Beruflich Dokumente
Kultur Dokumente
y
Q
d
Y
PTL
ROLETTA
SPECIMEN
BOOK type specimen book
PTL Roletta Sans, Slab
and Ornaments
Designed by Andrea Tinnes
Published by primetype
www.primetype.com
PTL Roletta primetype 2
CONTENT
01 / PTL Roletta Info
003 Process
004 Information
005 Design
010 Characters
013 Specifications
s
PTL Roletta primetype 3
PROCESS
PTL Roletta primetype 4
DESIGN
PTL Roletta is a comprehensive round family consisting of
Andrea Tinnes
a sans and a slab variant, combining functionality and
YEAR
20042010
playfulness. Originally designed for the use on screen, the
typeface works equally well as a text face on paper.
STYLES
Sans, Slab and
While Rolettas round shapes are discreet and barely visible
Ornaments at small sizes, they give the typeface its distinctive character
WEIGHTS
with many refined details when used at display sizes.
5 weights, italics With five weights per style, including caps and italics,
F O R M ATS
PTL Roletta Sans and Slab are excellent companions, well-
OTF Features suited for a wide range of text uses.
Mac and PC TTF
The OpenType version includes many advanced layout
CHARACTERS
features with various figure sets, alternate characters and
628 per font
geometric symbols. The basic TrueType version contains
FOUNDRY
primetype
the normal range of characters.
PTL Roletta also comes with a set of six ornament fonts,
offering an endless range of decorative composites and
patterns. All ornament fonts play with the notion of round-
ness: either dotted ornaments, circular forms and outlines
or roundish floral shapes.
In 2007 the betaversion of PTL Roletta was chosen as main
typeface for the typography special edition of Eye Nr. 64,
Vol. 16, summer issue. In 2009 PTL Roletta Sans was chosen
by the design studio Weiss-heiten/Berlin as the corporate
typeface for the German year in Vietnam 2010. For this
purpose all diacritical marks of the vietnamese alphabet
were drawn and a new light version was especially designed
for the accompanying logotype.
PTL Roletta will be extended with more family members.
PTL Roletta primetype 5
*
{ & CORDIAL
DETAILED
EXTENSIVE
Q
F R I E N D LY
SMOOTH
CHARMING
PLAYFUL
a
PLEASANT
POLITE
VERSATILE
& 1
ROUNDED
FLEXIBLE
ALL-PURPOSE
PTL Roletta primetype 6
Rol
DESIGN | ROLETTA SANS | 330 & 180 pt
abgny
ASNQ
PTL Roletta primetype 7
Rol
DESIGN | ROLETTA SLAB | 330 & 180 pt
abgny
ASNQ
PTL Roletta primetype 8
516
CHARACTERS | ROLETTA SANS/SLAB AND ITALIC | 330 & 180 pt
aegkn
&&&
PTL Roletta primetype 9
F xx
WB f xx
dLlUd
U
l
L
qqqqqqqqqqqqq
PQ
p qB
bSqX
x
zN
Z nV
vqrL
l
HH IH e
LL ih X
LL HH ih e
JJ hi X
PTL Roletta primetype 10
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 1
&@#'"!?%*^
$/(|)\[]{}[]{}
,.;:_- `
=+<>~
1,.:[]0123456789,.:+=()[]
0123456789,.:+()[]
11234567890 $
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghiklmnopqrstuvwxyz
1234567890 1
&@#'"!?%*^
$/(|)\[]{}[]{}
,.;:_- `
=+<>~
1,.:[]0123456789,.:+=()[]
0123456789,.:+()[]
11234567890 $
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 $/(|)\[]{}
&@#'"!?%*^
,.;:_- `
=+<>~
1,.:[]0123456789,.:+=()[]
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890 $/(|)\[]{}
&@#'"!?%*^
,.;:_- `
=+<>~
1,.:[]0123456789,.:+=()[]
ABOUT THE DESIGNER Andrea Tinnes is a type and graphic designer based in Berlin. Her design practice
is focused on client-based as well as self-initiated projects. Through her own
label, typecuts, she publishes as well as promotes all her type designs. After several
years of teaching at Norways Bergen Academy of the Arts she took on a professor-
ship of type and typography at Burg Giebichenstein University of Art and Design
in Halle in 2008. She has a degree in communication design from the University of
Applied Sciences Mainz and an MFA in graphic design from the California
Institute of the Arts. Andreas work has been featured in several publications, such
as Area_2, Graphic Design for the 21st Century, etapes: and EYE magazine
and in several exhibitions including the 22annual 100Show, the TDC53 exhibition
and Chaumont 2007. She holds awards from the American Center for Design, red dot
(2001/2002) as well as a Certificate of Typographic Excellence (TDC53 2007).
PTL Skopex was selected as Typographicas favourite fonts 2006.
Published fonts: via primetype: PTL Skopex Gothic (2006), PTL Skopex Serif (2006),
PTL Roletta Sans (2010), PTL Roletta Slab (2010), PTL Roletta Ornaments (2010);
via typecuts: Type Jockey (2005), Switch (2001), Wedding Sans (2002), Volvox (2001),
DasDeck (2001), Haircrimes (2001); custom: Viceroy (2007), Trivium (2005), Eastern
Columbia (2005), Broadway Hollywood (2005)
LANGUAGE SUPPORT Information about languages is mainly based on the Unicode Common Locale Data
Repository. For details visit the Unicode CLDR Project:
Albanian, Basque, Cornish, Dutch, Danish, English, Faroese, Filipino, Finnish,
French, Frisian West, Galician, German, Icelandic, Indonesian, Interlingua, Irish,
Italian, Kinyarwanda, Malay, Manx, Norwegian (Bokml and Nynorsk), Oromo,
Portuguese, Somali, Sotho (Northern and Southern) Spanish, Swahili, Swedish,
Tsonga, Xhosa, Zulu
PTL
ROLETTA
SANS
wBd
PTL Roletta primetype 15
Rel 51
abgnosty
AKQYHS
bcehjnorsz
abefgiknosv
PTL Roletta primetype 16
ABCDEFGHIJKLM
NOPQRSTUVWXYZ
abcdefghijklm
nopqrstuvwxyz
abcdefghiijklmn
opqrstuvwxyz
11234567890 $
11234567890 '"
/(|)\[]{}[]{}
&@#!?%*
,.;:_-
PTL Roletta primetype 17
=+
UPPERCASE
ABCDEFGHIJKLMNOPQRSTUVWXYZ
LOWERCASE
abcdefghijklmnopqrstuvwxyz
SMALL CAPS
ABCDEFGHIJKLMNOPQRSTUVWXYZ
NUMERALS
Proportional and tabular
1234567890 1234567890 1234567890 1234567890
LIGATURES
STYLISTIC ALTERNATES
1 1 []{}
ACCENTED CHARACTERS
CURRENY SYMBOLS
Proportional and tabular
$
NUMERATORS, DENOMINATORS
SUPERSCRIPT, SUBSCRIPT 1,.:[] 0123456789,.:+=()[] 0123456789,.:+()[] 01234567...
