The aviation world contains loads of stylish logotypes, from handwritten scripts to geometric styles and so on. The Avionic Condensed family finds its origins of inspiration in the Air China company logotype, and from there has been expanded upon to create a large stylistic family of 40 fonts. Avionic celebrates the geometric sans serif styling of the original logotype, evolving beyond the condensed all capital set logo to include a lowercase designed in parity with the original design style, as well as many weights and widths to offer a fresh diversity. Each subfamily includes a full standard character set with expansive international support of latin based languages, and 5 weights jumping from book to black, along with 5 accompanying obliques. This family is ready to chart a course for your design destination, whatever it may be. Here's what's included with the Avionic Family bundle: 370 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. 5 weights in each subfamily: Book, Regular, Bold, Heavy, & Black. • 4 widths in the collection: Condensed, Regular, Wide, and Extra Wide. Accompanying Obliques with each weight/width style. Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Avionic Collection is for you: You're in need of a dynamic geometric font with a variety of weights and widths for your designs You're an aviation junkie and have to have anything inspired by Air China You love the style of Bank Gothic, but really want something just a little different You are looking for a pseudo-techno style font family with versatility You just like to collect quality fonts to add to your design arsenal

A typeface is a tool. Sure, there are frilly fonts that are more art than craft, showy faces that exist merely to call attention to themselves. But, in the end, any functional typeface worth its salt lives to serve one thing first: the text, the content. Everything else—the fashion of the moment, the allure of individual words and letters—is secondary. MVB Solitaire™ epitomizes this universal typographic mandate. As a tempered sans serif somewhere between a humanist and a gothic, MVB Solitaire captures a 21st-century neutrality. But practical doesn’t have to mean banal. MVB Solitaire has a soul. While some “neutral” type is dead the moment the ink hits the page, MVB Solitaire delivers text that feels lively, contemporary, relevant. Readers will not tire of this type. Behind the useful exterior is an arsenal of thoughtful technical features. It’s no surprise that this family’s creator, Mark van Bronkhorst, was first a graphic designer before becoming a type designer. Mark built all the goodies into MVB Solitaire that he would appreciate as a user: case-sensitive punctuation; alternate forms that can be invoked individually or together; oldstyle and lining figures in both tabular and proportional widths; slightly shorter lining figures that don’t stand out in running text, but also cap-height figures for all-cap settings; and the ability to speak nearly any Latin-based language. MVB Solitaire aspires to be the sort of workhorse that a designer keeps installed on their system at all times. It is a family bound to have a permanent spot in the font menu, always at the ready for projects (those most common of all) where the typography mustn’t mask the message. It has that quality that all truly useful typefaces have: the capacity to get the job done without getting in the way.

Introducing Raymond, the typeface that dares to be imperfect. With its rough, textured script and unevenly stamped letters, Raymond exudes a raw, unapologetic energy that will inject your message with a sense of authenticity and personality. But don’t be fooled by Raymond’s rough exterior—underneath its imperfect surface lies a sophisticated and classy design. Each letter has been carefully crafted to give your text a touch of elegance and refinement, while the worn-out edges and misaligned characters add just the right amount of character. Whether you’re looking to create a bold statement or simply want to add a touch of edge to your design, Raymond is the typeface for you. So why settle for the same old cookie-cutter fonts when you can embrace the beauty of imperfection with Raymond? Give your message the unique and candid style it deserves with this one-of-a-kind typeface. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

