TT Marxiana useful links: Specimen | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Marxiana: TT Marxiana is a project to reconstruct a set of pre-revolutionary fonts that were used in the layout of the "Niva" magazine, published by the St. Petersburg publishing house A.F. Marx. In our project, we decided to focus on a specific set of fonts that were used in the preparation and printing of the "Niva" magazine in 1887, namely its Antiqua and Italic, Grotesque and Elzevir. As part of the TT Marxiana project, we sought to adhere to strict historicity and maintain maximum proximity to the paper source. We tried to avoid any “modernization” of fonts, unless of course we consider this to be kerning work, the introduction of OpenType features and creation of manual hinting. As a result, with the TT Marxiana font family, a modern designer gets a full-fledged and functional set of different fonts, which allows using modern methods and using modern software to create, for example, a magazine in a design typical of the late 19th century. The TT Marxiana project started in the late summer of 2018 and from the very beginning went beyond the traditional projects of TypeType because of the importance of preserving the historical identity. Since up to this point, we had never before reconstructed the font from historical paper sources and with such a level of elaboration and attention to detail, it took us two years to implement this project. You can read more about all stages of the project in our blog, and here we will briefly talk about the result. As it turned out, drawing a font following the scanned pages of a century-old magazine is a very difficult task. In fact, such a font reconstruction very much resembles archaeological excavations or solving a complex cipher, and all these efforts are needed only in order to finally understand what steps need to be taken so that the resulting font is not just an antiqua, but the specific and accurate antiqua from "Niva" magazine. In addition, due to the specifics of printing, same characters in the old magazine setting looked completely different, which greatly complicated the task. In one place, there was less ink than needed, and the letter in the reference was not well-printed and thin, in some other place there was more ink and the letter had flooded. An important task was to preserve and convey this feeling of typographic printing, but at the same time it was important to identify the common logic and character of the dot gains so that the font would form a harmonious, single, but at the same time lively picture. Since the "Niva" magazine was historically published in Russian, the magazine had no shortage of references for the reconstruction of Cyrillic characters, but there were not many Latin letters in the magazine at all. In addition, the paper source lacked a part of punctuation, diacritics, there were no currency signs nor ligatures at all—we developed all these characters based on font catalogs of the 19–20 centuries, trying to reflect characteristic details from the main character composition to the max. So, for example, the Germandbls character, which is not in the original "Niva" set, we first found in one of the font catalogs, but still significantly redesigned it. We decided that in such a voluminous project, only graphic similarities with the original source are not enough and we came up with a feature that can be used to exchange modern Russian spelling for pre-revolutionary spelling. When this feature is turned on, yat and yer appear in the necessary places (i, ѣ, b, ѳ and ѵ), the endings of the words change, and so appears a complete sensation of the historical text. This feature works in all fonts of the TT Marxiana font family. TT Marxiana Antiqua is a scotch style serif, the drawing of which carefully preserved some of the artifacts obtained by printing, namely dot gain, a slight deformation of the letters and other visual nuances. TT Marxiana Antiqua has an interesting stylistic set that imitates the old setting and in which some of the signs are made with deliberate sticking or roughness. Using this set will provide an opportunity to further simulate the setting of that great time. TT Marxiana Grotesque is a rather thick and bold old grotesk. Its drawing also maximally preserved the defects obtained during printing and characteristic of its paper reference. In addition to pre-revolutionary spelling, TT Marxiana Grotesque has a decorative set with an inversion. This is a set of uppercase characters, numbers and punctuation, which allows you to type inverse headers, i.e. print white on black. As a result of using this set, you get the text against black bars—this way of displaying was very characteristic for print advertising at the turn of the century. In addition, about 30 decorative indicator stubs were drawn for this set: arrows, hands, clubs, etc. TT Marxiana Elzevir is a title or header font and is a compilation of monastic Elzevir that were actively used in the "Niva" magazine for all its prints. Unlike the antiqua, TT Marxiana Elzevir has sharper forms, and the influence of deformations from typographic printing is not as noticeable in the forms of its signs. This is primarily due to the specifics of its drawing and the fact that it was usually used as a heading font and was printed in large sizes. The height of the lowercase and uppercase characters of Elsevier is the same as the heights of the antiqua, but the font is more contrasting and lighter, it has a lot of white and, unlike the antiqua and the grotesque, there are a lot of sharp corners. An exclusive feature of the TT Marxiana Elzevir is an alternative set of uppercase characters with swash. • TT Marxiana Antiqua consist of 625 glyphs each and and it has 23 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, ss05, case. • TT Marxiana Antiqua Italic consist of 586 glyphs each and and it has 22 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Grotesque consists of 708 glyphs and it has 22 OT features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Elzevir consists of 780 glyphs and it has 21 OT features, such as: aalt, ccmp, locl, ordn, frac, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, ss05, ss06, salt, c2sc, smcp, case, liga. FOLLOW US: Instagram | Facebook | Website TT Marxiana language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chiga, Cornish, Corsican, Cree, Danish, Dutch, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Galician, German, Gusii, Haitian Creole, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Ladin, Leonese, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Mauritian Creole, Minangkabau, Montenegrin (cyr), Mordvin-moksha, Morisyen, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Samburu, Sango, Sangu, Scots, Sena, Serbian (cyr), Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Taita, Tetum, Tok Pisin, Tsonga, Tswana, Ukrainian, Uyghur, Valencian, Volapük, Võro, Vunjo, Walloon, Xhosa, Zulu.

