Hargalia is a beautiful cursive display typeface. Inspired by classic cursive calligraphy from Carolingian Renaissance era (about 8th century) which in that era, the alphabet letterform was perfected for the first time with many curvy strokes with a flat brush. Hargalia is designed with penmanship and carefully digitized with many swashes included. Hargalia is designed for headlines and short body texts. The natural strokes with calligraphic feel that highly recommended for fashion, branding, magazine, editorial, logotype, packaging, historical quotes, and more. This font is PUA Encoded with 430 glyphs in total! Worth every penny! Features included: Uppercase Lowercase Numbers Symbols Punctuation Stylistic alternates Contextual alternates Swashes Ligatures Stylistic set 001 - 003 Best regards, Ramz.

Gastromond began about five years ago with a question: why are fat faces always based on Didot or Bodoni models? Was there a reason that the stresses of these display faces was always vertical or horizontal and never angled? It was time to find out. Gastromond is meant to blend the Renaissance stylings of the Garamond types with the Victorian outlandishness of the fat faces. The result is an emphatic take on a classic genre. Loaded with swashes and alternates, Gastromond has enough character to go around.

Alleghieri was developed from several different examples of late Renaissance lettering. While it is based on a style which is clearly intended for quick, easy writing, we've preserved many of the unusual character forms and elaborations to give it a lot of personality. The result is stylish and unique, with a real feel of the Renaissance, but great readability as well. The full version includes a large selection of variant character forms and special characters.

Hleba Soli Ziamli Voli typeface is a graphic discovery on title type that combines traditional poster shapes with Humanist notes from Renaissance. Hleba Soli Ziamli Voli is named after Belarus poem by Yanka Kupala and inherits some original glyph designs from Renaissance printings by Francisk Skoryna. Hleba Soli Ziamli Voli due to wide variety of weights is great for titles and posters. Cyrillic and Latin support makes the type sutable for multilingual communications.

Origins is based on letters hand-drawn with a crow quill on parchment paper, a testament to calligraphic grace and antique ambiance. Its tight, energetic angularity can be complemented with swooping swash capitals, alternate ascending and descending letterforms, and graceful ending characters. Origins sings in settings related to food and wine, celebrations, travel, and history. Origins features 120 alternates and swashes, 8 ligatures and 20 ornaments. See what’s included! http://bit.ly/2ci2wgE *NOTE* Basic versions DO NOT include swashes, alternates or ornaments This font has been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Novel Pro is the humanist Antiqua typeface family within the largely extended award winning Novel Collection, also containing Novel Sans Pro, Novel Sans Hair, Novel Sans Condensed Pro, Novel Display, Novel Display Condensed, Novel Display Extra Condensed, Novel Display Compressed, Novel Display Extra Compressed, Novel Mono Pro, Novel Sans Rounded Pro and Novel Sans Office Pro. Classic proportions of a Renaissance Antiqua combined with modern details let Novel appear as a friendly and elegant but functional typeface. The almost upright letters of the narrow Italics create a vital contrast to the generous construction of the roman. All typeface families of the Novel Collection have a carefully attuned character design and a well balanced weight contrast. The fine gradation of 12 weights enable designers to create fine legible typography and combine the design with other members of the Novel Collection to reach highest quality in typography. Novel Pro [914 glyphs] comes in 12 styles and contains small caps, an extra set of alternate glyphs, many ligatures, lining figures [proportionally spaced and monospaced], hanging figures [proportionally spaced and monospaced], small caps figures [proportionally spaced and monospaced], positive and negative circled figures for upper and lower case, superior and inferior figures, fractions, extensive language support, arrows for uppercase and lowercase and many more OpenType™ features.

Livory is a serif type family of four fonts including small caps, 25 ornaments & 50 ligatures in each style. It was designed by Hannes von Döhren & Livius F. Dietzel between 2005 and 2010. Livory is influenced by the French Renaissance Antiquas from the 16th century. It has an organic look with a warm touch and was especially developed for long texts. With its melted corners and individual serifs, Livory has also a smooth and handcrafted appearance in display sizes. With almost 780 glyphs in each font, Livory is equipped for complex, professional typographic work. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes small caps, fractions, old style-, lining-, tabular numbers, scientific superior/inferior figures, ligatures, ornaments and a set of arrows.

