It may be difficult to believe that some of the best serif fonts are optimized for the web given the fact that their poor reputation for being difficult to read at small sizes has led many web designers to phase them out in site designs, but serif fonts are still quite popular.
This list contains 45 free serif fonts, all of which are well designed though some are optimized for print. Let’s get to it!
1.?Droid Serif
Droid Serif is a font family designed by Ascender Corporation and commissioned by Google for use on the Android mobile operating system.
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2. Alegreya
Alegreya was designed by Juan Pablo del Peral and was originally designed as a literature font, but its completed?12-style font family gives it a contemporary appeal.
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3. Andada
Andada is a hybrid serif font designed by Carolina Giovagnoli of?Huerta Tipográfica. Its main style is serif, but a few of the other styles in the family use slab-serif elements.
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4. Merriweather
Merriweather was designed by Sorkin Type Co. It was designed specifically for use on digital screens with little to no attention paid to how this font would look in print.
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5. Latin Modern Roman
Latin Modern Roman is a contemporary take on a traditional-looking serif font designed by GUST e-foundry. It comes in 12 different styles.
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6. Vollkorn
Vollkorn is a classic-looking serif font designed by FRiTZe. It comes in eight styles with different font weights to give each style a unique look.
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7. Cardo
Cardo Regular is a traditional-looking serif font designed by David Perry. It comes with nearly 4,000 glyphs and includes two additional styles.
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8. Gentium Basic
Gentium Basic is an elegant take on serif fonts. It was designed by SIL International as part of a much larger font project called Gentium Plus.
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9. Afta Serif
Afta Serif is a unique serif font that uses the style’s traditional elements and combines it with a modern flare. It was designed by?Oriol Esparraguera.
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10. Otama e.p.
Otama e.p. is a playful serif font designed by Tim Donaldson. It’s a simple font that comes in a single style and a couple hundred glyphs.
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11. Artifika
Artifika is an elegant serif font designed by Cyreal. It features elegantly rounded edges and comes in a single style with a couple hundred glyphs.
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12. Devroye
Devroye is a non-standard serif font designed by Apostrophic Labs. It comes in four different styles, each one a little more unique than the previous one.
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13.?Quattrocento Roman
Quattrocento Roman is a soft serif font designed by Impallari Type. It comes in a single style with only a couple hundred glyphs.
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14. Noto Serif
Noto Serif is a traditional-looking serif font designed by Google. The font has a traditional look but was optimized for a web. Its purpose to eliminate certain characters computers were once unable to display.
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15. Garogier
Garogier is a thin yet traditionally-designed serif font by Rogier van Dalen. It comes in a single style and just over 400 glyphs.
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16. Source Serif Pro
Source Serif Pro is a transitional serif font designed by Adobe. It was created to complement the Source Sans font. It comes in six styles.
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17. Liberation Serif
Liberation Serif was designed by Red Hat. It was designed to be metrically compatible with such fonts as Arial, Times New Roman and Courier New.
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18. Znikomit
Znikomit is a thin, lightweight serif font by GLUK fonts. It comes in a single style with over 1,100 glyphs.
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19. Heuristica
Heuristica is a transitional serif font by Andrej Panov. It comes in four basic styles that include over 1,000 glyphs each.
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20. Caudex
Caudex is a “Unicode TrueType font created with FontForge.” It was designed by Hjort Nidudsson and comes in four basic styles.
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21. Sorts Mill Goudy
Sorts Mill Goudy is classic serif font designed by Barry Schwartz. It’s a revival of Goudy Oldstyle and Italic, so it’s only available in two basic styles.
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22. Forum
Forum is a historical font by Denis Masharov. It comes in a single style with just over 550 glyphs.
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23. Neuton
Neuton is a “clean, dark, somewhat Dutch-inspired serif font” designed by Brian Zick. It comes in seven different styles to give you a variety of different ways to use the same font.
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24. Gandhi Serif
Gandhi Serif is a classic serif font by?Librerias Gandhi S.A. de C.V. It comes in four typical styles, each of which have a few hundred glyphs.
