The Salden fonts are our tribute to the man who was dubbed the face of the Dutch book, and whose work is considered essential in 20th century Dutch design history. Helmut Salden’s exquisite book cover designs were the gold standard in the Netherlands for more than four decades. His influence over Dutch lettering artists and book designers ranges far and wide, and his work continues to be used commercially and exhibited to this very day. At the root of Salden’s design work was a unique eye for counter space and incredible lettering skills that never failed to awe, regardless of category or genre. This made our attention to his lettering all the more focused within our appreciation to his overall aesthetic. Though Salden never designed alphabets to be turned into typefaces (he drew sets of letters which he sometimes recycled and modified to fit various projects), we thought there was enough there to deduce what a few different typefaces by Salden would have looked like. The man was prolific, so there were certainly enough forms to guide us, and enough variation in style to push our excitement even further. And so we contacted the right people, obtained access to the relevant material, and had a lot of fun from there. This set covers the gamut of Salden’s lettering talents. Included are his famous caps, his untamed, chunky flare sans serif in two widths, his unique Roman letters and an italic companion and, most recognizable of all, his one-of-a-kind scripty upright italic lowercase shapes, which he used alongside Roman caps drawn specifically for that kind of combination titling. All the fonts in this set include Pan-European glyph sets. They’re also loaded with extras. Salden Roman (908 glyphs) and Salden Italic (976 glyphs) each come with built-in small caps (and caps-to-small-caps), quite a few ligatures, and two different sets of alternates. Salden Black and Salden Black Condensed (636 glyphs each) come with a set of alternates, and both lining and oldstyle figures. Salden Caps (597 glyphs) comes with a set of alternates, and Salden Titling (886 glyphs) comes with a quite a lot of swashed forms and alternates (including as many six variants for some forms), a few discretionary ligatures, and two sets of figures. There are also some form alternates for the Cyrillic and Greek sets included in all six fonts. These alphabets were enjoyably studied and meticulously developed over the past ten years or so. We consider ourselves very fortunate to be the ones bringing them to the world as our contribution to maintaining the legacy of a legendary talent and a great designer. The majority of the work was based on Salden’s original drawings, access to which was graciously provided by Museum Meermanno in The Hague. The Salden fonts were done in agreement with Stichting 1940-1945, and their sale will in part benefit Museum Meermanno.

Attention! Important information! There is no Cyrillic support in TT Ricks! TT Ricks useful links: Specimen | Graphic presentation | Customization options About TT Ricks: We are glad to present you the new font TT Ricks, which continues the line of trendy and yet affordable TypeType Starter Kit fonts. TT Ricks is a flamboyant elzevir-type serif, for which the words “cute” or “calm” are not a fitting definition. TT Ricks can be classified as a display title typeface that works especially well at large and medium sizes in packaging design, book graphics and posters. The typeface is inspired by the pre-digital font “De Vinne”, which was designed in 1892 by the designer Gustav F. Schroeder. We liked certain aspects of the historical prototype, but at the same time, when creating TT Ricks, we did not want to limit ourselves—on the contrary, we were eager to discover a completely new spirit and bring bright details to the font. The TT Ricks typeface stands out for its strong contrast, noticeable sharp serifs, narrow letterforms with a pronounced displacement of flows in the arches. The typeface has very dense spacing, and in the bold style, the text set begins to resemble Gothic by its richness and tension. Important visual features of TT Ricks are the dashing shapes of ascenders and descenders, the thin and sharp stroke endings, and the “elzevier legs” of the letters R K k. In the lowercase round characters c e s, you can notice the pronounced slope of the oval, which contrasts with the general set of the font. These "slanted" signs and ascenders and descenders of the letters f and y are designed to cut the monotony of a set and to entertain the reader's eyes. The TT Ricks typeface consists of three weights (Regular, Medium, Bold) and one variable font. Each style consists of 553 glyphs and contains 18 OpenType features. The most interesting features are stylistic alternates for the letters R K k with alternative short leg shapes, two sets of figures for working with upper and lower case characters, and a set of original icons that further reveal the spirit of the family. Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org Attention! Important information! There is no Cyrillic support in TT Ricks! TT Ricks OpenType features: aalt, ccmp, locl, numr, ordn, tnum, onum, lnum, pnum, case, liga, calt, ss01, ss02, ss03, ss04, ss05, ss06 TT Ricks language support: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Bosnian (lat), Breton +, Catalan+, Cebuano+, 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+, Gikuyu, Guarani, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish,

Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Ricordi Allegria useful links: Specimen | Graphic presentation | Customization options TT Ricordi Allegria is a sleek and intelligent contemporary Florentine grotesque inspired by the half-erased lettering in Basilica di Santa Croce, Florence. TT Ricordi Allegria was drawn by Antonina Zhulkova and reflects in its graphics the transitional stage between the classic serif with varying proportions, gravitating towards the Roman capital type, and the Florentine sans serif. The font is characterized by variability in the proportions of characters, contrast between strokes, wedge-shaped triangular characters, and the absence of traditional serifs. The main visual feature of the typeface is its diversity and the ability, using different stylistic sets, to completely change the character and perception of the typeface. The drawing of the characters from the main set is strict, thanks to which the font looks stern, as if the inscription in the font was really carved out of stone. And with the help of another set, we can add roundness, or even smoothness, to the font. This is due to the fact that the letters (E R K Q J Y in Latin, and Л К Ж Э in Cyrillic) from the second set have either very noticeable "curls" or smooth, rounded "legs". In addition, the typeface includes a set of beautiful ligatures for use in display inscriptions, such as large headlines. An interesting moment when working on the typeface was the creation of the Cyrillic typeset, since the Cyrillic alphabet does not so easily fit into the concept of the Florentine grotesque and stressed semi-serif. The most difficult thing in working on the Cyrillic alphabet was to create a system of spacing for characters, as it was done in the Latin alphabet, and to make sure that when typing in Cyrillic, the drawing of the text remained beautiful. That is why the letters Д Л У Ы appearing in the font family are somewhat unusual to the eye, and the proportions of other characters in Cyrillic are not quite “classic” either. In general, the Cyrillic set looks more display than its Latin prototype, but at the same time it lacks the sense of historicity or legacy of the Soviet past, which often comes to the foreground when working on the design of the Cyrillic alphabet in this type of serifs. TT Ricordi Allegria consists of two weights (Regular and Bold) and one variable font. Each style includes over 750 characters, as well as 19 OpenType features. Interesting features of the typeface include three stylistic sets that greatly change the perception of the font, a set of bright display ligatures, a few neat icons that are suitable for breaking text and will emphasize the visual language of the font. Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org FOLLOW US: Instagram | Facebook | Website

