TT Fors useful links: Specimen | Graphic presentation | Customization options TT Fors is a modern geometric sans serif with characters and shapes contrasting in width, as close as possible to the basic geometric shapes (circle, square, triangle). TT Fors is a great addition to TypeType's line of functional sans serifs, which already includes such fonts as TT Norms Pro, TT Commons, TT Hoves and TT Interphases. The main inspiration for the creation of TT Fors was the study of geometric grotesques of the early to mid-20th century (Futura, Neuzeit Grotesk, Twentieth Century, Avantgarde Gothic, etc.), and the analysis of the contribution they made to the visual environment of that time. We gave ourselves the task to create the most versatile functional typeface that draws inspiration from the visual environment of the early to mid-20th century, but at the same time is aimed at uninterrupted use in all modern media, from branding and packaging design to work in interfaces and applications. This versatility is reflected in the title TT Fors (for), a typeface for a wide range of uses. The rounded characters in the font family tend to be shaped as the correct circle as much as possible, while the rest of the characters have narrower proportions. For more functionality, the typeface has rather high lowercase characters. Thanks to the correct and precisely selected geometric shapes and uniform construction rules, TT Fors works great both in the format of large headings and in very small text sizes used in book printing and in web design. In addition, the TT Fors family has a display subfamily TT Fors Display, which is a trendy pair for the text fonts. The main feature of the display subfamily is high contrast in horizontal or vertical strokes. When choosing a contrasting stroke, we paid attention that the shape of the letter would not go into reverse contrast and become a stressed sans serif. The subtle strokes in TT Fors Display have added sufficient display vibe to give the font a vibrant character, while remaining intelligent and serious. In total, TT Fors family includes 34 fonts: 9 weights and 9 italic styles in the text subfamily, 6 weights and 6 italic styles in the display subfamily, 2 outline styles and 2 variable fonts for both subfamilies. TT Fors has stylistic alternatives, ligatures, small caps (text family only), numbers in circles, arrows and a set of alternative round full stops and punctuation marks (text family only), slashed zero, and other useful features. More details about all OpenType features can be found in the font specimen. And, by good tradition, TT Fors has two variable fonts, for each of the subfamilies. Each variable font supports two axes of variability—thickness and slant. An important clarification—not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. To use the variable font with two variable axes on Mac you will need MacOS 10.14 or higher. TT Fors supports more than 180+ languages, such as: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani+, Banjar, Basque+, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, 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+, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss German+, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana+, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (not localization), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian

A very expanded sans serif font in capital letters inspired by the inscription on a bank note Old bank notes tend to have a very typical typography. Usually they carry decorative and elaborately designed markings. For one thing, they must be practically impossible to forge and for another, they should make a respectable and legitimate impression. And in the days of copper and steel engravings, that meant nothing less than creating ornate, shaded or otherwise complicated scripts. Designing the appropriate script was literally in the hands of the engraver. That’s why I noticed this bank note from 1948. It is the first 20 mark bill in the then newly created currency ”Deutsche Mark.“ All other bank notes of the 1948 series show daintier forms of typography with an obvious tendency toward modern face. The 1949 series which followed shortly thereafter reveals the more complicated script as well. For whatever reason, only this 20 mark bill displays this extremely expanded sans serif variation of the otherwise Roman form applied. This peculiarity led me in the year 2010 to create a complete font from the single word ”Banknote.“ Back to those days in the 40’s, the initial edition of DM bank notes was carried out by a special US-American printer who was under pressure of completing on time and whose engravers not only engraved but also designed. So that’s why the bank notes resemble dollars and don’t even look like European currency. That also explains some of the uniquely designed characters when looked at in detail. Especially the almost serif type form on the letters C, G, S and Z, but also L and T owe their look to the ”American touch.“ The ingoFont Banknote 1948 comprises all characters of the Latin typeface according to ISO 8859 for all European languages including Turkish and Baltic languages. In order to maintain the character of the original, the ”creation“ of lower case letters was waived. This factor doesn’t contribute to legibility, but this kind of type is not intended for long texts anyway; rather, it unfolds its entire attraction when used as a display font, for example on posters. Banknote 1948 is also very suitable for distortion and other alien techniques, without too much harm being done to the characteristic forms. With Banknote 1948 ingoFonts discloses a font like scripts which were used in advertising of the 1940’s and 50’s and were popular around the world. But even today the use of this kind of font can be expedient, especially considering how Banknote 1948, for its time of origin, impresses with amazingly modern detail.