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25. Contra
Contra is a classic-looking serif font with a slight twist, the twist mainly being the sharp ends of nearly every letter. It was designed by Apostrophic Labs and comes in two styles.
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26. Fjord
Fjord is a serif font designed by?Viktoriya Grabowska. It was originally designed with printed books in mind before the designer took digital designs into consideration, though it still performs best at sizes larger than 12px.
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27. Tinos
Tinos is a serif font designed by prominent font designer Steve Matteson for Ascender Fonts. It was designed to be a refreshing take on serif fonts and is metrically compatible with Times New Roman.
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28. Judson
Judson is another typical-looking serif font. This one was designed by Daniel Johnson who designed it for African literacy that use Latin characters.
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29. Tryst
Tryst is a contemporary, transitional serif font designed by Philatype. It has a classic design at first glance but features contemporary and transitional undertones upon closer inspection.
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30. ChanticleerRoman
ChanticleerRoman is an elegant serif font designed by Nick’s Fonts. It comes in a single style that includes 400 glyphs.
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31. GriffosFont
GriffosFont is another elegant serif font. This one was designed by?Manfred Klein Fonteria. It comes in two styles, both of which feature a couple hundred glyphs.
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32. Kameron
Kameron is a rounded, slightly slab-serif font by Vernon Adams. The designer drew inspiration from classic slab-serif and Egyptian fonts of the 20th century.
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33. TeX Gyre Bonum
TeX Gyre Bonum, designed by GUST e-foundry, is inspired by the URW Bookman L font family that came with Ghostscript. It comes in four styles, each of which feature nearly?1,250 glyphs.
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34. Ovo
Ovo is a medium-contrast serif font designed by Sorkin Type Co. It was inspired by the capital lettering of a 1930s lettering guide. It comes in a single style and just under 300 glyphs.
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35. Mate
Mate is a simple yet sharp serif font designed by Eduardo Tunni. It was designed for text but also looks great in larger font sizes, making it an excellent choice for a display font.
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36. Radley
Radley is a serif font designed by Vernon Adam that works great as a webfont. It was originally designed for use with wood-carved titling work before it was re-designed for the web and smaller screen sizes.
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37. Prociono
Prociono is a “roman serif font with blackletter elements” designed by Barry Schwartz. It comes in one style and over 300 glyphs.
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38. Habibi
Habibi is a high-contrast serif font designed by Sorkin Type Co. It draws inspiration from fonts of the 15th and 16th centuries but takes a modern spin on them.
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39. Latinia
Latinia font is a unique serif font designed by?Manfred Klein Fonteria. It comes in two styles, both of which feature over 200 glyphs.
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40. Inknut Antiqua
Inknut Antiqua is a unique serif font designed by?Claus Eggers S?rensen. It’s meant to be used in traditional literature and comes in seven different styles.
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41. Rosarivo
Rosarivo is an elegant serif font by Pablo Ugerman. It was designed to be used in letterpress printing and works well in editorial design. It comes in two different styles.
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42. Permian Serif
Permian Serif is an elegant serif font by Permian Typeface. It comes in three basic styles, each of which feature over 900 glyphs.
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43. Trykker
Trykker is a high-contrast serif font by Sorkin Type Co. It was inspired by the elegant fonts used in the 16th century. It comes in a single style that features over 400 glyphs.
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44. Junicode
Junicode is a Medieval serif font designed by Peter S. Baker. The font comes in eight different styles, making it useful for more than just medieval-style purposes.
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45. Kelvinch
Kelvinch is an elegant serif font designed by Paul Miller. It works best when used in long texts but comes in enough styles, four to be exact, to be used for a number of different purposes.