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Proudly present our new font. It is named Hollgates - Elegant Signature Font. Hollgates is script handwritten style with a natural charm. This font which is a modern signature and unique style handmade comes with very beautiful character changes. To keep the maximum real hand-lettered effect, there were created 240 ligatures (you can see them among the presentation pictures). When creating the font, we should take into consideration that each letter should be able to be connected with other letters. For example, the letter "a" should be well connected as well as with "l" and "n" and with any other letters. This limits us: we have to start letter from exact one point and finish at exact second point. So here come ligatures. Hollgates font contains following ligatures: ab ad af ah ai ak al am an ao ap as at az az bh bl bk bt bx br cb cl ch ck cc cr cs ct co cx cz dd db dh dl dk dt dr ds dx dz eb ef eh ek el et ett er em en es ex ez ff fh fl fk fi fo fs ft fr fz fx gg gh gr gb gf gl gk gt go gs gz hf ho hs ht hz ib if ih ik il it itt ii in im ip is ir iz ix jo kl kk kh ko ks kr kt kx kz lo li ls lu lr lx ly lz mm mf mi mh ml mk mo mp ms mt mz mx nb ni nf nh nl nk no ns nr np nt nx nz ob of oh oi oj ok ol om on op os ot ott ou ox oz ph ppl pp ps pt pu pi pr po px pz rs rr st sh sl sk sb si sm sn so sp su sx sy sz oll all ell ill ull th tl tk ti ts tr to tu tx tz ty ub ul uh uk ul ut utt un um up us ux uz vh vl wh wl wo zz ee ll ff oo rr ss tt dd ff It’s the perfect fit for all luxury projects, such as wedding invitation, signatures, luxury logos, printed quotes, grettings cards, social media headers, product packaging and many more! It includes a full set of uppercase and lowercase letters, multilingual symbols, numerals, punctuation and ligatures. It is PUA encoded which means you can access all of the glyphs and swashes with ease! Fall in love with its incredibly versatile style and use it to create spectacular designs! Use this font for any crafting project that requires a personalized look! What’s Included : – Works on PC & Mac – Easy to use ( Installations ) – Easy Convert to webfont – Compabilty Windows, Apple, Linux, Cricut, Silhouette and Other cutting machines Thanks for downloading, and I hope you enjoy it!

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

PRISMATIC SPIRALS PRO FONT! The Prismatic Spirals PRO is a Decorative Type-System and ‘Assembling Game’, itself. Settled in squared pieces modules or tiles, embedded by unprecedented Intertwined Prismatic Structures Design, or intricate interlaced bars that may seem quite “impossible” to shape. Although it originated from the ‘Penrose Square’, it may not look totally as an Impossible Figures Type of Optical Illusions. More an “improbable” Effect in its intertwined Design, that even static can seem like a source of Kinetical Sculptures, or drive eyes into a kind of hypnosis. Prismatic Spirals Pro has two related Typefaces both more basic or easier to use versions, the Default Family plus its “bold” braided version Prismatic Interlaces… PRO provides a more advanced, complex, and twisted Design, plus requires to be typed alternating caps. Instructions: Use the Map Font Reference PDF as a guide to learn the 'tiles' position on the keyboard, then easily type and compose puzzle designs with this font! All alphanumeric keys are intuitive or easy to induce, you may easily memorize it all! Plus, often also need to consult it! *Find the Prismatic Spirals Pro Font Map Reference PDF Here! (!) Is recommended Print it to have the Reference or open the PDF to also copy and paste, when consulting is required or when it may be difficult to access, depending on the keyboard script or language. The 2 glyphs sets are separated in colors for facilitating. Also use the Map Font with key captions or switch to it for ensure that the characters are alternating between both uppercase and lowercase letters as other Keys as numbers, marks, and punctuation along the strings, holding Shift one by one or actually two by two. As a Tiles Type-System, the line gap space value is 0, this means that tiles line gaps are invisibly grouted, so the user can compose designs, row by row, descending to each following row by clicking Enter, same as line break, while advances on assembling characters. Background History: The first sketches of my Prismatic Knots or Spirals Designs dates back then from 2010, while started developing hand-drawn Celtic Knots and Geometric Drawings in grid paper, while engage to Typography, Sacred Geometry and the “Impossible Figures” genre… I started doing modulation tests from 2013, until around 2018, I got to unravel it in square modules or tiles from the grid, then idealized it as fonts, along with other Type projects. This took 13 years to come out since the first sketches and 6 months in edition. During the production process some additional tiles or missing pieces were thought of and added to the basic set, which firstly had only the borders, corners, crossings, nets, Trivets connectors or T parts and ends, then added with nets and borders integrations. Usage Suggestions: This type-system enables the user to ornate and generate endless decorative patterns, borders, labyrinthine designs, Mosaics, motifs, etc. It can seem just like a puzzle, but a much greater tool instead for higher purposes as to compose Enigmas and use seriously. As like also to write Real Text by assembling the key characters or pieces, this way you can literarily reproduce any Pixel Design or font to its Prismatic Spirals correspondent form, as Kufic Arabic script and further languages and compose messages easily… This Typeface was made to be contemplated, applied, and manufactured on Infinite Decorative Designs as Pavements, Tapestry, Frames, Prints, Fabrics, Bookplates, Coloring Books, Cards, covers or architectonic frontispieces, storefronts, and Jewelry, for example. Usage Tips: Notice that the line-height must be fixed to 100% or 1,0. In some cases, as on Microsoft Word for example, the line-height default is set to 1,15. So you’ll need to change to 1,0 plus remove space after paragraph, in the same dropdown menu on Paragraph section. Considering Word files too, since the text used for mapping the Designs, won't make any literal orthographical sense, the user must select to ignore the Spellcheck underlined in red, by clicking over each misspelled error or in revision, so it can be better appreciated. Also unfolding environments as Adobe Software’s, the Designer will use the character menu to set body size and line gap to same value, as a calculator to fit a layout for example of 1,000 pts high with 9 tiles high, both body size and line gap will be 111.1111 pts. Further Tips: Whenever an architect picks this decorative system to design pavements floor or walls, a printed instruction version of the layout using the ‘map’ font may be helpful and required to the masons that will lay the tiles, to place the pieces and its directions in the right way. Regarding to export PNGs images in Software’s for layered Typesetting as Adobe Illustrator a final procedure may be required, once the designs are done and can be backup it, expanding and applying merge filter, will remove a few possible line glitches and be perfected. Technical Specifications: With 8 styles and 4 subfamilies with 2 complementary weights each (Regular and Bold) therefore, Original Contour, Filled, Decor, with reticle’s decorations and 2 Map fonts with key captions. *All fonts match perfectly when central pasted for layered typesetting. All fonts have 106 glyphs, in which 96 are different keys with 2 versions of each of both caps and shift keys, plus a few repeated for facilitating. It was settled this way in order for exchanging with its Prismatic relative fonts which has only 48 different keys repeated twice. Concerning tiles manufacturing and Printed Products as stickers or Stencils, any of its repeated pieces was measured and just rotated in different directions in each key, so when sided by other pieces in any direction will fit perfectly without mispatching errors. Copyright Disclaimer: The Font Software’s are protected by Copyright and its licenses grant the user the right to design, apply contours, plus print and manufacture in flat 2D planes only. In case of the advent of the same structures and set of pieces built in 3D Solid form, Font licenses will not be valid or authorized for casting it. © 2023 André T. A. Corrêa “Dr. Andréground” & MMC-TypEngine.