Blossoms, leaves, buds and tendrils create fragile objects of words and letters. · Weingut Script Flourish is a decorative display font with high contrasts, perfectly hand-drawn to the tiniest details. The font is trimmed to fairly large font sizes and is highly suitable for chapter titles or book jackets as well as Headlines, Invitations and wine labels :), although also impressing with an astounding legibility in small typesettings. Inspired by the handmade Blätterschrift from the 19th century Mettenleiter’s Schriftenmagazin, its basic structure is related to the English Script which makes it a perfect wedding font. The Weingut Family – noticable bouquet, beautiful structure with full fruit and a long finish. · Design with bicoloured capitals: In Weingut Script and Weingut Flourish, leaves and letters are available separately. You can stack them and apply different colours to the foreground and background. · Decoration and patterns: Weingut Swashes and Ornaments offers extra decorative elements in a separate font. Leaves, flourishes and borders available on their own or merged to ornaments. · Please make sure to use an application that supports the layering of text (two-coloured capitals) and OpenType features (contextual alternates). Be aware if you intend to combine Weingut Script Flourish and Weingut Flourish that these two do not go together. The floral outlines differ slightly and inaccurate overlaps will be the end result. · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Weingut Script / 151 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Arrernte, Arvanitic, Asturian, Aymara, Basque, Bikol, Bislama, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cofan, Corsican, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hiligaynon, Hopi, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Latin, Latino Sine, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Manx, Marquesan, Meriam Mir, Mohawk, Montagnais, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Palauan, Papiamento, Piedmontese, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romansh, Rotokas, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois, Shawnee, Shona, Sicilian, Slovio, Somali, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek, Venetian, Volapuk, Voro, Walloon, Waraywaray, Warlpiri, Wayuu, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

In the world of graphic design, the right typeface can make or break a project. It’s not just about choosing a font that’s legible, but one that speaks to the essence of your brand or message. If you’re looking for a typeface that embodies classic charm and warmth, then look no further than Telephoto. Telephoto is a sans-serif typeface that harkens back to the twentieth century when analog was king. Its gentle, analog feel sets it apart from other typefaces on the market. When you use Telephoto, you’ll notice that it has a smooth personality that immediately injects classic ambience into your projects. But what really sets Telephoto apart are the subtle letter pair ligatures. These ligatures are a true testament to the attention to detail that went into creating this typeface. They break up the monotony of plainly repeating letters, creating a soft and organic feel that’s hard to find in today’s digital world. OpenType-savvy programs are where Telephoto truly shines, so make sure to turn off your application’s “standard ligatures” function to fully appreciate this effect. Telephoto is perfect for photographers, designers, and anyone who wants to bring a soft, analog feel to their work. Its delicate rendering is truly one-of-a-kind and adds a level of sophistication to any project. So why settle for a run-of-the-mill typeface when you can use Telephoto to make your work stand out? Give it a try and see the difference it can make. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

