Adriane Text was designed between 2006 and 2007 with additional production completed by Silas Dilworth for this 2008 release [v1.002]. Focusing on text composition and unique typographic characteristics, details within the characters provide both personality and excellent legibility at small sizes. With a medium contrast, a predominantly vertical axis, and a generous x-height, it can be classified as a transitional typeface. This package of advanced OpenType fonts consists of the style-linked quartet of Regular and Bold weights accompanied by corresponding Italics, each of which include small caps and full support for Extended Latin character sets - now including Central European diacritics. Old style and lining figures are provided in both proportional and tabular spacing, and an extensive set of ligatures, ornaments, dingbats, and alternate ampersands are available across the family. The Italics possess a fluidity that contrasts with the staid posture of the Roman styles. The degree of inclination for the uppercase and lowercase characters are slightly different, offering an enhanced visual rhythm in the text settings.

Relato Sans is the other face of Relato Serif (a typeface with much idiosyncrasy) nevertheless, the sans version of this typeface is more austere and aseptic. A humanistic type, with a contemporary cut, created for general use in texts and holders and with a great variety of weights, which allow enough flexibility for projects of great magnitude. Although leading with an independent family it maintains many of the characteristics of its homologous such as proportions, the “x” height, the construction based on air lines of the italic, ornaments and so on. These details show coherence with the serif version, and at the same time reinforce its personality. Being a multifunctional type, the “kerning” has been worked to function in small sizes as well as in larger ones such as holders. The contrast between weights, was optimized to be used in pairs (Light with Semibold, Regular with Bold and Medium with Black). Relato Sans is presented in 6 different weights, in Roman, Italic, Small Caps and Small Caps Italic with three different styles of numerals, Old style figures, Lining figures and Small Caps figures.

Xantigo is a fun, smooth and romantic font with rounded edges.

Funky Mother is a curly, yet legible font. Full romantic curves!

Natuxal is my handmade idea of something elegant, decorative and romantic.

ITC Silvermoon was designed by Akira Kobayashi in the style of the advertisements of the 1920s. Art Deco was the artistic movement which marked the years between the two world wars, combining elements of Jugenstil, futurism and east Asian influences. This font carries on in that tradition. The small, high reaching figures with their elegant forms and reserved but distinguishing loops give Silvermoon its unmistakable look. Kobayashi designed this font in two weights, regular and bold. To retain the elegance of the bold weight, the consistent stroke width of the regular weight was exchanged for contrasting strokes. This gives the weight more weight without detracting from its grace. The nostalgic, romantic ITC Silvermoon is best used for headlines and short texts in point sizes of 12 and larger.

Roman Sehrer, a seasoned German advertising professional, digitized his handwriting to create this family of three fonts. Sehrer recommends this family for posters, logos, and restaurant menus. It works well with traditional sans serifs such as Helvetica or Univers.

A vintage brass stencil for an individual or company named ‘Rodrigues’ was spotted in an online auction. The hand punched, condensed Roman lettering inspired the digital typeface Nameplate Stencil JNL, which is available in both regular and oblique versions.

Evocativa has a perfect combination of roman bodonian inspired ornamented caps with a well crafted blackletter set, in a balanced typeface suit to use in your headings text projects and in jobs with a classit and yet antique feeling.

Longstride was inspired by Romans letterforms. A low contrast charismatic typeface with uppercase, lowercase, small caps, numeral, and multilanguage support. I also add ligature and alternate options to make it more versatile when you use it in your project.

Gracia Solo is a sister design of Gracia. Gracia Solo has left its connection forms without losing the typical look of English scripts. OpenType features: - central European faces - stylistic alternates - proportional, mediaeval numerals & Roman numerals - numerators, denominators and fractions

An elegant, yet informal Roman alphabet with Art Nouveau influences was found amidst the pages of the 1922 edition of “The Expert Sign Painter”. It is now available digitally as Sign Expert JNL in both regular and oblique versions.

