Plusquam Sans is a humanist sans serif family in eight weights, roman and italic. It’s neutral character and legibility in smaller sizes recommend it as a text face, and wide range of weights and swash capitals make it usable for various designer purposes. While roman fonts are simple, although in humanist spirit, italics are more vivid. Typographic variants are supported through OpenType features. Several kind of numerals are offered: lining and Oldstyle, tabular and proportional, superior and inferior, fractions. Small caps and math symbols are provided. There is a range of standard and discretionary ligatures. Alternates sorted in three stylistic sets are created to soften the overall appearance. Most distinguished feature is a set of swash capitals balanced to match sans serif characters. Plusquam Sans comprises multilingual Latin and monotonic Greek characters.

This family is inspired from the set of two styles, Roman normal and Italic, and the ornaments used by an unknown printer working around East Switzerland, circa 1750's. It is a Dutch style font, slightly bolder than usual Fournier's or Caslon's Roman fonts, with some emphasized serifs and finals parts and special letters as capital "U" for example. A set of initials, fleurons, ornaments and frame elements is joined to the family as a supplement. The two styles, Normal and Italic, are containing standard ligatures, a few alternative characters and titlings (who are more preferable than enlarged capitals). They are "small eye" or "Small x-eight" fonts. The standard characters set is completed with accented or specific characters for Western (Including Celtic) and Central Europe, Baltic, Eastern Europe and Turkish.

Cyan Neue is a substantial update variation to the original Cyan we launched in 2006. Most notably the contrast has decreased making it more contemporary. Many glyphs have been improved especially in the italics. The design of Cyan Neue was inspired by features found in classic Roman. It shows a preference for geometric Roman proportions while incorporating open centers (B,P,R) and compact serifs. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. There are many subtle details in Cyan Neue that become more interesting in display sizes, for instance the subtle curves in the serifs and the overall smoothness. Cyan Neue is a robust font that will exceed your expectations. Cyan Neue is clearly ideal for headlines, inscriptions, publications, annual reports, corporate identities, packaging.

Itacolomi is a font family conceived for editorial purposes. Based on historical models, it is well placed in the present time, turning classic proportions into contemporary letter shapes. It is robust and clean in small sizes, keeping the consistency in both print and digital environments. Itacolomi is a result of an extensive investigation into Scottish style types produced in Brazil around 1820. A possible connection between Brazil and Scotland. In short, it preserves the qualities of the famous 19th-century Scotch Roman types while adding a personal approach with unique features from the early Brazilian models. It has six weights, romans plus respective italics, which makes twelve fonts with an extensive character set that supports over two hundred languages and includes small caps, ligatures, old-style and tabular numerals.

To see more technical details download PDF specimen document: https://peggofonts.com/pdf/PGF-Elyss-Sans_%28Specimen-2023%29.pdf PGF Elyss Sans is based on its previous family relative PGF Elyss Roman. With clean and modern lines, but preserving the original Roman style, created to be in labels, invitation, website design, digital graphics, book headlines & titles, brochures, newspaper and magazines design, logotypes, branding and corporate design and much more. In seven weights with more than 900 glyphs each, and ready for more than 200 languages. Including: Standard and Discretionary Ligatures Contextual Alternates Scientific and fractional forms Lining, OldStyle and Tabular figures (Numerals, Mathematical operators and Currency Symbols) SmallCaps (alphabet, numerals and symbols) Social Network & Letter alike symbols Localized language customization (for Azeri, Crimean Tatar, Tatar, Kazakh German, Dutch, Polish, Catalan, Romanian, Moldavian and Turkish)

In the early 1960s, the German Master Printers’ Association requested that a new typeface be designed and produced in identical form on both Linotype and Monotype machines so that text and technical composition would match. Walter Cunz at Stempel responded by commissioning Jan Tschichold to design a new version of Claude Garamond’s serene and classical Roman. Its bold, and particularly its italic styles are limited by the requirements of Linotype casting machines, forcing the character widths of a given letter to match between styles, giving the italic its characteristic narrow f. The family’s name is taken from Jacques Sabon, who introduced Garamond’s Romans to Frankfurt. Sabon has long been a favorite of typographers for setting book text, due to its smooth texture, and in large part because Tschichold’s book typography remains world famous.

