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  1. Banco is an eye-catching display font that instantly grabs attention with its bold and expressive style. Created by the French graphic designer Roger Excoffon for the Fonderie Olive foundry and first...
  2. Major Snafu, conceived by the imaginative mind of Vic Fieger, is a typeface that doesn't merely exist within the realm of digital design but actively jumps off the page, daring the viewer to sit up a...
  3. Arthines, a creation by Hanzel Studio, is a font that perfectly marries elegance with a contemporary vibe, making it a versatile choice for various design needs. Its design is a testament to meticulo...
  4. Sure thing! Castorgate - Messed by Apostorganic Labs is a fascinating and distinctive font that truly stands out with its unique characteristics. It is part of the broader creative work that the Apos...
  5. As of my last update, there is no widely recognized or specific font known as "Can Control" within the standard typographic or design communities. However, the name itself evokes a particular style t...
  6. Moby, a distinctive and architecturally inspired font, beautifully captures the modernist spirit coupled with a playful twist. Its design is not just a mere arrangement of letters but a thoughtful cr...
  7. "Synthetic BRK" is a font that embodies the confluence between technological appeal and a touch of futuristic design, marking it as a unique creation by AEnigma. AEnigma, known for crafting fonts tha...
  8. As of my knowledge cut-off in early 2023, there isn't a widely recognized font specifically named "Chilluns." However, allowing for the playful and laid-back connotation of the name—evocative of "chi...
  9. Plakative Grotesk, designed by Uwe Borchert, stands as a testament to the power of typographic expression in conveying direct and impactful messages through design. As suggested by its name, with "Pl...
  10. The Prayh font, crafted by the talented Niclas Hjelm, is a remarkable testament to the fusion of traditional calligraphic styles with contemporary design sensibilities. This font stands out due to it...
  11. "Peach Sundress" by Teagan White is a font that embodies a sense of delightful whimsy and gentle nostalgia, capturing the essence of sunny days, carefree afternoons, and the soft, welcoming embrace o...
  12. RomanticFont2, as its name suggests, is a font that breathes life into the essence of romance, elegance, and an exquisite touch of delicateness. Crafted with a keen eye for harmonizing the traditiona...
  13. TT Marxiana by TypeType, $59.00
    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.
  14. Nu School Munitions isn't a font that I can specifically reference as of my last knowledge update in early 2023, suggesting it might either be a very new, specific, custom, or possibly not widely rec...
  15. Inhuman BB is a font that stands out for its dynamic and expressive qualities, designed to capture attention with its unique character. Developed by Blambot Fonts, a foundry well-known for creating c...
  16. Fely, though not a widely recognized font at the time of my last update, conjures an image of a font that is likely characterized by its unique blend of personality and practicality, based on the tre...
  17. The Bazar font by Olinda Martins is a strikingly unique typeface that embodies a blend of whimsical charm and artistic flair. At first glance, Bazar presents itself with a lively irregularity that im...
  18. The "Djs Symbols" font by Phuxer Designs is a fascinating and innovative font that stands out in the realm of typography. Rather than focusing on traditional letters and numbers, this font explores t...
  19. Romance Fatal Sans is a captivating typeface that effortlessly marms the line between the traditional and the contemporary. Designed with a keen eye for both form and function, this font stands out f...
  20. The font titled "Chemical Reaction B BRK" created by AEnigma is a distinctive typeface that embodies a unique blend of creativity, precision, and playfulness. Designed to evoke the sense of a chemica...
  21. The Leo Arrow font, crafted by the skilled artisans at Tipografia Leone Firenze, stands as a vivid expression of typographic artistry, blending timeless elegance with contemporary flair. This font is...
  22. Sanserifing by Audrius Skersys is a contemporary typeface that embodies simplicity and versatility in design. Created by the Lithuanian designer Audrius Skersys, the Sanserifing font is a dedication ...
  23. Candy Pop! by deFharo is a distinctive and engaging font that captures the essence of fun, creativity, and dynamism. DeFharo, a Spain-based typographic designer, is known for his wide range of fonts,...
  24. The KG Falling Slowly font, designed by the talented Kimberly Geswein, is a beautifully crafted typeface that captures the essence of gentle motion and delicate grace. As its name subtly suggests, th...
  25. The font "Janda As Long As You Love Me," designed by Kimberly Geswein, is a testament to the versatility and creativity that typographic art can embody. This font is part of Kimberly Geswein's broade...
  26. As of my last update in April 2023, the font Am Sans Light, crafted by the talented designer Volker Busse, is a testament to the beauty of minimalist design in typography. This font belongs to the br...
  27. As of my last update in early 2023, the font "Paddington" could either be an emerging typeface with limited exposure, or potentially you're inquiring about a relatively lesser-known or specialized de...
  28. The font "Gilgongo Kaps" by Apostrophic Labs is a unique and quirky display typeface that captures the essence of playfulness and innovation. Apostrophic Labs, known for their inventive approach to t...
  29. As of my last update in April 2023, the font named "Divine" could refer to numerous typefaces designed with a particular theme or inspiration that may not be universally recognized without further sp...
  30. As of my last update in April 2023, there isn't a widely recognized font specifically named "Tecate." This could suggest you're referring to a custom or niche typeface not extensively cataloged in ma...
  31. Bladeline, a unique font created by Designstation, is a striking example of creativity and innovation in typeface design. It encapsulates a perfect blend of elegance and edge, making it a versatile t...
  32. Ihminen, designed by Jenny Barck, is a highly captivating font that reflects an artistic melding of humanistic qualities and typographic design. This font family is named after the Finnish word for "...
  33. Spund, as it sounds, might evoke the idea of a font that is playful and perhaps rounded, suggesting a certain whimsy and casualness in its design. As there isn't a widely recognized typeface by this ...
  34. The Powderfinger Smudged font, designed by Apostrophic Labs, embodies a unique aesthetic that captures the essence of creativity mixed with a casual, laid-back vibe. This font is part of Apostrophic ...
  35. Lost Forever, as evocative as the name sounds, is a font that carries the weight of nostalgia, mystery, and perhaps a hint of melancholy. This typeface finds its roots deeply embedded in the world of...
  36. As of my last knowledge update in early 2023, there isn't a widely recognized or specific font known as "Kijkwijzer" within the general libraries of typography that artists and designers commonly ref...
  37. Oxona Caps is a revamped and streamlined version of the Oxona family , preserving the essence of its predecessor. It is a capital letter and small caps typeface that redefines legibility and visual ...
  38. As of my last knowledge update in April 2023, the font "Kellnear-Italic" does not exist in the widely recognized catalogues of typefaces or within mainstream typographic resources. This doesn't mean ...
  39. The CHE LIVES! font, designed by Levi Halmos, is a striking and evocative typeface that captures the spirit of rebellion and revolutionary zeal. This font is an artistic homage to the iconic Argentin...
  40. Wolf's Bane Expanded Italic by Iconian Fonts is not just a font; it's a voyage into the realm of the extraordinary and the distinctive, a perfect blend of the menacing and the elegant. As suggested b...
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