It's a very happy day when we stumble upon beautiful alphabets that were never digitized. It is even a happier day when the beautiful alphabet finds its way to us through friends and people who like our work. Some two months ago, the forms of this gorgeous font were pointed to us by a friend who saw it in an old Dover Publications specimen book showcasing historical alphabets. It was there under the name Vanessa, with nothing else to go by. We looked and researched for further information but found nothing else. So this gem comes to you like a coal that winked its way out of the ashes because it wanted to shine again. Flirt is very authentic art deco with a noticeable element of artistic pride, swashy delicate majuscules and very aristocratic, fashionable and flirty minuscules. The majuscules can be used as every other capitals usually are, or as initial caps. The minuscules can very nicely stand on their own quite independently from the caps whenever desired. These letters are quite similar to the hand lettering used on of the kind of theater posters, specifically burlesque and opera entertainment, which are now considered very retro-chic and fashionable to see hanging on walls in home or office. The initial specimen we worked from showed a single basic art deco alphabet with numerals which seemed as they belonged to another font. That alphabet became the base Flirt font, the numerals were redrawn to fit much better with the minuscules, and the character set was greatly expanded to include punctuation, accented characters, and many many alternates, especially for the majuscules. Majuscules with a descending right vertical stroke were a common artistic touch in the high days of theater posters, so we thought they would be great additions to the character set. These alternates can be found all over the font. So to maximize the design fun, have a character map or glyphs palette handy when you use Flirt. After the base font was finished, we thought it would be a good idea to give it a bold treatment unlike anything seen out there, and the farthest thing from the mechanical bolds seen everywhere now. This bolding treatment consisted of thickening the lowercase's vertical strokes inwards, but leaving the horizontal stroke weight as is, and thickening only the thicker vertical strokes of the uppercase. The result is quite the visual feat. We encourage you to test both the regular and bold weights and see for yourself.

William Morris (1834-1896) was probably the most influential figure in the decorative arts and private press movements of the late 19th and early 20th century. In reaction to the increasing lack of quality that the industrial revolution brought on, Morris sought a return to the ideals of the medieval craftsman. Dissatisfied with the commercially available typefaces of the day, he undertook the design of the fonts for his books himself. The P22 Morris font set features new versions of Morris's famous type designs for his Kelmscott Press. The two main fonts include full international character sets for Western European languages. P22 created MORRIS GOLDEN with a rough edge to simulate the look of printing on handmade paper. There is a more "refined" recent version of Golden, but its sterile digitization does not approach the effect that Morris achieved in his Kelmscott books. You'll notice the handmade effect less in the smaller sizes but will find it quite decorative in the larger sizes. (Morris cut his Golden type in only one size for the Kelmscott Press, approximately equal to 14 points.) P22's version of MORRIS TROY is more smooth than Morris Golden and is true to the original Morris design. It is based on the Kelmscott Troy type (an 18 point font) and its smaller counterpart, the Chaucer type (a 12 point font). American Type Founders made an unauthorized version of Troy, "Satanick," 189?, contrary to Morris's wish that it not be made available commercially.(Legend has it that the naming of Satanick comes from William Morris telling the agent inquiring about making copies of his fonts available to go to hell) Several digital versions of Troy (and Satanick) have appeared over the years. The P22 version offers a much more accurate rendering than any previous version. Morris designed the original Troy font to be spaced very tightly; our version reflects and honors his intention. The MORRIS ORNAMENTS are based on those Morris designed and used in his Kelmscott Press books. Characters in the positions of the letters A to Z are decorative drop cap initials. Characters in the number key positions reproduce other Morris embellishments. (See the accompanying key chart.) As with all headline fonts and complex dingbats characters, this font is best used at larger point sizes (e.g., 48, 72, 120). Use in body text or at small point sizes on-screen may not achieve desired results. P22 is grateful to William S. Peterson, Steven O. Saxe and the Lightsey-Offutt Library who gave invaluable research assistance to this project.

