Praxis Next 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 Light to Ultra. 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.

Arimalia is unique script font with lovely ligatures. This font perfect for elegant & logotype design. Combine Alternates Character to make perfect design for yor projects. Arimalia perfect for elegant promotion, wedding invitation, branding, logo, invitation, stationery, social media post, product packaging, merchandise, blog design, game titles, cute style design, Book/Cover Title and more. Features : - Arimalia Font - Ligatures - Multilingual, US Roman, Latin 1 Support --- Hope you enjoy with our font! Attype Studio

ITC Bookman font was designed by Edward Benguiat, whose goal was to design a typeface that had a clear resemblance to previous Bookman faces but was different and more versatile. This typeface retains all the traits of the original and adds a large x-height and moderate stroke contrast for optimal legibility. ITC Bookman font also has italics which are true cursive forms, as opposed to oblique roman characters. Featured in: Best Fonts for Tattoos

The 225 glyphs that make “Spina Typeface” are the result of experience with hundreds of drawings, sketches and digital tests in seeking to achieve a typeface that represents the fluidity of the script and elegance of the modern roman. Thereby, based on this principle and a unique style, an infinitely versatile typeface was designed that evokes both the beauty and finesse of the plant as power its thorns and its deadly poison.

The German designer Peter Huschka created Linotype Chineze, a family of typefaces that resemble the calligraphic strokes found in Chinese characters, in 2002. Using a variety of brush-like elements, Linotype Chinese imbues the Roman alphabet with an Eastern flair. Try out this font in a menu, a comic book, or on food packaging! Like this foreign feeling? Check out Sinah and Sinah Sans, two other Eastern-inspired font families from Huschka."

Lawrence is an elegant OpenType powered Roman Display typeface with two weights. Lawrence is great for fashion, branding, packaging or editorial use. Lawrence is equipped with 192 OpenType alternates including Swash, Stylistic and Titling Alternates. Lawrence also has interlocking ligatures set in Discretionary Ligatures. These ligatures contain pairs in Uppercase + Uppercase, Uppercase + Lowercase and Lowercase + Lowercase. These Alternates are PUA encoded and can also be accessed from Glyph Palette or Character Map.

Cronos is the work of Robert Slimbach, a sans serif typeface family that embodies the warmth and readability of Oldstyle Roman typefaces. It derives much of its appearance from the calligraphically inspired type of the Italian Renaissance. Its almost handwritten appearance sets it apart from most other sans serif designs and makes it an effective choice for text composition. The Italic design was inspired by early Chancery style Italics and is both elegant and distinguished.

Low Def, short for Low Definition, is inspired by fonts displayed on old CRT televisions / monitors, sometimes with quirky characteristics. From video game consoles, home computers to the dim noisy arcades. With it's lower resolution analogue signal shown through scanlines, it created a smoothened look that blended together the pixels on CRT displays. The family consist of 5 different widths, from Extra Narrow to Extra Wide. Roman, Cyrillic, Katakana & Hiragana are supported.

The chestnut ("castanea") is one of my favorite trees. I used to collect the chestnuts and made chestnut-figurines out of them, using bamboo sate skewers. Castanea font is a calligraphic typeface with an uneven baseline and some messy characters - not unlike the tree. It is a highly legible, highly enjoyable font and could be used for children's books and postcards. Castanea comes with various alternate glyphs and speaks most Roman-based languages!

Suffragette, an all-caps typeface introduced for the branding of the Hermitage Hotel in Nashville, is inspired by the Hotel’s Beaux-Arts architecture injected with a healthy 2020’s aesthetic. This unique roman capital design, with its sans serif-medium contrast shapes and slightly pronounced serifs, is the perfect match for luxury packaging and high-end couture. If your brand wants to project elegance with a playful edge, Suffragette is the font for you!

Carmay was conceived as a charming, gently flowing member of the didonesque family. The roman weights present some hybrid characteristics, which results in an appearance of informality and adds a dash of brio. Carmay, nonetheless, remains restrained and committed to a classical ethos. All weights contain standard and optional ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows.

This rugged rascal is based on at old ATF “original” design called “Hearst” (although Frederic Goudy claimed it was a pirated version of one of his designs). Its commanding, rough-hewn character makes it suitable for headlines, but its large x-height makes it practical for subheads as well. Available in roman and italic versions. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

This is the Latin+Hebrew version of poster/display font Pivnaya designed and published by Roman Type. It works for Afrikaans, Arabic, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Farsi, Finnish, French, German, Hebrew, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Romanian, Slovak, Slovenian, Spanisch, Swedish, Turkish, Urdu, Vietnamese, Zulu. Equipped with wider coverage of the International Phonetic Alphabet (IPA), Pivnaya-Hebrew is fit for all kinds of purposes.

