How much more multi-cultural can you get, than a Japanese-style Roman font from Denmark? Looks like an LCD font gone awry!

This font family is based on the letterforms of a fin-de-siècle sans serifs, and comes in two versions - Roman and Shadow.

Forget everything about Times New Roman and all the other classic typefaces! Forget all that and take a bite of Peanut Butter Man!

Bowman is an informal slab-serif face written by hand with a marker. Its live and playful nature makes it suitable for comic books, illustrations, informal advertising and package design. Designer Alexandra Korolkova. Released by ParaType in 2010.

Unibody 8 is a cross-platform OpenType font that optimizes your screen performance at pixel point size 8. It is free to download from Underware. The Underware site also contains technical information, including how to use Unibody in Flash and Photoshop, and links to various websites where Unibody is used. Unibody comes with Underware’s infamous Latin Plus character set standard, pairing with exactly 219 languages. There’s also Arabic version existing, by Yanone.

The famous roman type cut in Venice by Nicolas Jenson, and used in 1470 for his printing of the tract, De Evangelica Praeparatione, Eusebius, has usually been declared the seminal and definitive representative of a class of types known as Venetian Old Style. The Jenson type is thought to have been the primary model for types that immediately followed. Subsequent 15th-century Venetian Old Style types, cut by other punchcutters in Venice and elsewhere in Italy, are also worthy of study, but have been largely neglected by 20th-century type designers. There were many versions of Venetian Old Style types produced in the final quarter of the quattrocento. The exact number is unknown, but numerous printed examples survive, though the actual types, matrices, and punches are long gone. All these types are not, however, conspicuously Jensonian in character. Each shows a liberal amount of individuality, inconsistency, and eccentricity. My fascination with these historical types began in the 1970s and eventually led to the production of my first text typeface, Iowan Old Style (Bitstream, 1991). Sometime in the early 1990s, I started doodling letters for another Venetian typeface. The letters were pieced together from sections of circles and squares. The n, a standard lowercase control character in a text typeface, came first. Its most unusual feature was its head serif, a bisected quadrant of a circle. My aim was to see if its sharp beak would work with blunt, rectangular, foot serifs. Next, I wanted to see if I could construct a set of capital letters by following a similar design system. Rectangular serifs, or what we today call "slab serifs," were common in early roman printing types, particularly text types cut in Italy before 1500. Slab serifs are evident on both lowercase and uppercase characters in roman types of the Incunabula period, but they are seen mainly at the feet of the lowercase letters. The head serifs on lowercase letters of early roman types were usually angled. They were not arched, like mine. Oddly, there seems to be no actual historical precedent for my approach. Another characteristic of my arched serif is that the side opposite the arch is flat, not concave. Arched, concave serifs were used extensively in early italic types, a genre which first appeared more than a quarter century after roman types. Their forms followed humanistic cursive writing, common in Italy since before movable type was used there. Initially, italic characters were all lowercase, set with upright capitals (a practice I much admire and would like to see revived). Sloped italic capitals were not introduced until the middle of the sixteenth century, and they have very little to do with the evolution of humanist scripts. In contrast to the cursive writing on which italic types were based, formal book hands used by humanist scholars to transcribe classical texts served as a source of inspiration for the lowercase letters of the first roman types cut in Italy. While book hands were not as informal as cursive scripts, they still had features which could be said to be more calligraphic than geometric in detail. Over time, though, the copied vestiges of calligraphy virtually disappeared from roman fonts, and type became more rational. This profound change in the way type developed was also due in part to popular interest in the classical inscriptions of Roman antiquity. Imperial Roman letters, or majuscules, became models for the capital letters in nearly all early roman printing types. So it was, that the first letters in my typeface arose from pondering how shapes of lowercase letters and capital letters relate to one another in terms of classical ideals and geometric proportions, two pinnacles in a range of artistic notions which emerged during the Italian Renaissance. Indeed, such ideas are interesting to explore, but in the field of type design they often lead to dead ends. It is generally acknowledged, for instance, that pure geometry, as a strict approach to type design, has limitations. No roman alphabet, based solely on the circle and square, has ever been ideal for continuous reading. This much, I knew from the start. In the course of developing my typeface for text, innumerable compromises were made. Even though the finished letterforms retain a measure of geometric structure, they were modified again and again to improve their performance en masse. Each modification caused further deviation from my original scheme, and gave every font a slightly different direction. In the lower case letters especially, I made countless variations, and diverged significantly from my original plan. For example, not all the arcs remained radial, and they were designed to vary from font to font. Such variety added to the individuality of each style. The counters of many letters are described by intersecting arcs or angled facets, and the bowls are not round. In the capitals, angular bracketing was used practically everywhere stems and serifs meet, accentuating the terseness of the characters. As a result of all my tinkering, the entire family took on a kind of rich, familiar, coarseness - akin to roman types of the late 1400s. In his book, Printing Types D. B. Updike wrote: "Almost all Italian roman fonts in the last half of the fifteenth century had an air of "security" and generous ease extremely agreeable to the eye. Indeed, there is nothing better than fine Italian roman type in the whole history of typography." It does seem a shame that only in the 20th century have revivals of these beautiful types found acceptance in the English language. For four centuries (circa 1500 - circa 1900) Venetian Old Style faces were definitely not in favor in any living language. Recently, though, reinterpretations of early Italian printing types have been returning with a vengeance. The name Vendetta, which as an Italian sound I like, struck me as being a word that could be taken to signifiy a comeback of types designed in the Venetian style. In closing, I should add that a large measure of Vendetta's overall character comes from a synthesis of ideas, old and new. Hallmarks of roman type design from the Incunabula period are blended with contemporary concerns for the optimal display of letterforms on computer screens. Vendetta is thus not a historical revival. It is instead an indirect but personal digital homage to the roman types of punchcutters whose work was influenced by the example Jenson set in 1470. John Downer.