Here I am, once again digging up 60-year sign lettering and trying to reconcile it with the typography of my own time. The truth is I've had this particular Alf Becker alphabet in my sights for a few years now. But in the typical way chaos shuffles the days, Buffet Script and Whomp won the battle for my attentions way back when, then Storefront beat the odds by a nose a couple of years ago. Nevertheless, revisiting Alf Becker’s work is always a breath of fresh air for me, not to mention the ego boost I get from confirming that I can still hack my way through the challenges, which is something I think people ask themselves about more often as they get older. You can never tell what may influence your work, or in this case remind you to dig it out of dust drawers and finally mould it into one of your own experiences. On my recent visits to the States and Canada, I noticed that quite a few high-end steak houses try their best to recreate an urban American 1930s atmosphere. This is quite evident in their menus, wall art, lighting, music, and so on. The ambience says your money is well spent here, because your food was originally choice-cut by a butcher who wears a suit, cooked by a chef who may be your neighbour 20 minutes from downtown, and delivered by a waitress who can do the Charleston when the lights dim and who just wouldn't mind laughing with you over drinks at the bar later. So Steak is just that, a face for menus and wall art in those places that see themselves in the kind of jazzy, noirish world where one-liners rule and exclamation points are part of a foreign language. As is usual with my lettering-inspired faces, there is very little left of the original Alf Becker alphabet. Of course, the challenges present in bringing typographic functionality to what is essentially pure hand lettering gives the spirit of the original art a hell of a rollercoaster ride. But I think that spirit survived the adventure, and may in fact be even somewhat magnified here. This font is over 850 glyphs. It’s loaded with ligatures, swashes, ending forms, alternates, ascender and descender variations, and extended Latin language support. Steak comes in 3 versions. According to your taste you can choose Barbecue, Braised or Smoked. It’s up to you!

Introducing "Anger Style": Unleash the Power of Emotion Are you ready to harness the raw energy of emotions and bring them to life in your designs? Look no further than "Anger Style," an electrifying and dynamic font that will leave a lasting impact on your audience. Designed by our team of expert font designers, "Anger Style" is a captivating blend of intensity, power, and expressiveness. Possible Design Uses: "Anger Style" is a font that excels in making a bold statement. Its commanding presence and fiery nature make it perfect for various design applications, including: Headlines and Titles: Grab your audience's attention and make a lasting impression with powerful headlines that demand to be noticed. Logos and Branding: Infuse your brand identity with passion and intensity, creating a memorable and distinct visual presence. Posters and Flyers: Advertise events, concerts, or special promotions with eye-catching designs that embody rebelliousness and energy. Book Covers: Create striking covers that captivate readers and convey the emotional depth of your story or message. Apparel and Merchandise: Add an edgy touch to your clothing designs, making a statement that resonates with your target audience. Unique Qualities: What sets "Anger Style" apart from other fonts is its ability to evoke a wide range of emotions, not just anger. It transcends its name, allowing you to express passion, determination, and rebellion through your designs. Its versatility lies in its bold strokes and sharp edges, which convey a sense of intensity and power. By choosing "Anger Style," you gain access to a font that embodies the very essence of raw human emotion. Font Pairing: "Anger Style" pairs exceptionally well with other fonts that complement its intensity and create harmonious combinations. Consider combining it with: "Bold Sans Serifs": The clean lines and strong presence of a bold sans serif font can enhance the impact of "Anger Style," creating a balanced and eye-catching composition. "Elegant Script Fonts": To add a touch of contrast and sophistication, pairing "Anger Style" with an elegant script font can create a visually engaging and dynamic design. Functional Aspects: "Anger Style" offers a range of functional aspects designed to enhance your creative possibilities: Styles: "Anger Style" is available in bold and regular styles, allowing you to emphasize different levels of intensity within your designs. Character Sets: The font includes an extensive character set, covering uppercase and lowercase letters, numbers, punctuation marks, and special characters. This ensures versatility and legibility across various design projects. Special Features: "Anger Style" includes stylistic alternates and ligatures, providing you with additional design options and allowing you to create a truly customized and unique look.

