TT Marxiana useful links:History of TT Marxiana creation | PDF Type Specimen | Graphic presentation at BehanceTT Marxiana is a project to reconstruct a set of pre-revolutionary fonts that were used in the layout of the "Niva" magazine, published by the St. Petersburg publishing house A.F. Marx. In our project, we decided to focus on a specific set of fonts that were used in the preparation and printing of the "Niva" magazine in 1887, namely its Antiqua and Italic, Grotesque and Elzevir.As part of the TT Marxiana project, we sought to adhere to strict historicity and maintain maximum proximity to the paper source. We tried to avoid any “modernization” of fonts, unless of course we consider this to be kerning work, the introduction of OpenType features and creation of manual hinting. As a result, with the TT Marxiana font family, a modern designer gets a full-fledged and functional set of different fonts, which allows using modern methods and using modern software to create, for example, a magazine in a design typical of the late 19th century.The TT Marxiana project started in the late summer of 2018 and from the very beginning went beyond the traditional projects of TypeType because of the importance of preserving the historical identity. Since up to this point, we had never before reconstructed the font from historical paper sources and with such a level of elaboration and attention to detail, it took us two years to implement this project. You can read more about all stages of the project in our blog, and here we will briefly talk about the result.As it turned out, drawing a font following the scanned pages of a century-old magazine is a very difficult task. In fact, such a font reconstruction very much resembles archaeological excavations or solving a complex cipher, and all these efforts are needed only in order to finally understand what steps need to be taken so that the resulting font is not just an antiqua, but the specific and accurate antiqua from "Niva" magazine.In addition, due to the specifics of printing, same characters in the old magazine setting looked completely different, which greatly complicated the task. In one place, there was less ink than needed, and the letter in the reference was not well-printed and thin, in some other place there was more ink and the letter had flooded. An important task was to preserve and convey this feeling of typographic printing, but at the same time it was important to identify the common logic and character of the dot gains so that the font would form a harmonious, single, but at the same time lively picture.Since the "Niva" magazine was historically published in Russian, the magazine had no shortage of references for the reconstruction of Cyrillic characters, but there were not many Latin letters in the magazine at all. In addition, the paper source lacked a part of punctuation, diacritics, there were no currency signs nor ligatures at all — we developed all these characters based on font catalogs of the 19–20 centuries, trying to reflect characteristic details from the main character composition to the max. So, for example, the Germandbls character, which is not in the original "Niva" set, we first found in one of the font catalogs, but still significantly redesigned it.We decided that in such a voluminous project, only graphic similarities with the original source are not enough and we came up with a feature that can be used to exchange modern Russian spelling for pre-revolutionary spelling. When this feature is turned on, yat and yer appear in the necessary places (i, ѣ, b, ѳ and ѵ), the endings of the words change, and so appears a complete sensation of the historical text. This feature works in all fonts of the TT Marxiana font family.TT Marxiana Antiqua is a scotch style serif, the drawing of which carefully preserved some of the artifacts obtained by printing, namely dot gain, a slight deformation of the letters and other visual nuances. TT Marxiana Antiqua has an interesting stylistic set that imitates the old setting and in which some of the signs are made with deliberate sticking or roughness. Using this set will provide an opportunity to further simulate the setting of that great time.TT Marxiana Grotesque is a rather thick and bold old grotesk. Its drawing also maximally preserved the defects obtained during printing and characteristic of its paper reference. In addition to pre-revolutionary spelling, TT Marxiana Grotesque has a decorative set with an inversion. This is a set of uppercase characters, numbers and punctuation, which allows you to type inverse headers, i.e. print white on black. As a result of using this set, you get the text against black bars — this way of displaying was very characteristic for print advertising at the turn of the century. In addition, about 30 decorative indicator stubs were drawn for this set: arrows, hands, clubs, etc.TT Marxiana Elzevir is a title or header font and is a compilation of monastic Elzevir that
TT Corals is a modern humanist sans-serif which has many typical traits of the beginning of the 20th century. For increased functionality, we created 6 typefaces of various weights: thin, light, regular, bold, extra bold, and black.
Useful links:Using the variable font TT Alientz in InDesignTT Alientz is a variable* typeface that allows the user to make a visual journey from a laconic extraterrestrial grotesque to a very prickly display serif. As part of this project, we decided to investigate the influence of a foreign substance and the consequent transformation of the original forms, which ultimately leads to extreme visual changes.The TT Alientz family consists of 3 fonts: grotesque, serif and variable* font. Each font contains more than 470 glyphs. In addition to broad language support (including Cyrillic), the typeface has stylish ligatures, contextual alternates, and old-style figures. Variability in the typeface affects the changes in the overall style of the font—moving the slider to adjust the variable axis, you can go from a laconic grotesque to an extreme serif.TT Alientz Grotesque is a fairly neat hipster grotesque, but with its own small features. In the design of some letters of the grotesque you can find small sharp elements that add uniqueness and character to the font when used in large inscriptions and headings. At the same time, when you use the font in a small size of the size and in text blocks, sharp elements do not greatly affect its readability. The design of some letters of the grotesque is quite peculiar and is intended to emphasize the initial concept of slight 'alienness'.TT Alientz Serif is an 'infected' TT Alientz Grotesque and the result of changes to it. Unlike the grotesque, the serif is dynamic, viscous, ductile and very prickly. Serif has a lot of smooth lines and not quite standard strokes contrast. It can be noted that most serifs in the antiqua are pointed inward, not outward. Despite its extremeness, the serif will look good both in large and in small body sizes.*An important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/
We are glad to present you the completely updated TT Chocolates font family. Initially, we just wanted to freshen up and modernize a popular typeface, but in the process of work, it became clear that we could not just do with simple edits—and this was how a completely revised TT Chocolates 2.0 font family appeared.