I fell in love at the age of twelve in Wales, recalls Bernard Philpot. "My father brought me to a small graveyard in the Welsh hills to show me two headstones carved by the great Eric Gill. I instantly fell in love with the beauty of the carving and the perfection of the letterforms. I still go back to marvel at these works of art." However, the ITC Bolthole™ design, Philpot's first commercial typographic endeavor, is quite unlike the works of Eric Gill that first captured his heart. Bolthole is a craggy sans serif with a definite grumpy attitude. It's not terribly legible, and, if more than a few words are set in the design, it's not very readable. To round out its cranky personality, Bolthole does not like to be set in small sizes. Like Cheez Whiz® and bullfights, you either love or hate this typeface. But whichever emotion dominates, there is no denying that Bolthole has a personality to be reckoned with - one with ample magnetism to ensure reader attraction. If used to set brief blocks of display copy, the typeface makes a powerful statement. Bolthole was originally designed to complement a whimsical ad for the Royal Society for the Prevention of Cruelty to Animals. As Philpot recalls, "although the ad didn't win any awards, the type attracted some very positive comments for its original look and feel." Philpot studied graphic design and typography at the London School of Printing, and soon after graduation found himself working in a large advertising agency in London. According to Philpot, "After designing type for everything from packaging to ads, I thought it time to convert one of my designs into a complete font - and Bolthole was born." ITC Bolthole could very well be the Shrek™ of typeface design - which might not be such a bad thing."

Although geometric Sans Serifs have been in vogue for nearly a century, they have never been as ubiquitous. It is not improbable that the old adage would be phrased: “When in doubt, set it in geometric sans”, had it been composed today. Have we not had enough? We think, not. Postmodern times demand a variety of expressions. The vision behind Geometria was to revisit the perennial favorite to lend subtle individuality to its tried and true forms. Geometria stands out in the crowd of similar fonts thanks to its complicated nature. It combines dynamic elements with a certain degree of stability. A slightly higher waistline of the capitals contributes to their distinctive appearance. If the upper case refers to the American grotesques of the 19th century, the lower case tends toward the forms of the Renaissance in its proportions. Geometria is a typeface of clean shapes that is well-suited for continuous reading, and it sets remarkably well. At the same time, it can be friendly, even flirtatious. Its distinct personality combines seeming opposites. At times it may appear serious, at times playful. On occasion, it may be deliberate, other times dynamic. It could seem rigid, then elegant. It is a typeface that could be perceived either as cutting-edge, or as nostalgic. A careful and discerning typographer will bring out and emphasize those aspects of its multifaceted personality that are needed to solve the problem at hand. Geometria consists of 24 fonts — eight weights with matching italics and narrow styles. The font includes multiple sets of figures and currency signs, alternate glyphs, a variety of experimental ligatures, and punctuation marks for the two cases. The 835 glyphs support 72 languages. Granshan 2013 award.

Life’s always more fun when you reverse the stress. The same goes for the new member of the Cabrito family. Cabrito itself is a recently developed slab serif made for the kid’s book The Clothes Letters Wear. Cabrito proved to be more popular than I thought, and I promised I would create an inverted style for this new addition to the font world--a variant that would pair well with the original or even stand well on its own. And so now, here it is. Cabrito Inverto, which features the reversed stress of the strokes from a font’s “normal” traits. Inverted stress fonts are most often associated with cowboys and the Old West. The inverted stress gives it a happy-go-lucky appearance, not to be taken too seriously. It’s a pleasantly rounded, not-so-strictly geometric typeface with handwriting-inspired forms. Whew, that’s a mouthful! Inverto’s bundle of alternates is accessible in any OpenType-enabled program. It contains a workforce of alternates, swashes, and alternate titling caps to embellish the font. Also bundled are swash alternates, aged design and style figures, and compact caps. Peruse the PDF brochure to examine out these solutions in action. OpenType-enabled purposes such as Adobe suite or Quark will allow ligatures and alternates. This font family also includes the glyphs for 72 different languages. Cabrito Inverto does pair well with Cabrito. There is even an extra font weight, Black, for when you want to punch it up a bit. Jeremy Dooley designed Inverto to be a welcoming, day-to-day font family. Use it to express friendliness on just about anything, from candy to food to children’s toys. Cabrito Inverto’s one-of-a-kind visual appearance brings a bundle of fun to the party. Buy Cabrito Inverto to give a boost to your designs every day of the week.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Rose Garden Deluxe is an elegant type collection including a luscious high contrast serif in three weights and an ethereal pen script also in three weights. Together the fonts form an effective all-around set for sophisticated display purposes. The fonts are best used for imposing headlines, as a logotype, in packaging and posters. Rose Garden Serif has an extra high contrast giving it a sophisticated look, suitable for fashion or luxurious high-end products, magazines and anything such. Rose Garden Pen has no contrast, as if it was written with a steady and precise inking pen. Rose Garden Pen is equipped with plenty of useful OpenType features: it has Contextual Alternates and Standard Ligatures to enliven the flow of “writing” and to keep the connections between letters smooth. In addition it has Stylistic and Swash Alternates for every standard uppercase and lowercase characters, as well as for ampersand and few ligatures. On top of that it has initial and terminal swashes - a feature that is set in Titling Alternates. The feature works following: click it on and write normally. Type a space before a word and after it to get a special swash character in the beginning and in the end of the word. If that isn’t enough seek for even more alternates in the Glyphs Palette. Each weight has over 650 glyphs in total. Rose Garden Ornaments is an extension to Rose Garden Pen. It’s a set of Ornaments with the same weight and handwriting style as the font. The swooshes can be combined with the font for even more ornamental looks and the swashes set in lowercase letters can be used as additional terminal swashes, combined with any lowercase character.