The idea behind designing ‘Matwin’ font was related to the youngest children of the designer namely the M-A fraternal twin. The name of the typeface (i.e., Matwin or M-A-Twin) was composed by merging three linguistic small syllables. The ‘-Twin’ syllable refers to the non-identical twin of the designer. The ‘M-’ and ‘A-’ syllables refer to the initial letters of the twin’s first names (i.e., Muhammad and Abdul-Wli) respectively. The typeface ‘Matwin’ has a personal trait which makes it as one of the most favorite fonts for the designer among his humble collection of fonts. Modestly, it is the designer’s handwriting and it has been designed to be added to the script font family known as brush un-joined. The brief process for having this typeface alive was done by firstly scanning the real script for each Latin letter, digit, symbol which were handwritten earlier by the designer himself. Then, the combination of these many scanned characters was manipulated using digital programs to produce at the end the complete typeface. The typeface has the essential glyphs comprising the character set required for most of the Latin, Western, and Eastern European languages including the Irish language. It combines +605 characters and this makes it as a pro font. It also entitles it to be applicable for usage in many languages of different communities and nations worldwide. ‘Matwin’ is dedicated for those who search for a genuine handwriting typeface with a natural touch and informal style to be added on their different published and produced products and services. It is more preferable when it is used in artistic, typographic, and other works using the lowercase letters or by mixing both upper- and lower-case letters. Moreover, the typeface is appropriate for any type of typographic and graphic designs in web, print, and other media such as boards and walls. It is also preferable to be used in the wide fields related to publications especially children-related ones, comics, printed or handwritten menus of cafeterias and restaurants at universities and public places, as well as other prints related to services and production industries. It also can create a very personal and friendly impact when used in headlines, books and novels’ covers, posters, titles, messages, envelopes addresses, grocery lists, postcards, ads, fliers, journals, paper arts, public notices, invitations, scrapbooks, notations, products’ surfaces for organic foods and juices, logos, medical packages related to children, Android applications, as well as products and corporates branding and the like. In a nutshell, ‘Matwin’ typeface fits without a glitch those (i.e., designers, typographers, publishers, artists, packagers, service providers, and so on) who have drastic and strong tendency towards imprinting their works with spontaneous and outlandish touches made by this typeface. Please, enjoy it extremely.

