Milan-based Leftloft studio developed LFT Iro Sans, an expansive family that solves the significant, wide-ranging challenges of branding, wayfinding, pictographic language, and complex editorial use. LFT Iro Sans began as the clear and welcoming wayfinding project of San Siro stadium in Milan. Over time many other styles and weights have been added. LFT Iro Sans never finds itself outmatched by the task at hand. The primary aim was to design a technical typeface that was readable in any low visibility condition, for instance in a poorly lit area with awkward wall shapes and overhangs. This worked well for stadium and large lettering use, but other problems also needed to be addressed, such as complementary iconography. A location developer was left mixing — clashing, really — one type family with a different family of icons, resulting in a cobbled-together look which diluted the brand and the experience. They set out to radically simplify and clarify each shape and its meaning, accepting uniqueness as part of the final visual language. LFT Iro Sans pictograms answers the need for having a consistent and large group of icons, perfectly suited to the text typeface. As it concerns public spaces, this didn’t exist before. LFT Iro Sans incorporated a branding project too, so they decided to let LFT Iro Sans go out on a limb and created a unicase style that demands attention. Each unicase letter is a combination of the lowercase and capital form, quite noticeable in the ‘i’, ‘m’, ‘t’, and unique ‘d’ and ‘b’, balanced by more restrained forms of ‘a’, ‘s’, ‘c’, and ‘e’. LFT Iro Sans is not only a technical typeface, but, thanks to letters’ proportions, can also be used for editorial purposes. Assertive and economical in stature, the text weights are clear and assured. And a display version for headlines in Ultralight and Heavy (with italics) was developed for stunning headlines. For enthusiasts of every stripe, LFT Iro Sans can be a brand’s rallying cry with its arresting unicase, be a developer’s go-to pictogram choice, or set the most demanding editorial text in digital or print. With its many OpenType features, simplified pictogram commands (even available in Apple’s Pages and Microsoft Word), and a total of 30 targeted family members, LFT Iro Sans is a brilliant, easy choice. As with the rest of the TypeTogether catalogue, the complete LFT Iro Sans family, designed by Lefloft and developed by Octavio Pardo, has been optimised for today’s varied screen uses.

Inspired by the type elements of 17th century Dutch mapmaking, Boncaire Titling provides you with a historic yet adventurous look for your library. This addition from insigne found its muse in a map of Curacao by Dutch cartographer Gerard Van Keulen, a member of the prosperous Van Keulen family from Amsterdam, who were engaged in the manufacture of maps for seafaring. Much thanks on this project goes to The Norman B. Leventhal Map Center, housed at the Boston Public Library. Through the centers kindness, I was able to view a number of period maps in person and to meet with curators, who explained more about the Van Keulen family and the way maps of the period were created. While I studied the maps, I narrowed in on some of the original types unique idiosyncrasies. For instance, the long, exaggerated serifs, which give the forms a sense of stability, aid in the faces legibility--largely a byproduct of the engraving method that was used to create the metal plates for manufacturing these maps. In creating Boncaire Titling, I decided to capture these unique idiosyncrasies, embracing the character of the engravings rather than removing them entirely through over-refining the forms. The result is an elegant family with far more than seafaring potential. This font has a full range of six weights, from thin to black. It also includes a wide variety of OpenType alternates. All insigne fonts are fully loaded with OpenType features. Boncaire Titling is also equipped for complex professional typography, including alternates, smaller titling caps and plenty of alts, including normalized capitals and lowercase letters. There are over 30 autoreplacing ligatures, and the face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Boncaire Titling also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Boncaire Titling supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Maps are fascinating; they come with the promise of treasure to be uncovered. Examining the map itself, too, you can find great wealth in the details so artfully condensed to that single piece of paper--details carried over into this new insigne font. For your next project, explore the imagination potential in Boncaire Titling.