Cunaeus is intended primarily for use in running text. It brings together the types of two renowned sixteenth-century punchcutters: the roman is an interpretation of a pica font cut by Ameet Tavernier (c.1522–1570), and the italic that of a pica font of Robert Granjon (1513–1589/90). Granjon’s italics have inspired a number of revivals in the past, but usually of his more slanted styles; the present digitization features the lesser slant of his so-called ‘droit’ style typical of the mid 1560s. Cunaeus provides wide support for west, central, and east European languages that use the roman alphabet. Among its OpenType features are ligatures, small caps, several sets of numerals, contextual alternates, intelligent implementation of long ‘s’, and fractions. For more detail, please see the pdf available in the Gallery.

Crafted in the best tradition of the geometric sans-serif, Rondana is a typographic tribute to the the retro-futuristic aesthetics of the 1960s and 70s, as well as an exercise in purity of line. However, its spirit is decidedly non-bauhausian, since its strokes intentionally deviate from the dull, obvious, ruler-and-compass construction; its arcs and curves being much more complex, tending towards a slightly square shape, imbued with subtle modulations. This sums up to a more organic, flowing, extroverted personality than the one just expected from the use of plain, simple geometry. Another feature is the conscious use of non-standard shapes for many signs, that are quite legible but somewhat unexpected, such as the E, the g and the ampersand; making Rondana an excellent display face and also giving a particular flavor to the text composed in it, especially in its italic variants —which are, by the way, designer italics in their own right and not just an oblique version of the roman. Rondana comes in twelve variants comprising a wide spectrum of weights, allowing for an extremely diverse range of expression.

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." In the 1990s, Robert Slimbach designed his contemporary interpretation, Adobe Jenson™. It was first released by Adobe in 1996, and re-released in 2000 as a full-featured OpenType font with extended language support and many typographic refinements. A remarkable tour de force, Adobe Jenson provides flexibility for a complete range of text and display composition; it has huge character sets in specially designed optical sizes for captions, text, subheads, and display. The weight range includes light, regular, semibold, and bold. Jenson did not design an italic type to accompany his roman, so Slimbach used the italic types cut by Ludovico degli Arrighi in 1524-27 as his models for the italics in Adobe Jenson. Use this family for book and magazine composition, or for display work when the design calls for a sense of graciousness and dignity.

Paint Brush Script is a Natural Brush handwriting modern calligraphy font. Paint brush offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Intellecta Ribbons is an elegant set of ribbons ready for many applications. With this set you can make tags, shopping sale designs, diverse invitations, discount seals, banners, posters or anything you want.

Yontrakam is a bold display font with a sharp and sleek appearance, exuding a futuristic and sci-fi vibe. Ideal for conveying special emphasis in diverse media, including posters, packaging, and more.

Aloha Magazine Unique& playful sans serif serif family with 9 Weights Aloha Magazine offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Gord Quick Unique & Playful sans serif serif family with 9 Weights Gord Quick offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Mobern Fashion Unique& playful sans serif serif family with 5 Weights Mobern Fashion offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Psychoart Typeface , contemporary of Psychedelic Serif font, inspired by 1970’s era. Psychoart offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Syakira Script has a romantic and modern calligraphic style, and is ready to give your design a fresh and fabulous Style. Syakira Script comes as a single font file packed full of great features and cuteness. Perfect for weddings, branding and romantic invitations and also suitable for various purposes such as digital lettering, headings, logos, wedding invitations, t-shirts, letterheads, signage and much more! Thank You, Sulthan Studio

Bhilligod is inspired by the flow of fine art, which seeks to present beautiful and fantastical paintings that are romantic in nature, such as history and tragedy. This style was popular worldwide in the 18th and 19th centuries and became an important part of European and Western culture. Therefore, we are very enthusiastic to show our best work in romantic artwork, which we apply in blackletter-style font work.

Shabby-chic calligraphic script based on hand-drawn characters. Will work well in boutique and vintage environments, conveying a romantic, hand-made touch.

ITC Eras font is the work of French designers Albert Boton and Albert Hollenstein. It is a typical sans serif typeface distinguished by its unusual slight forward slant and subtle variations in stroke weight. ITC Eras is an open and airy typeface inspired by both Greek stone-cut lapidary letters as well as Roman capitals.

Ames’ Shaded is one of three display typefaces designed to complement the Ames’ Roman and Ames’ Text typeface families. Ames’ Shaded has that semi-industrial feel that somehow is evoked by diagonal cross-hatching. Delightful for use on its own of with the families mentioned. A delightful introduction to the Ames’ ‘Super’ typeface family.