Eyadish is an entertaining, comic, and childish font. The name of this font is originally derived from two main syllables. The first one is "Eyad-" which refers to my first name and the second syllables is "-ish" which means characteristics of or relating to. Hence, "Eyadish" refers to the characteristics that "Eyad", the typographer, himself has and had during his childhood. I do like this font for its childish and comic shapes. I have decided to design this font trying to leave a humble and personal imprint regarding the magic and innocent world of all children. Frankly, it is my most favorable designed font. This font comes in two different weights with facilities for writing and publishing in different alphabets included in various Latin and Cyrillic texts and scripts. "Eyadish" is primarily designed to be fit with all prints of kids, children, and juveniles' products. It is major usage is in advertisements and publications. It is suitable for T-shirts, books' covers of children such as fairy tales and comic stories, advertisement light boards in malls, and titles in parental, childish, comic, and other related magazines. "Eyadish" also can be printed in many children's products such as garments, towels, shoes, socks, toys, pacifiers, diapers, exhibitions, festivals, books titles and contents, medicines' packages, kindergartens' signs, buses, comic and TV series, kids and children organizations and charities names, images, software, foods including milk cans, candies, chocolates, and other related products. The font is extremely and distinguishably attractive when it is used with various, and vivid colorful letters and words in posters, cards, and placards. "Eyadish" is specifically designed for commercial, educational, cultural, and social purposes related to infants, babies, kids, and children. The main characteristic of "Eyadish" Typeface is in its childish look that remains when anyone reads or types or even deals visually with its characters.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. Parma was designed by the monotype Design Team after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818.