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Final Thoughts
Hopefully you found a few new serif fonts to use in your projects, but we have plenty more font lists for you to check out if you’re not satisfied:
25 Free Fonts for Websites
22 Premium Fonts for Logo Designs
27 Free & Premium Designer Fonts
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That again was no use: he but got another smile and a friendly look of the sort he no longer wanted. I said I thought I could gallop if Harry could, and in a few minutes we were up with the ambulance. It had stopped. There were several men about it, including Sergeant Jim and Kendall, which two had come from Quinn, and having just been in the ambulance, at Ferry's side, were now remounting, both of them openly in tears. "Hello, Kendall." We have this great advantage in dealing with Plato—that his philosophical writings have come down to us entire, while the thinkers who preceded him are known only through fragments and second-hand reports. Nor is the difference merely accidental. Plato was the creator of speculative literature, properly so called: he was the first and also the greatest artist that ever clothed abstract thought in language of appropriate majesty and splendour; and it is probably to their beauty of form that we owe the preservation of his writings. Rather unfortunately, however, along with the genuine works of the master, a certain number of pieces have been handed down to us under his name, of which some are almost universally admitted to be spurious, while the authenticity of others is a question on which the best scholars are still divided. In the absence of any very cogent external evidence, an immense amount of industry and learning has been expended on this subject, and the arguments employed on both sides sometimes make us doubt whether the reasoning powers of philologists are better developed than, according to Plato, were those of mathematicians in his time. The176 two extreme positions are occupied by Grote, who accepts the whole Alexandrian canon, and Krohn, who admits nothing but the Republic;115 while much more serious critics, such as Schaarschmidt, reject along with a mass of worthless compositions several Dialogues almost equal in interest and importance to those whose authenticity has never been doubted. The great historian of Greece seems to have been rather undiscriminating both in his scepticism and in his belief; and the exclusive importance which he attributed to contemporary testimony, or to what passed for such with him, may have unduly biassed his judgment in both directions. As it happens, the authority of the canon is much weaker than Grote imagined; but even granting his extreme contention, our view of Plato’s philosophy would not be seriously affected by it, for the pieces which are rejected by all other critics have no speculative importance whatever. The case would be far different were we to agree with those who impugn the genuineness of the Parmenides, the Sophist, the Statesman, the Philêbus, and the Laws; for these compositions mark a new departure in Platonism amounting to a complete transformation of its fundamental principles, which indeed is one of the reasons why their authenticity has been denied. Apart, however, from the numerous evidences of Platonic authorship furnished by the Dialogues themselves, as well as by the indirect references to them in Aristotle’s writings, it seems utterly incredible that a thinker scarcely, if at all, inferior to the master himself—as the supposed imitator must assuredly have been—should have consented to let his reasonings pass current under a false name, and that, too, the name of one whose teaching he in some respects controverted; while there is a further difficulty in assuming that his existence could pass unnoticed at a period marked by intense literary and philosophical activity. Readers who177 wish for fuller information on the subject will find in Zeller’s pages a careful and lucid digest of the whole controversy leading to a moderately conservative conclusion. Others will doubtless be content to accept Prof. Jowett’s verdict, that ‘on the whole not a sixteenth part of the writings which pass under the name of Plato, if we exclude the works rejected by the ancients themselves, can be fairly doubted by those who are willing to allow that a considerable change and growth may have taken place in his philosophy.’116 To which we may add that the Platonic dialogues, whether the work of one or more hands, and however widely differing among themselves, together represent a single phase of thought, and are appropriately studied as a connected series. Before entering on our task, one more difficulty remains to be noticed. Plato, although the greatest master of prose composition that ever lived, and for his time a remarkably voluminous author, cherished a strong dislike for books, and even affected to regret that the art of writing had ever been invented. A man, he said, might amuse himself by putting down his ideas on paper, and might even find written178 memoranda useful for private reference, but the only instruction worth speaking of was conveyed by oral communication, which made it possible for objections unforeseen by the teacher to be freely urged and answered.117 Such had been the method of Socrates, and