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  1. Guayaba Sans, a font crafted by Juan Casco, stands as an example of typographic artistry designed for personal use, embodying the creative spirit and skill of its creator. While I cannot directly obs...
  2. As of my last update in April 2023, "The Haine au Carré!" by TN2 isn't a widely recognized or documented font within mainstream typography resources. Since it's not a part of the commonly known font ...
  3. Once upon a time, in the bustling metropolis of Typography Town, there lived a unique and rather intriguing font named EU-Sym. This font wasn't your typical character in the neighborhood, like the bo...
  4. Valley is a distinctive typeface meticulously crafted by Barry Schwartz, a designer renowned for his dedication to reviving classical typefaces for the modern age. Schwartz's work often breathes new ...
  5. The Spongy font, crafted by the renowned typeface designer Ray Larabie, is a testament to creativity and playful design in typography. Known for his extensive portfolio of unique and highly functiona...
  6. The New Gothic Textura typeface, designed by Elodie Mandray, is a captivating contemporary adaptation of a historic script that pays homage to the intricate and ornamental style of the medieval textu...
  7. As of my last update in 2023, the font named "Avatar" could refer to one specifically designed or inspired by the visual and textual elements associated with the media franchise of the same name, suc...
  8. 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...
  9. As an optimistic and helpful artist, I'd love to introduce you to the intriguing world of typography through the lens of the font I2ArabiaConsole. Though I must clarify, detailed specifics about I2Ar...
  10. Once upon a time, in a galaxy not-so-far away, nestled within the boundless universe of typography, there emerged a font that was unlike any other. It was a font so whimsical and so eccentric that it...
  11. Ah, Berlin Email by Peter Wiegel, a font that dons its typographic trench coat and stylishly strides through the digital streets of Berlin, casting an air of retro-yet-futuristic sophistication. Craf...
  12. As of my last update, the Damage™ Maim font by Clearlight Fonts stands as a striking example of typographic design that embodies a certain level of intensity and emotional expression rarely captured ...
  13. As of my last update in April 2023, the A.Lewis font is not a widely recognized or commonly referenced typeface in public font libraries or among popular font resources. However, the crafting of a sp...
  14. Mistress Script is a distinctive font crafted by Apostrophic Labs, a collective known for their innovative and diverse typeface designs. While I can't provide real-time or very specific details about...
  15. As of my last update in 2023, there isn't a widely recognized or specific font named "Clearblock Circular." However, it appears you might be referring to a concept that blends characteristics of two ...
  16. "GoodDog Plain" is a font that exudes a playful charm and an unpretentious simplicity, much like the delight one might find in watching the joyful antics of a beloved pet. Its design is rooted in a c...
  17. As of my last update in April 2023, "Kick The Font" might not refer to a widely recognized or standard font available in common design or typography circles. Nevertheless, based on the playful and en...
  18. The "LED Digital 7" font by Style-7 conjures the nostalgia and futuristic appeal of classic digital displays, marrying form and function in a decidedly modern package. This typeface embodies the esse...
  19. I'm delighted to help you explore the unique and playful world of the font named REGALIZ, designed by the talented Pedro Pan. REGALIZ is a font that stands out due to its imaginative approach and its...
  20. The A.D. MONO font is a modern take on the classic monospaced typographic style, designed with a keen eye on functionality and aesthetic appeal for the digital era. Monospaced fonts, known for their ...
  21. As an imaginative exploration of the font named "End of Path," let's embark on a journey into its design and character attributes. Although it's essential to acknowledge that this specific font might...
  22. 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...
  23. As of my last update in early 2023, Canuth may not be among the most recognized or widely discussed typefaces within the vast and eclectic world of typography. However, let's embark on a creative jou...
  24. As of my last update in 2023, "Drebiek" isn't a widely recognized or established font within major typographic collections or font libraries. However, the imaginary essence of "Drebiek" allows us to ...
  25. As of my last update in early 2023, PassCaps is not a widely recognized or established font within the vast landscape of typography. Given this, we'll approach it from a conceptual standpoint, imagin...
  26. As of my last update in 2023, Pungen is not a well-documented or widely recognized font in mainstream typography resources. This seems to suggest that Pungen may either be a niche, bespoke creation b...
  27. As of my last update in April 2023, the described font name "(afGiHmtV)" is not recognized as part of standard font collections or widely known typefaces. This name seems unconventional and doesn't f...
  28. The font "KG Primary Penmanship 2" by Kimberly Geswein is an exuberant and charming font that captures the essence of early childhood handwriting. This font has been meticulously designed to replicat...
  29. As of my last update in April 2023, "Fresh" by La Toya Grey may not be specifically known in mainstream font directories or among widely recognized graphic design communities. However, let's create a...
  30. As of my last update in April 2023, "Basic Map" by Rémi Godefroid is not a widely recognized or documented font in popular databases or among commonly known typefaces. Regardless, let’s explore the l...
  31. The font named "Ebola," created by the talented and imaginative font designer Susan Townsend, embodies a unique blend of artistic expression and powerful thematic elements. At first mention, the name...
  32. As of my last update in early 2023, "PlasterCaster" is not a widely recognized typeface in mainstream typographic resources or font collections, which makes it a bit challenging to describe accuratel...
  33. As of my last update in April 2023, the font named Glyphstream, designed by Bill Roach, is not a well-documented or widely recognized entity in the vast world of typography. However, let's explore wh...
  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.
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