A friend of mine says that sports are the ultimate popular drug. One of his favorite things to say is, “The sun’s always shining on a game somewhere.” It’s hard to argue with that. But that perspective is now the privilege of a society where technology is so high and mighty that it all but shapes such perspectives. These days I can, if I so choose, subscribe to nothing but sports on over a hundred TV channels and a thousand browser bookmarks. But it wasn't always like that. When I was growing up, long before the super-commercialization of the sport, I and other kids spent more than every spare minute of our time memorizing the names and positions of players, collecting team shirts and paraphernalia, making up game scenarios, and just being our generation’s entirely devoted fans. Argentina is one of the nations most obsessed with sports, especially "fútbol" (or soccer to North Americans). The running American joke was that we're all born with a football. When the national team is playing a game, stores actually close their doors, and Buenos Aires looks like a ghost town. Even on the local level, River Plate, my favorite team where I grew up, didn't normally have to worry about empty seats in its home stadium, even though attendance is charged at a high premium. There are things our senses absorb when we are children, yet we don't notice them until much later on in life. A sport’s collage of aesthetics is one of those things. When I was a kid I loved the teams and players that I loved, but I never really stopped to think what solidified them in my memory and made them instantly recognizable to me. Now, thirty-some years later, and after having had the fortune to experience many cultures other than my own, I can safely deduce that a sport’s aesthetic depends on the local or national culture as much as it depends on the sport itself. And the way all that gets molded in a single team’s identity becomes so intricate it is difficult to see where each part comes from to shape the whole. Although “futbol” is still in my blood as an Argentinean, I'm old enough to afford a little cynicism about how extremely corporate most popular sports are. Of course, nothing can now take away the joy I got from football in my childhood and early teens. But over the past few years I've been trying to perceive the sport itself in a global context, even alongside other popular sports in different areas of the world. Being a type designer, I naturally focus in my comparisons on the alphabets used in designing different sports experiences. And from that I've come to a few conclusions about my own taste in sports aesthetic, some of which surprised me. I think I like the baseball and basketball aesthetic better than football, hockey, volleyball, tennis, golf, cricket, rugby, and other sports. This of course is a biased opinion. I'm a lettering guy, and hand lettering is seen much more in baseball and basketball. But there’s a bit more to it than that. Even though all sports can be reduced to a bare-bones series of purposes and goals to reach, the rules and arrangements of baseball and basketball, in spite of their obvious tempo differences, are more suited for overall artistic motion than other sports. So when an application of swashed handlettering is used as part of a team’s identity in baseball or basketball, it becomes a natural fit. The swashes can almost be visual representation of a basketball curving in the air on its way to the hoop, or a baseball on its way out of the park. This expression is invariably backed by and connected to bold, sleak lettering, representing the driving force and precision (arms, bat) behind the artistic motion. It’s a simple and natural connective analysis to a designer, but the normal naked eye still marvels inexplicably at the beauty of such logos and wordmarks. That analytical simplicity was the divining rod behind Fan Script. My own ambitious brief was to build a readable yet very artistic sports script that can be a perfect fit for baseball or basketball identities, but which can also be implemented for other sports. The result turned out to be quite beautiful to my eyes, and I hope you find it satisfactory in your own work. Sports scripts like this one are rooted in showcard lettering models from the late 19th and early 20th century, like Detroit’s lettering teacher C. Strong’s — the same models that continue to influence book designers and sign painters for more than a century now. So as you can see, American turn-of-the-century calligraphy and its long-term influences still remain a subject of fascination to me. This fascination has been the engine of most of my work, and it shows clearly in Fan Script. Fan Script is a lively heavy brush face suitable for sports identities. It includes a variety of swashes of different shapes, both connective and non-connective, and contains a whole range of letter alternates. Users of this font will find a lot of casual freedom in playing with different combinations - a freedom backed by a solid technological undercurrent, where OpenType features provide immediate and logical solutions to problems common to this kind of script. One final thing bears mentioning: After the font design and production were completed, it was surprisingly delightful for me to notice, in the testing stage, that my background as a packaging designer seems to have left a mark on the way the font works overall. The modern improvements I applied to the letter forms have managed to induce a somewhat retro packaging appearance to the totality of the typeface. So I expect Fan Script will be just as useful in packaging as it would be in sports identity, logotype and merchandizing. Ale Paul