This typeface is extrapolated from the ‘We the People’ calligraphy of the handwritten US Constitution Preamble which employed a style based on German Text and Square Text exemplars from George Bickham’s penmanship copy-books, the most celebrated being The Universal Penman published in 1743. The original Constitution document was transcribed onto parchment by Jacob Shallus, a Pennsylvania Assistant Clerk, over a weekend in 1787. Shallus’s biographer, Arthur Plotnik (The Man Behind the Quill, 1987), notes that he was paid $30, a modest monthly wage at the time. He also suggests that the calligraphic headings, ‘We the People’ and ‘Article’, may have been inserted by Shallus’s 14 year old trainee son, Francis, “The manner in which the ‘Article’ headings are squeezed into the space Shallus allowed for them suggests a second hand—and perhaps not a very experienced one.” The unconventional backslant of the headings would seem to support this contention, and at the end of the document there is perhaps a novice’s inconsistency in the structure of the letter n between that used for ‘done’ and those used for ‘In Witness’. However, one has to admire the elegant swagger of the wavy t, h and l which the K-Type font extends to the b, f and k. Also, the simpler, Schwabacher-style W, an enlarged version of the lowercase w, is a little less flamboyant than the capital W from the German and Square texts in Bickham’s manuals. For designers using OpenType-aware applications, the typeface includes some Alternates, including a Bickham-style W, the letters t, h and n with added flourishes, two simpler forms of the A, and a few roman numerals for numbering articles. Also some ornamental flourishes and a round middle dot/decimal point. Punctuation marks are drawn in square, calligraphic style, but an alternative round period/full stop, for use with currency and numerals, is available at the period centered position (though placed on the baseline), accessed by Shift Option 9 on a Mac, or Alt 0183 on Windows. The full phrase, ‘We the People’, has been placed at the trademark keystroke and can be accessed by Option 2 (or Shift Option 2) on a Mac, or Alt 0153 on Windows. For designers who find the backslant awkward or unpleasant, the licensed typeface also includes two additional fonts which have a vertical aspect that may be more conducive to graphic design layouts. ‘We The People Upright’ and ‘We The People Upright Bold’ both retain the distinctive style, and the heavier weight is only slightly emboldened, just enough to add some punch.

Geometric font inspired by shop signs in 4 styles Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Deco spirit is mainly capitals. Gérard Blanchard has pointed to Jean Francois that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Of course, the Anisette Petite fonts also includes lowercases too. Anisette Petite, a geometric font inspired by shop signs in 4 styles So, when Jean François Porchez has decided to create lowercases the story became more complicated. His stylistic references couldn’t be restricted anymore to the French Art-déco period but to the shop signs present in our cities throughout the twentieth century. These signs, lettering pieces aren’t the typical foundry typefaces. Simply because the influences of these painted letters are different, not directly connected to foundry roots which generally follow typography history. The outcome is a palette of slightly strange shapes, without strictly not following geometrical, mechanical and historical principles such as those that typically appear in typefaces marketed by foundries. As an example, the Anisette Petite r starts with a small and visible sort of apex that no other similar glyphs such as n or m feature, but present at the end of the l and y. The famous g loop is actually inspired by Chancery scripts, which has nothing to do with the lettering. The goal is of course to mix forms without direct reports, in order to properly celebrate this lettering spirit. This is why the e almost finishes horizontally as the Rotis – and the top a which must logically follow this principle and is drawn more round-curly. This weird choice seemed so odd to its designer that he shared his doubts and asked for advise to Jeremy Tankard who immediately was reassuring: “Oddly, your new top a is fine, it brings roundness to the typeface, when the previous pushes towards Anisette Petite to unwanted austerity.” The Anisette Petite, since its early days, is a mixture of non-consistent but charming shapes. Anisette, an Art Déco typeface Anisette Petite Club des directeurs artistiques, 46e palmarès Bukva:raz 2001