FRACTIONS
ARROWS
GRAPHIC SYMBOLS
PTL Roletta primetype 19
CASE SENSITIVE
upward shifted Guillemets and Dashes
Hamburge-fontives HAMBURGE-FONTIVES
ALL CAPS
Hamburgefontives
HAMBURGEFONTIVES
STANDARD LIGATURES
Hamburgefintifles Hamburgefintifles
DISCRETIONARY LIGATURES
speichel ist oft gift speichel ist oft gift
affin attest action www.site affin attest action www.site
PROPORTIONAL LINING
default figures
13.05.1984 13.05.1984
TABULAR LINING
13.05.1984 13.05.1984
PROPORTIONAL OLDSTYLE
13.05.1984 13.05.1984
TABULAR OLDSTYLE
13.05.1984 13.05.1984
SUPERSCRIPT/SUPERIOR
Handglove2(N+X) Handglove2(N+X)
SUBSCRIPT/SCIENTIFIC INFERIORS
H20 CO2 H0 CO
NUMERATORS
Handglove123 Handglove123
DENOMINATORS
Handglove123ABC Handglove123ABC
FRACTIONS
123/456 123/456
PTL Roletta primetype 20
ALTERNATES/STYLISTIC SET 1
Alternate a Variant
Hamburgefontives Hamburgefontives
alive and kicking alive and kicking
ALTERNATES/STYLISTIC SET 2
Alternate g and y Variants
Hamburgefontyves Hamburgefontyves
typographic gymnastics typographic gymnastics
ALTERNATES/STYLISTIC SET 3
Alternate I, i, j, r, i and 1
Iamburgejfontiv iam 11 Iamburgejfontiv iam 11
Variants
Interface design job firm Interface design job firm
ALTERNATES/STYLISTIC SET 4
Alternate f Variant
Hamburgefontives Hamburgefontives
featuring films on craft featuring films on craft
ALTERNATES/STYLISTIC SET 5
Alternate , [ and ] Variant
[Hamburgefontives] [Hamburgefontives]
ALTERNATES/STYLISTIC SET 6
Alternate { and } Variant
{Hamburgefontives} {Hamburgefontives}
ALTERNATES/STYLISTIC SET 7
Alternate | Variant
|Hamburgefontives| |Hamburgefontives|
ALTERNATES/STYLISTIC SET 8
Alternate & Variant
Hamburge & fontives Hamburge & fontives
ALTERNATES/STYLISTIC SET 9
Alternate & Variant
Hamburge & fontives Hamburge & fontives
PTL Roletta primetype 21
Sans Regular
WEIGHTS
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
1234567890 1 ,.:; !?@&$
Sans Medium
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
1234567890 1 ,.:; !?@&$
Sans Medium
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxz
1234567890 1 ,.:; !?@&$
Sans Bold
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
1234567890 1 ,.:; !?@&$
Sans Extrabold
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
1234567890 1 ,.:; !?@&$
Sans Black
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
1234567890 1 ,.:; !?@&$
introduce
monsieur
adjustive
hacienda
shocking
PTL Roletta primetype 23
introduce
monsieur
adjustive
hacienda
shocking
PTL Roletta primetype 24
BURKING
INVENTS
JOINDER
HELICON
DEMONS
PTL Roletta primetype 25
BURKING
INVENTS
JOINDER
HELICON
DEMONS
PTL Roletta primetype 26
Sans*
Regular
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
Sans*
Regular
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
TEXTSAMPLES | ROLETTA SANS REGULAR | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps, Bold and Medium
TEXTSAMPLES | ROLETTA SANS REGULAR | ALTERNATES | | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps, Bold and Medium
The Amateur and Printing: For the amateur and for the artist alike there are three stages
in the study of an art. In the first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art to the detail and processes
of the art, sometimes doing or praising bad work because it may illustrate a rule or
employ a device about which he knows. It is in this second stage that all really bad art in
produced, in painting, acting, building, and whatever else. In this stage also the artist likes
to pretend that his art is mystery, not to be approached, still less shared, by the profane;
and in this stage the amateur, left out in the cold, revenge himself. The rules and devices
and technicalities fall into their place as the mere material of the true purpose, which is the
making and enjoying of beautiful things. The artist treats the rule as he pleases, because
they are now absorbed into his consciousness: the amateur may drive clean through them,
be they rules even against consecutive fifths, or soliloquies, or want of truth to purpose,
to the final test, which is whether he likes the things or does not like it. Is should not dare to
write an article for The Fleuron were I not still closely shut up, so far as the art of printing is
concerned, in the first stage, and only beginning to peep eagerly over the high wall between
The Amateur and Printing: For the amateur and for the artist alike there are three stages
in the study of an art. In the first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art to the detail and processes
of the art, sometimes doing or praising bad work because it may illustrate a rule or
employ a device about which he knows. It is in this second stage that all really bad art in
produced, in painting, acting, building, and whatever else. In this stage also the artist likes
to pretend that his art is mystery, not to be approached, still less shared, by the profane;
and in this stage the amateur, left out in the cold, revenge himself. The rules and devices
and technicalities fall into their place as the mere material of the true purpose, which is the
making and enjoying of beautiful things. The artist treats the rule as he pleases, because
they are now absorbed into his consciousness: the amateur may drive clean through them,
be they rules even against consecutive fifths, or soliloquies, or want of truth to purpose,
to the final test, which is whether he likes the things or does not like it. Is should not
dare to write an article for The Fleuron were I not still closely shut up, so far as the art of
printing is concerned, in the first stage, and only beginning to peep eagerly over the high
The Amateur and Printing: For the amateur and for the artist alike there are three stages
in the study of an art. In the first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art to the detail and processes
of the art, sometimes doing or praising bad work because it may illustrate a rule or
employ a device about which he knows. It is in this second stage that all really bad art in
produced, in painting, acting, building, and whatever else. In this stage also the artist likes
to pretend that his art is mystery, not to be approached, still less shared, by the profane;
and in this stage the amateur, left out in the cold, revenge himself. The rules and devices
and technicalities fall into their place as the mere material of the true purpose, which is the
making and enjoying of beautiful things. The artist treats the rule as he pleases, because
they are now absorbed into his consciousness: the amateur may drive clean through them,
be they rules even against consecutive fifths, or soliloquies, or want of truth to purpose,
to the final test, which is whether he likes the things or does not like it. Is should not dare to
write an article for The Fleuron were I not still closely shut up, so far as the art of printing is
concerned, in the first stage, and only beginning to peep eagerly over the high wall between
PTL Roletta primetype 31
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves it
and knows nothing about it. In the second he is learning, and is so
full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art to
the detail and processes of the art, sometimes doing or praising
bad work because it may illustrate a rule or employ a device
about which he knows. It is in this second stage that all really bad
art in produced, in painting, acting, building, and whatever else. In
this stage also the artist likes to pretend that his art is mystery, not
to be approached, still less shared, by the profane; and in this stage
the amateur, left out in the cold, revenge himself. The rules and
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves it
and knows nothing about it. In the second he is learning, and is so
full of the consciousness (perhaps also of the pride) of his grow-
ing knowledge that he is prone to transfer his affection from the
art to the detail and processes of the art, sometimes doing or
praising bad work because it may illustrate a rule or employ
a device about which he knows. It is in this second stage that all
really bad art in produced, in painting, acting, building, and what-
ever else. In this stage also the artist likes to pretend that his art
is mystery, not to be approached, still less shared, by the profane;
and in this stage the amateur, left out in the cold, revenge himself.
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves it
and knows nothing about it. In the second he is learning, and is so
full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art to
the detail and processes of the art, sometimes doing or praising
bad work because it may illustrate a rule or employ a device
about which he knows. It is in this second stage that all really bad
art in produced, in painting, acting, building, and whatever else.
In this stage also the artist likes to pretend that his art is mystery,
not to be approached, still less shared, by the profane; and in this
stage the amateur, left out in the cold, revenge himself. The rules
PTL Roletta primetype 32
Sans*
Medium
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
Sans*
Medium
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
TEXTSAMPLES | ROLETTA SANS MEDIUM | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps, Bold and Extrabold
TEXTSAMPLES | ROLETTA SANS MEDIUM | ALTERNATES | | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps, Bold and Extrabold
The Amateur and Printing: For the amateur and for the artist alike there are three stages
in the study of an art. In the first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art to the detail and proc-
esses of the art, sometimes doing or praising bad work because it may illustrate a
rule or employ a device about which he knows. It is in this second stage that all really
bad art in produced, in painting, acting, building, and whatever else. In this stage also the
artist likes to pretend that his art is mystery, not to be approached, still less shared, by
the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules
and devices and technicalities fall into their place as the mere material of the true pur-
pose, which is the making and enjoying of beautiful things. The artist treats the rule as he
pleases, because they are now absorbed into his consciousness: the amateur may drive
clean through them, be they rules even against consecutive fifths, or soliloquies, or want of
truth to purpose, to the final test, which is whether he likes the things or does not like
it. Is should not dare to write an article for The Fleuron were I not still closely shut up, so
far as the art of printing is concerned, in the first stage, and only beginning to peep eagerly
The Amateur and Printing: For the amateur and for the artist alike there are three stages
in the study of an art. In the first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art to the detail and proc-
esses of the art, sometimes doing or praising bad work because it may illustrate a
rule or employ a device about which he knows. It is in this second stage that all really
bad art in produced, in painting, acting, building, and whatever else. In this stage also
the artist likes to pretend that his art is mystery, not to be approached, still less shared,
by the profane; and in this stage the amateur, left out in the cold, revenge himself. The
rules and devices and technicalities fall into their place as the mere material of the true
purpose, which is the making and enjoying of beautiful things. The artist treats the rule
as he pleases, because they are now absorbed into his consciousness: the amateur may
drive clean through them, be they rules even against consecutive fifths, or soliloquies, or
want of truth to purpose, to the final test, which is whether he likes the things or does
not like it. Is should not dare to write an article for The Fleuron were I not still closely
shut up, so far as the art of printing is concerned, in the first stage, and only beginning to
The Amateur and Printing: For the amateur and for the artist alike there are three stages
in the study of an art. In the first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art to the detail and proc-
esses of the art, sometimes doing or praising bad work because it may illustrate a
rule or employ a device about which he knows. It is in this second stage that all really
bad art in produced, in painting, acting, building, and whatever else. In this stage also
the artist likes to pretend that his art is mystery, not to be approached, still less shared,
by the profane; and in this stage the amateur, left out in the cold, revenge himself. The
rules and devices and technicalities fall into their place as the mere material of the true
purpose, which is the making and enjoying of beautiful things. The artist treats the rule
as he pleases, because they are now absorbed into his consciousness: the amateur may
drive clean through them, be they rules even against consecutive fifths, or soliloquies, or
want of truth to purpose, to the final test, which is whether he likes the things or does
not like it. Is should not dare to write an article for The Fleuron were I not still closely shut
up, so far as the art of printing is concerned, in the first stage, and only beginning to peep
PTL Roletta primetype 37
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves it
and knows nothing about it. In the second he is learning, and is so
full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art to
the detail and processes of the art, sometimes doing or praising
bad work because it may illustrate a rule or employ a device
about which he knows. It is in this second stage that all really bad
art in produced, in painting, acting, building, and whatever else. In
this stage also the artist likes to pretend that his art is mystery, not
to be approached, still less shared, by the profane; and in this stage
the amateur, left out in the cold, revenge himself. The rules and
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves it
and knows nothing about it. In the second he is learning, and is so
full of the consciousness (perhaps also of the pride) of his grow-
ing knowledge that he is prone to transfer his affection from the
art to the detail and processes of the art, sometimes doing or
praising bad work because it may illustrate a rule or employ
a device about which he knows. It is in this second stage that all
really bad art in produced, in painting, acting, building, and what-
ever else. In this stage also the artist likes to pretend that his art
is mystery, not to be approached, still less shared, by the profane;
and in this stage the amateur, left out in the cold, revenge himself.