About SFT Sushka SFT Sushka is a narrow headline typeface that will look particularly good on the packaging of something delicious. 10 different widths and a variable font make it possible to fit the font into various limited spaces. Soft shapes and rounded notches make SFT Sushka cozy, friendly, and appetizing. But if you need a more concise and readable version, the Flat Subfamily without notches is available for you. The family forms a gradient from very narrow and quirky to wider, softer, and more fluffy styles. Therefore, the variation is not just in width and thickness, but in the overall mood as well. You can use the variable font without any concerns about unexpected intersections in the letters! Its structure is no different from static fonts. And last but not least, SFT Sushka allows for a very tight line spacing even in languages with diacritics! SFT Sushka has wide language support: 200+ Latin and 60+ Cyrillic languages. Language support Latin: Abenaki, Afaan-Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese-Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir-(Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape-Verdean-Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean-Creole, Gwich’in, Haitian-Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese-(Latin), Jèrriais, Kaingang, Kala-Lagaw-Ya, Kapampangan (Latin), Kaqchikel, Karakalpak-(Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish-(Latin), Ladinlatinlatino-sine-Flexione, Latvian, Lithuanian, Lojban, Lombard, Low-Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam-Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese-Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Onĕipŏt, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami-(Inari-Sami), Sami (Lule-Sami), Sami (Northern-Sami), Sami (Southern-Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish-Gaelic, Serbian-(Latin), Seri, Seychellois-Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio-(Latin), Somali, Sorbian (Lower-Sorbian), Sorbian (Upper-Sorbian), Sotho (Northern), Sotho-(Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok-Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen-(Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni. Cyrillic: Adyghe, Akhvakh, Aleut (Cyrillic), Altaic, Andi, Archi, Avar, Bashkir, Belarusian (Cyrillic), Besermyan, Bosnian (Cyrillic), Bulgarian (Cyrillic), Buryat, Chechen (Cyrillic), Chukchi, Chulym, Chuvash, Dargwa, Dungan, Enets, Even (Lamut), Gagauz, Godoberi, Ingush, Kabardino-Cherkess, Karaim, Karakalpak, Karata (Karata-Tukita), Karelian, Kazakh (Cyrillic), Ket, Kildin Sámi, Kirghiz, Komi-Zyrian, Koryak, Kumyk, Lak, Lezgian, Macedonian, Moldavian (Cyrillic), Mongolian, Mordvin-moksha, Nanai, Nganasan, Oroch, Ossetian, Russian, Rusyn, Saami, Serbian (Cyrillic), Soyot-Tsaatan, Tabasaran, Tadzhik, Tatar Volgaic, Tindi, Touva, Tsez, Turkmen (Cyrillic), Udege, Udmurt, Uighur (Cyrillic), Ukrainian, Ulch, Uzbek (Cyrillic), Veps, Yukagir.

Blackletter typefaces follow certain fixed rules, both in respect to their forms and to the orthography. Possibly, they were a reaction to the half-developed Carolingian minuscule which was soon to end in the Latin script. Narrow, ordered script was to replace the round, hesitant and shattered shapes of letters in order to simplify writing, to unify the meaning of individual letters, and to save some parchment, too. Opposed to the practice common in monasterial scriptoriums where Uncial, Irish and Carolingian inspiration flew freely and as a result, the styles of writing differed in each monastery, the blackletter type was to define one, common standard. It was to express spiritual verticality, in perfect tune with the architecture of the Gothic era. Typography became an integral part of the overall style of the period. The pointed arch and the blackletter type were the vanguard of the spectacular transformation from the Middle Ages towards the modern era, they were a celebration of a time when works of art were not signed by their makers yet. Some unfortunate souls keep linking blackletter solely with Germany and the Third Reich, while the truth is that its direct predecessor, the Gothic minuscule, evolved mostly in France. Even Hitler himself indicated blackletter type obsolete in the age of steel, iron and concrete – thus making a significant contribution to the spreading of the Latin script in Germany. Once we leave our prejudice aside, we find that the shapes of blackletter type have exceptional potential, unheard of in sans-serif letterforms. The lower case letters fit into an imaginary rectangle which is easily extended both upwards and sideways. In its scope and in the name itself, the Moyenage type family project is to celebrate the diversity of the Middle Ages. I begun realizing the urge to design my own blackletter when visiting the beer gardens of Munich and while walking through the villages of rural Austria. The letters from the notice boards of inns are scented with spring air, with the flowers of cudweed, with white sausage and weissbier. The crooked calligraphic hooks and beaks seem to imitate the hearty yodeling of local drinkers and the rustle of the giant skirts of girls who distribute the giant wreaths of beer jugs. Moyenage is, however, a modern replica of blackletter, so it contains some otherwise unacceptable Latin script elements in upper case. I chose these keeping the modern reader in mind, striving for better legibility. The font is drawn as if written with a flat pen or brush, and with the ambition to, perhaps, serve as a calligraphic model. In medium width, the face is surprisingly well legible; it is perfect for menus as well as posters and CD covers for some of the heavier kinds of music. It has five types of numerals and also a set of Cyrillic script, symbolising the lovelorn union of Germans and Russians in the 20th century. Thus, it is well suited for the setting of bilingual texts of the German classic literature, which, according to the ancient rules, must not be set in Latin script.