Rapor is a powerful and elegant combination, built from a combination of sans serifs with strong gemometric foundations such as Futura, and grotesque fonts based on the equal-width system. Its slightly softened evenly converging diagonal corners add distinctiveness to it. It has 10 weights ranging from Thin to Black. It consists of twenty styles with matching italics. Rapor is equipped for professional typography with rich opentype features. Rapor OpenType features: aalt, locl (Romanian, Moldovian, Dutch, Catalan, Turkish, Azeri, Crimen Tatar, Kazakh), ordn, locl, case, frac, sinf, subs, sups, numr, dnom, tnum, onum, lnum, pnum, ss01 (Alternative a), ss02 (Alternative g), ss03 (Alternative r), ss04 (Alternative M), ss05 (Circled Figures), ss06 (Apostrophe), ss07 (Dingbats Ligature), dlig, liga, salt, cpsp, calt. Rapor Language Support: Afrikaans, Albanian, Alsatian Aragonese, Arapaho, Aromanian, Arrernte, Asturian, Aymara, Basque, Belarusian (Lacinka), Bislama, Bosnian, Breton, Catalan, Cebuano, Chamorro, Cheyenne, Chichewa (Nyanja), Cimbrian, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, French, French Creole (Saint Lucia), Frisian, Friulian, Galician, Genoese, German, Gilbertese (Kiribati), Greenlandic, Haitian Creole, Hawaiian, HiligaynonHmong, Hopi, Hungarian, Ibanag, Icelandic, Iloko (Ilokano), Indonesian, Interglossa (Glosa), Interlingua, Irish (Gaelic), Istro-Romanian, Italian, Jèrriais, Kashubian, Kurdish (Latinized Kurmanji), Ladin, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgian, Malagasy, Malay (Latinized), Maltese, Manx, Maori, Megleno-Romanian, Mohawk, Nahuatl, Norfolk/Pitcairnese, Northern Sotho (Pedi), Norwegian, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Quechua, Rhaeto-Romance, Romanian, Romansh (Rumantsch), Rotokas, Sami (Inari), Sami (Lule), Samoan, Sardinian (Sardu), Scots (Gaelic), Seychellois Creole (Seselwa), Shona, Sicilian, Slovak, Slovenian (Slovene), Somali, Southern Ndebele, Southern Sotho (Sesotho), Spanish, Swahili, Swati/Swazi, Swedish, Tagalog (Filipino/Pilipino), Tahitian, Tausug, Tetum (Tetun), Tok Pisin, Tongan (Faka-Tonga), Tswana, Turkish, Turkmen, Turkmen (Latinized), Tuvaluan, Uyghur (Latinized), Veps, Volapük, Votic (Latinized), Walloon, Warlpiri, Welsh, Xhosa, Yapese, Zulu

›Hi! Please note you are visiting Old Supernett. We decided to upgrade it: more styles, more glyphs, more features, more everything! View New Supernett here: Supernett 2019› Georg from FaceType Supernett – a versatile hand drawn/handmade/handwritten font – is tailored for large font sizes but also impresses with an astounding legibility in small typesettings. Supernett is fairly condensed for space-saving headlines. The extensive character set supports Central and Eastern European as well as Western European languages. Each style contains more than 4700 glyphs to let the font look real hand-made. Three OpenType features are specially created to enhance this impression, with a maximum effect when applied to big type: Alternating Letters For a truly hand-drawn look, letters and numerics alternate randomly between three different variants → activate Contextual Alternates Rotating letters All glyphs rotate randomly and slightly around their own axis → activate OpenType Swashes Varying Baseline Shift Each single glyph moves individually up or down → activate OpenType Titling Alternates More OpenType Features: Case Sensitive Forms This feature shifts various punctuation marks to a position that works better with all caps typography → It is deployed when an app’s all-caps styling is applied Slashed Zero The problem with the numeral 0 is that it can look too much like O in some typefaces. This feature replaces every zero with a slashed zero → activate Zero with a Slash Fractions Substitutes figures separated by a slash by proper fraction glyphs. A date however, written like 10/12/2013 will remain unchanged → activate Fractions Stylistic Set 03 Choose between two different styles of bullet (•) → activate Stylistic Set 03 Stylistic Set 04 Choose between two different styles of Y → activate Stylistic Set 04 View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut

Wild Loops is a handwritten monolinear typeface for wild ideas. Inspired by the marker sketches and graffiti on the walls, the font perfectly complements Doodle illustrations. It speaks to a young audience and looks a bit crazy with stretched Ascenders and Descenders. At the same time, the font is elegant and will work well for invitations, greetings, clothing brands and jewelry. The main feature of the font is a smart Contextual Alternates that substitute different versions of letters depending on its position in the word (at the beginning, middle, and the end of a word), which makes the writing more natural. View PDF Specimen: https://michaelrafailyk.com/typeface/specimen/WildLoops.pdf Contextual Alternates: ACDEFGHIJKMRSUWZabcdefghjlmnqrstvwxyzАДЕЁЗІЇКЛМНСШЩЯгдеёжзклмнстухцщьΑΕΖΗΙΚΛΜΞΥΆΈΉΪϲÀÁÂÃÄÅĄĂĀẢẠẮẰẲẴẶẤẦẨẪẬȦĎĐÐÈÉÊËĚĒĖẺẼẾỀỂỄƐĞǦĠÌÍÎÏĮĪĨỈỊİṂŘŔŠŚȘŽŹŻçğģǧġņṇřŕŗşṣýỳÿỷỹỵžźżЈјЅѕўӯ123456789. Stylistic Alternates: ABCDEFGHIJKLMNQRSUVWXZabcdefghjklmnqrstvwxyzАВДЕЁЗІЇКЛМНСТШЩЯгдеёжзклмнстухцщьΑΕΖΗΙΚΛΜΞΥΆΈΉΪκϲÀÁÂÃÄÅĄĂĀẢẠẮẰẲẴẶẤẦẨẪẬȦĎĐÐÈÉÊËĚĒĖẺẼẾỀỂỄƐĞǦĠÌÍÎÏĮĪĨỈỊİṂŘŔŠŚȘŽŹŻçğģǧġņṇřŕŗşṣýỳÿỷỹỵžźżЈјЅѕўӯ123456789&. Ligatures: jj ll. Superscript, Subscript, Fractions: ⁰¹²³⁴⁵⁶⁷⁸⁹ ₀₁₂₃₄₅₆₇₈₉ ½ ¼ ¾. Glyph count: 994. Languages count: 104. Languages: Afar, Afrikaans, Albanian, Asturian, Azerbaijani (Latin), Basque, Belarusian, Bislama, Bosnian, Breton, Bulgarian, Catalan, Chamorro, Chewa (Latin), Croatian (Latin), Cornish, Corsican, Czech, Danish, Dinka, Dutch, English, Erzya, Estonian, Faroese, Finnish, French, Frisian, Friulian, Fula, Gaelic (Scottish), Galician, German, Greek, Greenlandic, Guarani, Hausa (Latin), Hungarian, Icelandic, Igbo (Latin), Indonesian, Irish, Italian, Karelian, Kashubian, Kinyarwanda (Ruanda), Kirundi (Rundi), Kumyk, Kurdish (Latin), Ladin, Latvian, Lithuanian, Luxembourgian, Macedonian, Malagasy (Latin), Malay (Latin), Maltese, Maori, Marshallese, Moksha, Mongolian (Cyrillic), Northern Sotho, Norwegian, Occitan, Oromo (Afan, Galla), Papiamentu, Polish, Portuguese, Quechua, Rhaeto-Romance, Romani (Latin), Romanian, Russian, Rusyn, Sami, Samoan, Sardinian, Serbian, Shona, Slovak, Slovene, Somali, Sorbian, Spanish, Swahili (Kiswahili), Swedish, Tagalog, Tatar (Cyrillic, Latin), Tongan, Tsonga, Tswana, Turkish, Turkmen (Latin), Ukrainian, Ulithian, Uzbek (Latin, Cyrillic), Venda, Vietnamese, Walloon, Welsh, Wolof (Latin), Xhosa, Yapese, Yoruba (Latin), Zulu. The promo images used illustrations from the city walls of Groningen and Wrocław, photos of Cottonbro, Karolina Grabowska, Marlene Leppänen, Zhugewala from Pexels, and photos of Kevin Grieve, Liwei Zhang, Nathan Dumlao from Unsplash.

Breaking from our catalog of typefaces to create a new handwritten font family, Modern Love was born out of our desire to see what would happen if we took a step back from the norm. We weren’t looking for the perfection of the many calligraphy techniques, but more of a natural way of writing with the same tools. Our escapist experiment into casual lettering culminated into 4 fonts: Modern Love Regular, Grunge, Rough and Caps. Modern Love Regular is a hand-painted script, each glyph individually designed with a pointed brush and walnut ink. The aim was to create an effortless hand-drawn feel while keeping the contrast high density. Playful, yet polished, this font works very well when accentuated with the family’s two distinctive styles: Modern Love Grunge, simulating a washed-out effect, perfect to add a vintage look to your projects; and Modern Love Rough, with its crunchy borders, makes letters visibly rough-around-the edges and gives large letters an unmistakeable pop. All three fonts include a hand-painted set of ornaments, swashes and alternates to limitlessly customize and decorate your texts, accessible through Opentype features. Modern Love Caps is the fourth font, a handwritten Sans Serif that ties the family together with its simplicity and readability. Designed with a pointed nib and Indian ink, this font boasts a different style that perfectly complements Modern Love Regular, Grunge and Rough. The result is a fresh font family perfect to create headlines, posters, DIY hand-lettered artwork, books, holiday cards, wrapping paper, invitations, T-shirts, labels, packaging for cosmetics, fashion supplies, food products, artisanal goods, and an endless array of options for your projects. Modern Love…when brush meets passion. Check out also ‘Modern Love Slanted’ Turquoise Nautica