The latest addition to the Astoria Range, Astoria Classic has the same basic characteristics as Astoria but with vertical stress. The characteristic subtle top left serif which makes it not quite a Roman and not quite a sans has been retained. Unlike Astoria, the Italics in form are old style yet have a modern look. This is designed specifically as a text face, however it still works very well as a headline font.

After visiting Milan, I stumbled upon the Sforza castle, and found some interesting type on the inner courtyard castle walls. I became inspired by what I found, and decided to design a typeface based off of the limited quirky letterforms. Thus Sforza was born, with ligatures galore, alternates, pictograms, and swooshes. Sforza is a roman style typeface with a quirky flair. It has loads of ligatures, nested letterforms, and tails and swooshes for endless combinations.

Veritas is a serif text family. It is a narrow-width typeface, with a taller x-height than Times Roman for added legibility, but maintains a similar character count in text. It is typeface designed for publication, newspaper (anywhere where narrow columns are necessary) and identity design. It is exquisitely spaced and kerned, even in European characters. The Digital Type Review states "...Veritas is one of the most important contributions ... from any independent foundry."

This script font was inspired by the type called “Bastarde Flamande”, a much appreciated one in the Duke of Burgundy’s court at the end of 1400s for handwritten books. A book titled Histoire Romaine (Roman history), from Roman author Tite Live, translated in French by Pierre Bersuire, circa 1475, was our main source for drawing the lower case characters and many of the upper case. Each character was written by hand with a quill pen on rough paper so as to look like the originals as much as possible. This font includes “long s”, naturally, as typically medieval , also a few ligatures, final and initial characters but there aren't any abbreviations because the text was written in French rather than Latin. Instructions for use are enclosed in the file and identify how to keyboard these special characters. This font can be used for web-site titles, posters, fliers, ancient looking texts, greeting cards, indeed for many types of presentations as it is a very decorative, elegant and luxurious font. Large type size shows this font at its best.

Guaruja Grotesk is the first Tipogra Fio family for headlines & body copy. The grotesque form factor is much inspired in the Modernism movement from the mid of 20th Century but the Italic weight is a great cursive contrast aside the Roman ones so you can make very brutalist layouts or craft humanist projects, without losing the communication between all the family. Do not be afraid to type words with uppercase I and lowercase L because this last one has its own personality so do others glyphs like Italic lowercase G, Y and K and the straight corners in the Roman uppercase A, K, V, W, X, Y and Z. The same curves and corners are transferred to the numbers, symbols and so on. If your text is in a latin alphabet even though has lots of diacritcs, Guaruja may get it done! If you’re making a mathematical equation, it also can make it. If there’s a signaling project with lots of destinations, trust the arrows to help with together with the whole family.

The new Fabrizio™ types, designed by Ari Rafaeli, have made their first appearance in Saggi di Letteratura Italiana: Da Dante per Pirandello a Orazio Costa, by Lucilla Bonavita, printed at Pisa in March 2016 by Fabrizio Serra Editore for whom the type was specially designed. The types are now offered for general sale. Each style (roman, small capitals, italic, semi-bold, bold) contains Cyrillic and ‘polytonic’ Greek letters and letters for many European languages (Czech, Hungarian, Icelandic, Lettish, Polish, Romanian, Serbian, Ukrainian, Welsh etc.), non-kerning fs, long ſ, ligatures and fractions. Alternative forms are supplied in ‘B’ versions of each style. A set of swash letters and sets of superiors, inferiors, fractions and phonetic letters are also offered. Two ‘Special’ fonts (roman and italic) containing special accents, letters for transliteration, Vietnamese letters, mathematics signs and symbols, arrows, commercial signs, pictograms, figures in circles, scansion marks, braces & benzene rings and the Rafaeli-Meruba Hebrew letters, as well as Latin, Cyrillic and Greek letters, are included in the Fabrizio family.

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.

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.

Mayonez is a typeface with rational structure and axis but softened with rounded contours and cupped serifs, getting as result a balance between seriousness and friendliness. The shapes have a soft appearance but without lacking definition. A more fluid structure influenced by calligraphy is proposed for the italic variants, in this case the uppercase letters adopted a simplified semiserif structure that works better with the lowercase letters. Also the figures are very different from the roman version and follow more faithfully the italic style. In an attempt to give Cyrillic lowercase romans a fresh look, symmetrical serifs inherited from the versal tendency are mostly avoided thus getting simpler structures closer to the latin forms. This type is good for commercial and editorial uses like advertising, packaging and pages with showy headlines where a warm touch wants to be given. The character set includes a group of figures and currency symbols with standard height and another suited to match better with lowercase letters. Mayonez was selected to be part of the Communication Arts Typography annual in 2015.