Impressed by the quality of the Aachen typeface that was originally designed for Letraset in 1969 and extended to include Aachen Medium in 1977, Jim Wasco of Monotype Imaging has extended this robust display design to create an entire family. Derived from the serif-accented Egyptienne fonts dating to the early 20th century, Aachen has serifs that are very solid but considerably shorter than those of its precursor. The incorporated geometrical elements, such as right angles and straight lines, provide the slender letters of Aachen with a slightly technological, stencil-like quality. Despite this, the effect of Aachen is by no means static; its dynamism means that this typeface, originally designed for use in headlines, has come to be used with particular frequency in sport- and fitness-related contexts. Jim Wasco, for many years a type designer at Monotype Imaging, recognized the potential of Aachen and decided to extend the typeface to create an entire typeface family. He appropriated the existing Aachen Bold in unchanged form and first created the less heavy cuts, Thin and Regular. Wasco admits that he found designing the forms for Thin a particular challenge. It took him several attempts before he was able to achieve consistency within the glyphs for Thin and, at the same time, retain sufficient affinity with the original Aachen Bold. But he finally managed to adapt the short serifs and the condensed and slightly geometrical quality of the letters to the needs of Thin. The weights Light, Book, Medium and Semibold were generated by means of interpolation. Supplemented by Extralight and Extrabold, the new Neue Aachen can now boast a total of nine different weights. Wasco initially relied on his predilection for genuine cursives in his designs for the Italic cuts. But it became apparent with these first trial runs that the soft curves of cursives did not suit Aachen and led to the loss of too much of its original character. Wasco thus decided to compromise by using both inclined and cursive letters. Neue Aachen Italic is somewhat narrower than its upright counterparts; the lower case 'a' has a closed form while the 'f' has been given a descender, but the letters have otherwise not been given additional adornments. The range of glyphs available for Neue Aachen has been significantly extended, so that the typeface can now be used to set texts not only in Western but also Central European languages. Wasco has also added a double-counter lowercase 'g' while relying on the availability of alternative letters in the format sets for the enhancement of the legibility of Neue Aachen when used to set texts. The seven new weights and completely new Italic variants have enormously increased the potential applications of Aachen and the range of creative options for the designer. While the Bold weights have proved their worth as display fonts, the new Book and Regular cuts are ideal for setting text. And the subtlety of Ultra Light will provide your projects with a quite unique flair. The new possibilities and opportunities in terms of design and applications that Neue Aachen offers you are not restricted to print production; you can also create internet pages thanks to its availability as a web font.

Maestrale is a paradigm-breaking new take on calligraphy, built around a compact, serif-style core and outrageously long, flamboyant extenders. At large sizes, its confident, charismatic lettershapes are ideally suited for branding and decorative uses, whereas longer texts at smaller sizes naturally weave themselves into a flowing texture. The font comprises 1299 glyphs, including many stylistic alternates, ligatures, small capitals, and initial, terminal, and linking forms, and offers extensive OpenType programming to support them. The calligraphic form of Maestrale is complemented by a matching text font (Maestrale Text) with short extenders, available in three cuts (a serif-style Roman, an upright Cursive, and a tilted Italic). Maestrale is all about the lowercase; its capitals are deliberately understated so as not to steal the limelight. In fact, the font works very well when set exclusively in lowercase. Maestrale�s small capitals are fitted into the core space of the lowercase, allowing them to be freely interspersed with lowercase characters. Alternately, an OpenType feature is available to replace a and e in small-caps text with their lowercase equivalents for a fresh unicase look. Since alternates and ligatures play such an important role, Maestrale offers three different modes of use. The most straightforward approach is simply to start typing using Maestrale Pro � the extensive OpenType programming will ensure that collisions between extenders are avoided and attractive ligatures are substituted for common glyph combinations. A more interactive approach is provided by the font Maestrale Manual, which allows the user to manually select alternate forms and ligatures even in typographically unsavvy applications, such as PowerPoint (as long as standard ligatures are supported). Stylistic alternates are simply represented as ligatures of their base forms with one or more instances of the rarely-used by easily-accessed characters "~" (ASCII tilde) and "`" (spacing grave accent); linking forms are built with �_� (underscore), multi-character ligatures with "|" (pipe), and initial and terminal forms with the �less than� and �greater than� characters. For instance, the Maestrale wordmark in the posters above was simply typeset with the string (`ma`est|r_a```l```e)| in Maestrale Manual (The parentheses represent �less than� and �greater than� characters here.) Feel free to type this string into the test line below and see what happens! Make sure Standard Ligatures are enabled. An instruction sheet listing all alternate forms and their accessibility is available from the Gallery tab on this page. The third mode of usage is aimed at professional designers, who make use of sophisticated software with extensive OpenType support. These power users are advised to use the font Maestrale Pro again, where all glyphs are accessible as stylistic alternates. Maestrale Text is a less extravagant but more versatile variation on the design of Maestrale, replacing Maestrale�s swashes with efficiently compact extenders. It is intended to serve as a perfectly matching text companion to Maestrale calligraphy, but constitutes a full-fledged typeface in its own right. It is equally at home at display sizes as it is in pull quotes, titles, and high-impact blocks of text. Maestrale Text comes in three complementary faces: A serif-style Roman, an upright Cursive, and a tilted Italic. Maestrale is the Italian word for �masterful�. It is also the traditional Italian name for the northwesterly mediterranean wind, better known by its French name, Mistral. Acknowledgements: I am grateful to the helpful souls on the Typophile forums for extensive feedback and encouragement on Maestrale, and to the TypeDrawers forum for feedback on Maestrale Text. This font is dedicated to Simone.

