Fontwerk Romaine™ Type Specimen · © 2020 Fontwerk · www.fontwerk.com · 1/20

Romaine Fontwerk Romaine™ Credits & Details · www.fontwerk.com · 2/20

Romaine™

A shockingly modern 450 year old. Fontwerk’s one and only – but highly necessary – revival.

Design Design Contributions Trademarks Licensing Recommended Use Aad van Dommelen Andreas Frohloff Romaine™ is a trademark of TrialFree Test license; Advertising & Packaging Robert Granjon Fontwerk GmbH StandardCombined Print, Web, App Book Text Mastering, Production and eBook license; starting at €50 Editorial & Publishing Andreas Frohloff Design Period; Release ExtendedLarger license volume and Logo, Branding &ci Christoph Koeberlin 1570, 2015–2020; July 20, 2020 additional Broadcasting; Small Text starting at €500 Marketing Latest Update Further types of license available on Contact Aad van Dommelen(Naming, Version 1.002; October 8, 2020 request Fontwerk GmbH Copywriting, Imagery, Graphic Prenzlauer Allee 186 Design) Glyphs Per Formats 10405 Berlin, Germany Ivo Gabrowitsch(Copywriting, 1100 (see pages 8 and 9) otf, woff, woff2; Further formats [email protected] Imagery, Specimen) available on request Available exclusively from Lucy Beckley(English Translation) Languages fontwerk.com/fonts/romaine. 97 Latin (see page 13) Variable Available on request Styles 4: two upright weights and Modifications & Extensions corresponding italics (see page 5) Available on request

Bold 50 pt, Bold 16 pt, Regular 16 pt, Bold 10 pt, Regular 10 pt Fontwerk Romaine™ Samples · www.fontwerk.com · 3/20

Bioporos Organic Farm Mine d’antimoine grise tenant argent 26.584 Scoville Der Ring der Nibelungen hippocrates Le Ricette Della Nonna Arnold Pannartz, Konrad Sweynheim 2 ft 51⁄2 in gauge heritage railway Fontwerk Romaine™ Text SamplesRomaine™ Non-Latin Samples · www.fontwerk.com · 4/20

The World’s 50 Best Restaurants la quiberonnaise Abbaye Saint-Michel de Kergonan House of Guards Crocologia Influencer Reality Sir György Stern Fontwerk Romaine™ Styles · www.fontwerk.com · 5/20

Romaine Regular ·small caps · petite caps Romaine Italic · ·petite caps Romaine Bold ·small caps ·petite caps Romaine Bold Italic ·small caps ·petite caps

Available in 4 styles.

Fontwerk Romaine™ Samples Logos and Headlines · www.fontwerk.com · 6/20

B R

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I L

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A

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E V ❧ A L finestf ashion N E D O M M London Croydon Bold Small Caps 17.5 pt, Bold Italic 55 pt

Regular 35 pt

Regular Small Caps + Italic 60 pt + 90‰ Spacing, Bold Italic 27 pt Regular All Caps 60 pt + 40‰ Spacing Michelin Guide ANTWERP Rouge ART WEEKEND 2021 ¶ Fontwerk Romaine™ Samples Body Text · www.fontwerk.com · 7/20

20 Mil Léguas Submarinas Bold 56 pt, Português the year 1866 was signalized by a Schiffe auf hoher See „einem gigantischen Etwas“ begeg‐ net, einem langen, spindelförmigen Gegenstand, der bis‐ remarkable incident, a mysterious and weilen phosphoreszierte und weitaus größer und schneller inexplicable phenomenon, which doubt‐ war als ein Wal. Regular 16 pt, Deutsch less no one has yet forgotten. Not to Los hechos relativos a estas apariciones, consignados en los diferentes libros de mention rumors which agitated the mar‐ a bordo, coincidían con bastante exactitud en lo referente a la estructura del objeto o del ser en cuestión, a la excepcional velocidad de sus movimientos, a la itime population, and excited the public sorprendente potencia de su locomoción y a la particular vitalidad de que parecía dotado. De tratarse de un cetáceo, superaba en volumen a todos cuantos especí‐ mind, even in the interior of continents, menes de este género había clasificado la ciencia hasta entonces. Regular 12 pt, Español Ni Cuvier, ni Lacepède, ni Dumeril ni Quatrefages hubieran admitido la exis‐ seafaring men were particularly excited. tencia de tal monstruo, a menos de haberlo visto por sus propios ojos de sabios. Medium Small Caps 23 pt, Medium 23 pt, English