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

TA Bankslab graphic presentation at Behance The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.

AwanZaman has a three-phase story, beginning with Dr Mamoun Sakkal’s two Arabic styles and culminating with Juliet Shen’s Latin extension. AwanZaman started as simply Awan, a commission for a modern, clean, monoline typeface for writing headlines and story titles in a forward-thinking Kuwaiti newspaper. Awan was based on the geometric forms of Kufic script, while in phase two, a second typeface (Zaman) was designed to add enough calligraphic Naskh details to make it easy to read in demanding newspaper settings. Together these two phases give the typeface a warm, familiar, and progressive look, as well as an explanatory two-part name — AwanZaman. Since most editorials use typical Naskh headline fonts with an exaggerated baseline, Awan’s rational forms immediately distinguish it as a modern and progressive voice in the crowded field of Arabic editorial typefaces. As the companion Arabic typeface, Zaman has the same basic proportions and forms as Awan, but with many cursive, energetic, and playful details. And since modern monoline fonts are increasingly being used to set extended texts, more features were borrowed from Naskh calligraphy to expand the typeface’s use from headlines into text setting. When using the AwanZaman Arabic family, Awan (geometric Kufic forms) is the starting point. To add the sweeping, energetic personality of Zaman (calligraphic Naskh forms), simply activate an alternate character through the option of 20 stylistic sets available in any OpenType-savvy software. The two typefaces function as one file — the AwanZaman Arabic family — allowing users to combine features from both designs to transform the appearance of text from geometric and formal to playful and informal. The third phase of AwanZaman’s development introduced a companion Latin typeface designed by Juliet Shen to fulfil the persistent need in the Arabic fonts market for modern and geometric bilingual type families. Due to the Arabic’s monolinear strokes, AwanZaman Latin was destined to be a sans serif with a tall x-height, larger counters, and corresponding stem thickness to harmonise with the Arabic’s overall text colour and page presence. But it needed much more. One of AwanZaman’s chief assets is making the two languages look on a par when typeset side by side. Arabic and English readers will have a different sense of what that entails, but this type family defers to the Arabic — graceful and artistic with a good mix of straight stems and curved forms. Latin in general doesn’t aesthetically flow the way Arabic does, yet the tone of the Latin needed to mirror both the Arabic’s more squarish curves and formal personality of Awan and the undulating and more playful shapes of Zaman without looking outlandish. That need was met by creating some novel Latin characters, which are accessed through four stylistic sets the same way as AwanZaman Arabic. The alternates are not just clever in the way they look and how they echo the Arabic aesthetic, but also in harmonising the disparate languages and serving designers well when needing a balanced, bilingual text face with a warm and lively voice. AwanZaman is a clever, seven-weight powerhouse that makes extensive use of OpenType’s stylistic sets (20 in the Arabic and four in the Latin) so writers and designers can make the most of everything from a single glyph in display sizes down to dense text in paragraphs. As AwanZaman Arabic has no italic, neither does the Latin; contextual distinction normally handled by italics is achieved by exploiting the family’s seven weights. AwanZaman’s intricate OpenType programming supports Persian and Urdu, with features such as the returning tail of Barri Yeh treated properly. From its inception in geometry to its melding of two worlds with novel forms, AwanZaman is a personal labor by designers Dr Mamoun Sakkal and Juliet Shen, and embodies the TypeTogether ideals of serving the global community with innovative and stylish typeface solutions. The complete AwanZaman Arabic and Latin families, along with our entire catalogue, have been optimised for today’s varied screen uses.