TT Ramillas in numbers:• 20 styles: 7weights, 7 true italics, 2 variable fonts, and 2 outline styles• 900 glyphs in each style (except outline styles)• Support for more than 180+ languages: extended Latin, Cyrillic• 25 OpenType features in each style (except outline styles): small capitals, ligatures, old-style figures, arrows and other useful features• Amazing Manual TrueType HintingTT Ramillas is a fully reconsidered high contrast transitional serif, which is perfectly adapted to modern realities and requirements. When starting this project, we wanted to try to draw a modern serif with the precisely verified shapes, high contrast and detailed elaboration of each character.The visual features of TT Ramillas are high contrast, small flared serifs, variable slope of ovals, open aperture of signs, contrasting thin nodules and no drops. In addition, TT Ramillas has a characteristic flame-like element in the lowercase Cyrillic letter б and a bright "tongue" in the letters Ээ, ductile legs in Кк, Жж, and Яя, as well as a very interesting upper terminal in the letter a.TT Ramillas is perfect for use in magazines, in the fashion industry, in the branding of premium goods and services. TT Ramillas is quite versatile and suitable for use both in headings and in text arrays. In addition, we have done manual hinting in the typeface, and now it can be used with a clear conscience in the web and applications.In the process of working on TT Ramillas, we wanted to expand the functionality of the typeface a little more, and thus, after a few experiments, two pairs of decorative fonts were born: Outline, Decor and their oblique versions. These decorative fonts work great for headlines and bold accent lettering. We thought that in these decorative fonts, small caps and some specific features would not be needed, otherwise the composition of decorative fonts is identical to the basic ones.The TT Ramillas typeface consists of 20 styles: 7 weights and 7 corresponding italics, 4 decorative ones and 2 variable fonts. Each typeface style consists of 900 glyphs (except for the decoratives). TT Ramillas supports over 180+ languages, including Cyrillic support and Extended Latin support. When creating the typeface, we did not forget to add small caps, ligatures, old style figures, arrows, hands, card suits and many other useful characters and OpenType features.For the most demanding users, we have prepared a variable version of basic styles. Using the variability slider, you can adjust and select the individual thickness, without reference to the existing weight distribution. An important clarification — not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/.TT Ramillas OpenType features list: aalt, kern, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, c2sc, smcp, liga, dlig, case.TT Ramillas language support: Acehnese, Afar, Albanian, Aleut (lat), Alsatian, Aragonese, Arumanian, Asu, Aymara, Azerbaijani, Banjar, Basque, Belarusian (cyr), Belarusian (lat), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chichewa, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Dutch, Embu, English, Erzya, 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 (cyr), Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (cyr), 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, Sasak, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Silesian, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Tatar, Teso, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Valencian, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh, Wolof, Xhosa, Zaza, Zulu.
Do you love the early Soviet visual culture as much as we do? We’ve tried going back a hundred years and rethinking the constructivist era. We’ve created an extensive font family that consists of the simplest triangle and rectangle forms. TT Bricks font family includes 16 typefaces: Hairline, Thin, Light, Regular, Medium, Bold, ExtraBold, Black and Italics.