À prendre la moyenne des observations faites à diverses reprises, — en rejetant les évaluations Kaufleute, Reeder, Schiffskapitäne, Skipper und Master in timides qui assignaient à cet objet une longueur de deux cents pieds, et en repoussant les opini‐ Europa und Amerika, Offiziere der Kriegsmarine aller ons exagérées qui le disaient large d’un mille et long de trois, — on pouvait affirmer, cependant, que cet être phénoménal dépassait de beaucoup toutes les dimensions admises jusqu’à ce jour Länder und schließlich die Regierungen der verschiedenen par les ichthyologistes, — s’il existait toutefois. Or, il existait, le fait en lui-même n’était plus nia‐ ble, et, avec ce penchant qui pousse au merveilleux la cervelle humaine, on comprendra l’émoti‐ Staaten beider Kontinente nahmen die Vorfälle außeror‐ on produite dans le monde entier par cette surnaturelle apparition. Quant à la rejeter au rang des dentlich ernst. Seit einiger Zeit schon waren mehrere fables, il fallait y renoncer. Regular 10 pt, Français Fontwerk Romaine™ Glyphs Regular · www.fontwerk.com · 8/20

Uppercase

Lowercase

Small Caps

Petite Caps

Numerals and Currency Symbols

Punctuation,Mathematical Signs and Symbols

Arrows & Shapes

Ligatures · Discretionary Ligatures

Swashes Fontwerk Romaine™ Glyphs Italic · www.fontwerk.com · 9/20

Uppercase

Lowercase

Small Caps

Petite Caps

Numerals and Currency Symbol

Punctuation,Mathematical Signs and Symbols

Arrows & Shapes

Ligatures · Discretionary Ligatures

Swashes Fontwerk Romaine™ OpenType Features · www.fontwerk.com · 10/20

Standard Ligatures #liga, Discretionary Ligatures #dlig variation:# smcp + #c2sc ffb ffh ffi ffj ffk ffl fft ſſb ſſi ſſkſſlfbfffhfħfjfkfľftſbſhſiſjſkſlſſſt also via #smcp +Stylistic Set 01 fi fl as wellTh as ct ff included,fr as well asIJTh as ct ff ij íj́isllſpspst tt us in Italics additionally Aprilapril Pfeffi Pfeffi Petite Capitals #pcap also via Stylistic Set 02 Historical Ligatures #hlig ffj fj ftſp included (Italics only) EclipseE clipse variation:Petite Capitals With Small Capitals: Hiſpana Hiſpana #smcpor #ss01 +#pcapor #ss02 Small Capitals #smcp Curryc urry PeopleP eople Petite Capitals From Capitals #c2pc also via Stylistic Set 03; Petite Capitals instead of Small Capitals via Small Capitals From Capitals #c2sc Stylistic Set 04 also via Stylistic Set 01 Usageu sage SERSE serse Fontwerk Romaine™ OpenType Features · www.fontwerk.com · 11/20