Arise is a humanist typeface designed for both text and display purposes. Its an understated type family with enough subtle nuances and personality to add distinction to your own typographic compositions. As can be seen in the /a/c/f/g/r/y/ glyphs, hooked terminals are a key feature of this typeface. These terminals are blade-like in appearance, defining a distinctive character that is unusual, yet balanced and refined. Practical features include 38 capital swash alternates for intial and final forms that can be particularly effective when used in titling and branding situations. Small caps are also included (along with matching diacritics) – these are designed to harmonise with regular lowercase forms so that you may easily achieve unicase-style typography. There are 18 fonts altogether, with 9 weights from ExtraLight to Ultra in both roman and italic. Arise has an extensive character set that covers all Latin European languages. Key features: 9 Weights Roman & Italic Small Caps 38 Alternates Old Style Figures European Language Support (Latin) 700+ Glyphs per font.

Eurotypo BKL is a family of fonts inspired in on one of the most beautiful British Typography ever done. This version of Baskerville tries to reflect the taste of his fine style, compatible with the bluntness of the digital present. As many other designers and foundries, our intention has been to represent the atmosphere of Baskerville's style, than simply relive the shapes of its letters. Actually, capitals fits almost to a square proportions, lowercases are more open, ascenders and descenders are shorter, offering more space for enlarge the "x" high. The beauty of his letterforms can enrich headlines; this font can also be used as body text for its good legibility and accurate kerning. John Baskerville (1706-1775) was born 1706 in Wolverley, England. He was a great typographer and printer who published a remarkable edition of Virgil in 1757. His typefaces were greatly admired by Benjamin Franklin; He also has improved and developed many innovations in printing, paper and ink production. Baskerville’s typefaces are regarded as transitional types that represents the link between Old Roman Style and Modern Roman typography.

Baby Valentina is a beautiful, romantic and trendy modern calligraphy font. Amazing romantic theme fonts make your Valentine's Day even more spectacular. I hope you are interested in this font. This font is PUA encoded which means you can access all glyphs and swashes with ease! This font is perfect for you to use for Valentine's Day greeting cards, greeting cards, love quotes, wedding invitations, birthdays, parties and other romantic projects. Thank you very much for looking and Enjoying it!

The FF Meta® design is a sans serif, humanist-style typeface that was designed by Erik Spiekermann for the West German Post Office (Deutsche Bundespost). It was subsequently released in 1991 by Spiekermann's company FontFont The FF Meta family, initially released as a commercial font in 1991, now comprises over sixty fonts. The FF Meta 2 family was released in 1992, the FF Meta Plus family in 1993, and in 1998 a facelift of the complete font family reclassified the FF Meta series and combined them into family-sets named FF Meta Normal, FF Meta Book, FF Meta Medium, FF Meta Bold and FF Meta Black. These are all available in Roman, italic, small caps and italic small caps. Between 1998 and 2005, further light stroke weights and a condensed family were introduced by Tagir Safayev and Olga Chayeva and were named: FF Meta Light and FF Meta Hairline. The last addition to the growing FF Meta font family is FF Meta Serif released by FSI in 2007. FF Meta Variable Roman is a single font file that features two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Roman (upright) font is provided as an option to customers who do not need Italics, and want to keep file sizes to a minimum. FF Meta Variable Italic is a single font file that features an italic design with two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Italic font is provided as an option to customers who do not need Roman (uprights), and want to keep file sizes to a minimum. FF Meta Variable Set is a single font file that features three axes: Weight, Width and Italic. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. The Italic axis is a switch between upright and italic