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves it
and knows nothing about it. In the second he is learning, and is so
full of the consciousness (perhaps also of the pride) of his grow-
ing knowledge that he is prone to transfer his affection from the
art to the detail and processes of the art, sometimes doing or
praising bad work because it may illustrate a rule or employ
a device about which he knows. It is in this second stage that all
really bad art in produced, in painting, acting, building, and what-
ever else. In this stage also the artist likes to pretend that his art
is mystery, not to be approached, still less shared, by the profane;
and in this stage the amateur, left out in the cold, revenge himself.
PTL Roletta primetype 38
Sans*
Bold
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
Sans*
Bold
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
TEXTSAMPLES | ROLETTA SANS BOLD | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps, ExtraBold and Black
TEXTSAMPLES | ROLETTA SANS BOLD | ALTERNATES | | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps, Extrabold and Black
The Amateur and Printing: For the amateur and for the artist alike there are three stages
in the study of an art. In the first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art to the detail and proc-
esses of the art, sometimes doing or praising bad work because it may illustrate a
rule or employ a device about which he knows. It is in this second stage that all really
bad art in produced, in painting, acting, building, and whatever else. In this stage also
the artist likes to pretend that his art is mystery, not to be approached, still less shared,
by the profane; and in this stage the amateur, left out in the cold, revenge himself. The
rules and devices and technicalities fall into their place as the mere material of the true
purpose, which is the making and enjoying of beautiful things. The artist treats the rule
as he pleases, because they are now absorbed into his consciousness: the amateur may
drive clean through them, be they rules even against consecutive fifths, or soliloquies, or
want of truth to purpose, to the final test, which is whether he likes the things or does
not like it. Is should not dare to write an article for The Fleuron were I not still closely
shut up, so far as the art of printing is concerned, in the first stage, and only beginning to
The Amateur and Printing: For the amateur and for the artist alike there are three
stages in the study of an art. In the first he loves it and knows nothing about it. In the
second he is learning, and is so full of the consciousness (perhaps also of the pride) of
his growing knowledge that he is prone to transfer his affection from the art to the
detail and processes of the art, sometimes doing or praising bad work because it may
illustrate a rule or employ a device about which he knows. It is in this second stage
that all really bad art in produced, in painting, acting, building, and whatever else. In
this stage also the artist likes to pretend that his art is mystery, not to be approached,
still less shared, by the profane; and in this stage the amateur, left out in the cold, re-
venge himself. The rules and devices and technicalities fall into their place as the mere
material of the true purpose, which is the making and enjoying of beautiful things. The
artist treats the rule as he pleases, because they are now absorbed into his conscious-
ness: the amateur may drive clean through them, be they rules even against consecutive
fifths, or soliloquies, or want of truth to purpose, to the final test, which is whether
he likes the things or does not like it. Is should not dare to write an article for The
Fleuron were I not still closely shut up, so far as the art of printing is concerned, in the
The Amateur and Printing: For the amateur and for the artist alike there are three stages
in the study of an art. In the first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art to the detail and proc-
esses of the art, sometimes doing or praising bad work because it may illustrate a
rule or employ a device about which he knows. It is in this second stage that all really
bad art in produced, in painting, acting, building, and whatever else. In this stage also
the artist likes to pretend that his art is mystery, not to be approached, still less shared,
by the profane; and in this stage the amateur, left out in the cold, revenge himself. The
rules and devices and technicalities fall into their place as the mere material of the true
purpose, which is the making and enjoying of beautiful things. The artist treats the rule
as he pleases, because they are now absorbed into his consciousness: the amateur may
drive clean through them, be they rules even against consecutive fifths, or soliloquies, or
want of truth to purpose, to the final test, which is whether he likes the things or does
not like it. Is should not dare to write an article for The Fleuron were I not still closely
shut up, so far as the art of printing is concerned, in the first stage, and only beginning
PTL Roletta primetype 43
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves it
and knows nothing about it. In the second he is learning, and is so
full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art to
the detail and processes of the art, sometimes doing or praising
bad work because it may illustrate a rule or employ a device
about which he knows. It is in this second stage that all really bad
art in produced, in painting, acting, building, and whatever else. In
this stage also the artist likes to pretend that his art is mystery,
not to be approached, still less shared, by the profane; and in this
stage the amateur, left out in the cold, revenge himself. The rules
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves it
and knows nothing about it. In the second he is learning, and is so
full of the consciousness (perhaps also of the pride) of his grow-
ing knowledge that he is prone to transfer his affection from the
art to the detail and processes of the art, sometimes doing or
praising bad work because it may illustrate a rule or employ
a device about which he knows. It is in this second stage that all
really bad art in produced, in painting, acting, building, and what-
ever else. In this stage also the artist likes to pretend that his art
is mystery, not to be approached, still less shared, by the profane;
and in this stage the amateur, left out in the cold, revenge himself.
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves it
and knows nothing about it. In the second he is learning, and is so
full of the consciousness (perhaps also of the pride) of his grow-
ing knowledge that he is prone to transfer his affection from the
art to the detail and processes of the art, sometimes doing or
praising bad work because it may illustrate a rule or employ
a device about which he knows. It is in this second stage that all
really bad art in produced, in painting, acting, building, and what-
ever else. In this stage also the artist likes to pretend that his art
is mystery, not to be approached, still less shared, by the profane;
and in this stage the amateur, left out in the cold, revenge himself.
PTL Roletta primetype 44
Sans*
Ex.Bold
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
Sans*
Ex.Bold
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
TEXTSAMPLES | ROLETTA SANS EXTRABOLD | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps and Black
TEXTSAMPLES | ROLETTA SANS BOLD | ALTERNATES | | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps and Black
The Amateur and Printing: For the amateur and for the artist alike there are three
stages in the study of an art. In the first he loves it and knows nothing about it. In the
second he is learning, and is so full of the consciousness (perhaps also of the pride) of
his growing knowledge that he is prone to transfer his affection from the art to the
detail and processes of the art, sometimes doing or praising bad work because it may
illustrate a rule or employ a device about which he knows. It is in this second stage
that all really bad art in produced, in painting, acting, building, and whatever else. In this
stage also the artist likes to pretend that his art is mystery, not to be approached, still
less shared, by the profane; and in this stage the amateur, left out in the cold, revenge
himself. The rules and devices and technicalities fall into their place as the mere mate-
rial of the true purpose, which is the making and enjoying of beautiful things. The artist
treats the rule as he pleases, because they are now absorbed into his consciousness: the
amateur may drive clean through them, be they rules even against consecutive fifths, or
soliloquies, or want of truth to purpose, to the final test, which is whether he likes
the things or does not like it. Is should not dare to write an article for The Fleuron were
I not still closely shut up, so far as the art of printing is concerned, in the first stage, and
The Amateur and Printing: For the amateur and for the artist alike there are three
stages in the study of an art. In the first he loves it and knows nothing about it. In the
second he is learning, and is so full of the consciousness (perhaps also of the pride) of
his growing knowledge that he is prone to transfer his affection from the art to the
detail and processes of the art, sometimes doing or praising bad work because it
may illustrate a rule or employ a device about which he knows. It is in this second
stage that all really bad art in produced, in painting, acting, building, and whatever
else. In this stage also the artist likes to pretend that his art is mystery, not to be
approached, still less shared, by the profane; and in this stage the amateur, left out in
the cold, revenge himself. The rules and devices and technicalities fall into their place
as the mere material of the true purpose, which is the making and enjoying of beauti-
ful things. The artist treats the rule as he pleases, because they are now absorbed
into his consciousness: the amateur may drive clean through them, be they rules even
against consecutive fifths, or soliloquies, or want of truth to purpose, to the final
test, which is whether he likes the things or does not like it. Is should not dare to write
an article for The Fleuron were I not still closely shut up, so far as the art of printing
The Amateur and Printing: For the amateur and for the artist alike there are three
stages in the study of an art. In the first he loves it and knows nothing about it. In the
second he is learning, and is so full of the consciousness (perhaps also of the pride) of
his growing knowledge that he is prone to transfer his affection from the art to the
detail and processes of the art, sometimes doing or praising bad work because it
may illustrate a rule or employ a device about which he knows. It is in this second
stage that all really bad art in produced, in painting, acting, building, and whatever
else. In this stage also the artist likes to pretend that his art is mystery, not to be ap-
proached, still less shared, by the profane; and in this stage the amateur, left out in the
cold, revenge himself. The rules and devices and technicalities fall into their place as
the mere material of the true purpose, which is the making and enjoying of beautiful
things. The artist treats the rule as he pleases, because they are now absorbed into his
consciousness: the amateur may drive clean through them, be they rules even against
consecutive fifths, or soliloquies, or want of truth to purpose, to the final test, which
is whether he likes the things or does not like it. Is should not dare to write an article
for The Fleuron were I not still closely shut up, so far as the art of printing is concerned,
PTL Roletta primetype 49
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves it
and knows nothing about it. In the second he is learning, and is so
full of the consciousness (perhaps also of the pride) of his grow-
ing knowledge that he is prone to transfer his affection from the
art to the detail and processes of the art, sometimes doing or
praising bad work because it may illustrate a rule or employ
a device about which he knows. It is in this second stage that all
really bad art in produced, in painting, acting, building, and what-
ever else. In this stage also the artist likes to pretend that his art
is mystery, not to be approached, still less shared, by the profane;
and in this stage the amateur, left out in the cold, revenge himself.