Stylistic Set 05 #ss05 — Historical alternates Contextual Alternates #calt KĶRŔŘŖ included fà →fà;´j´J → j́J́ (Uprights) and fí → fí,qy → qy(Italics) included KingK ing fíthfí th Stylistic Set 06 #ss02 — Alternative zero Case-Sensitive Forms #case !¡?¿ ·•‽⸘/\(){}[]- –—‒‐‑«»‹›⟨⟩@0123456789₿¢$€Ƒ ₣₴₤ 850kg 850kg ₺₼₧₽₹£₸₩¥%‰included Stylistic Set 07, 08 and 09 #ss07, #ss08 and #ss09(09 Italics only) — Alternative ampersands (H-o)( H-O) &&& &&& Capital Spacing #cpsp Stylistic Set 10 #ss10 — Alternative rotated florat heart bullets ❧ included BTSVBTSV ❧ ❧ Oldstyle Figures (default) #onum, Lining Figures #lnum All alternative glyphs are also available via the Access All Alternates 169169 #aalt and Stylistic Alternates #salt features. Proportional Figures (default) #pnum, Tabular Figures #tnum 317 317 Fontwerk Romaine™ OpenType Features · www.fontwerk.com · 12/20

Fractions #frac,Numerators #numrand Denominators #dnom Terminal Forms #fina aáăäàāąeéěêëėèēęmnńňtť 34/852134⁄8521 (Uprights) andeéěêëėèēęmnńň (Italics) included Ordinals #ordn QueenQuee n Swashes #swsh 6a2o6 ª 2º ¶ (Uprights) andAÁĂÂÄÀĀĄÅÃCĆČÇĈĊVvzźžż Scientific Inferiorssinf # (Italics) included CO2 CO₂ Cádiz ¶ Cádiz ¶

Superscript #sups, Subscript #subs Localized Forms #locl L· Ll·l→ ĿLŀl (Catalan) ÍJíj→ ÍJ́ íj́(Dutch) Ş Ţ→ şţ Ș Ț ș ț (Romanian) m3 M6 m³ M₆ included Slashed Zero #zero Braşov Brașov Historical Forms #hist 7380 7380 AÁĂÂÄÀĀĄÅÃJĴKĶMRŔŘŖVWẂŴẄẀgğĝģġjȷĵy ŷÿỳ& included (Italics only) Initial Forms #init vw included (Italics only) MingaM inga windyw indy Fontwerk Romaine™ Languages · www.fontwerk.com · 13/20

All of Fontwerk’s support at least 94 Latin-based European languages such as English, German, French, Spanish, Czech, Polish, and Turkish. Some Supported families also support Greek and Cyrillic (e.g. Russian, Bulgarian). If you need further languages or script systems (anything from Cyrillic and Greek to Hebrew, Arabic, Thai, Devanagari and even Chinese, Japanese, Korean(cjk) ),wecan Languages make custom fonts for you.

▾ Latin Friulian Machame Sango Galician Makhuwa-Meetto Sangu Afrikaans Ganda Makonde Sena Albanian German Malagasy Serbian Asu Gusii Maltese Shambala Basque Hungarian Manx Shona Bemba Icelandic Meru Slovak Bena Inari Sami Morisyen Slovenian Breton Indonesian North Ndebele Soga Catalan Irish Northern Sami Somali Cornish Italian Norwegian Bokmål Spanish Croatian Jola-Fonyi Norwegian Nynorsk Swahili Czech Kabuverdianu Nyankole Swedish Danish Kalenjin Oromo Swiss German Dutch Kamba Polish Taita Embu Kikuyu Portuguese Teso English Kinyarwanda Quechua Turkish Esperanto Latvian Romanian Upper Sorbian Estonian Lithuanian Romansh Uzbek Faroese Lower Sorbian Rombo Volapük Filipino Luo Rundi Vunjo Finnish Luxembourgish Rwa Walser Bold 40 pt, Regular 10 pt, Bold 9 pt, French Luyia Samburu Welsh Regular 9 pt Fontwerk Romaine™ Story · www.fontwerk.com · 14/20