Diotima Classic is a total upheaval for the 21st century of Gudrun Zapf von Hesse's mid-20th-century Diotima, one of the most beautiful types ever cast in metal. Its roots lay in a calligraphic sheet written by Gudrun Zapf von Hesse. The text was the Hyperion to Diotima" by Friedrich Hölderlin; Diotima is the name of a Greek priestess in Plato's dialogue about love. In the philosopher's imagination, she should appear slim and beautiful. In 1948, Gudrun Zapf von Hesse finished the typeface's Roman. The Diotima family was released as a metal typeface for hand setting by D. Stempel AG in 1951-53. This original Diotima is a festive design particularly suited to invitations, programs, and poems. The delicate Italic drew attention to text passages that should be emphasized. Linotype's previous digital Diotima only had one weight, which looked great in display sizes, but was too thin for text setting. Diotima Classic has four weights. The new Regular has more robust serifs and thicker hairlines, making it more appropriate for text sizes. The Diotima variation with finer serif remains under the name Light. Gudrun Zapf von Hesse also took the opportunity in 2008 to add an extremely heavy weight to the family. In comparison to the old Diotima, letterforms of the Diotima Classic are more harmonious and balanced. The rhythm of the Italic letters in Diotima Classic is more consistent. The lining figures of the Diotima Classic align with caps, and the letter spacing of the tabular lining figures in Diotima Classic is significantly better. The forms of the figures have been improved as well."

Angelin Love is a gorgeous script font, beautiful and romantic. This font looks perfect for Valentine’s Day designs, or for other romantically inclined styles and projects. To stay up to date for my latest job, follow me and let’s be friends because there will be many promos.

De La Croix font was inspired by the works of Eugène Delacroix, leader of the Romantic School. De La Croix is a strong yet romantic font that plays well in a wide variety of placements like posters, signage, advertising, fashion, display, wayfinding, publications, packaging, logotypes, and more.

Barbiel is a romantic and festive handwritten font with beautiful monogram. It is ideal for holiday-themed greeting cards and for any crafting project that requires a romantic touch. This font is PUA encoded which means you can access all of the glyphs and swashes with ease!

Porkshop is a font of retro vintage flavor with a hefty dose of immigrant-influenced naive typography. It's fundamentally inspired by an old-but-still-prominent "Pork Shop" sign in Manhattan. I like to think that this font was made by a signmaker's apprentice who didn't yet have a grasp on the subtleties of elegant letterforms, but put his gusto into perfectly sharp serifs. While pointy little serifs are cool, the real shine of this font comes from the imaginative combination of uppercase and lowercase shapes. This unique mixture in the lowercase reminds me of an indeterminate European accent in the big city. Big and strong and easy to understand. Best rendered in 3-foot tall metal type, Porkshop works well in print and on screens, too. The Bolds and Italics are brand new in 2011.

Kevin Simpson was five years old when the stylized "E" of the Electrolux vacuum cleaner logo caught his eye. This is his earliest recollection of an interest that ultimately became an obsession. Type remains his major preoccupation, and he admits to attempting to work a good typeface design into any project where he can get away with it. Aitos was inspired by a metal sculpture Simpson saw while driving through the French countryside. "The statue was very strong. It was heavily weathered and had obviously been there for some time, yet it also seemed very delicate and light." Aitos, like the statue, is a rugged design. At first glance, it is chunky and bold, perhaps a little jarring. If you look again, however, you'll see it has refined qualities. Aitos commands attention - yet is still affable.

Recreate authentic letterpress typography with Oxford Press, a set of chunky uppercase Serif & Sans fonts designed using real vintage metal letterpress blocks sourced from old printing companies. The Serif & Sans fonts each have two variations, 'Clean' and 'Rough'—with the latter having real, highly detailed hand-made letterpress textures applied to each letter. Each letter of the 'Rough' fonts also has an alternate texture, which can be accessed simply by switching between upper and lowercase characters. The 'Rough' fonts can make a striking impact as bold header text for posters, adverts, prints and packaging, whereas the 'Clean' versions are more suited for smaller accompanying text, cleaner designs or for applying your own textures and styles. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Pure romantic and personal with lots of grace and tender designed curves.

Fligerish is a true romantic font, without being too fancy or swirly.

Novantico is an all capitals typeface, influenced mainly by roman inscriptional capitals and renaissance typefaces. Classicly designed forms give text a noble and elegant feel. It is intended to be used for relatively short and important texts, titles, headings, quotes, etc.