The Amateur and Printing: For the amateur and for the artist
alike there are three stages in the study of an art. In the first he
loves it and knows nothing about it. In the second he is learning,
and is so full of the consciousness (perhaps also of the pride) of
his growing knowledge that he is prone to transfer his affection
from the art to the detail and processes of the art, sometimes
doing or praising bad work because it may illustrate a rule
or employ a device about which he knows. It is in this sec-
ond stage that all really bad art in produced, in painting, acting,
building, and whatever else. In this stage also the artist likes to
pretend that his art is mystery, not to be approached, still less
shared, by the profane; and in this stage the amateur, left out in
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves it
and knows nothing about it. In the second he is learning, and is so
full of the consciousness (perhaps also of the pride) of his grow-
ing knowledge that he is prone to transfer his affection from the
art to the detail and processes of the art, sometimes doing or
praising bad work because it may illustrate a rule or employ
a device about which he knows. It is in this second stage that all
really bad art in produced, in painting, acting, building, and
whatever else. In this stage also the artist likes to pretend that
his art is mystery, not to be approached, still less shared, by the
profane; and in this stage the amateur, left out in the cold, re-
PTL Roletta primetype 50
Sans*
Black
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
Sans*
Black
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
TEXTSAMPLES | ROLETTA SANS BLACK | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps and Black
TEXTSAMPLES | ROLETTA SANS BLACK | ALTERNATES | | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps and Black
The Amateur and Printing: For the amateur and for the artist
alike there are three stages in the study of an art. In the first he
loves it and knows nothing about it. In the second he is learning,
and is so full of the consciousness (perhaps also of the pride) of
his growing knowledge that he is prone to transfer his affection
from the art to the detail and processes of the art, sometimes
doing or praising bad work because it may illustrate a rule
or employ a device about which he knows. It is in this sec-
ond stage that all really bad art in produced, in painting, acting,
building, and whatever else. In this stage also the artist likes to
pretend that his art is mystery, not to be approached, still less
shared, by the profane; and in this stage the amateur, left out in
The Amateur and Printing: For the amateur and for the artist
alike there are three stages in the study of an art. In the first he
loves it and knows nothing about it. In the second he is learning,
and is so full of the consciousness (perhaps also of the pride) of
his growing knowledge that he is prone to transfer his affection
from the art to the detail and processes of the art, sometimes
doing or praising bad work because it may illustrate a rule
or employ a device about which he knows. It is in this second
stage that all really bad art in produced, in painting, acting,
building, and whatever else. In this stage also the artist likes to
pretend that his art is mystery, not to be approached, still less
shared, by the profane; and in this stage the amateur, left out in
The Amateur and Printing: For the amateur and for the artist
alike there are three stages in the study of an art. In the first he
loves it and knows nothing about it. In the second he is learning,
and is so full of the consciousness (perhaps also of the pride) of
his growing knowledge that he is prone to transfer his affection
from the art to the detail and processes of the art, sometimes
doing or praising bad work because it may illustrate a rule
or employ a device about which he knows. It is in this second
stage that all really bad art in produced, in painting, acting,
building, and whatever else. In this stage also the artist likes to
pretend that his art is mystery, not to be approached, still less
shared, by the profane; and in this stage the amateur, left out
PTL Roletta primetype 55
q
M
Q
PTL
ROLETTA
SLAB
PTL Roletta primetype 56
Re 51
abeginst
AIQYHS
bcehjnors
abefgknosv
PTL Roletta primetype 57
ABCDEFGHIJKLM
NOPQRSTUVWXYZ
abcdefghiklm
nopqrstuvwxyz
abcdefghiijklmn
opqrstuvwxyz
11234567890 $
11234567890 '"
/(|)\[]{}[]{}
&@#!?%*
,.;:_-
PTL Roletta primetype 58
=+
UPPERCASE
ABCDEFGHIJKLMNOPQRSTUVWXYZ
LOWERCASE
abcdefghijklmnopqrstuvwxyz
SMALL CAPS
ABCDEFGHIJKLMNOPQRSTUVWXYZ
NUMERALS
Proportional and tabular
1234567890 1234567890 1234567890 1234567890
LIGATURES
STYLISTIC ALTERNATES
1 1 []{}
ACCENTED CHARACTERS
CURRENY SYMBOLS
Proportional and tabular
$
NUMERATORS, DENOMINATORS
SUPERSCRIPT, SUBSCRIPT 1,.:[] 0123456789,.:+=()[] 0123456789,.:+()[] 01234567...
FRACTIONS
ARROWS
GRAPHIC SYMBOLS
PTL Roletta primetype 60
CASE SENSITIVE
upward shifted Guillemets and Dashes
Hamburge-fontives HAMBURGE-FONTIVES
ALL CAPS
Hamburgefontives HAMBURGEFONTIVES
STANDARD LIGATURES
Hamburgefintifles Hamburgefintifles
DISCRETIONARY LIGATURES
speichel ist oft gift speichel ist oft gift
affin attest action www.site affin attest action www.site
PROPORTIONAL LINING
default figures
13.05.1984 13.05.1984
TABULAR LINING
13.05.1984 13.05.1984
PROPORTIONAL OLDSTYLE
13.05.1984 13.05.1984
TABULAR OLDSTYLE
13.05.1984 13.05.1984
SUPERSCRIPT/SUPERIOR
Handglove2(N+X) Handglove2(N+X)
SUBSCRIPT/SCIENTIFIC INFERIORS
H20 CO2 H0 CO
NUMERATORS
Handglove123 Handglove123
DENOMINATORS
Handglove123ABC Handglove123ABC
FRACTIONS
123/456 123/456
PTL Roletta primetype 61
ALTERNATES/STYLISTIC SET 1
Alternate a Variant
Hamburgefontives Hamburgefontives
alive and kicking alive and kicking
ALTERNATES/STYLISTIC SET 2
Alternate g and y Variants
Hamburgefontyves Hamburgefontyves
typographic gymnastics typographic gymnastics
ALTERNATES/STYLISTIC SET 3
Alternate I and 1 Variants
Iamburgejfontiv iam 11 Iamburgejfontiv iam 11
Interface design job firm Interface design job firm
ALTERNATES/STYLISTIC SET 4
Alternate f Variant
Hamburgefontives Hamburgefontives
featuring films on craft featuring films on craft
ALTERNATES/STYLISTIC SET 5
Alternate , [ and ] Variant
[Hamburgefontives] [Hamburgefontives]
ALTERNATES/STYLISTIC SET 6
Alternate { and } Variant
{Hamburgefontives} {Hamburgefontives}
ALTERNATES/STYLISTIC SET 7
Alternate | Variant
|Hamburgefontives| |Hamburgefontives|
ALTERNATES/STYLISTIC SET 8
Alternate & Variant
Hamburge & fontives Hamburge & fontives
ALTERNATES/STYLISTIC SET 9
Alternate & Variant
Hamburge & fontives Hamburge & fontives
PTL Roletta primetype 62
Slab Regular
WEIGHTS
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghiklmnopqstuvwxyz
1234567890 1 ,.:; !?@&$
Slab Medium
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghiklmnopqstuvwxyz
1234567890 1 ,.:; !?@&$
Slab Medium
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefhiklmnopqrstuvwxz
1234567890 1 ,.:; !?@&$
Slab Bold
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghiklmnopqrstuvwxyz
1234567890 1 ,.:; !?@&$
Slab Extrabold
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghiklmnopqstuvwxyz
1234567890 1 ,.:; !?@&$
Slab Black
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghiklmnopqstuvwxyz
1234567890 1 ,.:; !?@&$
investors
jumbling
proverbs
umbrage
eyewear
PTL Roletta primetype 64
investors
jumbling
proverbs
umbrage
eyewear
PTL Roletta primetype 65
ENOUGH
HEXONE
OPERON
SNATCH
ZONERS
PTL Roletta primetype 66
ENOUGH
HEXONE
OPERON
SNATCH
ZONERS
PTL Roletta primetype 67
Slab*
Regular
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
Slab*
Regular
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
TEXTSAMPLES | ROLETTA SLAB REGULAR | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps, Bold and Medium
TEXTSAMPLES | ROLETTA SLAB REGULAR | ALTERNATES | | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps, Bold and Medium
The Amateur and Printing: For the amateur and for the artist alike there are three stages
in the study of an art. In the first he loves it and knows nothing about it. In the second
he is learning, and is so full of the consciousness (perhaps also of the pride) of his
growing knowledge that he is prone to transfer his affection from the art to the detail
and processes of the art, sometimes doing or praising bad work because it may
illustrate a rule or employ a device about which he knows. It is in this second
stage that all really bad art in produced, in painting, acting, building, and whatever else.
