Bramble is a lively organic font that draws reference from Roman characters rather than Italic forms. Use Regular for small point-size setting to retain legibility. For invigorating display settings try combining Regular and Wild. Warning: you may become attached to Bramble!

Simeon is well suited for setting an short and medium amount of text with an historic impression. OpenType features: - over 650 glyphs - Central European faces - stylistic alternates and historical forms - ornaments, signs, zodiac, symbols - proportional & mediaeval numerals - numerators, denominators and fractions - Roman numerals

Citation was designed by British lettering artist Trevor Loane. It is a solemn, all caps roman alphabet whose coolly elegant letters look as though they were etched in stone. Citation is perfect for any work which should have a stately and expensive appearance.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

The capitals of the Triplett font bare a strong resemblance to Roman inscriptions, while the lowercase alphabet has been drawn with a rounded hand, inspired by the cursive uncial handwriting. Serifs are very small, giving a clean modern look to texts and headings.

FDI Triumph revives Albert Auspurg’s “Triumph” typeface originally released in 1929 by the type foundry Ludwig Wagner in Leipzig. The forgotten design was carefully digitized from the original wood type font and extended to cover the Western codepages Win 1252 and Mac Roman.

This font can be used as a play'n learn tool to teach the meaning of these modern day communication symbols. Each alphabetical character can be printed with or without the corresponding roman symbols. NOTE: comes with an interpretation guide in pdf format.

Constantine - an exquisite display modern serif, inspired by classic roman arts and vintage cars aesthetics. Specially designed for luxury, clean, high-end projects, perfectly suitable for creating elegant, classy design such as magazine, social media, and more. The font features standard ligatures.

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.

Based on Transitional Roman forms, this tasteful and well crafted Humanist display face exudes an air of authority along with a subtle playfulness. Narrow proportions allow for space conservation. Alternate letterforms & ligatures give this caps-only font expanded possibilities for any given text setting.

Sweetpea is a new OpenType font by Andrew Harper that includes a ton of features: contextual alternates, stylistic variations, regular/discretionary ligatures, fractions, ordinals, and swashes. Over 600 glyphs to choose from, including fractions, Greek symbols, music accidentals, Roman numerals, arrows, and mathematical notation.

Although a sans serif, Colosseum owes its style to the original Trajan Roman form. Borrowing some characteristics from Friz Quadrata, in its san serif form it is more adaptable to text usage whilst still having a modern and original look which works well in headlines.

The origin of Grimm was to create a typeface in the spirit of Elliott Peter Earls' Subluxation, but somewhere in the process things shifted to a blackletter influenced uppercase while the lowercase became more roman. The end result is a quirky little blackletter display typeface.

Bertolessi is a Roman face made fun, with a healthy dose of filigree curves thrown into the mix. It's an ideal compliment to our extensive Bertoni family, but can be used anywhere a bit of humour and flair is required. Get with the curls!

The range of subtle differences in the many different sized lettering stencils of the 1940s and 1950s allows for a wonderful library of authentic-looking stencil fonts. Storage JNL is another Roman (serif) type design by Jeff Levine and modeled from a 1950s stencil set.

Artane, Tony Fahy's first typeface for Bitstream Inc., has a specific philosophy at the core of it's creation. He decided he would try to create a Roman sans that would have the elegance of a serifed italic, such as Stempel Garamond, Bembo, or Baskerville.

"Baker’s Showcard Book" (1916) was an early 20th Century instructional book on sign lettering. One of the sample alphabets entitled “Decorative Roman” was a spurred serif, Art Nouveau design that has been recreated digitally as Elegant Showcard JNL in both regular and oblique versions.

Alinea is a typeface in 3 styles (Sans, Incise, and Serif) conceived for being mixed in the same document. Alinea sans, with its neutral shapes, can be used everywhere. Like many recent sans serifs, its italic is a true italic and not a sloped roman.

This font invites you to play with it. The Real version has longer tails, while the Roman version cuts them up to make the font more suitable for text. The Script version connects the letters, while the Dynamic version is just an italic style.

This condensed type is based on Roman calligraphy and (through having several alternates on both upper and lower case, plus some non-standard ligatures) your text may look like it’s written or handmade. You can combine this font with Ecstasy, also available on MyFonts.

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.

Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer’s Bernard Roman Extra Bold and ATF’s Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the ‘H’ particularly. Petrark was released about 1900 by the German foundry of Schelter & Giesecke of Leipzig and is one of the designs of the period that attempts to reconcile roman and blackletter traditions. Making a cameo appearance in this Multi-Lingual font is the Anglo-Saxon letter yogh (#729), which, along with the thorn and the eth, is always useful for preparing flyers in Old English. There are still pockets of resistance to the Norman French influence that washed up on England’s shores in 1066. This font stands with King Canute, seeking to hold back the tide (ignoring the fact that Canute was a Dane). Support the fight to preserve Anglo-Saxon culture. Buy Petrarka ML today. Petrarka Initials brings together the Petrarka upper case letters with a very sympatico Art Nouveau rendering of a female face.