Burgues Script is an ode to the late 19th century American calligrapher Louis Madarasz, whose legendary pen has inspired schools of penmanship for over 100 years. His talent has caused some people to call him “the most skillful penman the world has ever known.” I use the word ‘ode’ in a colloquially ambitious manner. If I was an actual poet, my words would be about things I desire but cannot attain, objects of utter beauty that make me wallow in humility, or people of enormous talent who look down at me from the clouds of genius. But I don’t write poems. My work consists of letters drawn to fit together, that become an element of someone’s visual poetry. I am the poet’s assistant, so to speak. Once in a while, the assistant persists on what the subject of the poem will be. And occasionally, the poet gives in to the persistence. I hope you, visual poet, find my persistence justified in this case. The two main sources for Burgues were the calligraphy examples shown in Zaner Bloser’s The Secret of the Skill of Madarasz: His Philosophy and Penmanship Masterpieces, and C. W. Jones’s Lessons in Advanced Engraver’s Script Penmanship by L. Madarasz. These two references were the cornerstone for the concept I was trying to work with. I did have to change many of the letters in order to be able to produce digital calligraphy that can flow flexibly and offered the user a variety of options, while maintaining its attractive appearance. To this end, many ligatures and swashes were made, as well as full flourished sets of letters for use at the beginnings or endings of words and sentences. All of this has been tied together with OpenType and tested thoroughly within today’s standard design and desktop publishing software. After working with digital scripts for so long, at one point I thought that Burgues Script would become a bit of a chore to complete. I also thought that, like with most other scripts, the process would regularize itself after a while and be reduced to a mechanical habit. Surprisingly, and fortunately for me, this did not happen. The past holds as many surprises as the future. Madarasz’s method of penmanship was fascinating and challenging to translate into the strict, mathematically oriented language of the computer. It seems that the extremely high contrast of the forms, coupled with the required flow and connectivity of such lettering, will always be hard work for any visual artist to produce, even with the aide of a powerful machine. I can only imagine what steady nerves and discipline Madarasz must have had to be able to produce fully flourished and sublimely connected words and sentences on a whim. When I think of Madarasz producing a flourished calligraphic logotype in a few seconds, and try to reconcile that with the timelines of my or my colleagues’ work in identity and packaging design, the mind reels. Such blinding talent from over a hundred years ago. Burgues is the Spanish word for Bourgeois. In the end, I hope Burgues Script will serve you well when a flourished word or sentence is required for a design project. One of the wonders of the computer age is the ability to visually conjure up the past, serving both the present and the future. With Burgues, you have a piece of “the most skillful penman the world has ever known,” at your service. Burgues received important awards such as a Certificate of Excellence TDC2 2008 and a Certificate of Excellence at the Bienal Tipos Latinos 2008.

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility. Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader's eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds. Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts. Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit. A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too. Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises. Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.

As a former typographer / lino and calligrapher, Abdallah NASRI had recourse to the nature of the idea of ​​an "INTERCHANGEABLE" collection for types who in reality offer a police collar parallel to the complex typeface of the variable. Our fashion is outlined by a simple calculation defined by superimposed geometric circles where we used only its ¼ to fill the need for the angles of each of our letters. Always with the idea of ​​having in the same allocated space, the same letter nested as many times as fat example from Hairline to Ultrabold. It was in this way that I was able to obtain a large number of styles, with a very interesting kerning which prompted me to extend the font to other languages ​​with +1000 characters and +600 glyphs. I have always been treasured by the all in "1". I assure you that I sought to obtain the maximum of Visibility for a use S / Titling TV, WEB Pages and Typography Typo; once the difficult thing was done, I was rewarded by a font that has countless typographic openings for the world of graphics with 10 styles of weights in hand, and again I am happy to have personalized the charm of each letter by new details; I do not regret the time spent on thinking about it so that it is useful and at the same time pleasant as a working tool, finally profitable in all sectors and more multilingual, without forgetting that it is a family of inter change c ' is to say: All the types occupy the same height of the body and it is their fats which differs in the same space width of each of the letters, therefore no interference in spacing. Here, an additional alternative, a participation of a septuagenarian in the service of the love of modern digital typography. • TEST: At 50% screen in a body of 12 pixels, the A10 STAR Alphabet subjected to a test, has a clear Readability / Visibility. • P.S: A10 STAR integrates Diacriticism in all its forms. Texte d'origine : Abdallah NASRI a eu recours en étant ancien typographe/lino et calligraphe à la nature de l'idée d'une collection "INTERCHANGEABLE" pour les types qui en réalité offre un collier de police parallèle à la fonte complexe du variable. Notre mode est esquissé par un calcul simple défini par des ronds géométrique superposés où on a utilisé seulement son ¼ pour garnir le besoin des angles de chacune de nos lettres. Toujours dans l’idée à avoir dans le même espacement alloué, la même lettre imbriquée autant de fois de graisse exemple du Hairline à Ultrabold. C’est de cette manière que j’ai pu obtenir un grand nombre de styles, avec un crénage très intéressant ce qui m’a incité à étendre la police à d’autres langues avec +1000 caractères et +600 glyphes. J’ai toujours été prisé par le tout en « 1 ». Je vous assure que j’ai cherché à obtenir le maximum de Visibilité pour une utilisation S/Titrage TV, Pages WEB et Maquette typo ; une fois le difficile fait, j’ai été récompensé par une police qui possède d’innombrable ouverture typographique pour le monde du Graphisme avec comme atout en main 10 styles de graisses, et encore je suis content pour avoir personnalisé le charme de chaque lettre par des détails nouveaux ; je ne regrette pas le temps passé dessus à réfléchir pour qu’il soit utile et à la fois agréable comme outil de travail, enfin profitable tous secteurs confondus et en plus multilingue, sans oublié que c’est une famille d’inter change c’est-à-dire : Tous les types occupent la même hauteur du corps et c'est leurs graisses qui diffère dans un même espace largeur de chacune des lettres, donc aucune interférence dans l’espacement. Voilà, une alternative supplémentaire, une participation d’un septuagénaire au service de l’amour de la typographie numérique moderne. • TEST : A 50% d'écran dans un corps de 12 pixels, l'Alphabet A10 STAR soumise a un test, présente une nette Lisibilité / Visibilité. • P.S : A10 STAR intégre la Diacritique dans toutes ses formes.