High atop the mountain of fonts, a new structure has been raised--one solid and strong against the challenges of time. Civane is a victorious conqueror among fonts, standing above the clutter and the mundane. Its firm structure joins effortlessly with graceful calligraphy in a new flowing, inscriptional typeface. Civane is inspired by monuments of great civilizations, whose lofty inscriptions remain chiseled into the very stones and columns of their structures. The font’s medium contrast with its flared stroke ends lead the reader to feel the solemn presence found in these great obelisks and shrines. Even Civane’s thinnest weight holds a quiet power over its audience. Still, its classic lines provide a beautiful flow between the strong letters, allowing the reader’s eye to move easily across the page. Civane supports OpenType features and comes with upright italics, alternates, ligatures, old-fashioned figures, titling and small caps. Preview all these features in the interactive PDF manual. The font family has 48 fonts, with three widths and eight weights. The font family also includes glyphs for 72 languages; over 550 glyphs per font stand ready for you to command throughout your design. Civane is built for advertising and display typesetting as well as title and small text, making it an excellent choice for websites as well as flyers and packaging. Use it for defining your brand or for creating designs that evoke academia, militaria, monuments, automobiles, signs, and so on. Its 48 well-designed fonts are well-equipped to help you leave your mark on history. Production assistance from Lucas Azevedo and ikern.

Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline. Alternate letters ‘A’ & ‘S’ are provided. The most popular ad words “Free!”, “New!” and “Sale” (with both esses) are provided at an angle for dramatic tension. Advertisers Gothic became quite popular because it was effective. It can work equally well for a flyer advertising a non-profit event as for a magazine product ad. This font refuses to be a wimp. Use it boldly. Advertisers Gothic ML represents a major extension of the original release, with the following changes: 1. A total of 335 glyphs (compare) with added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. 2. Added OpenType GSUB layout features: pnum, ornm, liga, hist & salt ˜ with total 13 lookups. 3. Added 209 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. The most popular ad words “Free!”, “New!” and “Sale” (with both esses) are provided at an angle for dramatic tension The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Introducing Aillek, a retro-condensed font with multilingual support and a distinctive look that will enhance any project. Aillek lends a touch of retro charm to any design with its lofty letterforms and alternate characters. Your design becomes more dynamic and interesting thanks to its ligatures options. Aillek is ideal for producing vintage flyers, logos in retro style, nostalgic social media graphics, and more. It is perfect for branding initiatives, packaging design, book covers, and more due to its condensed letterforms. It is adaptable for any project that needs to reach a large audience thanks to its multilingual support. Aillek is a must-have for any designer, marketer, or anyone looking to add a dash of nostalgia to their work because of its distinctive design and features. It’s ideal for those who want to add a touch of nostalgia to their designs as well as for those who want to create designs that evoke nostalgia and vintage aesthetics. Make Aillek your go-to font for all your retro-condensed design needs by taking advantage of this opportunity. Don’t wait, get this special font right away, and start making designs that will be remembered. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

‘Skiart Serif Subtle’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font came Skiart Serif Mini, with tiny serifs added. This was a true serif font, all be it on the small side. Skiart Serif Subtle is less of a serif than Skiart Serif Mini, in that it doesn’t have actual 'serifs' as such. It has a subtle flare where a serif might normally be found. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font families. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Subtle’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Subtle’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the a’s and g’s are round single story, feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double-storied versions in fonts such as ‘Times’ etc.

Juxta Sans Mono is an experimental monospace sans, an extension of the Juxta superfamily. During the creation of the Juxta script, I felt that the aesthetics and the main idea of the font had promising potential and I started thinking about a pair for it. So the idea of Juxta Sans Mono was formulated. Juxta has several style-forming elements: 45° beveled or cross out bowls, squared m and w arcs and other unobvious letter structures. Despite its unusual and sometimes odd (f, g, m) letterforms, Juxta Sans is fairly easy to read due to its monospace font nature and wide spacing. Juxta Sans Mono offers great customization potential. It has two sets of stylistic alternates — [salt] makes a letter underscored, but keep it in line, [ss01] replaces some of the glyphs with different letterforms. The [case] function automatically adjusts the height of the punctuation marks to the neighbor letter and [onum] is a set of old style numbers. Juxta Sans Mono also has subscript and superscript features, but they are utilized a bit unconventionally — if you want to customize your logo or headline, you can make a glyph superscript and the one next to it subscript and they automatically kern into one letter width. You can see examples of using these features in the presentation. Juxta Sans Mono is available in 8 weights, including Thin, Light, Regular, Medium, SemiBold, Bold, ExtraBold and Black. It extends multilingual support to Basic Latin, Western European, Euro, Catalan, Baltic, Turkish, Central European, Pan African Latin, Afrikaans, and Basic Cyrillic.