In this stage also the artist likes to pretend that his art is mystery, not to be approached,
still less shared, by the profane; and in this stage the amateur, left out in the cold,
revenge himself. The rules and devices and technicalities fall into their place as the mere
material of the true purpose, which is the making and enjoying of beautiful things. The
artist treats the rule as he pleases, because they are now absorbed into his conscious-
ness: the amateur may drive clean through them, be they rules even against consecutive
fifths, or soliloquies, or want of truth to purpose, to the final test, which is whether he
likes the things or does not like it. Is should not dare to write an article for The Fleuron
were I not still closely shut up, so far as the art of printing is concerned, in the first stage,
The Amateur and Printing: For the amateur and for the artist alike there are three stages
in the study of an art. In the first he loves it and knows nothing about it. In the sec-
ond he is learning, and is so full of the consciousness (perhaps also of the pride) of his
growing knowledge that he is prone to transfer his affection from the art to the detail
and processes of the art, sometimes doing or praising bad work because it may il-
lustrate a rule or employ a device about which he knows. It is in this second stage
that all really bad art in produced, in painting, acting, building, and whatever else. In
this stage also the artist likes to pretend that his art is mystery, not to be approached,
still less shared, by the profane; and in this stage the amateur, left out in the cold, re-
venge himself. The rules and devices and technicalities fall into their place as the mere
material of the true purpose, which is the making and enjoying of beautiful things. The
artist treats the rule as he pleases, because they are now absorbed into his conscious-
ness: the amateur may drive clean through them, be they rules even against consecutive
fifths, or soliloquies, or want of truth to purpose, to the final test, which is whether
he likes the things or does not like it. Is should not dare to write an article for The
Fleuron were I not still closely shut up, so far as the art of printing is concerned, in the
The Amateur and Printing: For the amateur and for the artist alike there are three stages
in the study of an art. In the first he loves it and knows nothing about it. In the second
he is learning, and is so full of the consciousness (perhaps also of the pride) of his
growing knowledge that he is prone to transfer his affection from the art to the detail and
processes of the art, sometimes doing or praising bad work because it may illus-
trate a rule or employ a device about which he knows. It is in this second stage
that all really bad art in produced, in painting, acting, building, and whatever else. In this
stage also the artist likes to pretend that his art is mystery, not to be approached, still
less shared, by the profane; and in this stage the amateur, left out in the cold, revenge
himself. The rules and devices and technicalities fall into their place as the mere material
of the true purpose, which is the making and enjoying of beautiful things. The artist
treats the rule as he pleases, because they are now absorbed into his consciousness: the
amateur may drive clean through them, be they rules even against consecutive fifths, or
soliloquies, or want of truth to purpose, to the final test, which is whether he likes the
things or does not like it. Is should not dare to write an article for The Fleuron were I
not still closely shut up, so far as the art of printing is concerned, in the first stage, and
PTL Roletta primetype 72
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves it
and knows nothing about it. In the second he is learning, and is so
full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art
to the detail and processes of the art, sometimes doing or prais-
ing bad work because it may illustrate a rule or employ a
device about which he knows. It is in this second stage that all
really bad art in produced, in painting, acting, building, and what-
ever else. In this stage also the artist likes to pretend that his art
is mystery, not to be approached, still less shared, by the profane;
and in this stage the amateur, left out in the cold, revenge himself.
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves
it and knows nothing about it. In the second he is learning, and
is so full of the consciousness (perhaps also of the pride) of his
growing knowledge that he is prone to transfer his affection from
the art to the detail and processes of the art, sometimes doing or
praising bad work because it may illustrate a rule or em-
ploy a device about which he knows. It is in this second stage
that all really bad art in produced, in painting, acting, building,
and whatever else. In this stage also the artist likes to pretend
that his art is mystery, not to be approached, still less shared, by
the profane; and in this stage the amateur, left out in the cold,
The Amateur and Printing: For the amateur and for the artist alike
there are three stages in the study of an art. In the first he loves it
and knows nothing about it. In the second he is learning, and is so
full of the consciousness (perhaps also of the pride) of his growing
knowledge that he is prone to transfer his affection from the art
to the detail and processes of the art, sometimes doing or prais-
ing bad work because it may illustrate a rule or employ a
device about which he knows. It is in this second stage that all
really bad art in produced, in painting, acting, building, and what-
ever else. In this stage also the artist likes to pretend that his art
is mystery, not to be approached, still less shared, by the profane;
and in this stage the amateur, left out in the cold, revenge himself.
PTL Roletta primetype 73
Slab*
Medium
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
Slab*
Medium
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
TEXTSAMPLES | ROLETTA SLAB MEDIUM | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps, Bold and Extrabold
TEXTSAMPLES | ROLETTA SLAB MEDIUM | ALTERNATES | | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps, Bold and Extrabold
The Amateur and Printing: For the amateur and for the artist alike there are three
stages in the study of an art. In the first he loves it and knows nothing about it. In the
second he is learning, and is so full of the consciousness (perhaps also of the pride)
of his growing knowledge that he is prone to transfer his affection from the art to the
detail and processes of the art, sometimes doing or praising bad work because
it may illustrate a rule or employ a device about which he knows. It is in this
second stage that all really bad art in produced, in painting, acting, building, and what-
ever else. In this stage also the artist likes to pretend that his art is mystery, not to be
approached, still less shared, by the profane; and in this stage the amateur, left out in
the cold, revenge himself. The rules and devices and technicalities fall into their place
as the mere material of the true purpose, which is the making and enjoying of beau-
tiful things. The artist treats the rule as he pleases, because they are now absorbed
into his consciousness: the amateur may drive clean through them, be they rules even
against consecutive fifths, or soliloquies, or want of truth to purpose, to the final
test, which is whether he likes the things or does not like it. Is should not dare to write
an article for The Fleuron were I not still closely shut up, so far as the art of printing
The Amateur and Printing: For the amateur and for the artist alike there are three
stages in the study of an art. In the first he loves it and knows nothing about it. In the
second he is learning, and is so full of the consciousness (perhaps also of the pride) of
his growing knowledge that he is prone to transfer his affection from the art to the de-
tail and processes of the art, sometimes doing or praising bad work because it may
illustrate a rule or employ a device about which he knows. It is in this second
stage that all really bad art in produced, in painting, acting, building, and whatever
else. In this stage also the artist likes to pretend that his art is mystery, not to be ap-
proached, still less shared, by the profane; and in this stage the amateur, left out in
the cold, revenge himself. The rules and devices and technicalities fall into their place
as the mere material of the true purpose, which is the making and enjoying of beau-
tiful things. The artist treats the rule as he pleases, because they are now absorbed
into his consciousness: the amateur may drive clean through them, be they rules even
against consecutive fifths, or soliloquies, or want of truth to purpose, to the final
test, which is whether he likes the things or does not like it. Is should not dare to write
an article for The Fleuron were I not still closely shut up, so far as the art of printing
The Amateur and Printing: For the amateur and for the artist alike there are three
stages in the study of an art. In the first he loves it and knows nothing about it. In the
second he is learning, and is so full of the consciousness (perhaps also of the pride) of
his growing knowledge that he is prone to transfer his affection from the art to the de-
tail and processes of the art, sometimes doing or praising bad work because it may
illustrate a rule or employ a device about which he knows. It is in this second
stage that all really bad art in produced, in painting, acting, building, and whatever else.
In this stage also the artist likes to pretend that his art is mystery, not to be approached,
still less shared, by the profane; and in this stage the amateur, left out in the cold, re-
venge himself. The rules and devices and technicalities fall into their place as the mere
material of the true purpose, which is the making and enjoying of beautiful things. The
artist treats the rule as he pleases, because they are now absorbed into his conscious-
ness: the amateur may drive clean through them, be they rules even against consecutive
fifths, or soliloquies, or want of truth to purpose, to the final test, which is whether
he likes the things or does not like it. Is should not dare to write an article for The
Fleuron were I not still closely shut up, so far as the art of printing is concerned, in the
PTL Roletta primetype 78
The Amateur and Printing: For the amateur and for the artist
alike there are three stages in the study of an art. In the first he
loves it and knows nothing about it. In the second he is learn-
ing, and is so full of the consciousness (perhaps also of the
pride) of his growing knowledge that he is prone to transfer
his affection from the art to the detail and processes of the art,
sometimes doing or praising bad work because it may il-
lustrate a rule or employ a device about which he knows.
It is in this second stage that all really bad art in produced, in
painting, acting, building, and whatever else. In this stage also
the artist likes to pretend that his art is mystery, not to be ap-
proached, still less shared, by the profane; and in this stage the
The Amateur and Printing: For the amateur and for the artist
alike there are three stages in the study of an art. In the first
he loves it and knows nothing about it. In the second he is
learning, and is so full of the consciousness (perhaps also of
the pride) of his growing knowledge that he is prone to transfer
his affection from the art to the detail and processes of the art,
sometimes doing or praising bad work because it may il-
lustrate a rule or employ a device about which he knows.
