Serif Normal Otram 11 is a bold, normal width, very high contrast, upright, normal x-height font visually similar to 'Berthold Bodoni' by Berthold, 'Bauer Bodoni' by Linotype, 'Scotch' by Positype, 'Gerard Display' by Rafael Jordan, 'Bodoni No. 1 SB' and 'Bodoni No. 1 SH' by Scangraphic Digital Type Collection, and 'Bodoni Antiqua' by URW Type Foundry (names referenced only for comparison).
Keywords: headlines, editorial, magazines, packaging, branding, luxury, dramatic, classic, fashion, elegance, authority, display focus, editorial tone, classic revival, bracketed, ball terminals, sharp serifs, flared strokes, vertical stress.
This serif shows a strongly calligraphic, high-contrast build with prominent thick verticals and hairline joins that taper to razor-thin points. Serifs are sharp and finely bracketed, often ending in pointed beaks or small wedges, while terminals frequently resolve into teardrop/ball forms (notably in J, a, f, and some numerals). The rhythm is distinctly vertical with clear stroke modulation and a slightly condensed feel in many capitals, balanced by round, weighty bowls in letters like O, Q, and G. Lowercase forms keep a traditional skeleton with compact counters and crisp joins, and the overall texture reads dark and sculpted at text sizes, with display-like sparkle where the hairlines open up.
Best suited to headlines, pull quotes, and editorial typography where high contrast and fine hairlines can be rendered cleanly. It also fits premium branding and packaging, especially for fashion, beauty, and luxury goods, and can work for short text blocks or titling where a dramatic, classic serif voice is desired.
The tone is refined and theatrical, leaning toward fashion/editorial sophistication with a touch of vintage bookish formality. Its sharp hairlines and dramatic modulation create a sense of luxury and authority, while the ball terminals add a decorative, slightly flamboyant accent.
The design appears intended to deliver a traditional serif foundation with heightened contrast and stylized terminals, giving familiar letterforms a more luxurious, attention-grabbing presence. It aims for a polished, print-oriented look that balances classic readability with display-level sophistication.
The italics are not shown; all samples appear upright. Numerals follow the same high-contrast logic, with expressive curves and swashes in figures like 2 and 9, contributing to an ornamental, headline-ready feel even in otherwise conventional text settings.