DIN has always been the typeface you root for—the one you wanted to use but just couldn’t bring yourself to because it was limited in its range of weights and widths, rendering it less useful than it could be. The century-old design has proven to be timeless, but modern use cases demanded an update, which resulted in DIN Next—a versatile sans serif family that will never go out of style. This classic design turned modern must-have includes seven weights that range from light to black, each of which has a complementary italic and condensed counterpart. The family also included four rounded designs, stretching the original concept’s range and core usability. DIN Next also boasts a suite of small capitals, old style figures, subscript, superscript and several alternate characters. A quintessential 20th-century design, its predecessor DIN was based on geometric shapes and was intended for use on traffic signs and technical documentation. Akira Kobayashi’s update made slight changes to the design, rounding the formerly squared-off corner angles to humanize the family. Rooted in over 100-years of history, it’s safe to say that there will always be a demand for the DIN design, and thanks to DIN Next, now it’s as usable as it is desired. Wondering what will pair with it perfectly? Check out Agmena™, Bembo® Book, Cardamon™, Joanna® Nova, FF Quadraat® and Quitador™. Featured in: Best Fonts for Logos, Best Fonts for Websites, Best Fonts for Tattoos

Alfie™ is lively, friendly, inviting and easy on the eyes. What more could you want in a script? How about four flavors of the same design? Alfie Script is a delightful connecting script with a touch of comfortable elegance. Use it for everything from social announcements to headlines and packaging. Alfie Casual is a little more laid-back with letters standing on their own. It works great in short blocks of text copy, subheads and navigational links. Alfie Informal has spirited serifs and its own demeanor, while Alfie Small Caps does a fine job of supporting its other siblings. There’s an immediacy to words and messages set in these lighthearted confections. Jim Ford was practicing drawing with a new brush pen when the inspiration for Alfie came to him. He had filled several pages in a notebook with letters and, at one point, realized that there might be a typeface among them. As it turned out, there were four. The process, however, wasn’t choosing one design and modifying it. The makings of all the designs were on the pages. It was just a matter of culling out the right collection of characters to build the foundations for the four flavors of Alfie. Because they share the same family roots, each design in the Alfie family can be paired and intermixed. Ford admits that there’s a hint of Emil Klumpp’s 1950s Murray Hill typeface (https://www.myfonts.com/fonts/bitstream/murray-hill/) in the Alfie family. Just enough to give the design a 50s vibe. (Some fashions never go out of style.)

A playful caricature of a midcentury grotesque, Guzzo is a fresh addition to the Monotype Library. Somewhat eccentric and full of surprises, its unmistakable quirk can be found on closer inspection, stemming from details proudly borrowed from brush lettering and calligraphy. The wide range of weights and style can take you through any design space, from the condensed weights squeezing in larger headlines or dense blocks of text with the condensed range, to experimenting with small point sizes, labels or packaging with the extended cut. However, Guzzo’s real charm is probably best expressed through its wonderfully playful shapes, its unusual 'laid-back italics' feature cursive forms and a backslant. The different stylistic sets allow you to decide what you make of Guzzo, with several sets of alternate glyphs steering it in any direction you want. Guzzo is a happy-go-lucky character, and has a warm, humble and painterly quality that - at a glance - may be unrecognizable as a typeface. It can almost pass for hand-lettering. Guzzo pairs exceptionally well with scripts and slab typefaces, and feels most at home in situ with toys, packaging, menus, broadcasting, cartoons and merchandising! Guzzo encourages you to turn up the silliness and is for designers who want to emulate hand-painted and casual motifs. Taking its name from American artist Jeremy Pinc, aka the painter Guzzo Pinc, the typeface channels the quirky, funny and poignant qualities of his paintings - with wacky characters, loosely painted geometric forms and bright colors. For this mid century, authentic, nostalgic typeface - the story is really what you make of it.