Fragrance was inspired by script styles of the twentieth century, and brought into the early 21st century with extravagant, sweeping, upper-case letters and smaller "x" height. Fragrance Antique is a new style for the delicate, feminine Fragrance font. Fragrance Antique retains its elegance, but has a deconstructed, grunged appearance, making it perfect for "ancient" manuscripts, medieval wedding stationery, greeting cards and graffiti style advertising material. The font has a delicate, feminine style reminiscent of elusive perfumes, its elegance emphasized by the contrast between upper and lower case characters. Upper case swashes extend outwards, slashing across or underlining more demure lower case letters. Fragrance is perfect for wedding stationery, greeting cards, lingerie, flowers, perfume and cosmetic advertising, book covers and magazine pages. The font contains over 272 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It also includes "open-type"characters to enhance the flow of the text. It has all the accented characters used in the major European languages.

Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino nova. The Palatino nova family also includes revised versions of Aldus (now called Aldus nova). A bold weight is added into the font family. The character set support is similar to Palatino nova, but Greek and Cyrillic are not available in book weight fonts.

Origins is based on letters hand-drawn with a crow quill on parchment paper, a testament to calligraphic grace and antique ambiance. Its tight, energetic angularity can be complemented with swooping swash capitals, alternate ascending and descending letterforms, and graceful ending characters. Origins sings in settings related to food and wine, celebrations, travel, and history. Origins features 120 alternates and swashes, 8 ligatures and 20 ornaments. See what’s included! http://bit.ly/2hsRQ15 This font has been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Gallero Vintage Inspired by Renaissance Design Era. Gallero offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Bramante™ is an original display font by LetterPerfect Fonts, designed by Garrett Boge in 2020. It is modeled after a fifteenth-century inscription in the church of Santa Cecilia in Trastevere, Rome. The name is a tribute to the pre-eminent Renaissance architect Donato Bramante, whose Tempietto (1502, San Pietro in Montorio) marked the beginning of the High Renaissance in Rome. In 1503 he was named lead architect for the new St. Peter's Basilica, which was completed by Michelangelo, Maderno and Bernini a century later. Based on the pervasive use of Adobe Trajan as a classical-inspired titling face, LetterPerfect offers this Renaissance revival of imperial Roman capitals as an alternative with additional refinement and personality. (The full size capitals are complemented with small capitals in the lowercase positions.)

Modern Aesthetic Inspired by Renaissance Design Era. Modern Aesthetic offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

La Signora Inspired by Renaissance Design Era. La Signora offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Ornamental caps with scrolls and flourishes inhabited by satyrs, mermaids, Medusa heads, birds, cats, dogs, snakes, and other creatures, inspired by designs from Italian Renaissance artists dating back to 1730-1750. Beautifully ornate and perfect for the beginning of paragraphs in publications and texts conveying the feel of the Italian Renaissance, your own fairy tale stories, or religious texts to grab the reader's attention. Includes one set of A-Z ornamental caps conveniently assigned to both the upper and lower case alphabet characters.

Emil Rudolf Weiss’s 1920s Antiqua font family redrawn and redesigned for nowadays use.

Based on the 10- and 36-point Diethelm-Antiqua types designed by Walter Diethelm and issued by Haas (Münchenstein) 1948-51. DiethelmAR™ series text-size fonts are based on the 10-point designs. Eastern European accents, swash capitals, alternative figures and small capitals are available. The DiethelmARd fonts are based on the 36-point (dreicicero) designs. OpenType fonts are available individually or in two packages: text fonts (with EE accents, small capitals) and display fonts.

Tuesnight feels like party! Inspired by movie posters from the sixties, but with quite a contemporary accent, this is a lively face, packed with lots of alternates and interlocking pairs. There are also swashes to this side, swashes to that side, stylistic alternates... A zip-zap guide: typing upper- or lower-keys you get different lettershapes. Turn on the Contextual Alternates to get instant cycling of these. For accessing the interlock pairs, click on Standard Ligatures. Or just dive into a glyphs palette and pick your choices. Tuesnight feels like a party, and you're sure invited! Have fun!

Named after Gian Giorgio Trissino (1478-1550) the Italian Renaissance humanist, poet, dramatist, diplomat and grammarian who was the first to explicitly distinguish I and J as seperate letter sounds.

Vintage Retro Inspired by Renaissance Design Era. Vintage Retro offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs. Happy Creating!

Modern antiqua (Victorian, Scotch Roman) «Dodo», 2008–2019. Named so as a portmanteau of Bodoni – Didot. XIX-th century fonts, especially Victorian antiquas, were almost excluded from the modern use by their XX-th century's descendants. And these new books had lost too much of their former beauty, elegance. Their old noble spirit. This project, «Dodo» was started in 2008 year as the first then modern revival for the Old Imperial Russian book scotch antiqua, used 120–170 years ago in almost every printed book. Still keeping the spirit of the Steam æra.

