Publisher: Canada TypeAt the height of the Roman Empire's reign of power, a lot of people wearing baxas, olive branch headgear and lined saffron togas informed a bunch of men wearing carbatinas, no headgear and cheapo coarse togas to go and hammer the proud history of the Empire onto every worthy piece of rock, obelisk and wall out there. This led to numerous rocky manifestations of ancient clipart, intriguing stories and strange messages becoming nationwide tourist destinations and museum dressing all over the world to this very day, which is some 2000 years later.
One of the constants in all the hammered history of Roman times is the alphabet utilized to caption the clipart or tell the stories. That Roman/Latin alphabet, which was a direct spawn of the Greek alphabet, simply occurs to be the same one most of the world still uses today. Records showing what the letters of that alphabet looked like throughout Roman times appear rather consistent in illustrating the overall kinds, however differ wildly when it concerns the small variations introduced by whoever drew the forms. For a random example, often the M had straight legs and 2 serifs up top, and at other times it had splayed legs and pointy, serifless tops. Ditto the N. And in some cases when the rock slab's length was misjudged by the guy with the hammer, he sneakily mixed two or more letters together, or enveloped one letter within another. Those people needed to do such things to conserve area. It was either trick it out like that or head out again and risk a sunstroke while attempting to discover another smooth slab (or steal somebody's roofing). It was simply their bloody luck that their leaders would not opt for simple minimalist stuff like Stonehenge.
Anyhow, those Roman letter forms became later understood as capitals (not to be confused with large sums of cash or cities where federal government structure are a-plenty). And the space-saving, letter-jamming tricks came to be later called ligatures (not to be confused with surgery or sadomasochistic gear).
.Lo! We're getting carried away with this stuff. Here's the typeface's genuine blurb:
.Jupiter is a take on the Roman alphabet the way it searched in Roman times. It is likewise influenced by many different historical interpretations of the Roman alphabet, most significantly the work of Friedrich Poppl, whose rough Nero typeface was a really stunning expression, though a bit too calligraphic in concept.
.Jupiter is available in all popular font formats for both Mac and PC, and supports more than 40 Latin-based languages, as well as Greek. The Postcript and Real Type variations include a font of alternates and a typeface of ligatures, both stuffed with interesting variations on the main character set. Jupiter Pro, the OpenType variation, is a single typeface looped with configured functions, and is best utilized within software application that support sophisticated typography, like Adobe InDesign CS+, Adobe Illustrator CS+, and QuarkXpress 7+.
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