Inspired by an old retail stencil lettering guide, Stenciled Message JNL is a bold Roman serif typeface available in both regular and oblique versions.

Try out one of the most distinguished text faces for free! Andron is a new design inspired by the best of classical Roman typefaces.

Great Western is an engraved roman font that reminds you of the old railroad days when steam locomotives made their way across the countryside.

The Limine family was designed to give a 3D effect; to look like engraved letters. Those letters are based on the roman capital design.

Calps is a condensed sans serif font. An unfussy design, the font is designed to be consistent across such letters as a, b, d, q, p, g and C, G, O, Q, creating a uniformity for the set. Each corner of the line is carved to decrease its sharpness, adding a touch of friendliness. If the standard font is not sufficiently condensed, there is a slim variation offering narrower proportions. In addition to the slim variation, the font also comes in roman and italic versions in 9 weights, offering a total of 36 variations for the font.

Scottish typefounders exerted a strong influence on the development of "transitional" typefaces, the bridge from "oldstyle" (Jenson, Garamond) to "modern" (Bodoni, Didot) designs. Scotch Roman designs were first cut by Englishman Richard Austin and cast by the Scottish typefounder Alexander Wilson and Son in Glasgow. Scotch Roman font has wide proportions, short descenders, bracketed serifs, and large, strong capitals. Its subtle charm makes it suitable for any text setting, particularly books and magazines.

Designed for Adobe in 1993, Sanvito is an informal script face based on the designer's handwriting. An almost upright, non-joining script, the Sanvito font family is useful where an informal feel is required in advertising, packaging and on labels.

Missale Incana is a redesigned, new interpretation of a typeface from Herbert Thannhaeuser. Its a strong calligraphic roman typeface, well suited for headlines. OpenType features:

Edwardian font was designed by Colin Brignall, a free-flowing roman face with hints of the early Edwardian period. Edwardian exudes warmth, individuality and charm.

This is That: a family of four weights with roman and true italics, and also with chiselled medium weight, and Irregular variant for, well, variety.