Romaine is a carefully interpreted digitization ofAscendonica by Robert Granjon from 1570. Despite her old age, she cuts a very good figure. No wonder. The owes its existence to a very current challenge. This is the story of a typeface that is all at once ancient yet still modern and current. aad van dommelen was recently faced with this original intent. For this he had to get closer to the The quality and details of the smoke proofs were task when working on the design of a corporate origin of the typeface and go to Plantin-Moretus-Museum exceptional. Especially the Ascendonica Romaine/ identity for a client. One condition of the brief was to in Antwerp, where some original punches and matrices Parangonne (names for the cut font sizes, ±20pt) use a Flemish letter from the baroque period. Although are still kept today. from the Plantin catalog numberma 8. The type size Christophe Plantin did not live in the 17th Century, The Museum gave van Dommelen access to ‘smoke used as a template is decisive for the design, because the important book printer and his font of the same proofs’ of Granjon’s typeface. These test prints, made each size was designed and cut separately. Each digitiz‐ name immediately came to mind. However, it was not with the soot from a candle were used by the designer ation is also a separate interpretation by the interpreter. what the client had in mind. Neither was the proposed — at that time, designer and punch cutter were one and There are now many Garamonds, but no two are the alternativedtl VandenKeere. the same person — to check whether the design had same. There are also two digitizations of Granjon The only typeface that seemed to fit the bill was been implemented correctly. Such a smoke proof can Ascendonica available: the previously mentioned designed by Robert Granjon (1513–1590). The problem represent draft stages of the work as well as the final Granjonlt and Matthew Carter’s itc Galliard. was that the existing digitization by Linotype deviated version. In this case, Aad van Dommelen had of course Carter’s version is quite rightly very popular and wide‐ too much from the original and showed some incon‐ the final versions, which were in fact the most faithful spread, but he allowed himself significantly more sistencies. Digitizing the old templates seemed to be to the design because they were made by the museum freedom, especially with the Italic. the best solution. itself. If the digitization is based on the punches, the The fine details of the template led to a special Aad van Dommelen’s first attempts to do this were actual intention of the type designer can be missed. For feature of Romaine. While all other digital Garamonds based on photos of printed Plantin books. However, example, the punches were sometimes deliberately cut or Granjons have rounded or cut serifs, Romaine has not all of the characters were used, and he had doubts thinner in order to get the desired result in print, sharp ends. Aad van Dommelen assumed that Granjon about the quality of the type design presented to him. where the ink application often made the glyphs bolder only rounded it off due to physical limitations. For the He wanted to get as close as possible to the designer’s than intended. Bold 20 pt & Regular 11 pt Fontwerk Romaine™ Story · www.fontwerk.com · 15/20

same reason, he also neglected the curve in the bottom small caps can be used aspetite caps via OpenType larly at home in classic book and editorial design. Its of the serifs. In print, they mostly look protruded (Small-Caps-Feature + Stylistic Set 1). history of origin also proves its suitability for corporate instead of hollow. It seemed clear to him that this Granjon did not draw a Bold style let alone a Bold design projects, for logos or high-quality packaging curve should only serve to prevent unsightly bumps Italic, because at that time typefaces simply did not design. It is in no way inferior to more famous Garalde caused by squeezing edges and to produce straight feet. have different styles. If a heading or title was needed, fonts such as Garamond, Sabon, , Arno, Van Dommelen was enthusiastic about how different typefaces were combined instead. So the Bold or Times. In fact, Romaine’s large range of characters, accurate the digitization of the smoke proofs was. He and Bold Italic styles are van Dommelen’s own more neutral appearance and authenticity often makes could not imagine that Granjon had intended anything creation, designed in the spirit of their role model. it a better choice. Pairing options for Romaine include other than the resulting form, which was so clear and We owe the primary form of our present script to countless serious sans , such as Ika orff Aad. appealing. He was surprised at how fresh and modern the works of Arnold Pannartz, Konrad Sweynheim, his conscientious interpretation appeared. Nicolas Jenson and Aldus Manutius in Italy in the 15th here’s to the next 450 years! Only a few elements of the typeface show their century. However, it was perfected by 16th-century true age. The tail of a modern j bends the other way French typographers such as Simon de Colines, Claude ❧ than that of the cursive Ascendonica and the pelican Garamont, Pierre Haultin and Robert Granjon, beak of the italic g is unusual (hence available as an undoubtedly one of the greatest punch cutters in alternative form only). The italic tilde is completely history. The punches of this time were so good that for unknown today. Van Dommelen retained elements that centuries no one has dared to challenge or change it. are no longer used as alternative characters as a Granjon may be known for its beautiful, slightly reminder of the old master. It also makes it possible to extravagant italic cuts, but the upright form is just as typeset old texts as they were originally, e.g. with a outstanding. It exudes clarity, purity and neutrality. long s. The modern additions and extra special charac‐ While Garamont shows a somewhat personal style, ters are especially exciting: over 20 ligatures, uppercase Granjon strives for the ultimate form. That is what and tabular numbers in two sizes, uppercase ß, 14 makes his work so timeless and still serves as a model currency symbols (including Bitcoin), swashes, orna‐ for contemporary typefaces. Romaine proves that its ments (fleuronné) and much more. shape is still very modern today. Perhaps more so than Aad van Dommelen drew a separate set of small with the better-known Garamont, whose designs were caps because the small capitals themselves are quite again the basis for Granjon. small and the capital letters are rather powerful. These Romaine has everything that is required of a font are now available by default, but can also be used as a today. It is legible, unobtrusive, resilient and is espe‐ somewhat smaller uppercase set. Theoriginal cially suitable for extensive texts. This makes it particu‐ Regular 11 pt Fontwerk Romaine™ Designer · www.fontwerk.com · 16/20

designer

� Exloo, The Netherlands Aad van Dommelen � www.witvorm.nl � instagram.com/aadvan

vormvijf, proforma and total design:For lg Electronics, Heungkuk Insurance (together with 30years, Aad van Dommelen worked as Creative Christoph Dunst),s k Telecom (together with André Director for some of the most important agencies in Mol), Total Impact andjtbc Television. He also the Graphic Design paradise of the Netherlands. created custom fonts formro Industries, Stern Groep, During this time, he undertook numerous well- Vigilius Mountain Resort, Friesland Campina, Gaffel known corporate design and branding projects, and Lotte Duty Free (awarded the “Red Dot Award, includingklm , the Dutch Ministries of Foreign Affairs Best of the Best”). and Defense, Koninklijkebam and the Protestant Romaine is Aad’s second retail font that he has Church. Another milestone was the re-design of Total published. In 2012, he broughtff Aad into the world Design itself together with Leon Stolk when it trans‐ via the FontFont library. Incidentally, at the time he formed into Total Identity in 2000. In the course of wasn’t so keen on the idea of naming the font after this, Aad began to (seriously) start to work on type himself. His modest manner initially stood in the way © Aatjan Renders design for the first time and developed the agency’s of the proposal. But Fontwerk founder Ivo Gabrowitsch much-noticed corporate typeface, Oneliner. –who was Marketing Director for FontFont back then– Graphic and Typographic design with Gerrit Noordzij, Three years later, he worked on the corporate finally convinced him with the argument that there was among others. design of Hyundai Card. This left such an impression only one other font that could ever appear before the A riddle that we have not yet been able to solve is on the South Korean design scene that many other ffAad in the font menu or other alphabetically sorted where the Dutchman finds sufficient space for his projects and briefs followed from there, often also for overviews: Letraset’s Aachen. passion of collecting old Macintosh computers and exclusive typefaces. Aad’s corporate fonts are now Aad’s design skills, like that of many other pop-up books. But he will undoubtedly have mastered omnipresent in South Korea. They have graced and Fontwerk designers, were influenced by theRoyal that too with his extraordinary calm and meticulous adorned the likes of the internet company Daum, Academy of Fine Arts inThe Hague.There he studied nature. Regular Small Caps 20 pt, Bold 50 pt, Regular 11 pt Fontwerk Romaine™ Formats and Licensing · www.fontwerk.com · 17/20