The Bonyad font family, designed by Naghi Naghashian, was developed considering specific research and analysis on Arabic characters and definition of their structure. Bonyad is a modern Sans Serif font family.The Bonyad innovation is a contribution to modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. Bonyad supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Bonyad Font family is available in six weights; Thin, Light, Regular, Demi Bold, Bold and Heavy. Its intuitive design arrangement fulfills the following needs: It is precisely crafted for use in electronic and print media. Bonyad is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. Bonyad is suitable for multiple applications, and gives the widest potential for acceptability. It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bonyad's simplified forms may be artificially oblique with InDesign or Illustrator, without any degradation of its quality for the effected text. Bonyad is an eye-catching and classy typographic image that developed for multiple languages and writing conventions. Bonyad uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Bonyad typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

The name Corpid derives from “Corporate Identity” — which is what this family of low-contrast sans-serifs was made for. Corpid was originally commissioned by Studio Dumbar in the Netherlands as a corporate typeface for the Dutch Ministry of Agriculture, Nature Management and Fishing. The font was designed to replace the existing standard typeface (a well-known business-like sans-serif) to provide the organization with a unique and strong identity. Although it was designed to fit strict technical requirements, Corpid has a personality all of its own. This was in part a result of what Luc(as) calls “creating tension” between the inner and outer curves of each character. “I tend to put a little more diagonal contrast into fonts than is the case in most neutral sans serif fonts. This brings a certain humanistic touch to the typeface. Much more subtle here than in Thesis – but although it is almost invisible, it is still palpable.” Corpid was gradually expanded into a five-weight, three-width family. The new Corpid SemiCondensed has double functionality. It is a no-frills, compact headline font that offers optimum legibility in sizes from small to huge. It is also a great space-saving text typeface for magazines, newsletters or annual reports: economic, versatile, and provided with several different numeral sets. In this OpenType type version, all weights come with Small Caps. With its wealth of numeral styles and complete character sets (including Central European) the Corpid family is now well equipped to tackle the most complex of typographic tasks.

The “Daily Routines” Handwritten Display Font is a delightful and charismatic typeface that effortlessly captures the essence of casual elegance. With its carefully crafted strokes and artful imperfections, this font exudes a sense of handmade authenticity that is both inviting and versatile. Designed with meticulous attention to detail, “Daily Routines” showcases a harmonious blend of playful curves and well-balanced letterforms, making it a perfect choice for projects that seek to strike a harmonious balance between approachability and sophistication. Its smooth and flowing lines lend a sense of fluidity and ease, evoking a feeling of effortlessness and natural rhythm. The irregularities in each letter lend a unique charm, reminiscent of handwritten notes penned with care. The “Daily Routines” Handwritten Display Font is specifically tailored for projects that demand a warm and friendly touch, such as invitations, greeting cards, product packaging, and branding materials. It easily conveys a sense of personal connection, making it ideal for conveying heartfelt messages or highlighting the human element in design. Whether utilized for digital or print media, this font ensures legibility and readability, even in smaller sizes. Its captivating appearance adds a touch of personality to any text, making it stand out while retaining a sense of tasteful subtlety. Embrace the captivating allure of the “Daily Routines” Handwritten Display Font to infuse your designs with a genuine and endearing character, elevating them to new levels of aesthetic appeal and resonating with your audience on a profound level. If you have any questions please don’t hesitate to contact me follow my Instagram: fkryall Thank you