The great value of something crafted thoroughly by hand has been observed for years by Guille Vizzari throughout a wide spectrum of clients and projects developed at «Yani & Guille» —the studio he runs cheek by jowl with Yani Arabena—, and they both noticed that recently it has been taking on a new meaning. From barbers at their shops, to a barista that passionately prepares coffee every morning, or a bartender that deeply enjoys diving towards unknown ingredients, and even Guille’s admiration for sign painters worldwide that keep spreading their passion for the perfectly constructed letter. This wide trades universe, where craftsmanship represents a huge difference, is where «Proprietor» lives, and it’s the reason why it exists. «Proprietor» was born in a Moleskine notebook —just pencil, paper and ink— as a tribute to those crafts, and to regain the art behind Type Design that involves the fusion between tools, materials and the action of the hand. Fed by these principles, every single glyph within the whole «Proprietor» Family has been fully designed and illustrated by hand by its author (including all the ornaments, frames and crafts icons that can be seen along this specimen), showcasing Vizzari’s solid formation in the drawing field. Proprietor can be described as a compact type family system illustrated by hand, intended and designed to be able to create solid —but beautifully ornamented— paragraphs, and elaborate compositions. For this purpose, Proprietor Roman and Open displays a notorious x-height which goes perfectly with plenty of ornaments that unfold along the ascenders and descenders, but always containing its swashes inside the text line. The icing on the cake, Proprietor Script, a copperplate-based font unbelievably flooded with ornamented capitals, flourishes and endings to break through the coarse feeling of the Proprietor non-script sets, with a huge load of delicate and warm letterforms. Proprietor Wide and Wide Open hand a complete font set to complement the family for composing extended words in uppercase, matching in style and adding a striking personality. And as being part of Sudtipos’ catalogue «Proprietor» comes packed with full Open Type support —thanks to Ale Paul, fearless to tame this hand–drawn beast, supported by his vast knowledge in programming and optimization—. 7 imperfectly elegant and completely handmade fonts join the «Proprietor» system, bringing life to designs that are meant to represent the spirit of the genuine and skilled craftsmen, showing respect for their trade, and at the same time being part of it.

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.

The idea behind designing ‘Matwin’ font was related to the youngest children of the designer namely the M-A fraternal twin. The name of the typeface (i.e., Matwin or M-A-Twin) was composed by merging three linguistic small syllables. The ‘-Twin’ syllable refers to the non-identical twin of the designer. The ‘M-’ and ‘A-’ syllables refer to the initial letters of the twin’s first names (i.e., Muhammad and Abdul-Wli) respectively. The typeface ‘Matwin’ has a personal trait which makes it as one of the most favorite fonts for the designer among his humble collection of fonts. Modestly, it is the designer’s handwriting and it has been designed to be added to the script font family known as brush un-joined. The brief process for having this typeface alive was done by firstly scanning the real script for each Latin letter, digit, symbol which were handwritten earlier by the designer himself. Then, the combination of these many scanned characters was manipulated using digital programs to produce at the end the complete typeface. The typeface has the essential glyphs comprising the character set required for most of the Latin, Western, and Eastern European languages including the Irish language. It combines +605 characters and this makes it as a pro font. It also entitles it to be applicable for usage in many languages of different communities and nations worldwide. ‘Matwin’ is dedicated for those who search for a genuine handwriting typeface with a natural touch and informal style to be added on their different published and produced products and services. It is more preferable when it is used in artistic, typographic, and other works using the lowercase letters or by mixing both upper- and lower-case letters. Moreover, the typeface is appropriate for any type of typographic and graphic designs in web, print, and other media such as boards and walls. It is also preferable to be used in the wide fields related to publications especially children-related ones, comics, printed or handwritten menus of cafeterias and restaurants at universities and public places, as well as other prints related to services and production industries. It also can create a very personal and friendly impact when used in headlines, books and novels’ covers, posters, titles, messages, envelopes addresses, grocery lists, postcards, ads, fliers, journals, paper arts, public notices, invitations, scrapbooks, notations, products’ surfaces for organic foods and juices, logos, medical packages related to children, Android applications, as well as products and corporates branding and the like. In a nutshell, ‘Matwin’ typeface fits without a glitch those (i.e., designers, typographers, publishers, artists, packagers, service providers, and so on) who have drastic and strong tendency towards imprinting their works with spontaneous and outlandish touches made by this typeface. Please, enjoy it extremely.