ITC Johnston is the result of the combined talents of Dave Farey and Richard Dawson, based on the work of Edward Johnston. In developing ITC Johnston, says London type designer Dave Farey, he did “lots of research on not only the face but the man.” Edward Johnston was something of an eccentric, “famous for sitting in a deck chair and carrying toast in his pockets.” (The deck chair was his preferred furniture in his own living room; the toast was so that he’d always have sustenance near at hand.) Johnston was also almost single-handedly responsible, early in this century, for the revival in Britain of the Renaissance calligraphic tradition of the chancery italic. His book Writing & Illuminating, & Lettering (with its peculiar extraneous comma in the title) is a classic on its subject, and his influence on his contemporaries was tremendous. He is perhaps best remembered, however, for the alphabet that he designed in 1916 for the London Underground Railway (now London Transport), which was based on his original “block letter” model. Johnston’s letters were constructed very carefully, based on his study of historical writing techniques at the British Museum. His capital letters took their form from the best classical Roman inscriptions. “He had serious rules for his sans serif style,” says Farey, “particularly the height-to-weight ratio of 1:7 for the construction of line weight, and therefore horizontals and verticals were to be the same thickness. Johnston’s O’s and C’s and G’s and even his S’s were constructions of perfect circles. This was a bit of a problem as far as text sizes were concerned, or in reality sizes smaller than half an inch. It also precluded any other weight but medium ‘ any weight lighter or heavier than his 1:7 relationship.” Johnston was famously slow at any project he undertook, says Farey. “He did eventually, under protest, create a bolder weight, in capitals only ‘ which took twenty years to complete.” Farey and his colleague Richard Dawson have based ITC Johnston on Edward Johnston’s original block letters, expanding them into a three-weight type family. Johnston himself never called his Underground lettering a typeface, according to Farey. It was an alphabet meant for signage and other display purposes, designed to be legible at a glance rather than readable in passages of text. Farey and Dawson’s adaptation retains the sparkling starkness of Johnston’s letters while combining comfortably into text. Johnston’s block letter bears an obvious resemblance to Gill Sans, the highly successful type family developed by Monotype in the 1920s. The young Eric Gill had studied under Johnston at the London College of Printing, worked on the Underground project with him, and followed many of the same principles in developing his own sans serif typeface. The Johnston letters gave a characteristic look to London’s transport system after the First World War, but it was Gill Sans that became the emblematic letter form of British graphic design for decades. (Johnston’s sans serif continued in use in the Underground until the early ‘80s, when a revised and modernized version, with a tighter fit and a larger x-height, was designed by the London design firm Banks and Miles.) Farey and Dawson, working from their studio in London’s Clerkenwell, wanted to create a type family that was neither a museum piece nor a bastardization, and that would “provide an alternative of the same school” to the omnipresent Gill Sans. “These alphabets,” says Farey, referring to the Johnston letters, “have never been developed as contemporary styles.” He and Dawson not only devised three weights of ITC Johnston but gave it a full set of small capitals in each weight ‘ something that neither the original Johnston face nor the Gill faces have ‘ as well as old-style figures and several alternate characters.

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.

Zebramatic - A Lettering Safari Zebramatic is a font for editorial design use, to create headlines and titles in eye-catching stripes. Constructed to offer flexible and a variety of graphical possibilities, Zebramatic type is easy to use. The font is offered in three styles: POW, SLAM and WHAM. These styles work both as ready-made fonts and as patterns to create unique, individualized type. The font design’s full potential is unleashed by layering glyphs from two or all three styles in different colors or shades. Working with the different styles I was reminded of the late Jackson Pollock poured paintings—in particular the documentation of his painting process by Hanz Namuth and Paul Falkernburg in the film Jackson Pollock 51. In Pollock’s pictures the complex allure arises from how he layered the poured and dripped paint onto the canvas. Similar joyful experience and exciting results emerge by layering the different styles of Zebramatic type. Texture In the heart of the Design is Zebramatics unique texture. It is based on an analog distorted stripe pattern. The distortion is applied to a grade that makes the pattern complex but still consistent and legible. You can view some of the initial stripe patterns in the background of examples in the Gallery. Zebramatic POW, SLAM and WHAM each offer a distinct pallet of stripes—a unique zebra hide. POW and WHAM use different distortions of the same line width. SLAM is cut from a wider pattern with thicker stripes. The letter cut and kerning is consistent throughout styles. Design Concept Attention-grabbing textured or weathered fonts are ideal for headlines, ads, magazines and posters. In these situations rugged individuality, letter flow, and outline features are magnified and exposed. Textured fonts also immediately raise the design questions of how to create alignment across a word and deal with repeated letters. Zebramatic was conceived as an especially flexible font, one that could be used conveniently in a single style or by superimposing, interchanging and layering styles to create a unique type. The different styles are completely interchangeable (identical metrics and kerning). This architecture gives the typographer the freedom to decide which form or forms fit best to the specific project. Alignment and repetition were special concerns in the design process. The striped patterns in Zebramatic are carefully conceived to align horizontally but not to match. Matching patterns would create strong letter-pairs that would “stick out” of the word. For example, take the problematic word “stuff”. If Zebramatic aligned alphabetically, the texture of S T and U would align perfectly. The repeated F is also a problem. Imagine a headline that says »LOOK HERE«. If the letters OO and EE have copied »unique« glyphs - the headline suggests mass production, perhaps even that the designer does not care. Some OpenType features can work automatically around such disenchanting situations by accessing different glyphs from the extended glyph-table. However these automations are also repeated; the generated solutions become patterns themselves. Flip and stack To master the situation described above, Zebramatic offers a different programmatic practice. To eliminate alphabetic alignment, the letters in Zebramatic are developed individually. To avoid repetition, the designer can flip between the three styles (POW, SLAM, WHAM) providing three choices per glyph. Stacking layers in different sequences provides theoretical 27 (3*3*3) unique letterforms. A last variable to play with is color (i.e. red, blue, black). Images illustrating the layering potential of Zebramatic are provided in the Gallery. The design is robust and convenient. The font is easily operated through the main font panel (vs. the hidden sub-sub-menu for OpenType related features). The process of accessing different glyphs is also applicable in programs that do not support OpenType extensively (i.e. Word or older Versions of Illustrator). International Specs Zebramatic is ready for your international typographic safari. The font contains an international character set and additional symbols – useful in editorial and graphic design. The font comes in OpenType PostScript flavored and TrueType Format.

