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.

Sancoale Narrow is a carefully honed and meticulously crafted new family member for the Sancoale series. Sancoale Narrow has been specially designed to allow for even more versatility for the Sancoale Family. Sancoale Narrow continues with Sancoale's successful simple, geometric and legible structure. It is a contemporary design that is distinctive and unique. This new narrow addition can be used in conjunction with the original Sancoale, but it can also stand on its own. Narrow type comes in a handy in a myriad of situations, from poster design to book covers, web pages to editorial layouts. Sancoale Narrow's six weights make for a typeface family that is very useful for many applications, and also includes a set of true italics. The design is simplified without stems or spurs in the default character set. OpenType alternates do include alternates with stems, Small Caps, Fractions, Tabular Figures, and plenty of alts, including "normal" capitals and lowercase letters. Please see the informative .pdf brochure to see these features in action. Sancoale Narrow also includes a full array of Latin diacritics for multilingual support. OpenType capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. The Sancoale superfamily is suitable for a wide range of uses and is a very economical and versatile addition to any designer's font collection.

Besture Regular is a captivating handwriting font that effortlessly blends modern simplicity with a touch of artistic flair. Crafted with meticulous attention to detail, each letter in Besture Regular reflects the natural flow and spontaneity of authentic handwriting. Its smooth and well-balanced strokes create a seamless rhythm, making it not only visually appealing but also exceptionally legible. Key Features: Elegance in Simplicity: Besture Regular embodies an understated elegance, making it suitable for a myriad of design applications, from invitations to branding projects. Authentic Handwritten Feel: With its organic strokes and fluid connections between letters, Besture Regular brings the charm of genuine handwriting to digital and print materials. Versatile Usage: Whether used for personal projects, business communications, or creative endeavors, Besture Regular adds a personalized touch, enhancing the overall aesthetic. Ligatures for Fluidity: Besture Regular includes thoughtfully designed ligatures, enhancing the natural flow of the script and ensuring a smooth and cohesive appearance. Readability: Despite its stylish cursive nature, Besture Regular prioritizes readability, ensuring that your message is communicated with clarity and grace. Besture Regular is the perfect choice for those seeking a handwritten font that strikes the ideal balance between elegance and readability. From wedding invitations to logo designs, and everything in between, this font adds a distinctive and personal touch to your creative projects. Discover the enchantment of Besture Regular by acquiring it today. Don't miss this opportunity to elevate your designs and make a statement with Besture Regular! Purchase Now

Letraset’s talented type designer Vince Whitlock was inspired by the elegant Caslon series when he created Academy Engraved. The exquisite letterforms of this traditional Roman typestyle make it ideal wherever an elegant and classical titling face is desired.

Hapshash is an all capitals font inspired by the 1960s psychedelic posters of British designers Hapshash and the Coloured Coat (Michael English and Nigel Waymouth), in particular their 1968 poster for the First International Pop Festival in Rome.

Autobahn is a robust masculine sans of near monoline thickness and angular characteristics. Available in four weights (with italics), it has a healthy compliment of OpenType Features and the character set covers most Roman-based letterforms and Cyrillic.

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.

Created by Blambot’s Nate Piekos for a party invitation, IRISH STOUT has a deep, dark aroma and a creamy, white head. Serve ice cold with a heaping plate of Shepherd's Pie! Comes with a six-pack of European characters.

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.

This roly-poly romp through the alphabets is based on a showing from Carl Holmes' 1950s book, ABC of Lettering, published by art-for-the-masses magnate Walter T. Foster. Named as an apt companion to my East Coast Frolics.

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.

Inspired by 16th century Venetian roman book texts, Fifteen36 has a traditional elegance and lots of character. Whether used at larger sizes for headings or at book sizes with plenty of leading Fifteen36 has a very attractive old school letterpress appearance.

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.

Named after the famous French fairy tale, Bluebeard is a surprisingly legible, slightly worn-out mix of majestic blackletter majuscules and roman minuscules. Perfect for designs of old settings, like books of fairy tales, old war books, or anything historical.

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.

The Vadstenakursiv font was inspired by letterforms first used in the Vadstena nunnery, Sweden, founded by Birgitta, later canonized Saint Birgitta and buried in Rome 1373. These letterforms were also used in documents for different guilds, and on commercial documents.

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.

Linotype Mateo is part of the Take Type Library, which features the winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. Jürgen Ellenberger included three styles in his font, roman, bold and outline. The characters of Mateo consist exclusively of lines, giving the font an extremely angular look. However, Mateo retains a certain handwritten style somewhat reminiscent of the graffiti left on wooden grade school desks by previous classes. The bold and outline styles have emphasized stroke contrasts but keep the angular, consciously irregular look. The roman style is best for smaller texts and the bold and outlines styles for headlines.

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!

Revival 565 is the Bitstream version of type Berling. The face was created by Karl-Erik Forsberg for the Swedish Berling foundry in 1951, with other weights added in 1958. The design is an old style roman, particularly useful for books, journals, and other text applications. Despite the fact that it has higher contrast than most old style typefaces, Berling has the classic features of old style romans with its small x-height, and ascenders that exceed the height of the capital letters. Berling is good for text settings as well as display work. Cyrillic version was developed for ParaType by Manvel Shmavonyan in 2008.

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.

Euro Sans Pro ? created by German type designer Ralph M. Unger - is a classical and modern Roman Sans Serif at the same time. The family comprises of 12 styles, each with more than 500 glpyhs covering standard Latin, Central European, and Cyrillic. It is an all purpose typeface, a strong and expressive roman sans serif with a French touch to it. Euro Sans Pro provides excellent readability in all sizes, for small copy as well as for very large letters on posters and signs. The character complement also includes small caps and old style figures, and the corresponding OTF features are built into the fonts as well.