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  1. As of my last update in April 2023, the font "Dr.Enoksen" by Mike Larsson might not be widely recognized in the standard font catalogs or among widely distributed typefaces. However, the imaginative ...
  2. As of my last update in April 2023, "Special K" by Ficod seems to be a rather unique and intriguing typeface, although it might not be universally recognized or might even be a hypothetical or new en...
  3. As of my last update in 2023, "Sepulcra" is not a widely recognized or established font within mainstream typographic resources or design communities. However, crafting a descriptive narrative based ...
  4. "KG Begin Again" is a captivating font created by Kimberly Geswein, an artist known for her broad and diverse contribution to the world of typography. Kimberly specializes in crafting fonts that are ...
  5. Valium is an imaginatively crafted font that exudes an enigmatic yet eminently approachable vibe, reminiscent of the tranquil effects its namesake may suggest. Though not a standard font you'd find i...
  6. As of my last update in April 2023, "Radion" is not a widely recognized font name within major typographic resources or font collections. However, based on the typical attributes of font naming and d...
  7. Heidelbe-Normal is a font that brings to mind the charm of the old world, blended seamlessly with the crispness of the modern age. This font appears as if it has captured the essence of history and p...
  8. The "Huggable Hedgehogs Demo" font by Brittney Murphy is a delightful and charming typeface that seems to capture the essence of whimsy and playfulness, much like the endearing qualities of hedgehogs...
  9. 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 ...
  10. The font named "Hendrix Demo" by The Scriptorium is a vivid encapsulation of both creativity and tribute, designed with an essence that echoes the legendary flair of Jimi Hendrix, to whom it ostensib...
  11. "City Burn Night After Night and We Spraypaint the Walls" is not just a font; it's a declaration, an embodiment of the urban spirit captured in digital typography. Imagine walking through the heart o...
  12. Ah, Denmark—the font, not the country—is like the cozy sweater of typography: familiar yet stylish, and incredibly versatile. Imagine its letters with a streamlined form that manages to be both crisp...
  13. The Gabrielle font, crafted by the renowned German typographer Dieter Steffmann, is a quintessential representation of Steffmann's dedication to reviving classic typefaces and adding his unique twist...
  14. Berolina, designed by the prolific German type designer Manfred Klein, is a font that commands attention through its blend of classical elegance and modern flair. Klein, renowned for his eclectic ran...
  15. The Red October Stencil font, masterfully designed by Ivan Filipov, stands as a bold and commanding tribute to typography that demands attention. This font finds its roots deeply embedded in the visu...
  16. As of my last update, "Among Us" as a term is best recognized for its association with the popular multiplayer game known for its unique blend of social deduction, teamwork, and betrayal mechanics. H...
  17. Gather around, typography enthusiasts and history buffs, for a tale of a font that summons the spirit of centuries past with a modern twist. Plakat-Fraktur, created by the talented Dieter Steffmann, ...
  18. As of my last update in April 2023, I don't have specific data on a font named "Yum" created by Yum Productions, suggesting that it might not be widely recognized or it might be a newer, niche creati...
  19. The Rio Lobo, a typeface created by Woodcutter Manero, is a vivid reflection of the untamed spirit and robust aesthetics associated with the Wild West. The moment you set your eyes on its characters,...
  20. The Atlas of the Magi is a font that conjures an aura of ancient mysticism and arcane knowledge, as if it's a collection of symbols and glyphs directly sourced from the secret scrolls of sorcerers or...
  21. The Runic AltNo font, crafted by the talented Nikolay Dubina, is a distinctive typeface that delves deep into the ancient roots of runic alphabets. This font stands out for its innovative approach to...
  22. The Ink Tank (BRK) font, crafted by the creative entity known as AEnigma, is an embodiment of inventive typographic artistry that transcends the mere assembly of letters. This font is a bridge betwee...
  23. Sure! The PopUp font crafted by Manfred Klein is a delightful and inventive typeface that captures the essence of whimsy and creativity, characteristic of Klein's extensive portfolio. Manfred Klein, ...
  24. As of my last update in early 2023, the font named "Ben Brown" may not be widely recognized within mainstream typographic resources or among popular font collections. It is possible that "Ben Brown" ...
  25. As of my last update in early 2023, the specific font named "Cartoo Nature" by Tokokoo may not be widely recognized or might be an emerging or niche font in the vast landscape of typography. However,...
  26. The Cronus font, designed by Sharkshock, is a display sans-serif typeface with enough personality for various projects. It is categorized as both a straight sans-serif and a ...
  27. The Selectric font traces its origins back to an iconic piece of technology: the IBM Selectric typewriter. Launched in 1961, the IBM Selectric revolutionized typewriting and document creation with it...
  28. Impregnable Personal Use Only by Måns Grebäck is a font that catches the eye with its elegant and distinctive character. Designed by the talented calligrapher and type designer Måns Grebäck, who is r...
  29. The font MAWNS' Serif by Måns Grebäck symbolizes a blend of classic elegance with contemporary design sensibilities. Crafted by the talented Swedish typeface designer Måns Grebäck, renowned for his m...
  30. The Rolling No One font, meticulously crafted by the renowned typeface artist Dieter Steffmann, stands as a testament to the intricacy and charm that typefaces can bring into the realm of design. Thi...
  31. The font KinigKap, designed by the talented David Rakowski, stands out as a unique and artistically crafted typeface. Its origins are deeply rooted in the creative pursuits of Rakowski, who has contr...
  32. Oh, Tipbrush Script! Imagine taking a whimsical wander through a calligrapher's dream, where each stroke dances to the tune of elegance and charm—that's Tipbrush Script for you. Created by the wizard...
  33. Gravicon, as a concept for a font, may not be a universally recognized or standardized font in the realm of typography as of my last update in 2023, so I'll approach this description with a creative ...
  34. 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.
  35. As of my last knowledge update in April 2023, the font Crakos by Phuxer Designs might not be among the broadly recognized or extensively documented typefaces in the realms of graphic design or typogr...
  36. Sure! Let's dive into the delightful world of the "Rose Cake - Personal Use" font, meticulously crafted by the creative minds at Typhoon Type. As its name charmingly suggests, this font encapsulates ...
  37. Signerica Fat is an exquisite font designed by the talented Swedish typeface designer Måns Grebäck, known for his mastery in crafting script and calligraphy fonts. This particular font falls beautifu...
  38. The Janda Celebration Script is a creation by Kimberly Geswein, a font designer known for her wide range of expressive and character-rich typefaces. This particular font stands out as a celebration o...
  39. Ganz Egal, masterfully crafted by the enigmatic designer Nihilschiz, is not just a font; it's an adventure in typography that refuses to take itself too seriously. Picture this: if fonts were people,...
  40. As of my last update in April 2023, "Newsiren" by Stephen Bird offers a fascinating glimpse into the contemporary world of type design, blending tradition with innovation. This font stands out for it...
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