While throned before your keys, under your drumming fingers awaits the most astounding standard computer typeface ever devised: BuGlobal. In addition to all the usual alphanumeric characters and symbols, this lone font lets you type more than 400 accented letters appearing in more than 80 English-variant languages worldwide, 70 common math and science symbols, and dozens of other useful characters —more than half a thousand all told— all within the digital parameters of one standard computer typeface, without needing any alternate keyboards or other clumsy digital luggage. Here is a sample: You can add any accent appearing in more than 80 English-variant languages used around the world to any letter appearing in all these languages simply by typing ANY letter then the accent. This includes more than 400 diacritic-laden letters in all —without needing to remember several keystrokes to type any of these letters as a few of them appear in standard computer typefaces. You can type more than 50 math/science symbols that do not appear in standard computer typefaces. These new symbols include several kinds of arrows plus constants, centerlines, dimensions, and graphs and scales that when retyped create continuous scales and graphs. Common symbols such as ballot boxes, rating stars, checkboxes, hearts, fancy fleurons, and similar motifs that do not appear in standard computer typefaces. Dozens of flashy arabesques like ========= [in BuGlobal these equal signs are kerned together so when you type them you create a continuous double line]. In this typeface more than 30 symbols that never appear twice in a row are kerned together so when you continuously type them you create all kinds of flashy arabesques that will make your typing more attractive. No other standard compute typeface allows you to do this. As for Beauty, BuGlobal’s characters are designed according to several axioms of ocular perception until each profile is as iconically simple as Shaker furniture. These axioms make BuGlobal’s letters easier to read compared to other typefaces, and a few of them are: Each letter should look much like the others but for one defining detail. The letters should be as similarly wide as possible. The letters’ midbars should be the same height and thickness. The higher the lowercase letters are compared to capital letters, the more legible and easily readable are their texts. BuGlobal has a typeface user’s guide, titled A Lovely Face, in which a description of each ocular axiom compares BuGlobal with Baskerville, Georgia, Palatino, and other commonly-used standard computer typefaces so you can quickly see why the other typefaces are inferior. You can download a pdf file of this typeface user’s guide, for free, at BuGlobal’s website, butlerfontforge.com, at any time so you can learn all about BuGlobal’s many amazingly new features before possibly buying it. BuGlobal’s plain letters are perfect for texts, its italics are gracefully emphatic, its bolds are ideal for titles and headers, and its arabesques are a fancy way to make your texts look dressy —all of which will add more shimmer to your semantic plumage. One good typeface is more useful than an infinity of poor ones. Robert Bringhurst

The Thief Bird is an informal grotesque font. Although informal and grotesque may seem to be two quite different ideas, we have to dig into the origin of this typeface in order to understand the matter. The concept behind The Thief Bird was inspired by the adaptation that the vintage sign painters made when they took the grotesque style characters they saw in newspapers and magazines and reproduced them using a brush, aiming to make the prices of the products displayed on wooden boards stand out, as opposed to highlighting large headlines (such as the idea behind fonts like Franklin Gothic). The Thief Bird takes the language from sign painters and turns it into a font --this time around not aiming to set prices but to bring children stories to life. Thus, some legibility features from grotesque fonts were mixed with the brush calligraphy to add grace and zest to a font intended for children. The Thief Bird is a playful display font, with cheerful ligatures and alternate characters. It is really attractive for setting short paragraphs that tell stories for little people. The Thief Bird has one single weight and it’s ideal to be used in storybooks, candy packaging, films, toys, logos, labels, etc. The font has an extended set of 643 characters supporting 219 Latin languages. It has a complete set of small caps, sensitive cases, more than 30 pairs of ligatures, alternate characters and much more. This cool, informal and laid back typeface will be the perfect match for illustrations of fairy tales, comics for children and any product or publishing for the little ones. The Thief Bird supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, 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, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino 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, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, 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, Zulu, Zuni.