It is in this second stage that all really bad art in produced, in
painting, acting, building, and whatever else. In this stage also
the artist likes to pretend that his art is mystery, not to be ap-
proached, still less shared, by the profane; and in this stage the
The Amateur and Printing: For the amateur and for the artist
alike there are three stages in the study of an art. In the first he
loves it and knows nothing about it. In the second he is learning,
and is so full of the consciousness (perhaps also of the pride)
of his growing knowledge that he is prone to transfer his affection
from the art to the detail and processes of the art, sometimes
doing or praising bad work because it may illustrate a rule
or employ a device about which he knows. It is in this second
stage that all really bad art in produced, in painting, acting,
building, and whatever else. In this stage also the artist likes to
pretend that his art is mystery, not to be approached, still less
shared, by the profane; and in this stage the amateur, left out in
PTL Roletta primetype 79
Slab*
Bold
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
Slab*
Bold
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
TEXTSAMPLES | ROLETTA SLAB BOLD | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps, ExtraBold and Black
TEXTSAMPLES | ROLETTA SLAB BOLD | ALTERNATES | | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps, Extrabold and Black
The Amateur and Printing: For the amateur and for the artist alike there are three
stages in the study of an art. In the first he loves it and knows nothing about it. In the
second he is learning, and is so full of the consciousness (perhaps also of the pride) of
his growing knowledge that he is prone to transfer his affection from the art to the
detail and processes of the art, sometimes doing or praising bad work because it
may illustrate a rule or employ a device about which he knows. It is in this
second stage that all really bad art in produced, in painting, acting, building, and
whatever else. In this stage also the artist likes to pretend that his art is mystery, not
to be approached, still less shared, by the profane; and in this stage the amateur, left
out in the cold, revenge himself. The rules and devices and technicalities fall into
their place as the mere material of the true purpose, which is the making and enjoy-
ing of beautiful things. The artist treats the rule as he pleases, because they are now
absorbed into his consciousness: the amateur may drive clean through them, be they
rules even against consecutive fifths, or soliloquies, or want of truth to purpose, to
the final test, which is whether he likes the things or does not like it. Is should not
dare to write an article for The Fleuron were I not still closely shut up, so far as the
The Amateur and Printing: For the amateur and for the artist alike there are three
stages in the study of an art. In the first he loves it and knows nothing about it. In
the second he is learning, and is so full of the consciousness (perhaps also of the
pride) of his growing knowledge that he is prone to transfer his affection from the
art to the detail and processes of the art, sometimes doing or praising bad work
because it may illustrate a rule or employ a device about which he knows.
It is in this second stage that all really bad art in produced, in painting, acting,
building, and whatever else. In this stage also the artist likes to pretend that his
art is mystery, not to be approached, still less shared, by the profane; and in this
stage the amateur, left out in the cold, revenge himself. The rules and devices and
technicalities fall into their place as the mere material of the true purpose, which
is the making and enjoying of beautiful things. The artist treats the rule as he
pleases, because they are now absorbed into his consciousness: the amateur may
drive clean through them, be they rules even against consecutive fifths, or solilo-
quies, or want of truth to purpose, to the final test, which is whether he likes
the things or does not like it. Is should not dare to write an article for The Fleuron
The Amateur and Printing: For the amateur and for the artist alike there are three
stages in the study of an art. In the first he loves it and knows nothing about it. In the
second he is learning, and is so full of the consciousness (perhaps also of the pride)
of his growing knowledge that he is prone to transfer his affection from the art to the
detail and processes of the art, sometimes doing or praising bad work because it
may illustrate a rule or employ a device about which he knows. It is in this
second stage that all really bad art in produced, in painting, acting, building, and
whatever else. In this stage also the artist likes to pretend that his art is mystery, not
to be approached, still less shared, by the profane; and in this stage the amateur, left
out in the cold, revenge himself. The rules and devices and technicalities fall into their
place as the mere material of the true purpose, which is the making and enjoying of
beautiful things. The artist treats the rule as he pleases, because they are now ab-
sorbed into his consciousness: the amateur may drive clean through them, be they
rules even against consecutive fifths, or soliloquies, or want of truth to purpose, to
the final test, which is whether he likes the things or does not like it. Is should not
dare to write an article for The Fleuron were I not still closely shut up, so far as the
PTL Roletta primetype 84
The Amateur and Printing: For the amateur and for the artist
alike there are three stages in the study of an art. In the first he
loves it and knows nothing about it. In the second he is learn-
ing, and is so full of the consciousness (perhaps also of the
pride) of his growing knowledge that he is prone to transfer his
affection from the art to the detail and processes of the art,
sometimes doing or praising bad work because it may il-
lustrate a rule or employ a device about which he knows.
It is in this second stage that all really bad art in produced, in
painting, acting, building, and whatever else. In this stage also
the artist likes to pretend that his art is mystery, not to be ap-
proached, still less shared, by the profane; and in this stage the
The Amateur and Printing: For the amateur and for the art-
ist alike there are three stages in the study of an art. In the
first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also
of the pride) of his growing knowledge that he is prone to
transfer his affection from the art to the detail and processes
of the art, sometimes doing or praising bad work because
it may illustrate a rule or employ a device about which
he knows. It is in this second stage that all really bad art in
produced, in painting, acting, building, and whatever else.
In this stage also the artist likes to pretend that his art is mys-
tery, not to be approached, still less shared, by the profane;
The Amateur and Printing: For the amateur and for the artist
alike there are three stages in the study of an art. In the first he
loves it and knows nothing about it. In the second he is learn-
ing, and is so full of the consciousness (perhaps also of the
pride) of his growing knowledge that he is prone to transfer his
affection from the art to the detail and processes of the art,
sometimes doing or praising bad work because it may il-
lustrate a rule or employ a device about which he knows.
It is in this second stage that all really bad art in produced, in
painting, acting, building, and whatever else. In this stage also
the artist likes to pretend that his art is mystery, not to be ap-
proached, still less shared, by the profane; and in this stage the
PTL Roletta primetype 85
Slab*
Ex.Bold
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
Slab*
Ex.Bold
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
TEXTSAMPLES | ROLETTA SLAB EXTRABOLD | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps and Black
TEXTSAMPLES | ROLETTA SLAB BOLD | ALTERNATES | | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps and Black
The Amateur and Printing: For the amateur and for the artist alike there are three
stages in the study of an art. In the first he loves it and knows nothing about it. In
the second he is learning, and is so full of the consciousness (perhaps also of the
pride) of his growing knowledge that he is prone to transfer his affection from the
art to the detail and processes of the art, sometimes doing or praising bad work
because it may illustrate a rule or employ a device about which he knows.
It is in this second stage that all really bad art in produced, in painting, acting,
building, and whatever else. In this stage also the artist likes to pretend that his art
is mystery, not to be approached, still less shared, by the profane; and in this stage
the amateur, left out in the cold, revenge himself. The rules and devices and tech-
nicalities fall into their place as the mere material of the true purpose, which is the
making and enjoying of beautiful things. The artist treats the rule as he pleases,
because they are now absorbed into his consciousness: the amateur may drive clean
through them, be they rules even against consecutive fifths, or soliloquies, or want
of truth to purpose, to the final test, which is whether he likes the things or does
not like it. Is should not dare to write an article for The Fleuron were I not still
The Amateur and Printing: For the amateur and for the artist alike there are three
stages in the study of an art. In the first he loves it and knows nothing about it. In
the second he is learning, and is so full of the consciousness (perhaps also of the
pride) of his growing knowledge that he is prone to transfer his affection from the
art to the detail and processes of the art, sometimes doing or praising bad work
because it may illustrate a rule or employ a device about which he knows. It
is in this second stage that all really bad art in produced, in painting, acting, build-
ing, and whatever else. In this stage also the artist likes to pretend that his art is
mystery, not to be approached, still less shared, by the profane; and in this stage
the amateur, left out in the cold, revenge himself. The rules and devices and tech-
nicalities fall into their place as the mere material of the true purpose, which is the
making and enjoying of beautiful things. The artist treats the rule as he pleases,
because they are now absorbed into his consciousness: the amateur may drive
clean through them, be they rules even against consecutive fifths, or soliloquies, or
want of truth to purpose, to the final test, which is whether he likes the things or
does not like it. Is should not dare to write an article for The Fleuron were I not still
The Amateur and Printing: For the amateur and for the artist alike there are three
stages in the study of an art. In the first he loves it and knows nothing about it. In
the second he is learning, and is so full of the consciousness (perhaps also of the
pride) of his growing knowledge that he is prone to transfer his affection from the
art to the detail and processes of the art, sometimes doing or praising bad work
because it may illustrate a rule or employ a device about which he knows. It
is in this second stage that all really bad art in produced, in painting, acting, build-
ing, and whatever else. In this stage also the artist likes to pretend that his art is
mystery, not to be approached, still less shared, by the profane; and in this stage the
amateur, left out in the cold, revenge himself. The rules and devices and technicali-
ties fall into their place as the mere material of the true purpose, which is the making
and enjoying of beautiful things. The artist treats the rule as he pleases, because
they are now absorbed into his consciousness: the amateur may drive clean through
them, be they rules even against consecutive fifths, or soliloquies, or want of truth
to purpose, to the final test, which is whether he likes the things or does not like
it. Is should not dare to write an article for The Fleuron were I not still closely shut
PTL Roletta primetype 90
The Amateur and Printing: For the amateur and for the art-
ist alike there are three stages in the study of an art. In the
first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also of
the pride) of his growing knowledge that he is prone to trans-
fer his affection from the art to the detail and processes of
the art, sometimes doing or praising bad work because it
may illustrate a rule or employ a device about which he
knows. It is in this second stage that all really bad art in pro-
duced, in painting, acting, building, and whatever else. In this
stage also the artist likes to pretend that his art is mystery, not
to be approached, still less shared, by the profane; and in this
The Amateur and Printing: For the amateur and for the art-
ist alike there are three stages in the study of an art. In the
first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also of
the pride) of his growing knowledge that he is prone to trans-
fer his affection from the art to the detail and processes of
the art, sometimes doing or praising bad work because it
may illustrate a rule or employ a device about which he
knows. It is in this second stage that all really bad art in pro-
duced, in painting, acting, building, and whatever else. In this
stage also the artist likes to pretend that his art is mystery,
not to be approached, still less shared, by the profane; and in
The Amateur and Printing: For the amateur and for the art-
ist alike there are three stages in the study of an art. In the
first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also of
the pride) of his growing knowledge that he is prone to trans-
fer his affection from the art to the detail and processes of
the art, sometimes doing or praising bad work because it
may illustrate a rule or employ a device about which he
knows. It is in this second stage that all really bad art in pro-
duced, in painting, acting, building, and whatever else. In this
stage also the artist likes to pretend that his art is mystery,
not to be approached, still less shared, by the profane; and in
PTL Roletta primetype 91
Slab*
Black
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
Slab*
Black
ABCDEFGHIJKLMNO
PQRSTUVWXYZ
abcdefghijklmno
pqrstuvwxyz
abcdefghiijklmno
pqrstuvwxyz
1234567890:;.,&%!?