Columna is an all-caps, Classical Roman-inspired typeface designed by the renowned Swiss typographer Max Caflisch (interesting fact: Columna is Caflisch's only typeface). Caflisch's Columna adds a stately elegance to any application, and is best used in large sizes.

Semi-Serif Roman and Italic for typefaces for setting legible children’s reading books. A gentle introduction for young readers to seriffed letterforms they will encounter. Free to download resources: How to access Stylistic Sets of alternative letters in these fonts

Linotype Monticello was designed by C.H. Griffith in 1946. Its design is based on James Ronaldsons Roman No.1 and Oxford Typefaces from American Type Founders and was revised by Matthew Carter while he was working at Linotype between 1965 -1981.

Central Type Foundry of St. Louis issued this quirky little gem under the name of Quaint Roman around the turn of the twentieth century. This version is a little less gnarly than the original, but retains all of its eccentric charm.

Garalde: the word itself sounds antique and arcane to anyone who isn’t fresh out of design school, but the sort of typeface it describes is actually quite familiar to all of us. Despite its age—born fairly early in printing’s history—the style has fared well; Garaldes are still the typefaces of choice for books and other long reading. And so we continue to see text set in old favorites—Garamond, Sabon®, and their Venetian predecessor, Bembo®. Yet many new books don’t feel as handsome and readable as older books printed in the original, metal type. The problem is that digital type revivals are typically facsimiles of their metal predecessors, merely duplicating the letterforms rather than capturing the impression—both physical and emotional—that the typefaces once left on the page. MVB Verdigris is a Garalde text face for the digital age. Inspired by the work of 16th-century punchcutters Robert Granjon (roman) and Pierre Haultin (italic), Verdigris celebrates tradition but is not beholden to it. Created specifically to deliver good typographic color as text, Mark van Bronkhorst’s design meets the needs of today’s designer using today’s paper and press. And now, as a full-featured OpenType release, it’s optimized for the latest typesetting technologies too. With MVB Verdigris Pro Text, Van Bronkhorst has revisited the family, adding small caps to all weights and styles, extensive language support, and other typographic refinements. Among the features: • Support for most Latin-based languages, including those of Central and Eastern Europe. • Precision spacing and kerning by type editor Linnea Lundquist. The fonts practically set beautiful text by themselves. • Proportional and tabular figure sets, each with oldstyle and lining forms with currency symbols to match. • Ligatures to maintain even spacing while accommodating Verdigris’ elegant, sweeping glyphs. • Numerators and denominators for automatic fractions of any denomination. • Useful, straightforward dingbats including arrows, checkboxes, and square and round bullets in three sizes. • Alternative ‘zero’ and ‘one’ oldstyle figures for those who prefer more contemporary versions over the traditional forms. • An alternative uppercase Q with a more reserved tail. • An optional, roman “Caps” font providing mid-caps, useful for titling settings, and for those situations when caps seem too big and small caps seem too small. __________ Sabon is a trademark of Linotype Corp. Bembo is a trademark of the Monotype Corporation.

ITC Tempus is the work of British designer Phill Grimshaw. He claims that every calligrapher's aspiration is to draw perfect roman capitals with a pen, but admits that this is extremely difficult. For this typeface, Grimshaw used a fountain pen on cheap, porous paper and, of course, the ink bled. The resulting forms are classic but their rugged edges deviate from the perfection of roman type. And Tempus Sans is just Tempus with the serif surgically removed, yet the proportions of the characters work nicely," says Grimshaw. Because of its rough quality, the typeface works best in larger point sizes, yet maintains its characters even in smaller sizes."

English Grotesque is based on the proportions of an early 20th century signwriter’s sans, emphasising the characteristic idiosyncrasies of type of the period. Sharing a similar Roman circle-and-square construction as Gill Sans or Johnston Railway, it has a wide T and W, a narrow S, and a long-tailed R. The Roman alphabet did not include a lower-case, and therefore early sans-serifs tended to base theirs on handwritten or cursive models, resulting in more even character widths. English Grotesque, by contrast, carries the more characterful proportions of the capitals through to the lower case. Available in six weights, with optional alternative versions for the Q, &, £ and J.