It started with an italic, or to be more precise, half an italic. The slanted styles of Urge Text exhibit a certain bipolarity, the tops of glyphs having a standard italic form, the bottoms of glyphs being more Roman in their construction. This sturdy footing really locks the italics to the baseline, making them very legible while still being distinct from the uprights. The same bipolar approach didn't work very well in upright styles, so the Romans are more toned down. Ranging from the almost monoline, Egyptian style light weights to higher contrast ‘Modern’ bolds, there is much potential for use in typographically demanding scenarios. The family consists of six weights, normal and condensed widths, all with italics, making a total of 24 fonts; it’s a highly usable text typeface with an array of OpenType features. All styles include small caps, multiple figure styles (proportional- and tabular-, oldstyle and lining, small cap proportional figures, numerators, denominators, superscript and subscript), standard ligatures, alternate forms (stylistic sets), automatic fractions, case sensitive forms, and a handy (perhaps!) ‘percent off’ ligature in the discretionary ligatures feature.

Frutiger® Serif is a re-envisioning of Meridien,a typeface first released by Deberny & Peignot during the 1950s. Working closely with Adrian Frutiger, Linotype's Type Director Akira Kobayashi expanded the original metal type version of Meridien into a new digital family of 20 variants. Renamed Frutiger Serif, this up-to-date Meridien has new weights, widths, and styles that correspond better with several other of Frutiger's designs. Just as Meridien has always been a fine choice for text settings, Frutiger Serif works brilliantly for large amounts of text & also at small point sizes. With its many weights and styles, this family is strong enough for most typographic projects. However, its added versatility is revealed when used in combination with other fonts. Frutiger Serif works well with the original Frutiger, Frutiger Next, and Univers - just to name a few. Paring these serif and sans serif families together is perfect for creating complex hierarchies and clear information design. Working with complicated typographic systems - involving elements such as headlines, captions, pull quotes, multilingual text, etc - is made easy by selecting Frutiger Serif and another of Frutiger's sans serif families. The designer needs simply to mix and match different weights and styles for the various textual elements to create smart and innovative layouts.

The Astronef Super borrows from the charm of retro-futuristic universes. Without concessions, and even radical, the Astronef Super, declined in three styles, pushes the weight limits as far as possible systematically while preserving a unique design. Using the Astronef Super in large size is a real pleasure, it is a very identifiable typeface family, recognizable immediately. Undeniably, choosing the Astronef Super in your designs is not insignificant. This typeface used in large sizes will strengthen your graphic identities. Background The Astronef Super could be considered as the “Spin-off” of the Astronef currently being designed, that will offer an important variation of styles. Of course the Astronef, is wiser in his drawing, it places himself in the tradition of the Univers more than the Helvetica. Genesis and the creative process The idea for an Astronef Super comes from an excerpt from a 60s TV show which shows a logo in the background with a very bold S and this super thin in the middle. The Astronef is already modular in its design. The brief then becomes simple for the Super: accentuate the strongest weights of the Astronef by minimizing the counterform that will remain constant for the three styles. It is the mass effect that maintains the overall cohesion of the Astronef Super family.

Axalp Grotesk™ is a post-Swiss-Style modernist sans serif type family characterized by the play between elegant rounded shapes and sharp angular details. It is minimal, legible, well balanced and charismatic. Its heavy weights deliver powerful yet friendly impact. Thin ones emanate elegance, fine lines and precision. The family has very versatile proportions and generous x-height allowing a successful use for user interfaces, all sorts of display and branding scenarios, as well as a paragraph text typeface. Contemporary minimalistic approach makes Axalp Grotesk an outstanding design tool for creating modern visual identities and user interfaces. A truly universal sans serif family where beautiful forms and proportion work together with careful spacing, kerning and hand-hinting. Axalp Grotesk is an attractive contemporary alternative to the classics of Swiss Design School such as Akzidenz-Grotesk, Univers and Helvetica. It is bright, crisp, modern and friendly in character, and features an alternative stylistic set for more minimalistic and neutral look, simplifying such characters as “Q”, “J”, “a” and “y”. The family has extended latin language support, as well as broad number of OpenType features, such as stylistic alternates, case sensitive forms, ligatures, contextual alternates, lining, oldstyle, tabular and circled figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