such was doubtless the practice of Plato himself whenever it was possible for him to set forth his philosophy by word of mouth. It has been supposed, for this reason, that the great writer did not take his own books in earnest, and wished them to be regarded as no more than the elegant recreations of a leisure hour, while his deeper and more serious thoughts were reserved for lectures and conversations, of which, beyond a few allusions in Aristotle, every record has perished. That such, however, was not the case, may be easily shown. In the first place it is evident, from the extreme pains taken by Plato to throw his philosophical expositions into conversational form, that he did not despair of providing a literary substitute for spoken dialogue. Secondly, it is a strong confirmation of this theory that Aristotle, a personal friend and pupil of Plato during many years, should so frequently refer to the Dialogues as authoritative evidences of his master’s opinions on the most important topics. And, lastly, if it can be shown that the documents in question do actually embody a comprehensive and connected view of life and of the world, we shall feel satisfied that the oral teaching of Plato, had it been preserved, would not modify in any material degree the impression conveyed by his written compositions. breakfast in the kitchen by candle-light, and then drove the five The bargaining was interminable, something in this manner:— Then follows a long discussion in Hindi with the bystanders, who always escort a foreigner in a mob, ending in the question— There was a bright I. D. blanket spread on the ground a little way back from the fire, and she threw herself down upon it. All that was picturesque in his memories of history flashed back to Cairness, as he took his place beside Landor on the log and looked at her. Boadicea might have sat so in the depths of the Icenean forests, in the light of the torches of the Druids. So the Babylonian queen might have rested in the midst of her victorious armies, or she of Palmyra, after the lion hunt in the deserts of Syria. Her eyes, red lighted beneath the shadowing lashes, met his. Then she glanced away into the blackness of the pine forest, and calling her dog to lie down beside her, stroked its silky red head. The retreat was made, and the men found themselves again in the morning on the bleak, black heath of Drummossie, hungry and worn out, yet in expectation of a battle. There was yet time to do the only wise thing—retreat into the mountains, and depend upon a guerilla warfare, in which they would have the decided advantage. Lord George Murray now earnestly proposed this, but in vain. Sir Thomas Sheridan and other officers from France grew outrageous at that proposal, contending that they could easily beat the English, as they had done at Prestonpans and Falkirk—forgetting that the Highlanders then were full of vigour and spirit. Unfortunately, Charles listened to this foolish reasoning, and the fatal die was cast. "They said they were going for our breakfast," said Harry. "And I hope it's true, for I'm hungrier'n a rip-saw. But I could put off breakfast for awhile, if they'd only bring us our guns. I hope they'll be nice Springfield rifles that'll kill a man at a mile." "Dod durn it," blubbered Pete, "I ain't cryin' bekase Pm skeered. I'm cryin' bekase I'm afeared you'll lose me. I know durned well you'll lose me yit, with all this foolin' around." He came nearly every night. If she was not at the gate he would whistle a few bars of "Rio Bay," and she would steal out as soon as she could do so without rousing suspicion. Boarzell became theirs, their accomplice in some subtle, beautiful way. There was a little hollow on the western slope where they would crouch together and sniff the apricot scent of the gorse, which was ever afterwards to be the remembrancer of their love, and watch the farmhouse lights at Castweasel gleam and gutter beside Ramstile woods. "Yes, De Boteler," continued the lady, "I will write to him, and try to soothe his humour. You think it a humiliation—I would humble myself to the meanest serf that tills your land, could I learn the fate of my child. The abbot may have power to draw from this monk what he would conceal from us; I will at least make the experiment." The lady then, though much against De Boteler's wish, penned an epistle to the abbot, in which concession and apologies were made, and a strong invitation conveyed, that he would honour Sudley castle by his presence. The parchment was then folded, and dispatched to the abbot. "A very pretty method, truly! You know not the miners and forgers of Dean Forest!—why I would stake a noble to a silver-penny, that if you had discovered he was hidden there, and legally demanded him, he would be popped down in a bucket, to the bottom of some mine, where, even the art of Master Calverley could not have dragged him to the light of day until the Forest was clear of the pack:—but, however, to speak to the point," perceiving that the steward's patience was well nigh exhausted—"I saw Stephen Holgrave yesterday, in the Forest." HoME欧美一级 片a高清
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Forum is a historical font by Denis Masharov. It comes in a single style with just over 550 glyphs.
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