As you can see, Nefertiti is a font based on ancient Egyptian hieroglyphs and could be classified as a fun-font. I've always been really interested in Egyptology and a couple of years ago I thought it would be great to be able to write in hieroglyphs. I started to study them but soon realized it would take me a long time to be able to do this. Still, I was determined to find a way around this problem. At some point I came up with the idea of rearranging and reforming the hieroglyphs so as to resemble the English alphabet. During this process I tried as much as possible to preserve their ethos and appearance. However, since they are designed to write in English with, it's obvious that they are not always going to look like the real thing. Despite this, I'm really happy with the final result and I think many Pharaohphiles who just want to have some fun will be also. The only difference in this font between lower and upper case characters, is that the latter are set between two parallel, horizontal lines. These are for use with brackets (motif ends) to form cartouches - elongated ovals for names and/or titles. Try typing the following using the upper case in the sample text box. e.g. (JOHN} The zigzagged vertical lines at each end, separate the motifs from the hieroglyphs. Note the three types of ends/brackets. These lines are also used to separated words from one another and to give a more authentic appearance. So pressing the space bar gives a zigzagged line - not a space. They can also be used at any point within a cartouche to separate first and last names or titles. e.g. ; (JOHN;BROWN} walked straight home after work. Notice the eye glyph (period/full stop) at the end of the sentence. This is the only punctuation mark which can be used within a cartouche, e.g. after Mr. or to add a more Egyptian appearance to a name or title. e.g. (MR>;JOHN;BROWN} Parallel lines dividing hieroglyphical inscriptions and writing into rows or columns are very common. To incorporate these in a body of text, simple use the underline U. e.g. (OSIRUS) and {ISIS} were important gods of the ancient Egyptians. (HORUS) {HATHOR} and [RA],the sun god, were also highly revered deities. The punctuation marks available are shown below. . , " " ' ! ? "where is the king?" The font also includes the numbers 0-9, the following mathematical symbols and the hash sign(Scarab beetle). Once again, I've tried to make them look as Egyptian as possible; whether I've succeeded or not is open to debate. e.g. + - x / = # This font is named after Akhenaten's beautiful wife, Nefertiti, who's image can be seen in the graphic on this page.

One of my dreams as a type-designer was making a good looking chancery cursive. Full of life, like some of the best calligraphers around the world do on their artworks. With Julian Waters, John Stevens and Denis Brown (just to name a few of them) (1) chancery, or italic script, was transformed into a new, exciting and very fresh style of calligraphy mainly at the end of 20th Century. Dream Script may be that dream named above made true. I have been practicing chancery in the way I learnt from those calligraphers for many years now. Making a font out of my ink-sketches was a tough work, since they were closer of -being art- than of -being type-. However, this font rescues many aspects of handmade calligraphy: You have to look at it really close to notice it is actually a font, and that was one of my goals. The secret of a good looking chancery is on its subtle details: pen angle is constantly changing, even on the strokes which seem straight. Capitals and swashes have to be done a little faster than lowercase letters. The rhythm has to be even, in spite of its playful look. The fact that makes Dream look alive is that it has many alternates per glyph. This makes each word look unique like it happens in calligraphy: you will find alternates for the beginning/ending of a word/phrase, some for the middle of it, some interchangeable. Also, to accompany the script, you will find Dream Caps, which was inspired in the eternally beautiful trajan capitals. Place them like I did on the posters and you will have great results for sure. The font works great in small, middle and big sizes and can be a great selection for magazines, wedding invitations, perfumes, and posters. Close your eyes, and Dream with me... TECHNICAL Dream Script Pro is the most complete style, it contains all the alternates and ligatures (OT programmed, better if you use Adobe applications) If you plan to use the font for text, be sure to activate the less decorative capitals, which are placed in the “salt” group of alternates. Dream Script Standard has less glyphs than the Pro one, it contains just some ligatures for a better legibility. (OT programmed, better if you use Adobe applications) NOTES (1) Not only are they great artists, but also good people, who are always willing to share with their students all what they know. I would also like to thank Ricardo Rousselot, whose work inspired me this time to make “The Dream Script” exlibris; and to Alisara Tareekes, a very talented friend which international calligraphy conferences gave me: She kindly helped me with some tips to make this font better.