Crystal is a clean and highly legible slab-serif design. The four roman weights provide strong color accents making it perfect for reports and newsletters.

Edwardian font was designed by Colin Brignall, a free-flowing roman face with hints of the early Edwardian period. Edwardian exudes warmth, individuality and charm.

This is a revival font from an Image of a plate made from Eleventh Century initial letters. The "numerals" are Roman numbers done as ligatures.

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" Featured in: Best Fonts for Logos

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" ITC Legacy® Sans font field guide including best practices, font pairings and alternatives.

Clementhorpe is inspired by the lettering on an early 20th century enamel advertisement-for chocolate. From the dozen or so hand drawn letters found in that source Greater Albion Typefounders have constructed a family of Roman faces for display and text work, with bold weights, an italic form as well as condensed, small capital and title forms, all preserving the fun of their inspiration. The Clementhorpe family provides a complete solution for early 20th century inspired design work with Character, offering all the faces needed to complete a project or a range of projects within one family. Give this flexible family a try in your next project!

Oswald Bruce Cooper designed Cooper Black, an extra bold roman face, based on the forms of his earlier typeface Cooper Old Style, which appeared with Barnhart Brothers & Spindler Type Founders in Chicago. Copper Black was produced by Barnhart in 1922 and acquired in 1924 by the Schriftguß AG in Dresden, where it was later completed with a matching italic. Although Cooper Black appeared in the first third of the 20th century, it still looks contemporary and it can be found on storefronts in almost any city scene. The flowing outer contours create forms that are both strong and soft, making Cooper Black an extremely flexible font.

Dom is an informal brushwritten typeface published by SoftMaker.

An informal script designed at Intertype for wedding invitations.

Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto subfamilies have two text weights and two bold styles (Regular --> Bold, Medium --> Black). Every weight has a companion Italic style as well. Preto Sans OT Std The Sans version of Preto forms the basic skeleton of the family, it is decidedly simpler than the other styles (Semi and Serif). Although you can find many distinctive and unique elements in the details. The most visible elements are the tapered upper part of the letters. The capital letters have uniform widths achieving very different texture than traditional roman proportions. There are two different options for ligatures and alternative characters (J, Q, g, &) gives more variability for different languages.

Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto subfamilies have two text weights and two bold styles (Regular --> Bold, Medium --> Black). Every weight has a companion Italic style as well. Preto Sans The Sans version of Preto forms the basic skeleton of the family, it is decidedly simpler than the other styles (Semi and Serif). Although you can find many distinctive and unique elements in the details. The most visible elements are the tapered upper part of the letters. The capital letters have uniform widths achieving very different texture than traditional roman proportions. There are two different options for ligatures and alternative characters (J, Q, g, &) gives more variability for different languages.

Linotype Venezia Initiale is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. Designed by German artist Robert Kolben, the font is based on the classic forms of Roman writing in the 1st and 2nd centuries found chiseled on countless buildings and monuments. Linotype Venezia Initiale is a timeless, elegant font particularly well-suited to headlines or as initials in combination with other fonts, working especiall well with sans serif alphabets.

A classic-modern sans serif appearing in two forms — ”standard“ and a ”stylistic alternate“ with uncial script-orientated characters which give the font a completely different ”look.“ Faber Sans is a sans serif in the classic-modern style of type creations of the early 20th century — godfathered by Futura from Paul Renner and Gill Sans from Eric Gill. Unlike classic sans serifs, Faber Sans includes a ”true“ italic. Faber Sans Pro will perfectly pair with the accompnying Roman Faber Serif Pro.

Solaris is a sans serif or a grotesque as we still call it where I come from. (it is an old term which means strange compared with Roman which was the normal font) The face is an open sans, which means that the round signs take the air into the form, minuscule d is drawn kind of backwards like in Gill Sans, which sets off on minuskel a. Here is the Regular version, with a slightly difference between stems and hairlines.