This illustrative alphabet was inspired by the decorations of Godfrey Sykes, whose work was greatly influenced by that of Raphael and Michelangelo. This tile alphabet follows a Venetian 16th-century tradition of letters decorated with figures symbolizing each initial, a High Renaissance style. Includes one set of A-Z ornamental initials conveniently assigned to both the upper and lower case alphabet characters. Perfect for artistic publications, storybooks, fairy tales, and texts conveying the feel of the apogee of the visual arts in the Italian Renaissance.

Today's digital font technology has allowed renowned font designer and calligrapher Hermann Zapf to realize a dream he first had more than fifty years ago: to create a typeface that would come very close to the freedom and liveliness of beautiful handwriting. The basic Zapfino font family, released in 1998, consists of four alphabets with many additional stylistic alternates that can be freely mixed together to emulate the variations in handwritten text. In 2003, Zapf completed Zapfino Extra, a large expansion of the Zapfino family. Designed in collaboration with Akira Kobayashi, Zapfino Extra has a cornucopia of new characters. It includes exuberant hyper-flourishes, elegant small caps, dozens of ornaments, more alternates and ligatures, index characters, and a very useful "forte" (bold) version. Use Zapfino to produce unusual and graceful advertisements, packaging, and invitations. Featured in: Best Fonts for Logos, Best Fonts for Tattoos

Fragor, Serif Display Typeface. Fragor Inspired by Renaissance Era, Fragor Display Typeface offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Metro Photograph, Serif Display Typeface Inspired by Renaissance Design Era. Metro Photograph offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts, advertisements & product designs.

Levato, the first font designed by Felix Bonge, is an Antiqua that is full of character and is refined but by no means sterile. This typeface provides for a wide range of options for creating individual designs. It was not really Felix Bonge's intention to create a whole font family when, as a second year student, he began several exercises in contrast and proportion as part of the typeface design course of Professor Veljovi? at Hamburg University of Applied Sciences. However, these initial studies developed into a project that Bonge persisted with over the following years while working towards his degree. He continually had new insights and ideas that he was able to exploit for his font. Of particular importance, he claims, was a calligraphy seminar, which prompted him to completely rework his concept. It took him several years before his extensive font Levato™ was ready. Although the forms of Levato are ultimately derived from Renaissance Antiqua, Bonge has slightly increased the relative contrast in his version. This gives the font a graceful appearance that is further emphasized by the reduced x-height and the associated prominence of the ascenders. And, in addition, the relatively fine serifs, which are almost linear at their ends, infuse Levato with a hint of classical Antiqua á la Bodoni. At the same time, Bonge cleverly compensates for the sterilising tendency of this font form. Soft and rounded serif attachments and rounded line apexes offset the severe nature of the font and provide it with an aura of vivacity. This effect is promoted by the calligraphic-like foot of the lowercase h, n and m and the not quite horizontal bars of the uppercase E and F. Overall, Bonge has succeeded in creating a refined and yet very dynamic typeface. Levato is available in five weights; Light, Regular, Medium, Bold and Black, in each case with the corresponding italic versions. Bonge treats Levato Italic as a genuine cursive typeface. Its letters are thus slightly narrower than the analogous upright letters and their forms are considerably more curvilinear. All the versions of Levato boast an enormous range of characters to meet all possible requirements. In addition to four sets of minuscule and majuscule numerals for tabular and proportional typesetting, there are also small caps, numerous ligatures, ornamental characters and even swash variants of letters. With their generous, sweeping curves, the swash variants (available as OpenType versions) can be used for striking titling effects or as initials.

While browsing through a sourcebook on historic calligraphy and antique type I came on an interesting sample of a gothic style attributed to the legendary artist Albrecht Durer. I had previously seen fonts based on the peculiar style of lettering Durer used on prints for his signature and some captions, but this style was radically different and much more characteristic of the lettering and early printed types of the 'Northern Renaissance' which Durer was a big part of. Whether it's authentically Durer's work or not is up in the air, but it's a very nice example of early gothic type. We've called the resulting font Albrecht Durer Gothic and it's a very striking face well suited to titles and other contemporary uses where you need something heavy and eye catching.

