This entry is used for Romana as sold by Haas, and versions thereof. It
also serves as generic container for unidentified versions from
this genre. For Uses featuring a specific version, see Related
Typefaces.
Romana was cast by Haas before 1900, probably from
matrices cut at Riegerl & Weißenborn, and following Schelter
& Giesecke’s Romanisch [Bertheau 1995]. Comes in three weights, two
of them with italics. Also carried by Trennert, Schriftguss (as Hamburger Römisch), Wood
Miles (Ideal Old Style), Keystone
(Paul Revere), Typefoundry Amsterdam (Romaansch;
not be confused with Enschedé’s
Romaansch, see Romanisch), John
(Romanisch),
Tech
(Romanische Mediaeval), Nebiolo
(Romano),
Böttger/Brendler
(Römisch), Klinkhardt (Römische
Antiqua). [Reichardt 2011] Other sources additionally
mention Ludwig &
Mayer, see Antiqua-Romana. [Wetzig 1926–40] Sold in the mid-20th
century by Johannes
Wagner as Romana, in mager and halbfett (used for
sample), “first cast in 1930” [Schriftenkartei 1958–1971].
Lorimer/Remson Bold is Intertype’s adaptation of
Romaansch/Romaansch Bold. [McGrew 1993]
Photo-Lettering had two series under this name;
Romana and Romana Graphic, in a total of
seven weights. [PLINC One Liner 1971] Berthold carried a
phototype adaptation of the mager and halbfett, plus a heavier
Ultra Romana and a bold condensed Romana
Estrecha, the latter two with Facsimile Fonts credits. [Berthold 1974] Headliners had a Romana before
1969 and expanded the design to six (upright) weights plus
outlined and shaded styles, as neo-Romana. [1978
catalog] A very similar or even identical series was carried by
Brendel as Romana Serial. [More…
This entry is used for Romana as sold by Haas, and versions thereof. It also serves as generic container for unidentified versions from this genre. For Uses featuring a specific version, see Related Typefaces.
Romana was cast by Haas before 1900, probably from matrices cut at Riegerl & Weißenborn, and following Schelter & Giesecke’s Romanisch [Bertheau 1995]. Comes in three weights, two of them with italics. Also carried by Trennert, Schriftguss (as Hamburger Römisch), Wood Miles (Ideal Old Style), Keystone (Paul Revere), Typefoundry Amsterdam (Romaansch; not be confused with Enschedé’s Romaansch, see Romanisch), John (Romanisch), Tech (Romanische Mediaeval), Nebiolo (Romano), Böttger/Brendler (Römisch), Klinkhardt (Römische Antiqua). [Reichardt 2011] Other sources additionally mention Ludwig & Mayer, see Antiqua-Romana. [Wetzig 1926–40] Sold in the mid-20th century by Johannes Wagner as Romana, in mager and halbfett (used for sample), “first cast in 1930” [Schriftenkartei 1958–1971]. Lorimer/Remson Bold is Intertype’s adaptation of Romaansch/Romaansch Bold. [McGrew 1993]
Photo-Lettering had two series under this name; Romana and Romana Graphic, in a total of seven weights. [PLINC One Liner 1971] Berthold carried a phototype adaptation of the mager and halbfett, plus a heavier Ultra Romana and a bold condensed Romana Estrecha, the latter two with Facsimile Fonts credits. [Berthold 1974] Headliners had a Romana before 1969 and expanded the design to six (upright) weights plus outlined and shaded styles, as neo-Romana. [1978 catalog] A very similar or even identical series was carried by Brendel as Romana Serial. [Typeshop Serials 1983]
Digital interpretations by URW/Elsner+Flake (six upright weights, before 1995, based on Brendel’s version [MyFonts]), Bitstream (roman and bold), ITC (four upright weights), and Castcraft (as OPTI Romana; normal, bold, and a bold condensed Estrecha; 1990–1991).