Introducing Homemade Choco by Tlatoustype Homamade Choco is a Monoline handwritten Font. Homemade Choco is a cute, quirky and fresh handwritten font. It is ideal for holiday-themed greeting cards and for any crafting project that requires a sweet, romantic touch. Homemade Choco also multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email. Thank you!

I had to do it :-) - A hand lettered version of featherly is here! As always with featherly, it's perfect for anything to do with romance, weddings and love but this hand lettered version can give you an even more authentic, handmade look to your designs. There are 26 left and right swashes. No alternates with this one though. Hence the lower price.

A festive, elegant script, Corinthia flows with perfect connections and beautiful curves. It’s a delightful design that offers wide usage... Available in OpenType format, this award winning font comes with over 500 glyphs, and character sets for European languages. All three weights are perfect for creating elegant design work from packaging and romance novels, to invitations and social expression products.

Punch Of Love is a lovely display font that radiates charm. It features gorgeous hearts in each letter which give it an incredibly romantic feel. this font suitable for valentine day poster, logo, t shirt, event banner and etc. you can use this font for any design, apparel, kids logo, logo type, with many swash for make your design awesome.

Hoakey is not really a grunge font, although it comes with rugged edges and a worn surface. This may sound like a grunge typeface, but Hoakey is a lot more than that! It oozes romance. Hoakey has curly alternate uppercase letters, and ligatures for both double lowercase and double numbers. You will need to use OpenType supporting applications to use the autoligatures.

Goldink Brittey is an elegant Modern Serif Font that gives a romantic feel to any curve that has smooth edges. This typeface has been carefully crafted to ensure premium quality and a luxurious feel, This typeface comes in both uppercase and lowercase, with punctuation, symbols, numbers, alternative styles and also has multilingual support. Make something beautiful today with this font.

Welcome to the new Romantic script font, Shelline. This is a modern script with a delicious flow, snap-perfect characters and start & end swash. With its alternative character, you will immediately get an original handmade look. Become the perfect professional in a minute and start creating modern designs such as advertising, sales, logos, branding, posters, social media text overlays today!

Introducing a new romantic and a beautiful handwritting script font called "Lovely Couple". Come with open type feature with a lot of alternates, its help you to make great lettering. Lovely Couple best uses for invitation, wedding, heading,cover, poster, logos, quotes, product packaging, header, merchandise, social media & greeting cards and many more. This font is also support multi language.

Ochida Serif Display attracts a typeface that is smooth, clean, unique, elegant, modern, feminine, sensual, glamorous, simple and very easy to read. Classic style is very suitable to be applied in various formal forms such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting/wedding cards, packaging, labels. Ochida Serif Display has alternative, Ligature and multilingual support.

"Lovely Style" is a very pretty handwritten font. This font features uppercase, lowercase, swashes, headings, uppercase alternative, lowercase alternative, binders, multilingual support, numbers, and punctuation. How to use letter decoration is very easy, and there is a guide in the preview. This font is perfect for weddings, valentines, engagements, stickers, banners, posters, invitations, Christmas, Easter, romantic moments, quotes, and more.

The Compressed Contest font is packaged in a modern font that is unique, elegant, feminine, sensual, glamorous, simple and very easy to read. The classic style is very suitable to be applied in various formal forms such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting/wedding cards, packaging, labels. Hope you enjoy this font!!

Aghisna Display attracts a typeface that is smooth, clean, unique, elegant, modern, feminine, sensual, glamorous, simple and very easy to read. Classic style is very suitable to be applied in various formal forms such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting/wedding cards, packaging, labels. Aghisna Display has alternative, Ligature and multilingual support.

Dear All, here's comes Dear Jane. This lovely typeface was made from actual hand writing so it has the natural and romantic feel. Perfect to be used especially for signature, wedding invitation, greeting cards, logo, photography, quotes, apparel design, and any design needs. As usual, the font comes with many opentype features such as ligatures, stylistic set alternate, etc and also support multilingual.

This font is named Adellia. Adellia is a font that is very elegant, beautiful and has a romantic impression. It is suitable for beautifying all types of your work. This font is very unique and has high quality. It is suitable for wedding designs, branding, invitations, signatures, labels, logos, promotion of your business, creating social media status, quotes and more.

Hello Bucin feels equally romantic and whimsical. It looks lovely on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch. This font is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates.

The Gathon is a beautiful Modern Display. it comes with beautiful characters in a hand lettering style. It was created to bring some elegance to all designs! It has a subtle, clean, feminine, sensual, and glamorous look which makes it perfect for invitations, labels, menus, logos, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels, and much more!

Gossamer is a delicate, wispy font, with extravagant caps and controlled, softly curved lower case characters. It is reminiscent of fantasy and fairy lore, and wonderfully evokes the magic of childhood. Use Gossamer for Christmas cards, for wedding stationery, for cosmetics and clothing, for romance and enchantment. Gossamer has standard OpenType features, and language support includes all European character sets.