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Nerva

Nerva

by DSType
Licenses from $40.00
Complete family of 4 fonts: $40.00
Nerva Font Family was designed by Dino dos Santos and published by DSType. Nerva contains 4 styles and family package options.

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Nerva Family

4 fonts

Best Value!

  • Nerva Nerva

  • Nerva SC Nerva SC

  • Nerva UC Nerva UC

  • Nerva Ligatures Nerva Ligatures

Per style:

$10.00

Pack of 4 styles:

$40.00

About Nerva Font Family


This is the kind of serif/sans serif typefaces that I always liked so much (like Optima by Mr. Herman Zapf that was always a great inspiration to me). Complete horizontal baseline with curve vertical stems give this font a more rigid and roman look. I decided to create a font for use in large sizes. The Regular, SmallCaps, UpperCaps (top aligned small caps) and a large amount of Ligatures give this font a lot of versatility, for use in book covers, sleeve records, posters and logos.

Designers: Dino dos Santos

Publisher: DSType

Foundry: DSType

Design Owner: DSType

MyFonts debut: Jan 13, 2005

Nerva

About DSType

“I began designing typefaces in the early ’90s because there weren’t many typefaces available to us in those days,” Dino dos Santos, founder of DSType, said in his Creative Characters interview. “I started designing fonts that matched the new typographic experience. To me, graphic design was never about taking a picture and then just choosing one of the available typefaces” Based in Porto, Portugal, Dino got his start designing typefaces for magazines and large corporations. Frustrated that the only fonts available for use were system fonts and dry transfer sheets, he began selling his typefaces on MyFonts. Since then, the self-taught designer has created a library full of striking experiments, charming display type, and most notably, an amazing collection of well-wrought, extensive text families. His collection also boasts a handful of bestsellers such as Velino Text, Prelo Slab and Prumo Slab. “There is not much of a type design history in Portugal,” he noted in his interview. He is, however, interested in what has been done in his country by older generations of type designers and calligraphers. “I want to understand what happened, how things worked back then, and expose the world to some lesser-known work. History is often seen as something that passed away, and that’s it. But for me history is one of the most relevant aspects of type design. I believe we are made of history, but also that we should take a step forward by connecting it to the present and the future and we can do that through technology.”The Premium foundry page can be viewed Here.

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