Arose (about 1988) through the narrowing of Roman capitals. It has uniform width proportions and, above all, original lower-case letters and picturesque italics. The text designs are suitable only for the printing of shorter texts, because the artistic singularity of the type face soon makes the reader tired. Altogether, Mramor has 14 designs. Each of them is appropriate for posters. The upper-case letters used in a simple inscription have absolute mastery of the entire area of the page, whereas the arabesques of the lower-case italics play an uncommon decorative accord in it. Were we to look deeper into the “nooks” of this alphabet, we would behold florally modelled serifs and stems with a very delicate entasis; the curves seem to follow on the one hand the merging of palm trunks, on the other a succession of rugged ridges. The overall expression of Mramor is vertical. It is a tranquil, contemplative and intimate type face. It is not suitable for inscriptions which are supposed to shout out of the surface. However, in large areas the nakedness of the letters results in a strange, wistful tone.