TT Hoves 2.000 — a technological-style geometric sans-serif with a distinct character.Useful links:Type Specimen | Graphic presentation | Customization optionsTT Hoves 2.000 in numbers:• 23 styles: 10 weights, 10 italics, 1 variable font, and 2 outline styles• 1358 glyphs in each style (except outline styles)• Support for more than 210+ languages (incl. extended Latin and Cyrillic)• 37 OpenType features in each style (except outline styles): small capitals, stylistic alternates, ligatures, old-style figures, arrows and other useful features• Amazing Manual TrueType HintingAbout TT Hoves 2.000: TT Hoves completes the TypeType font trilogy dedicated to modern sans serif. The first was TT Norms —the universal geometric sans for the widest possible range of tasks. The second was the neutral sans TT Commons, which was originally designed as a corporate typeface for TypeType studios.Unlike the first two typefaces included in the trilogy, TT Hoves has a distinct character, but without too bright bursts or kinks—it’s not too neutral and is moderately bright. We wanted to create a sans serif with recognizable patterns and geometry that would be perfectly suited for solving visual problems in such areas as architecture, design, industry, science, astronomy, drawing, high tech, research, space, statistics.The typeface name TT Hoves comes from an abbreviated combination of two words: horizontals + verticals (ho + ve), which is intended to emphasize the fact that vertical and horizontal strokes predominate in the design of the typeface. Other distinctive features of the TT Hoves design are sharp turns in letters like f t J r j and the shape of the internal junctions of diagonal 2-point strokes (A W M N V X), which is intended to add a square and technologically advanced touch to the picture. The stroke thickness tends to a single width for the entire range of styles, with natural compensations in the boldest styles.The TT Hoves font family consists of 23 fonts: 10 weights (from Hairline to Black), 10 corresponding italics, 1 variable font and 2 outline styles. Each of the styles includes 1348 glyphs (except outline styles). TT Hoves covers almost all languages using the Latin alphabet, as well as most languages using Cyrillic. In addition, in TT Hoves you can find a small capitals for Latin and Cyrillic and a large number of ligatures and stylistic alternates. In order to make it more convenient for you to use stylistic alternates, we have divided them into separate stylistic sets, one letter per set.We also did not forget about the mathematical and navigation signs, drew currency signs and added all types of numbers. Separately, we would like to draw your attention to high-quality and detailed manual TrueType hinting, which is designed to help the typeface work well in a small size and even on small screens.We have prepared a variable version of the font with two variability axes — by weight and slant. To use the variable font with two variable axes on Mac you will need MacOS 10.14 or higher. An important clarification — not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/.TT Hoves 2.000 OpenType features list: zero, frac, ordn, case, c2sc, smcp, ccmp, locl, sinf, sups, numr, dnom, tnum, onum, lnum, pnum, dlig, liga, calt, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, ss13, ss14, ss15, ss16, ss17.TT Hoves 2.000 language support: Abazin, Acehnese, Adyghe, Afar, Afrikaans, Agul, Albanian, Aleut (cyr), Aleut (lat), Alsatian, Altai, Alyutor, Aragonese, Archi, Arumanian, Asu, Avar, Aymara, Azerbaijan, Azerbaijani, Banjar, Bashkir, Basque, Belarusian (cyr), Belarusian (lat), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Buryat, Catalan, Cebuano, Chamorro, Chechen (cyr), Chichewa, Chiga, Chukchi, Chuvash, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Dargwa, Dolgan, Dungan, Dutch, Embu, Enets, English, Erzya, Eskimo, Esperanto, Estonian, Even, Evenki, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gaelic, Gagauz (cyr), Gagauz (lat), Galician, Ganda, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Ingush, Innu-aimun, Interlingua, Irish, Italian, Javanese, Jola-Fonyi, Judaeo-Spanish, Judaeo-Spanish, Kabardian, Kabardino-Cherkess, Kabuverdianu, Kalenjin, Kalmyk, Karachay-Balkar (cyr), Karachay-Balkar (lat), Karaim (cyr), Karaim (lat), Karakalpak (cyr), Karakalpak (lat), Kashubian, Kazakh (cyr), Kazakh (lat), Ket, Khakass, Khanty, Khasi, Khvarshi, Kinyarwanda, Kirghiz, Kirundi, Komi-Permyak, Komi-Yazva, Komi-Zyrian, Kongo, Koryak, Kryashen Tatar, Kumyk, Kurdish (lat), Ladin, Lak, Latvian, Laz, Leonese, Lezgian, Lithuanian, Luba-Kasai, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Mari-high, Mauritian Creole, Minan
Useful links:Using the variable font in IllustratorWorking with a variable font in PhotoshopTT Frantz is an experimental variable font, distinguished by its slimness and lightness. The variation in the font affects the change in the height of the mean line - by moving the axis adjustment slider you can easily raise or lower the mean line of the font.In TT Frantz, you can find small references to the art deco aesthetics, which are expressed in significantly lowered or, conversely, heightened waist of the letters. In addition, depending on the position of the axis adjustment slider, the closedness of the aperture changes for some letters.In order to preserve the main feature of the font—the change in the height of the main line—we made lowercase characters as tall as uppercase ones, but at the same time we kept small kerns. An interesting fact is that in Cyrillic letters з с а е, the variability of the aperture follows a different scenario in comparison with their Latin sisters.When working on TT Frantz, we tried to make it so that when changing the variability, the width of the characters would not change, and the font would remain monospaced. And in order to avoid holes in the set, we made contextual alternates and several ligatures.Frantz consists of 470 glyphs, and in addition to broad language support (Latin and Cyrillic) it can offer standard and old-style figures, including their tubular versions, as well as ligatures.Important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/But do not despair—even if you do not have access to the necessary software, you still have the opportunity to use TT Frantz in your projects. Especially for you, we have prepared three separate non-variable styles (Frantz A, Frantz B, Frantz C), each of which is responsible for a certain location of the mean line of the font and where this line is already fixed in a certain position (high, medium and low).
Corporate design and branding across global markets requires a universal typographic identity. The timeless, world-famous classic Neue Helvetica® typeface is now available as World fonts in the six most important styles. With support for a total of 181 languages, Monotype’s Neue Helvetica® World typeface family is suitable to meet the typographic and linguistic demands of large international brands, corporations, publishing houses, and software and hardware developers.