In designing the Millenium® typeface, Patrice Provost was inspired by great typographers in the great French typographic tradition to create a unique and modern variable font. His goal was to reinterpret the mid-20th century sans serif style in a variable typeface that will conform to the need of the 21st century. He succeeded with mastery in drawing large characters. In doing so, patrice provost added an exceptional dimension to the design of this typeface, a graphic personality that evolves over the styles. The attention to detail brought to each letter, each accent, each diacritic, make this font a solid tool for all Western graphic designers and layout artists. With more than 1000 glyphs per style, Millenium® can be used in more than 210 countries. With its 13 styles drawn in Classical Roman style, in Italics and in condensed Millenium® provides designers from all walks of life with a fantastic tool to bring novelty and class to your creations. Ideal for signage, Millenium, thanks to its "wide case", is also widely used for posters. It is also a gold mine for creating logos for dynamic tech start-ups. The Millenium family is made up of designs with progressive weight changes. it is very extensive. It ranges from "Super Thin" to "Extra Black". Unique in the world, its thinness makes it possible to design a very light style even to print on posters and other large formats. Designed from the outset as a variable typeface, Millenium offers a range of 900 possible variations and an infinity of creations...

ROARRR! THE STYLES -Pantera Pro is the most complete style, and although its default look is mono-rhythmic it gets really playful and crazy like the examples of the posters by just activating the Decorative Ligatures button in the Open-type Panel of Adobe Illustrator. However, I recommend using also the Glyphs Panel because there you'll find much more variants per letter. Pantera Pro is in fact, coded in a way the combination of thicknesses will always look fantastic. -Pantera Black Left, and Pantera Black Right are actually “lite” versions of Pantera Pro: They have very little Open-Type code, so what you see here is what you get. Pantera Black Left has its left strokes thick, while Pantera Black Right has its right strokes thick. -Pantera White is a lovely member in this family that looks lighter and airy, hence its name. With the feature Standard Ligatures activated (liga) the font gets very playful. -Pantera Caps is based on sign painters lettering and since it follows the same pointed brush rules as the other styles, it matches perfectly. -Pantera Claws like its name suggests, is a set of icons that were done by our dear panther. THE STORY It is said that typography can never be as expressive as calligraphy, but sometimes it can get close enough. I tend to think that calligraphic trials, in order to work well as potential fonts, need first to go through very strict filters before going digital: While calligraphy is synonym of freedom (once its rules are mastered), type-design, in the other hand, has its battlefield a little tighter and tougher. When I practice pointed brush lettering, there are so many things happening on the paper. And most of them are delicious. The ones who know my work may see that although many of my fonts are very expressive, my handmade brush trials are much more lively than them. With that in mind, this time I tried to go further and rescue more of those things that are lost in the process of thinking type when first sketches are calligraphic. I wondered if I could create something wild, hence its name Panther, by understanding the randomness that sometimes calligraphy conveys and turning it to something systemic: With Pantera, I created an ordered disorder. Like it happens a lot in many kinds of lettering styles, in order to enrich the written word the scribe mixes the thickness of the strokes and the width of the letters. Like one of my favorite mentors say (1), they make thoughtful gestures Some lively strokes go down with a thick, while some do that with a thin. Some letters are very narrow, meaning some of them will need to be very wide to compensate. Why not?. The calligrapher is always thinking on the following letters, and he/she designs in his head the combination of thicks and thins before he/she executes them. He/she knows the playful rhythm the words will have before writing them. It takes time and skill to master this and achieve graceful results. Going back to the font, in Pantera, this combination of varying thicknesses and widths of letters were Open-Type coded so the user will see satisfactory results by just enabling or disabling some buttons on the glyphs panel. I'm very pleased with the result since it’s not very easy to find fonts which play with the words' rhythm like Pantera does, following of course, a strong calligraphic base. I believe that if you were on the prowl for innovative fonts, this is your chance to go wild and get Pantera! NOTES (1) Phrase by Yves Leterme. In fact, it’s the title of a book by him. EPILOGUE Esta fuente está dedicada a mi panterita

The blackness of the Siena Black font makes it a good choice for display and packaging.