The name ‘Linkus’ makes reference to the internet and its power to unite humanity, as well as to Linkus’ distinctive design, where the whole character is unified by a single, unbroken line – without sacrificing its elegance and readability. Linkus is based on the aesthetic decision of having a single, unsplit line forming every character, with a smooth transition of the different line directions, in order to strenghten the unity of form and create a singular fluxus throughout the glyph. Different from most other futuristic fonts (e.g. Slazer), who have an aggressive look, Linkus has a more sensible, refined aura. This display futuristic typeface is meant to be used whenever the subject is technology, cellphones, electronics, internet, computers or science in general, as Linkus creates a feeling of modernity, cleanness, efficiency and high-tech sophistication.

The basis for Series A Signage JNL is Highway Gothic; a type style design formally known as the FHWA Series. The font was developed by the United States Federal Highway Administration, and originally consisted of only capital letters and figures. Each Letter designation represented a character width from "A" (condensed) to "F" (wide). Due to poor visibility at high speeds, Series "A" was discontinued. At one point lower case characters were added to the various widths of the design, but this typeface revival is based on the original guidelines specified in the 1948 (reprinted 1952) book "Standard Alphabets for Highway Signs" [this was the original name for the FHWA series fonts preceding the eventual name change to Highway Gothic]. Unlike the original, Series A Signage JNL is available in both regular and oblique versions.

Crox™ Rounded is a sans-serif professional typeface created using Crox™ family curves that comes in 14 harmonic weights plus 2 poster styles with upright and italic variants, as well as a maximum x-height for great optical reading. All styles have over 25 professional OpenType features and a wide range of Western languages coverage. with a variety of styles and substitute characters: sets 1, 2, 4, 10, 11. Furthermore, operational styles 6 and 7 for the fit-derived SI units format and pricing styles: sets 5, 8, and 9 for business and marketing, ADS and web design, branding, or products design, as well as other OpenType features such as ligatures, old-style numerals, ordinals, swashes,... Specimen Crox™ is a trade mark of Yassine Abdi.

Ravensara Serif - elegant high contrast classic serif. Style of the typeface originates in a classic Didone but took a step to simplify some letter forms and make Didone feel more contemporary. Ravensara Serif is a part of the Ravensara superfamily, united by the same anatomy, which currently also includes Ravensara Sans and Ravensara Stencil. Ravensara Serif, despite its ancient roots and due to simplified and smoothed forms, can be used in a variety of different styles. It’s a perfect choice for bold headlines, oversize typography, fashion logos, branding, identity, website design, album art, covers, posters, advertising, etc. It is available in 7 weights, including Thin, Light, Regular, Medium, SemiBold, Bold and Black. Ravensara Serif extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin and Afrikaans.

A tessellation is a shape that can be used to completely fill the plane--simple examples are isosceles triangles, squares, and hexagons. The TessieDingie fonts contain tessellation shapes that can be used to construct tessellation patterns. The repeating unit, which may contain only one of the shapes or a several of the shapes, is on one key so making patterns is trivial with these fonts. TessieDingieAbstract contains abstract shapes that tessellate. TessieDingiePictures contains shapes that resemble real world objects, such as birds, animals, tools, and vehicles. Make sure the leading is the same as font size or the rows will not line up. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations, such as quilting.