Castellar is a capital letter typeface from John Peters, named after a location in the Alps. It first appeared in 1957 with Monotype. Peters modelled the design on the Roman script Scriptura Quadrata as it was used in the first two centuries of the Roman Empire. One distinguishing characteristic is the quadratic proportions of many letters, which are however mixed with circular and narrow forms. The original script was called Scriptura Quadrata because the ancient engravers used rectangular stone plates for their work. Castellar is a typical title typeface and is best used in large and very large point sizes to highlight its classic elegance.

ITC Tempus is the work of British designer Phill Grimshaw. He claims that every calligrapher's aspiration is to draw perfect roman capitals with a pen, but admits that this is extremely difficult. For this typeface, Grimshaw used a fountain pen on cheap, porous paper and, of course, the ink bled. The resulting forms are classic but their rugged edges deviate from the perfection of roman type. And Tempus Sans is just Tempus with the serif surgically removed, yet the proportions of the characters work nicely," says Grimshaw. Because of its rough quality, the typeface works best in larger point sizes, yet maintains its characters even in smaller sizes.

FONT UPDATE → CFF Accelerator Roman is the ultimate logo typeface. It’s an efficient font family, consisting of 8 fonts with 4 weights and 2 widths. The masculine wide shoulders and sharp diagonal serifs are instantly recognizable and leave a lasting impression. CFF Accelerator is a space-age font made for heavy lifting. The original Accelerator Italic font was designed in 2005, making it our very first commercial font. It was created as an all-caps typeface. Now, the new Accelerator Roman font family has lowercases, an extended glyph set, a gazillion discretional ligatures, and loads of OpenType features. CFF Accelerator is currently our all-time bestseller!

Herculanum is a part of the 1990 program “Type before Gutenberg”, which included the work of twelve contemporary font designers and represented styles from across the ages. Herculanum is a work of Swiss typeface designer Adrian Frutiger. It takes its name from the city of Herculaneum, an ancient Roman resort town destroyed by volcanic pyroclastic flows from Mt Vesuvius in 79 AD (the same eruption that destroyed the nearby city of Pompeii). Herculaneum's ruins are located today in the commune of Ercolano, Campania, Italy. Ancient Roman writings of the 1st century influenced the font's design. Herculanum is distinguished by its broad characters with narrow strokes and its willful character.

After designing two script fonts (lp Pinselschrift, lp Bambus), Peter Langpeter has now drawn an elegant Antiqua font, namely lp Saturnia, derived and conceived from his work in developing headlines and logos. The aim was to create a modern interpretation of the classical Roman letters (Capitalis Monumentalis or Trajan by Carol Twombly), avoiding the archaic look of these letter forms. Also, the difficulty of spacing characters with excessive forms, such as the long tails of 'K' and 'R', are avoided. Additionally, lp Saturnia also comes with lower case characters. The result is a contemporary and elegant typeface that is more suitable for practical use, without renouncing the classical Roman character.

Mabelle is a romantic and festive handwritten font with a beautiful love. It is ideal for holiday-themed greeting cards, Christmas, weddings, and any crafting project that requires a romantic touch. This font is PUA encoded which means you can access all of the glyphs and swashes with ease!

Rome Ionic is a serif display font inspired by architectural features in ancient Roman building columns. The Ionic columns are taller and slender compared to 'Doric and Corinthian' columns. On the Ionic Capitol column, there is a geometric spiral like a paper roll. We used those elements in this roman style font. The base of this font is serif shaped, more slender and towering, and equipped with 8-18 stylistic set alternates. This is the development of the basic shape on which we added spiral ornaments to the left and right. This serif font's characteristic is soft and simple, not sharp and complicated like Doric and Corinthian. The composition of the softness of the basic and alternate fonts does not reduce the splendor of this font. We complemented this font with support for the Latin extend as an analogy to the Roman region. Rome Ionic is perfect for 'impressive luxury and power' designs. With this font, your branding will show the robustness and refute the splendor of other products.