Even stroke widths with geometrical symmetric structure will make it into a great signage and logo.

KnewFont simulates neat and meticulous hand printing. Its letters slant left and come in five weights.

Barsime is usable for anything. But will be better if you use it for memorable moment.

BillieBoldhand was written at once with a fat marker. That's all there's to it... Caps only.

JH Noha is a geometric modern Arabic typeface. It includes black, bold, medium and regular weights.

DoodleBat Vintage Halloween is a classic collection of Halloween clip art and words. Check it out!

Badwulf is a hand-lettered display font. It is good for cartoons, children's books and games.

Kobra Kai Biker Club is a unique tattoo inspired serif with a latino edge to it.

A script that has a freedom-ring to it, inspired by my personal feeling of liberty.

A quick scribbled font, made to look written in a hurry...and believe me, it was!

Highboy Ornate is an ornamental version of Highboy. It's thinner than Highboy, but compliments it well.

Vemanem is dynamic sans serif display fonts, you can use it for advertising, movie, titles & more.

Whumsy is a romantic font with strokes of magic. Everything it touches turns into something beautiful.

Some old broken characters. It reminds me of old labels on walls, streets or on tanks.

Peach Plum is an elegant handwritten font style. It contains three styles: regular, oblique, and outline.

A runcible font for dolomphius designs. I do not believe you won't give it a try !

Suzanne in a can is an expressive yet naive writing that has a straightforwardness about it.

Thin like a pencil, Adelaida is versatile legible. We recommend it for postcards, ads, gift cards...

Skrawl will add some creepy boldness to your life. Just don't let it babysit your kids.

With its elegant twists, romantic curves and bulge lines, this handwritten font presents one thing: love!

Peter Schnorr was a German artist/illustrator of Art Nouveau period (called Jugendstil in Germany and Austria). He was quite adept at calligraphy and did a variety of commercial work, including business signs. He designed at least four different alphabets and collaborated with Bruce Rogers on advertising work and title page designs for books. One of their clients was the publishing house of Houghton Mifflin. I have not been able to discover anything else about him, but I suspect he might be the grandson of the Bavarian artist Jules Schnorr von Carolsfeld, who was once commissioned to do a mural by Ludwig II of Bavaria (whose famous castle was copied by Disneyland). Schnorr did not give individual names to his fonts. Where there is no historical name, we like to follow the tradition initiated by Bauer and name fonts after their designer, with a descriptive adjective in the designer’s native language. Gestreckt is German for stretched or elongated. An interesting deign detail of this typeface is the cross bar of the “T” --it is NOT symetrical. The right hand side extends only 88% as far as the left hand side (a ratio of 9:8). I presume this was done for a more pleasing letter fit. Today Schnorr’s design is frequently offered under the name “Ambrosia.” However. close inspection will usually reveal that the serifs have been treated differently. I believe our font has a greater fidelity to the original design. Please also compare the design of the various auxiliary characters to those in other fonts. Often they are either borrowed from an inappropriate font of a different period or are missing altogether. We make every effort to design characters that are in keeping with the overall design and spirit of the typeface. For example, see the superscript Registered Trademark symbol (0174) and the Double s (0223). I think both are quite successful. Schnorr Gestreckt ML represents a major extension of the original release. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also two alternate letter forms, one ornament and seven ligatures with Unicode codepoints (Private Use Area) and OpenType aalt, ornm & liga GSUB layout features. There are a total of 318 glyphs and 351 kerning pairs. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). This release also incorporates a redesign of several glyphs: the comma, quotes, acute accent, and grave accent.

Fierro is a heavy-geometric-retrofuturistic typographic construction that, without any curve, still retains good legibility. These shapes are based on great bended metal pieces, which represent its name, meaning "hardware store". It has been designed to be used in large sizes and for designs with character that look to create a strong visual block. Designed by Jko Contreras.