In particular what we’re going to look at here is really a snapshot of the republic as it functioned in the third and second centuries, what Roman historians call the ‘Middle Republic’ (c. We’re going to be taking a snapshot of the Roman Republic, necessary because the republic changed over time. Which leads into the other major difference: size. They imagine the republic differently than a polis and that leads to some meaningful differences in its structure and nature, even though it seems to share a lot of ‘DNA’ with a polis and in some sense could be described as an ‘overgrown’ city-state. On the other hand, as we’re going to see, the Romans have some different ideas about the res publica (that’s their phrase which gives us our word ‘republic’).

As we’ll see, the Roman Republic has a lot of the same features as a polis: a citizen body, magistrates, a citizen assembly, all structured around a distinct urban center and so on. As with that series, we’re going to start by defining our community and its constituent parts in this part, before moving through the elements of its government in subsequent essays in this series.ĭiscussing the Roman Republic after already looking at the normal structure of a polis offers an interesting vantage point. Width expansion by Viktoriya Grabowska with art direction from Eben Sorkin and kerning by ikern.This is the first of a planned five-part series looking at the structure of the Roman Republic as another example of civic governance structures in antiquity, to match our series on the Greek polis. Omnes’s middle range is built for text use, and its weights on either end of the spectrum command a broader range of moods, from its austere, warm Hairlines to its punchy, convivial Blacks.ĭesigned by Joshua Darden, with design and production assistance by Noam Berg, John Hudson, Thomas Jockin, Scott Kellum, Jesse Ragan, Dan Reynolds, and Eben Sorkin. Selective rounding adds subtle texture & circumvents the ‘sausage-link’ effect, while non-geometric forms pay homage to 19th-century rounded Grotesques which appeared well before the crisp visual style of the Bauhaus. Originally conceived as the brand typeface for a national retail chain, Omnes meets the need for a rounded typeface which is neither overly mannered nor excessively literal in its approach. Included are a wide range of index characters with eight variations tabular figures and punctuation for chart work and information design true numerator and denominator figures with OpenType support for auto fractions an array of eye-catching arrows extended language support and stylistic sets. Many robust features have been added, making it better than ever for no-nonsense editorial work. Omnes takes the curvaceous yet crisp original and turns it up to eleven.

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