TT Marxiana useful links: Specimen | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Marxiana: TT Marxiana is a project to reconstruct a set of pre-revolutionary fonts that were used in the layout of the "Niva" magazine, published by the St. Petersburg publishing house A.F. Marx. In our project, we decided to focus on a specific set of fonts that were used in the preparation and printing of the "Niva" magazine in 1887, namely its Antiqua and Italic, Grotesque and Elzevir. As part of the TT Marxiana project, we sought to adhere to strict historicity and maintain maximum proximity to the paper source. We tried to avoid any “modernization” of fonts, unless of course we consider this to be kerning work, the introduction of OpenType features and creation of manual hinting. As a result, with the TT Marxiana font family, a modern designer gets a full-fledged and functional set of different fonts, which allows using modern methods and using modern software to create, for example, a magazine in a design typical of the late 19th century. The TT Marxiana project started in the late summer of 2018 and from the very beginning went beyond the traditional projects of TypeType because of the importance of preserving the historical identity. Since up to this point, we had never before reconstructed the font from historical paper sources and with such a level of elaboration and attention to detail, it took us two years to implement this project. You can read more about all stages of the project in our blog, and here we will briefly talk about the result. As it turned out, drawing a font following the scanned pages of a century-old magazine is a very difficult task. In fact, such a font reconstruction very much resembles archaeological excavations or solving a complex cipher, and all these efforts are needed only in order to finally understand what steps need to be taken so that the resulting font is not just an antiqua, but the specific and accurate antiqua from "Niva" magazine. In addition, due to the specifics of printing, same characters in the old magazine setting looked completely different, which greatly complicated the task. In one place, there was less ink than needed, and the letter in the reference was not well-printed and thin, in some other place there was more ink and the letter had flooded. An important task was to preserve and convey this feeling of typographic printing, but at the same time it was important to identify the common logic and character of the dot gains so that the font would form a harmonious, single, but at the same time lively picture. Since the "Niva" magazine was historically published in Russian, the magazine had no shortage of references for the reconstruction of Cyrillic characters, but there were not many Latin letters in the magazine at all. In addition, the paper source lacked a part of punctuation, diacritics, there were no currency signs nor ligatures at all—we developed all these characters based on font catalogs of the 19–20 centuries, trying to reflect characteristic details from the main character composition to the max. So, for example, the Germandbls character, which is not in the original "Niva" set, we first found in one of the font catalogs, but still significantly redesigned it. We decided that in such a voluminous project, only graphic similarities with the original source are not enough and we came up with a feature that can be used to exchange modern Russian spelling for pre-revolutionary spelling. When this feature is turned on, yat and yer appear in the necessary places (i, ѣ, b, ѳ and ѵ), the endings of the words change, and so appears a complete sensation of the historical text. This feature works in all fonts of the TT Marxiana font family. TT Marxiana Antiqua is a scotch style serif, the drawing of which carefully preserved some of the artifacts obtained by printing, namely dot gain, a slight deformation of the letters and other visual nuances. TT Marxiana Antiqua has an interesting stylistic set that imitates the old setting and in which some of the signs are made with deliberate sticking or roughness. Using this set will provide an opportunity to further simulate the setting of that great time. TT Marxiana Grotesque is a rather thick and bold old grotesk. Its drawing also maximally preserved the defects obtained during printing and characteristic of its paper reference. In addition to pre-revolutionary spelling, TT Marxiana Grotesque has a decorative set with an inversion. This is a set of uppercase characters, numbers and punctuation, which allows you to type inverse headers, i.e. print white on black. As a result of using this set, you get the text against black bars—this way of displaying was very characteristic for print advertising at the turn of the century. In addition, about 30 decorative indicator stubs were drawn for this set: arrows, hands, clubs, etc. TT Marxiana Elzevir is a title or header font and is a compilation of monastic Elzevir that were actively used in the "Niva" magazine for all its prints. Unlike the antiqua, TT Marxiana Elzevir has sharper forms, and the influence of deformations from typographic printing is not as noticeable in the forms of its signs. This is primarily due to the specifics of its drawing and the fact that it was usually used as a heading font and was printed in large sizes. The height of the lowercase and uppercase characters of Elsevier is the same as the heights of the antiqua, but the font is more contrasting and lighter, it has a lot of white and, unlike the antiqua and the grotesque, there are a lot of sharp corners. An exclusive feature of the TT Marxiana Elzevir is an alternative set of uppercase characters with swash. • TT Marxiana Antiqua consist of 625 glyphs each and and it has 23 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, ss05, case. • TT Marxiana Antiqua Italic consist of 586 glyphs each and and it has 22 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Grotesque consists of 708 glyphs and it has 22 OT features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Elzevir consists of 780 glyphs and it has 21 OT features, such as: aalt, ccmp, locl, ordn, frac, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, ss05, ss06, salt, c2sc, smcp, case, liga. FOLLOW US: Instagram | Facebook | Website TT Marxiana language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chiga, Cornish, Corsican, Cree, Danish, Dutch, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Galician, German, Gusii, Haitian Creole, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Ladin, Leonese, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Mauritian Creole, Minangkabau, Montenegrin (cyr), Mordvin-moksha, Morisyen, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Samburu, Sango, Sangu, Scots, Sena, Serbian (cyr), Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Taita, Tetum, Tok Pisin, Tsonga, Tswana, Ukrainian, Uyghur, Valencian, Volapük, Võro, Vunjo, Walloon, Xhosa, Zulu.