A smooth contemplative Antiqua with aspiring to the sky ascenders, inspired by the Quietism philosophy. Clarity of the mind is achieved by bringing the body into a state of calm and contemplation, and this is reflected in the design – the quiet horizontal serifs (body) are opposed to the peaky soaring ascenders (mind). The design also features four optical size subfamilies with different x-height and contrast, oldstyle diagonal stress, oldstyle figures by default, smooth details and slightly dark texture. Variable axes: Weight, Contrast, X-Height. Scripts: Latin, Greek, Cyrillic. Languages: 480+. The complete list of supported languages: michaelrafailyk.com/quietism Kerning: 4553 class-to-class pairs. Hinting: Not applied. Format: TTF – OpenType with TrueType outlines. Variable Font: Quietism Variable provides more options than static versions, and has three axes: Weight (Thin–Black), Contrast (Low-High), and X-Height (Low-High). Variable fonts includes thousands of styles that you can access using a sliders on graphic editor or via CSS on web browser. Mixing different axes gives you extra styles not represented by static fonts. Optical Size: The typeface is represented by four subfamilies: Text (low contrast, high x-height – for paragraph 10-20 pt), Deck (medium contrast, medium x-height – for subheading 20+ pt), Display (high contrast, medium x-height – for heading 72+ pt), Poster (high contrast, low x-height – for big size 120+ pt). Small Caps: Lowercase letters and Oldstyle Figures are replaced with Small Capitals forms. Capitals to Small Caps: Uppercase letters, all figures, and some punctuation are replaced with Small Capitals forms. Case Sensitive Forms: ()[]{}‹›«»-–—•·#%‰@ and Arrows are centered on capitals. Oldstyle figures are replaced with Lining figures. Oldstyle Figures: 0123456789 #%‰. Designed to work with lowercase letters. Used by default. Lining Figures: 0123456789 #%‰. Figures are the same height as uppercase letters (cap height). Proportional Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Tabular Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Ordinals: adehnorst. Superscript, Subscript, Numerator, Denominator: 0123456789. Fractions: ¼½¾⅐⅑⅒⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞⅟ (precomposed). Any other fractions (even those typed through a slash) will also be displayed correctly, with the automatic replacement to Numerator + fraction + Denominator. Slashed Zero: All 0 figures. Contextual Alternates: Number sign character (#) before uppercase letters is replaced by its version centered on capitals. Hyphen character (-) between two uppercase letters is replaced by its version centered on capitals. First of two TT letters is replaced by its alternate form. Letters vwy before the letters fijmnprtuvwxy are replaced with an alternate shorter versions that fits better in the context. Contextual Alternates (Greek): ΆΈΉΊΌΎΏ. Greek uppercase accented characters lose their tonos accent and retain only dieresis in All Caps and Small Caps modes. Turned on by default. If you need tonos accents in All Caps then turn off Contextual Alternates (calt) feature. Stylistic Alternates: FTГТИЦЩцщ and their versions with diacritical marks. Stylistic Set 01 “Arrows”: Left <- Right -> Up Left Right <-> Up Down North West South East \> South West Stylistic Set 02 “Round-Square Cyrillic”: ДИЙЍЛФвгджзийѝклнптцчшщьъю characters are replaced with its Bulgarian or Russian forms. Stylistic Set 03 “Cyrillic Tse Shcha short tails”: ЦЩцщ characters are replaced with its alternate form with short tail. Stylistic Set 04 “Cyrillic I full serifs”: ИЙЍӢ characters are replaced with its alternate form with inner serifs. Stylistic Set 05 “FT bent inward serif”: FTГ characters and their versions with diacritical marks are replaced with its alternate form with right head serif that bent inside. Stylistic Set 06 “Small Caps centered on Capitals”: Small Caps are vertically centered on uppercase letters. Standard Ligatures: fi fl fb ff fh fj fk ffb ffh ffi ffj ffk ffl. Discretionary Ligatures: Th ct st. Localized Forms: 52 character substitutions for Azeri, Bulgarian, Catalan, Dutch, German, Kazakh, Macedonian, Moldavian, Polish, Romanian, Serbian, Tatar, Turkish. Glyph Composition/Decomposition (Diacritics): Full Latin and based Vietnamese set of diacritics (571 characters). Precomposed.