TT Knickerbockers useful links: Specimen PDF | Graphic presentation | Customization options About TT Knickerbockers: TT Knickerbockers is a contrasting pair of fonts that continues our project series dedicated to different cities. The new project is dedicated to New York with its multiculturalism, historicity, creativity, energy, and to its inhabitants. TT Knickerbockers Grotesk symbolizes the monumentality of New York expressed in both its traditional historic architecture and skyscrapers. Energy, constant movement and the round-the-clock life of New York—all this is reflected in our TT Knickerbockers Script. TT Knickerbockers Grotesk is a narrow contrast sans-serif with characteristic elements sending us back to the 19th century. There’s also a reference to antiqua fonts to be noticed in the font: where in traditional antiqua there would be serifs, TT Knickerbockers Grotesk features a straight stroke ending, and traditional drops (finals, tails and ears) are substituted with rounded strokes. In TT Knickerbockers Grotesk you will find unusual characters, stylistic alternatives and ligatures. The following OpenType features are implemented: ordn, case, frac, sups, sinf, numr, dnom, onum, tnum, pnum, liga, dlig, salt, ss01. TT Knickerbockers Script is a bright and at the same time a little restrained brushpen script with a slight touch of aristocracy. TT Knickerbockers Script consists of 967 characters and also contains a huge number of contextual alternatives and ligatures. For all lowercase and uppercase letters of basic Latin and Cyrillic alphabets we have drawn 236 swashes which, depending on the context, can appear both at the beginning and at the end of a letter. Do not forget to enable OpenType support and enjoy all the opportunities that the typeface provides and its built-in features: ordn, frac, case, sups, sinf, numr, dnom, onum, tnum, pnum, calt, swsh, liga. FOLLOW US: Instagram | Facebook | Website TT Knickerbockers language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

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

INTRODUCTION When I started the first Selfie back in 2014 I was aware that I was designing something innovative at some point, because at that time there were not too many, (if any) fonts which rescued so many calligraphy features being at the same time a monolinear sans. I took inspiration from the galerías’ neon signs of my home city, Buenos Aires, and incorporated the logic and ductus of the spencerian style. The result was a very versatile font with many ligatures, swashes and a friendly look. But… I wasn’t cognizant of how successful the font would become! Selfie is maybe the font of my library that I see the most when I finally go out, (type-designers tend to be their entire lives glued to a screen), when I travel, and also the font that I mostly get emails about, asking for little tweaks, new capitals, new swashes. Selfie was used by several renowned clients, became part of many ‘top fonts of the year’ lists and was published in many magazines and books about type-design. These recognitions were, at the same time, cuddles for me and my Selfie and functioned as a driving force in 2020 to start this project which I called Selfie Neue. THE FONT "Selfie for everything" Selfie Neue, because it’s totally new: All its glyphs were re-drawn, all the proportions changed for better, and the old and somehow naive forms of the first Selfie were redesigned. Selfie Neue is now a family of many members (you can choose between a Rounded or a Sharp look), from Thin to Black, and from Short to Tall (because I noticed the feel of the font changed notoriously when altering its proportions). It also includes swashy Caps, which will serve as a perfect match for the lowercase and some incredibly cute icons/dingbats (designed by the talented Melissa Cronenbold) which, as you see in the posters, make the font even more attractive and easy to use. You'll find tons of alternates per glyph. It's impossible to get tired with Selfie! Like it happened with the old Selfie, Selfie Neue Rounded was thought for a really wide range of uses. Magazines, Book-covers, digital media, restaurants, logos, clothing, etc. Hey! The font is also a VF (Variable Font)! So you can have fun with its two axes: x-height and weight, in applications that support them. Let me take a New Selfie! TECHNICAL If you plan to print Selfie Neue VF (Rounded or Sharp), please remember to convert it to outlines first. The majority of the posters above have the "contextual" alternates activated, and this makes the capitals a little smaller. I'd recommend deactivating it if you plan to use Selfie for just one word. Use the font always with the "fi" feature activated so everything ligatures properly. The slant of the font is 24,7 degrees, so if you plan to have its stems vertical, you may use Selfie with that rotation in mind. THANKS FOR READING

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

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