The design for Granjon was produced at the English branch of Linotype under the direction of George William Jones and appeared in 1928. This reproduction of a Garamond typeface was based on the typeface sample of the Frankfurt font foundry Egenolff from the year 1592 . The roman characters of the sample were made by Claude Garamond and the italic forms were designed by Robert Granjon. Jones made sure that the Granjon font remained true to the original characters of Garamond and Granjon.

It was during a visit to the Roman Forum that we were inspired by a seemingly unique style of lettering on a tablet among the ruins. The Latin message was chiseled in a condensed, free-style manner, almost as if it were intended as a personal note. While the stone showed only the capital letter forms of the period, we felt the creation of a lowercase would help extend the fonts usability and also add a whimsical feel to the design.

Some time ago, when we were working on our Merrivale family, it occurred to us that an adaptation of the design, incorporating selected Blackletter elements, would be in the best traditions of 19th and 20th century blackletter revivals, which combine all the spirit of the middle ages with modern legibility-think of Goudy Medieval as an example. In the case of Merrivaux (best quality faux-medieval name there!) we've produced a typeface which has the ready legibility of Roman titling, but which gives a subtle blackletter feel. The regular form of Merrivaux is incised with a visible midline, a solid form with identical metrics is also offered. Both forms include a range of opentype features including ligatures, fractions, old style numerals and terminal forms. Merrivaux is ideal for posters, signage and design work, where a touch of that 'Olde-Worlde' feel is needed.

Bango Pro is a lively, heavyweight font with a strong cartoon feel, perfect for poster design, packaging, and anything that needs to draw attention - in an informal way. Originally released with uppercase and unicase characters only, this new version (commissioned in 2013 by a London-based design agency) includes lowercase characters and some additional OpenType features, like stylistic alternates, fractions, localized forms, among others.

Hera Big is a type family in eight weights & 16 fonts. The family explores the motion and fluidity of the ball serif, in an evolution from its previous identity as a counterpart to the slab serif. Informed by great fat-faces from Figgins to Lubalin, but never deferring to precedent by default, Hera is a fresh mix of originality and organic form, never sacrificing function for beauty.

The combination of some Bodoni extra-wide wood type letters and an image redrawn from a 1940s package label from the long-defunct Railway Express Agency form the characters in Letter Delivery JNL. These initials are perfect for personalizing notes, gift labels, personal stationery and other creative projects. For retail commercial products, please consult the information within the Font License Agreement and contact the font's author directly.

Chesna grotesk is a geometric form-based sans serif typeface. It has 20 weights 10 uprights and 10 italics. Bringing a new approach to the classic grotesque design, Chesna was inspired by typefaces such as Avenir, Futura and Circular. Each weight includes extended language support, fractions, tabular numbers, arrows, alternative characters and ligatures. (Please see the pdf specimen for more information.) PDF Specimen, Horizontype.com

DF A Bit is made for screen display which is the final form of a lot of information nowadays. But there is more in this BIT... in display sizes it unfolds it’s skin, a beautiful ink on paper structure caused by the letterpress printing of copper lines. Analogue BITS indeed. With all the wealth of the ‘non perfect’, to please the eye and to satisfy the mind.

Lotter blackletter with Drop caps One fine day I found a vintage book, it called “A treatise by the Dominican friar-writer Marcus von Weida on the Brotherhood of the Holy Rosary”. It was printed in 1515 by Melchior Lotter in Leipzig. The text was illustrated by hand-colored engravings on religious and liturgical themes and beautiful initials I like. Lotter was the last name of a family of German printers, intimately connected with the Reformation. An innovation by the elder Lotter was his use of Roman types for Latin, reserving the Gothic types for German. I'm happy to present to you my new font family. Lotter font family has Drop cap and Regular styles. It's all you need to precisely imitate medieval style text. Use Drop cap style as a decorative element at the beginning of a paragraph or section, other part of the paragraph should be in Regular style. You’ll get: * Drop cap & Regular styles * Uppercase and lowercase * Multilingual support * Numbers * Symbols * Punctuation * Ligatures Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.