Phinney Jenson ML is a font with deep historical roots firmly planted in the fertile soil of the Italian Renaissance. Twenty years after Lorenzo Ghiberti finished his famous East Doors, the Gates of Paradise, of Santa Maria del Fiore in Florence and about fifteen years before Sandro Botticelli painted his “Birth of Venus,” a French printer by the name of Nicolas Jenson set up a small print shop in the powerful city-state of Venice. The fifteenth century marked the end of the plague and the rise of Venetian power, as the merchants of Venice controlled the lucrative trade of the eastern Mediterranean and sent their ships as far as London and even the Baltic. In 1470, Jenson introduced his Roman type with the printing of De Praeparatio Evangelica by Eusebuis. He continued to use his type for over 150 editions until he died in 1480. In 1890 a leader of the Arts & Crafts movement in England named William Morris founded Kelmscott Press. He was an admirer of Jenson’s Roman and drew his own somewhat darker version called GOLDEN, which he used for the hand-printing of limited editions on homemade paper, initiating the revival of fine printing in England. Morris' efforts came to the attention of Joseph Warren Phinney, manager of the Dickinson Type Foundry of Boston. Phinney requested permission to issue a commercial version, but Morris was philosophically opposed and flatly refused. So Phinney designed a commercial variation of Golden type and released it in 1893 as Jenson Oldstyle. Phinney Jenson is our version of Phinney’s version of Morris' version of Nicolas Jenson’s Roman. We selected a view of the Piazza San Marco in Venice for our gallery illustration of Phinney Jenson ML because most of the principal buildings on the Piazza were already standing when Jenson arrived in Vienna in 1470. The original Campanile was completed in 1173 (the 1912 replacement is partially visible on the left). The Basilica di San Marco was substantially complete by 1300. The Doge’s Palace (not in the photo, but next to the Basilica) was substantially complete by 1450. Even the Torre dell'Orologio (Clock Tower) may have been completed by 1470—certainly by 1500. Phinney Jenson ML has a "rough-and-ready" strength, suitable for headlines and short blocks of text. We have sought to preserve some of the crudeness of the nineteenth-century original. For comparison, see the more refined Centaur, Bruce Rogers's interpretation of Jenson Roman. Phinney Jenson ML has a strong presence that will help your documents stand out from the Times New Roman blizzard that threatens to cover us all. Phinney Jenson ML Features: 1. Glyphs for the 1252 Western Europe, 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Accented glyphs for Cornish and Old Gaelic. Total of 393 glyphs. 400 kerning pairs. 2. OpenType GSUB layout features: onum, pnum, salt, liga, dlig, hisy and ornm. 3. Tabular (std), proportional (opt) & old-style numbers (opt). 5. CcNnOoSsZz-kreska available (salt).

Quanta was designed without reference to existing sansserif faces. As an original design, Quanta draws on principles of letterform developed during my studies of lettercarving (in Wales with Ieuan Rees) and Roman proportion. My intention was to produce a highly legible and adaptable sans-serif, initially intended to be a TrueType GX font, then as a Multiple Master font, later as a five weight range from extremely thin to extra black. A related uncial design will be released shortly.

Fusaka was created by graphic designer Michael Want, a highly original and specialized display typeface which bridges Kanji and Roman letterform styles. As in Kanji, each character fits into a square. The shape and the placement of letter and decorative strokes can make Fusaka look like Asian writing at first glance and allow it to be set either horizontally or vertically. Use Fusaka for a unique look on CD covers, magazine headlines, book titles and Web sites.

Manier is a fresh, display, wedge-serif font family inspired by transitional and contemporary typefaces. Manier has a big x-height value, modern proportions, sharp serifs and an extreme stroke contrast with a vertical stress. The Roman style is paired with dynamic Italics which combines the elements of classic Cursive and the characteristics of Manier. The typeface is a great choice for headlines, titles, posters and branding but also can be successfully used in occasional texts.

Good Pawoo is unique Paw Display font, This font perfect for fun, quirky animal design. Combine ligatures Character to make perfect design for yor projects. Good Pawoo perfect for related animal design, vet promotion, branding, logo, invitation, stationery, social media post, product packaging, merchandise, blog design, game titles, cute style design, Book/Cover Title and more. Features : - Good Pawoo Family Font - Ligatures - Multilingual, US Roman, Latin 1 Support --- Hope you enjoy with our font! Attype Studio

Hantu Tail is a delicate and incredibly distinct Halloween Script Font. Fall in love with its incredibly versatile style and use it to create spectacular designs! Hantu Tail perfect for halloween promotion, branding, logo, invitation, stationery, social media post, product packaging, merchandise, blog design, game titles, cute style design, Book/Cover Title and more. What's Included : - Hantu Tail Family Font - ligatures - Ending Swash - Multilingual, US Roman, Latin 1 Support --- Hope you enjoy with our font! Attype Studio

Suggested by J.M.Bergling’s 1917 “New Romeo Initials, Last Midnight is a display face created in a distinctive pseudocalligraphic Belle Époque style that we’ve come to associate with beloved fairy tales. Rich in typographic goodies, with two additional stylistic sets and a host of standard ligatures, Last Midnight now even has a Roman small caps set in both smooth and rough varieties — great for all of your tale-telling, folkloric, swashbuckling, & spellcasting needs! Part of The Ampersand Forest's Sondheim Series.

Dahliana is a humanist serif type family that has the heritage of classic Old Style and Transitional type while having the crisp lines and functionality of contemporary fonts. Its defining features include a high-contrast combined with diagonal stress, along with pinched stems and horizontals. There are 18 fonts altogether over 9 weights in roman and italic, you can also avail of one variable fonts which allow you to fine tune the weight to your exact liking.