Caravela is a decorative formal typeface. It was designed, drawn and realized by Mans Greback in 2020. Inspired by 17th century typographic works, this work lifts some of the absolute best elements from the golden age of calligraphic lettering, bringing it to life in a new, modern setting. The fusion results in a typeface that works perfectly for a present day headline, logotype or invitation, while keeping the traditions and formality inherited from history. It contains several alternate alphabets, a great set of ligatures and hundreds of contextual functions, which combined make the writing appear as a true handpainted piece of art. Swashes can be accessed by writing swash1, swash2, swash3 etc. Also included is the Caravela Swash style, a font that contains more than 50 decorative elements to be used with the lettering for an even greater visual effect. It has a very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Florentino - a Renaissance Era calligraphic-inspired serif with a touch of elegance. Specially designed for retro, elegant projects, Florentino is perfectly suitable for creating classic design such as logos, packaging, editorial, and more.

Bitstream typeface based on Koch Antiqua by Rudolph Koch (Klingspor, 1922). Koch Antiqua, also known as Locarno and Eve, is the most popular face of one of the great lettering artists of the 20th century. This delicate display face has a small x-height, very tall ascenders, and main strokes that taper gracefully downward. Koch-Antiqua appeared extensively in advertising between the wars. A refined letterform, it is best used sparingly for a distinctive look in advertising, book, and job work. Two weights of Cyrillic version including alternative lc characters were developed by Isabella Chaeva and released in 2008 by ParaType.

From alphabets created for book illustrations in the 1970s to lettering created for a book jacket in the 1990s, the Mentor family of typefaces has developed along its own slow and circuitous path. Always present in its evolution, though, has been the influence of three 20th century design giants: Eric Gill, Reynolds Stone, and Hermann Zapf, as filtered through the meticulous sensibility of Michael Harvey.

ITC Veljovic was designed by Jovica Veljovic and displays an obvious calligraphic heritage. The designer was strongly influenced by German designer Hermann Zapf and Israeli designer Henri Friedlander. ITC Veljovic exhibits a crisp precision, as if the letters were cut in stone rather than drawn with pen and ink. In 2014 Veljovic revised this family and ITC New Veljovic was released with many more weights and styles

Christo - a serif with elegant, artistic, Renaissance touch. Specially designed for bold, artistic, grand projects. The font is perfectly suitable for creating elegant, artistic, classic design such as logo, packaging, social media, and more.

The Englishman William Caslon (1672–1766) first cut his typeface Caslon in 1725. His major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens. The Caslon font was long known as the script of kings, although on the other side of the political spectrum, the Americans used it as well for their Declaration of Independence. The characteristics of the earlier Renaissance typefaces are only barely detectable. The serifs are finer and the axis of the curvature is almost or completely vertical. The overall impression which Caslon makes is serious, elegant and linear. Next to Baskerville, Caslon is known as the embodiment of the English Baroque-Antiqua and has gone through numerous new interpretations, meaning that every Caslon is slightly different. American Type Founders presented a Caslon in 1905 which is true to the forms of the original. This font is relatively wide and comes complete with small caps and old style figures.

The Englishman William Caslon (1672-1766) first cut his typeface Caslon in 1725. His major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens. The Caslon font was long known as the script of kings, although on the other side of the political spectrum, the Americans used it as well for their Declaration of Independence. The characteristics of the earlier Renaissance typefaces are only barely detectable. The serifs are finer and the axis of the curvature is almost or completely vertical. The overall impression which Caslon makes is serious, elegant and linear. Next to Baskerville, Caslon is known as the embodiment of the English Baroque-Antiqua and has gone through numerous new interpretations, meaning that every Caslon is slightly different. Caslon Classico appeared in 1993 and was designed by Franco Luin, the designer of various interpretations of classic typefaces. Luin kept his design true to the original and Caslon Classico consists of two cuts with corresponding italic and small caps characters.

Essay is an elegant serif typeface intended for setting books, with many stylistic alternates and other typographic goodies, designed by Stefan Ellmer. It is a highly legible text face with a natural flow of reading. This is enhanced by a slight slant of the roman, the combination of open and closed apertures and the amalgamation of organic strokes and counters with a static, fully straight baseline. Essay Text Regular looks back to the spirit of the french Renaissance, when the roman typographic letterforms came to full emancipation. Departing from that historical reference, Essay Text gets rid of all sentimental antiquity and becomes a contemporary interpretation of the “archetypes” of that period. Essay Text Italic refers to that more vaguely, resulting in a formalised look with fairly upright and open shapes and little cursiveness. As in the Renaissance, before the mating of roman and italic, Essay Text Italic works as a separate text face and a perfect secondary type. The name Essay derives from the literary meaning of the word, attempt or trial. Therefore, the typeface Essay can be seen as an attempt to express an opinion about reading, the omnipresence of history, the importance of calligraphy and the importance to deviate from that calligraphic source; as well as an attempt to crystallise lettershapes in balance between convention and the designer’s personal idiom.