.

An undeniably Art Deco font with some unexpected twists and turns, this typeface is based on a design originally called "Dignity Roman", a product of the fevered imagination of the rather unconventional 30s lettering artist Alphonse E. Tripp. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Tumbletype offers two faces with a fun antique look. This is a rough and tumble Roman face with a hand-cast and much-used look, ideal for recreating early printed documents. Use it for headings and feature paragraphs. It's the irregularity of this face which makes it so special-give it a try and join in the fun!

Norma was my second sans serif. You can find a few details in common with Dialog, but the graphic impression of Norma is totally different.Every typeface has some characters that are the favourites. In Norma I simply love the lowercase roman a. Don't you, too, think that it is perfection itself? Norma was released in 1994.

Ferpa is Typeóca's Fierciest Font Family. Drawn using only straight lines, Ferpa uses every kink, every kink and every serif as an opportunity for expressivity. From Thin to Black in both Roman and Italic constructions, Ferpa is available as 18 otf static font files, with a character set that goes a little beyond Latin Extended A.

Arya Rounded is a display typeface, based on Roman proportions. It has three versions, differentiated by the amount of the drawn lines. Single is solid. Double is sturdy but light. Triple is versatile and includes alternatives. They can be combined in layers. Capsule versions (White and Black) are designed to do quick, simple and elegant labels.

This typeface family includes Spanish Roman letters and “Griffo” style italics, both hand-drawn by Francisco Lucas in Madrid, 1577. The letters, sometimes slightly mismatched in size or off the baseline, capture the look and feel of sixteenth-century printing. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Designed by Morris Fuller Benton 1913-15, this Oldstyle family was digitized by Jim Rimmer in the early 2000's. It is a roman face closely styled to that of Nicholas Jensen's with a companion italic in the style of Aldus Manutius. Benton considered Cloister the ideal typeface and it does indeed lend itself to many uses.