TT Ricordi useful links: Specimen | Graphic presentation | Customization options The TT Ricordi font family is a collection of three display heading serifs designed to significantly diversify the traditional font palette. Each font from the TT Ricordi family was drawn by a separate designer and has its own story. With that, all three fonts are close in thickness and similar in their character compositions and are featured in the uppercase set and the small capitals set, which replaces lowercase characters. The fonts have the broad support of Latin languages and support basic Cyrillic. The project originates from the pre-coronavirus tourist trips to Italy, during which our art director Yulia Gonina has accumulated many photographs of historical inscriptions and tablets. Many of these inscriptions had interesting character or unusual character shapes. We wanted to work with them, to try to reinterpret them, and, if possible, make them ultramodern and accessible to the modern font user. The fonts from the TT Ricordi typeface turned out to be quite display and contemporary, but at the same time, they retained subtle references to historic inscriptions. The fonts fit perfectly both on the covers of book classics and in glossy magazine layouts. They can also be used in posters and packaging, or as the main expressive element of company branding. In addition, all three serifs from the TT Ricordi font family go well with functional sans-serifs such as TT Norms Pro or TT Commons. TT Ricordi Nobili is a display serif with a rich Roman ancestry and contemporary world views. It stands out from the crowd with its subtlety and elegance. The font was drawn by Anna Tikhonova and was inspired by an inscription carved into the stone floor of a cathedral in Florence. Because people walked over the inscription, some of the letters got thinner and worn out over time. It is this feeling of disappearing or flickering elements that we wanted to capture and implement in the project. The TT Ricordi Nobili has high contrast, even though the font itself is quite thin. The serifs in the font are not massive at all, but at the same time, they are display serifs. There is a certain tension in TT Ricordi Nobili, and the viewer perceives this tension. We can say that behind the external classic facade lies a rather modern plot. The font has a large set of discrete ligatures which allow to create interesting combinations and expand the capabilities of the font. There are 709 glyphs in the TT Ricordi Nobili font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Todi is a wide serif with a classic base and a contemporary nature. The font turned out to be refined yet sharp, and in places even pushy and aggressive. The font was drawn by Yulia Gonina, and the project was based on plaques with engraved street names from the small Italian town of Todi. The main challenge was to decipher the characteristic features of the signs and emphasize them in a modern way. In addition, it was necessary to draw a Cyrillic alphabet that would not be inferior to the Latin alphabet in its expressiveness. The TT Ricordi Todi has fairly wide character proportions, and there is practically no contrast in them. The main feature of the font is the combination of smooth round shapes with deliberately squared shapes. In addition, the font is characterized by crisp and sharp character details, exaggerated ascenders and descenders, and muted contrast. Among the interesting font peculiarities, you can choose between the characteristic long descenders and ascenders and their more tempered versions, you can find a stylistic set with triangular dots, alternative versions of the EF characters and two letter ? shapes, round and squared. There are 876 glyphs in the TT Ricordi Todi font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Fulmini is a fashionable contemporary serif firmly holding on to its historic roots. The font turned out to be like a thistle flower: bright and catchy, but still subtle and delicate. TT Ricordi Fulmini was drawn by Marina Khodak, and the initial inspiration for the project was the inscription on the altar from the National Gallery of Umbria in Perugia. As the font was pulled into “contemporaneity”, it was completely transformed and revealed its new side. The main catchy detail in the TT Ricordi Fulmini is the aggressive and rather sharp diagonal serifs. In addition, in the process of working on the font, several graphic solutions emerged, for example, the mono-serifs and the very calligraphic connections of diagonal strokes with their historic spirit. We wanted to keep them, and thus 4 thematic stylistic sets appeared in the font, thanks to which we can greatly change the perception of TT Ricordi Fulmini. In addition, the font has a set of interesting discrete ligatures. There are 793 glyphs in the TT Ricordi Fulmini font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi supports more than 180+ languages, such as: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican +, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gusii, Haitianm, Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss German +, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana +, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian+, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian.