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R Category Fonts

font family from Jeff Levine, added yesterday

Reprint JNL

Inspired by a bold serif typeface used popularly in the 1960s, Reprint JNL is perfectly adept for handling any titling needs and will get the point across in short order.

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font family from Proportional Lime, added February 25th

Rusch

Adolf Rusch von Ingweiler, was in the 19 th century known mysteriously as the “R'' printer. He was the first printer North of the Alps to introduce the new Roman style of type known now as Antiqua. He was active in the city of Strasbourg from around the early 1460’s to 1489. One wonders if the unusual form of “R'' was a personal conceit. This font is, therefore, an Antiqua style font and has over a 1000 defined glyphs with wide support for medieval characters that have since fallen out of use. The baseline was slightly tidied up in order to give the printed text an even cleaner look than the original. The letters are very close approximations of the original type catalogued by the “Veröffentlichungen der Gesellschaft für Typenkunde des 15. Jahrhunderts” as Typ.1:103R GfT1197.

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font family from Eurotypo, added February 21st

Rocha

font family from TypoGraphicDesign, added February 14th

Rip TRASH

font family from TypoGraphicDesign, added February 14th

Rip TAPE

font family from TypoGraphicDesign, added February 14th

Raw Delta Hand Street

font family from Måns Grebäck, added February 11th

Recorda Script

font family from Wordshape, added February 6th

Raffish™

Raffish is a display typeface with its formal base in Dutch type designer Henk Krijger’s seminal typeface Raffia - the most decorative and handsome of script typefaces.

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font family from Cruz Fonts, added February 1st

Romantica Pro

font family from Dalton Maag, added January 28th

Royalty

Royalty is not a font design, it is a font concept. The characters are designed to form typographic patterns, within which the words are still discernible. All character shapes are based on geometric elements, but the geometric expression is softened by using softer, almost calligraphic treatments of individual parts of a glyph. This juxtaposition of geometry and calligraphy is reminiscent of medieval manuscripts when Royalty is set in text. The spacing of the font is set to be deliberately disturbing, encouraging new shapes and textures to emerge. The counter-space becomes all-important - it’s not important what is read but what is seen.

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