File Formats and Licensing

All our typefaces will be provided inotf (OpenType fonts with Post‐ TRIAL The ‘Trial Fonts’ contain around ¾ of the actual characters Script outlines; usually used for desktop, apps, ebooks, and hardware) trial and usually no OpenType features. The license allows free use during andwoff as well aswoff2 (Web Open Font Format; OpenType 1 Userfor testing purposes only the test phase. Both desktop and webfonts are included so that you fonts for the use on the web) formats. Most other formats such as can design mockups, websites, apps and eBooks etc. and then present eot, svg orttf are not necessary anymore today. However, we can click here to download to the client without having to commit to the purchase. Only when it for free now! generate those files in case they are really needed. is clear that the font fits and the actual projects go live or are pro‐ duced, will you need to purchase the Standard version. We believe we have one of the simplest licensing models in the industry. If we were sitting in the pub, we could draw it out on a beermat.It’s standard STANDARD Our most popular license that includes use in Print hard enough to find the right font, so we want to make the licensing as (desktop) for one user and one project for use on the Web (100,000 Print: 1 User simple as possible. What does this mean? No drop-down-menus, just a pageviews per month), in an App (1,000 downloads) and eBooks Web: 100,000 Pageviews/month license in one click.You pay just once and that’s that as long as App: 1,000 Downloads (10,000 downloads). If more users, projects, pageviews or downloads you keep within the boundaries of use as stated in the License. eBook: 10,000 Downloads are required, either several Standard licenses or an Extended license must be purchased. Please check our websitewww.fontwerk.com/licensing for further information. EXTENDED This is comparable to amul , a multi-user-license. extended Extended covers use in Print for 15 users and up to 15 projects with total use on the Web (1.5 million pageviews per month), in Apps Print: 15 Users Web: 1,500,000 Pageviews/month (15,000 downloads) and eBooks (150,000 downloads). It is also the App: 15,000 Downloads right license for use in Broadcasting (1.5 million viewers). eBook: 150,000 Downloads Broadcasting: 1,500,000 Viewers ENTERPRISE For all other situations that are not covered by one Bold 40 pt, Regular 10.5 pt, Bold Small Caps 14 pt, Bold 8.5 pt, of these licenses, an individual agreement is necessary. We strive to Regular 8.5 pt, Bold All Caps 10.5 pt + 50‰ Spacing deliver them as quickly and easily as possible. Fontwerk Romaine™ Contact; About Fontwerk · www.fontwerk.com · 18/20

Address Fontwerk GmbH Wecraft modern typefaces and provideinnovative Prenzlauer Allee 186 10405 Berlin, Germany fontengineering and type design services. Website www.fontwerk.com

Email [email protected] We work on Central We believe that convincing commu‐ designers and brands or ordered as European time, and will respond as soon nication is only possible with the most a perfectlyfi tting custom type as we can. aesthetically pleasing and most techni‐ solution in addition to font engi‐ Social Media Instagram, Twitter, cally sound fonts. neering services. LinkedIn: @fontwerk Ourvision is to provide easy access to We hope tocontribute to some‐ such fonts through free trial versions, a thing bigger by promoting talented simple licensing model and one of the designers from around the world fastest ordering processes around. with whom we work under the Our long-lasting designs addvalue fairest conditions. above and beyond the actual cost. Ourmotivation is simply the love

Bold 10 pt, Regular 10 pt, These fonts can be downloaded of good design. Outstanding type Italic 28 pt, Regular 21 pt, Bold Petite Caps 21 pt directly by discerning agencies, is our contribution to that. Fontwerk Romaine™ Pairing Suggestions · www.fontwerk.com · 19/20

Pairing Suggestions Ika Timelessness of the highest order. Designed by Jörg Hemker as part of a superfamily along with IkaCompact,itisoneofthemostlegibletypefacesofourlabel. Turbine

Technical precision that leaves a lasting impression. Designed by Felix Braden, the Neo-Grotesque withwideproportionsandtightspacingisperfectforclearannouncements.

© 2020 Fontwerk, all rights reserved. Text on page 7 taken from Jules Verne “Twenty Thousand Leagues Under the Sea”. Copyright of images: Unless otherwise stated, the images used are subject toShutterstock.com licenses. Fontwerk Romaine™ Type Specimen End · www.fontwerk.com · 20/20

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