Morris Fuller Benton's 1917 typeface named Invitation provided the pattern for this elegant and endearing face. Classic Engravers Roman style caps are exquisitely balanced with a sinewy lowercase, adding warmth and charm. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

This typeface takes its inspiration from Will Bradley's Ultra Modern Initials, released by American Type Founders in 1934. Unlike the caps-only original version, both versions of this font contain complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan, and the Macintosh Roman character set, as well.

Based on a Roman character set, Gideon is a traditional typeface with classic forms. Perfect for uses from invitations, greeting cards and menus, to display advertising. The upper case letters have a tradition calligraphic feel that adds warmth and sophistication to text while the legibility allows for larger blocks of copy to be easily read.

Hoplight is a friendly, curvy, hybrid. A fusion of the cool character of a roman, with the flow and informality of an italic. Throughout Hoplight, many sharp serifs have been replaced by dot style serifs, to allow the contours of the letters to flow seamlessly into the terminations. Hoplight embodies a sense of playful ease.

Versals is based on Lombardic style letters which are sufficiently broad to allow for decorated piercing and flourishes. They may also form the basis of illuminated capitals. The face is presented as capitals with reduced copies in the lower case locations. It is a full latin set with, uniquely, a set of roman numerals.

Andis’ rough cut makes it an interesting display typeface, but thanks to its generous x-height and firm serifs, Andis works equally well in text sizes. The typeface’s idiosyncratic italic builds a strong contrast with the roman. Andis is both functional and expressive; using it lends a humanistic touch to editorial or advertising work.

Advertising and Marketing often calls for the use of neutral typestyles; conveying a quiet but clear message with little stress and an even color on the page. Admarks' roman weights have simple slab serifs contrasting with generously rounded features. Italics provide a sharp emphasis, still keeping the delicate use of stress combined with contrast.

Alambart is one of a new series of ‘wood type’ inspired fonts. Alambart is a hand-cut oblique Roman, suggesting the late Victorian era, but the type of thing that continued in use well into the twentieth century. If you want a title face that has versatility and suggests a past history, this is it!

VAG Rounded Next Variable Regular is a single font file that features one axis: Weight. For your convenience, the Weight axis has preset instances from Light to Extra Black. 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.

This Gelora font is luxurious and classic engraved that is suitable for any design such as book covers, posters, quote designs, apparel, etc. This font is inspired by a colossal theme from the Roman Empire or something like a Gladiator story, but I found this font also looks suitable for a western cowboy theme.

Happy to introduce you Medieval initials set made of twisted beast, lions, birds and spiral pattern. Ornamental type for history identity, ethnic prints, tribal posters, etc. It's not a color font! You can color glyphs yourself and use bright version. If you have any questions or issues, please contact me: kaer.pro@gmail.com Best, Roman.

Hey! I'm happy to introduce to you my new font in fast speed style. Dry brush stroke with grunge lines and dots. Perfect for Taxi logo, Race poster, Sport identity, etc. You’ll get: * Uppercase (lowercase glyphs are the same) * Numbers * Symbols Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

Ascender Serif was designed by Steve Matteson as an originative, unique serif design that is metrically compatible with Times New Roman. Ascender Serif offers refined on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers searching for width-compatible fonts to address document portability across various platforms.

Arsis is a condesed modern headline face that was originally produced and cast in hot metal by the Dutch type foundry Lettergieterij Amsterdam. The Arsis font family was designed by Gerry Powell in 1937. Arsis is a Serif (Antiqua) Modern Style font. Arsis font family attributes include roman serif, Didone, elegant, formal, modern style, feminine.

The Irish monk Columbanus founded early monasteries across Western Europe starting in the Sixth Century, bringing literacy in his wake. As the Patron Saint of Motorcyclists, the adventurous Columbanus is both gallant and respected. The font is Classical Roman with a Celtic accent, great for a range of applications from the sacred to the profane.

ITC Isbell font is the work of Dick Isbell and Jerry Campbell of Detroit, Michigan, a highly stylized roman typeface which retains an exceptional legibility. The unusual arches and curves of several lowercase characters give the typeface its individuality. ITC Isbell font is ideal for advertising, brochures, menus, and a variety of other applications.

"Holland Matcha" – the handwritten font that adds a touch of organic elegance and warmth to your food and beverage brand. Elevate your identity with this unique, memorable typeface and make your culinary creations truly stand out. Explore "Holland Matcha" today for an unforgettable brand transformation. Features : - Holland Matcha Font - Multilingual, US Roman, Latin 1 Support