1234567890 1 &@#'"!?%* ^ $
=+<>~/(|)\[]{}[]{},.;:_- `
11234567890 $
1,.:[]0123456789,.:+=()[]0123456789,.:+=()[]0123456789,.:+=()[]
TEXTSAMPLES | ROLETTA SLAB BLACK | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps and Black
TEXTSAMPLES | ROLETTA SLAB BLACK | ALTERNATES | | 22/28 pt | Mixed with Ligatures, Italics, Small Caps, All Caps and Black
The Amateur and Printing: For the amateur and for the artist
alike there are three stages in the study of an art. In the first
he loves it and knows nothing about it. In the second he is
learning, and is so full of the consciousness (perhaps also of
the pride) of his growing knowledge that he is prone to trans-
fer his affection from the art to the detail and processes of
the art, sometimes doing or praising bad work because it
may illustrate a rule or employ a device about which he
knows. It is in this second stage that all really bad art in pro-
duced, in painting, acting, building, and whatever else. In this
stage also the artist likes to pretend that his art is mystery,
not to be approached, still less shared, by the profane; and in
The Amateur and Printing: For the amateur and for the art-
ist alike there are three stages in the study of an art. In the
first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also
of the pride) of his growing knowledge that he is prone to
transfer his affection from the art to the detail and processes
of the art, sometimes doing or praising bad work because
it may illustrate a rule or employ a device about which
he knows. It is in this second stage that all really bad art in
produced, in painting, acting, building, and whatever else. In
this stage also the artist likes to pretend that his art is mys-
tery, not to be approached, still less shared, by the profane;
The Amateur and Printing: For the amateur and for the art-
ist alike there are three stages in the study of an art. In the
first he loves it and knows nothing about it. In the second he
is learning, and is so full of the consciousness (perhaps also of
the pride) of his growing knowledge that he is prone to trans-
fer his affection from the art to the detail and processes of
the art, sometimes doing or praising bad work because it
may illustrate a rule or employ a device about which he
knows. It is in this second stage that all really bad art in pro-
duced, in painting, acting, building, and whatever else. In this
stage also the artist likes to pretend that his art is mystery,
not to be approached, still less shared, by the profane; and in
PTL Roletta primetype 96
PTL
ROLETTA
rBQw
bq
xf
X
sKf
PTL Roletta primetype 97
rr wQ
FF Ww
FF BQ
rr q
HBLJPRVX
FqHuWjYx
NnNnNnNnNnNnNnNnNnNnNnNnNn
N N N N N N N N N N N N N
N N N N N N N N N N N N N
nNnNnNnNnNnNnNnNnNnNnNnNnN
CDFBE
cdf ehk
KN
wvwvwvwvwvwvw
QqQqQqQqQqQqQqQqQqQq
xxxxxxxxxxxxx
XXXXXXXXXXXXX SSSSSSSSSSSSS
sssssssssssss
XXXXXXXXXXXXX
xxxxxxxxxxxxx sssssssssssss
SSSSSSSSSSSSS
XXXXXXXXXXXXX
xxxxxxxxxxxxx sssssssssssss
SSSSSSSSSSSSS
XXXXXXXXXXXXX
xxxxxxxxxxxxx sssssssssssss
SSSSSSSSSSSSS
PTL Roletta primetype 98
DESIGN
PTL Roletta Ornaments is a system of six decorative fonts
Andrea Tinnes
that create a variety of ornamental composites and patterns
YEAR
20042010
by combining and superimposing. They all play with the
notion of roundness: either dotted ornaments, circular forms
FONTS
6 fonts
and outlines or roundish floral shapes.
Each font contains a set of 52 ornaments. Upper and lower-
FORMATS
OpenType case of one letter always correlate: they can be superimposed
or combined to create more complex forms. Since all designs
CHARACTERS
52 per font are based on a so called em square, they create seamless
patterns when the pointsize equals the lineheight. This also
FOUNDRY
primetype means that the various fonts can be combined among them-
selves to create an endless variety of patterns and forms.
Some ideas of Repeat, a pattern-to-go font from 2004 which
never was finished, have ultimately contributed to the design
of PTL Roletta Ornaments.
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ABCDEFGHIJKLMNOPQRSTUVWXYZ
a b c d e f g h i j k l m n o p q r s t u v w x y z
abcdefghijklmnopqrstuvwxyz
ROLETTA ORNAMENTS | FLORAL | 18 pt
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ABCDEFGHIJKLMNOPQRSTUVWXYZ
a b c d e f g h i j k l m n o p q r s t u v w x y z
abcdefghijklmnopqrstuvwxyz
ROLETTA ORNAMENTS | OUTLINES DOTS | 18 pt
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ABCDEFGHIJKLMNOPQRSTUVWXYZ
a b c d e f g h i j k l m n o p q r s t u v w x y z
abcdefghijklmnopqrstuvwxyz
ROLETTA ORNAMENTS | OUTLINE | 18 pt
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ABCDEFGHIJKLMNOPQRSTUVWXYZ
a b c d e f g h i j k l m n o p q r s t u v w x y z
abcdefghijklmnopqrstuvwxyz
ROLETTA ORNAMENTS | BACKGROUND OUTLINE | 18 pt
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ABCDEFGHIJKLMNOPQRSTUVWXYZ
a b c d e f g h i j k l m n o p q r s t u v w x y z
abcdefghijklmnopqrstuvwxyz
ROLETTA ORNAMENTS | CIRCULAR | 18 pt
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ABCDEFGHIJKLMNOPQRSTUVWXYZ
a b c d e f g h i j k l m n o p q r s t u v w x y z
abcdefghijklmnopqrstuvwxyz
PTL Roletta primetype 100
A B C D E F G H I J
ABCDEFGHIJ
K L M N O P Q R S T
KLMNOPQRST
U V W X Y Z
UVWXYZ
a b c d e f g h i j
abcdefghij
k l m n o p q r s t
klmnopqrst
u v w x y z
uvwxyz
A+a B+b C+c D+d E+e F+f G+g H+h I+i J+j
Ab
a Bc
CdDe
EfFg
GhHi
IjJ
K+k L+l M+m N+n O+o P+p Q+q R+r S+s T+t
Kl
k Lm
MnNo
OpPq
QrRs
StT
U+u V+v W+w X+x Y+y Z+z
Uv
u Vw
WxXy
YzZ
PTL Roletta primetype 101
bbbbbb
BBBBBB vvvvvv
VVVVVV
BBBBBB
bbbbbb VVVVVV
vvvvvv
BBBBBB
bbbbbb VVVVVV
vvvvvv
BBBBBB
bbbbbb VVVVVV
vvvvvv
BBBBBB VVVVVV
BBBBBB VVVVVV
BBBBB + bbbbb VVVVV + vvvvv
TTTTTT
WWWWWW HhHhHh
IIIIII
WWWWWW
TTTTTT IIIIII
hHhHhH
WWWWWW
TTTTTT IIIIII
HhHhHh
WWWWWW
TTTTTT IIIIII
hHhHhH
WWWWWW
TTTTTT IIIIII
HhHhHh
WWWWWW
TTTTTT IIIIII
hHhHhH
WWWWW + TTTTT IIIII + HhHhH
HhHhHhHhHhHhH
HhHhHhHhHhHhH
HhHhHhHhHhHhH
HhHhHhHhHhHh
PTL Roletta primetype 102
A B C D E F G H I J
ABCDEFGHIJ
K L M N O P Q R S T
KLMNOPQRST
U V W X Y Z
UVWXYZ
a b c d e f g h i j
abcdefghij
k l m n o p q r s t
klmnopqrst
u v w x y z
uvwxyz
A+a B+b C+c D+d E+e F+f G+g H+h I+i J+j
Ab
a Bc
CdDe
EfFg
GhHi
IjJ
K+k L+l M+m N+n O+o P+p Q+q R+r S+s T+t
Kl
k Lm
MnNo
OpPq
QrRs
StT
U+u V+v W+w X+x Y+y Z+z
Uv
u Vw
WxXy
YzZ
PTL Roletta primetype 105
WWWWWW
wwwwww kkkkkk
eeeeee
wwwwww
WWWWWW eeeeee
kkkkkk
wwwwww
WWWWWW eeeeee
kkkkkk
wwwwww
WWWWWW eeeeee
kkkkkk
WWWWWW kkkkkk
WWWWWW kkkkkk
wwwww + WWWWW eeeee + kkkkk
jjjjjj
ffffff eeeeee
FFFFFF
ffffff
jjjjjj FFFFFF
eeeeee
ffffff
jjjjjj FFFFFF
eeeeee
ffffff
jjjjjj FFFFFF
eeeeee
ffffff
jjjjjj FFFFFF
eeeeee
ffffff
jjjjjj FFFFFF
eeeeee
jjjjjj + ffffff FFFFFF + eeeeee
iiiiiiiiiiiii
IIIIIIIIIIIII
IIIIIIIIIIIII
iiiiiiiiiiiii
IIIIIIIIIIIII
iiiiiiiiiiiii
iiiiiiiiiiiii + IIIIIIIIIIIII
PTL Roletta primetype 106
A B C D E F G H I J
ABCDEFGHIJ
K L M N O P Q R S T
KLMNOPQRST
U V W X Y Z
UVWXYZ
a b c d e f g h i j
abcdefghij
k l m n o p q r s t
klmnopqrst
u v w x y z
uvwxyz
A+a B+b C+c D+d E+e F+f G+g H+h I+i J+j
AB
a bC
cDdE
eFfG
ghHi
IjJ
K+k L+l M+m N+n O+o P+p Q+q R+r S+s T+t
Kl
k Lm
MnNo
OpPQ
qRrs
STt
U+u V+v W+w X+x Y+y Z+z
Uv
u VW
wXxy
YZz
PTL Roletta primetype 109
uvuvuv AAAAAA
rrrrrr
vuvuvu rrrrrr
AAAAAA
uvuvuv rrrrrr
AAAAAA
vuvuvu rrrrrr
AAAAAA
uvuvuv rrrrrr
vuvuvu rrrrrr
uvuvuv + vuvuvu rrrrrr + AAAAAA
jkjkjk
JKJKJK SSSSSS
ssssss
jkjkjk
JKJKJK ssssss
SSSSSS
JKJKJK
jkjkjk ssssss
SSSSSS
jkjkjk
JKJKJK ssssss
SSSSSS
JKJKJK
jkjkjk ssssss
SSSSSS
jkjkjk
JKJKJK ssssss
SSSSSS
JKJKJK + jkjkjk + jkjkjk + JKJKJK ssssss + SSSSSS
fffffffffffff
fffffffffffff
fffffffffffff
fffffffffffff
PTL Roletta primetype 110
A B C D E F G H I J
ABCDEFGHIJ
K L M N O P Q R S T
KLMNOPQRST
U V W X Y Z
UVWXYZ
a b c d e f g h i j
abcdefghij
k l m n o p q r s t
klmnopqrst
u v w x y z
uvwxyz
A+a B+b C+c D+d E+e F+f G+g H+h I+i J+j
AB
a bC
cDdE
eFfG
ghHi
IjJ
K+k L+l M+m N+n O+o P+p Q+q R+r S+s T+t
Kl
k Lm
MnNo
OpPQ
qRrs
STt
U+u V+v W+w X+x Y+y Z+z
Uv
u VW
wXxy
YZz
PTL Roletta primetype 113
YYYYYY
yyyyyy CCCCCC
eeeeee
yyyyyy
YYYYYY eeeeee
CCCCCC
yyyyyy
YYYYYY eeeeee
CCCCCC
yyyyyy
YYYYYY eeeeee
CCCCCC
YYYYYY CCCCCC
YYYYYY CCCCCC
yyyyyy + YYYYYY eeeee + CCCCCC
jkjkjk
JKJKJK PPPPPP
pppppp
jkjkjk
JKJKJK pppppp
PPPPPP
JKJKJK
jkjkjk pppppp
PPPPPP
jkjkjk
JKJKJK pppppp
PPPPPP
JKJKJK
jkjkjk pppppp
PPPPPP
jkjkjk
JKJKJK pppppp
PPPPPP
JKJKJK + jkjkjk + jkjkjk + JKJKJK pppppp + PPPPPP
WXWXWXWXWXWXW
WXWXWXWXWXWXW
WXWXWXWXWXWXW
WXWXWXWXWXWXW
PTL Roletta primetype 114
A B C D E F G H I J
ABCDEFGHIJ
K L M N O P Q R S T
KLMNOPQRST
U V W X Y Z
UVWXYZ
a b c d e f g h i j
abcdefghij
k l m n o p q r s t
klmnopqrst
u v w x y z
uvwxyz
A+a B+b C+c D+d E+e F+f G+g H+h I+i J+j
Ab
a Bc
CdDe
EfFg
GhHi
IjJ
K+k L+l M+m N+n O+o P+p Q+q R+r S+s T+t
Kl
k Lm
MnNo
OpPq
QrRs
StT
U+u V+v W+w X+x Y+y Z+z
Uv
u Vw
WxXy
YzZ
PTL Roletta primetype 117
qqqqqq
cccccc OOOOOO
NNNNNN
cccccc
qqqqqq NNNNNN
OOOOOO
cccccc
qqqqqq NNNNNN
OOOOOO
cccccc
qqqqqq NNNNNN
OOOOOO
qqqqqq NNNNNN
qqqqqq NNNNNN
cccccc + qqqqqq NNNNNN + OOOOOO
VUVUVU
UVUVUV xxxxxx
XXXXXX
VUVUVU
UVUVUV XXXXXX
xxxxxx
UVUVUV
VUVUVU XXXXXX
xxxxxx
VUVUVU
UVUVUV XXXXXX
xxxxxx
UVUVUV
VUVUVU XXXXXX
xxxxxx
VUVUVU
UVUVUV XXXXXX
xxxxxx
UVUVUV + VUVUVU + VUVUVU + UVUVUV XXXXX + xxxxx
PPPPPPPPPPPPP
ooooooooooooo
ooooooooooooo
PPPPPPPPPPPPP
ooooooooooooo
PPPPPPPPPPPPP
PPPPPPPPPPPPP + ooooooooooooo
PTL Roletta primetype 118
A B C D E F G H I J
ABCDEFGHIJ
K L M N O P Q R S T
KLMNOPQRST
U V W X Y Z
UVWXYZ
a b c d e f g h i j
abcdefghij
k l m n o p q r s t
klmnopqrst
u v w x y z
uvwxyz
A+B B+d C+S D+e E+D F+G G+q H+H I+I J+J
Ad
B BS
CeDD
EGFq
GhHi
IJ
K+K L+L M+M N+O O+b P+P Q+r R+Q S+q T+D
Kl
LmMO
NbOp
PrQQ
RqSD
T
U+U V+v W+w X+x Y+y Z+z
Uv
u Vw
WxXy
YzZ
PTL Roletta primetype 121
yyyyyy qqqqqq
cccccc
yyyyyy qqqqqq
cccccc
yyyyyy qqqqqq
cccccc
yyyyyy qqqqqq
cccccc
yyyyyy qqqqqq
yyyyyy qqqqqq
yyyyyy + YYYYYY cccccc + qqqqqq
GGGGGG
oooooo VUVUVU
UVUVUV
GGGGGG
oooooo UVUVUV
VUVUVU
GGGGGG
oooooo VUVUVU
UVUVUV
GGGGGG
oooooo UVUVUV
VUVUVU
GGGGGG
oooooo VUVUVU
UVUVUV
GGGGGG
oooooo UVUVUV
VUVUVU
oooooo + GGGGGG VUVUVU + UVUVUV + UVUVUV + VUVUVU
OOOOOOOOOOOOO
NNNNNNNNNNNNN
OOOOOOOOOOOOO
NNNNNNNNNNNNN
OOOOOOOOOOOOO
NNNNNNNNNNNNN
NNNNNNNNNNNNN + OOOOOOOOOOOOO
PTL Roletta primetype 122
A B C D E F G H I J
ABCDEFGHIJ
K L M N O P Q R S T
KLMNOPQRST
U V W X Y Z
UVWXYZ
a b c d e f g h i j
abcdefghij
k l m n o p q r s t
klmnopqrst
u v w x y z
uvwxyz
A+a B+b C+c D+d E+e F+f G+g H+h I+i J+j
Ab
a Bc
CdDe
EfFg
GhHi
IjJ
K+k L+l M+m N+n O+o P+p Q+q A+R A+S T+t
Kl
k Lm
MnNo
OpPq
QrAs
AtT
U+u V+v W+w X+x Y+y Z+z
Uv
u Vw
WxXy
YzZ
PTL Roletta primetype 125
HhHhHh
HHHHHH EEEEEE
nnnnnn
HHHHHH
hHhHhH nnnnnn
EEEEEE
HHHHHH
HhHhHh nnnnnn
EEEEEE
HHHHHH
hHhHhH nnnnnn
EEEEEE
HHHHHH nnnnnn
HHHHHH nnnnnn
HHHHHH + HhHhH + hHhHh nnnnnn + EEEEEE
KkKkKk
QqQqQq CCCCCC
dddddd
QqQqQq
KkKkKk dddddd
CCCCCC
QqQqQq
KkKkKk dddddd
CCCCCC
QqQqQq
KkKkKk dddddd
CCCCCC
QqQqQq
KkKkKk dddddd
CCCCCC
QqQqQq
KkKkKk dddddd
CCCCCC
QqQqQq + KkKkKk dddddd + CCCCCC
LLLLLLLLLLLLL
LLLLLLLLLLLLL
LLLLLLLLLLLLL
LLLLLLLLLLLLL
PTL Roletta primetype 126
y
Q
d
Y
PTL
ROLETTA
SPECIMEN
BOOK type specimen book
PTL Roletta Sans, Slab
and Ornaments
Designed by Andrea Tinnes
Published by primetype
www.primetype.com