Art into type In 2008, Fontsmith were approached by their friend, Jon Scott, to investigate whether a typeface could assume the aesthetic of one artist’s body of work. Jon’s not-for-profit charity, Measure, was organising an event for the artist, Conrad Shawcross, whose giant mechanical installation, entitled Chord, was going on public display in the long-disused Kingsway tram tunnel in Holborn. Chord explores the way we perceive time, as either a line or a cycle. Two enormous machines with dozens of rotating arms and moving in opposite directions, weave rope with almost infinite slowness. An unusual brief Phil Garnham visited Conrad in his Hackney studio to get a feel for his work and ideas. “Conrad is a very clever and philosophical guy. He struggled to see how typeface design had any relevance to him and his art. This was going to be a challenge.” The artist presented the type designer with a pile of rope and a huge diagram of sketches and mathematical workings. “This was, in essence, my brief.” Phil developed three concepts, the simplest of which ticked all the boxes. “The idea of the strokes in the letterforms appearing and ending at peaks or points of origin fitted perfectly with Conrad’s idea of time occurring and ending at two ends of the sculpture.” Two versions Phil planned modules for two versions of the typeface: one with five lines in the letterforms and one with seven. He then drew the modules on-screen and twisted and turned them to build the machine that is FS Conrad. “This is not a simple headline typeface,” says Phil. “It’s not a rigid structure. It has varying character widths, and it’s informed by real typographic insight and proportions so that it actually works as piece of functioning, harmonious type.”

The hand-brushed Fave™ Set has ten informal scripts and other handwritten fonts made up of two subfamilies: Fave and the even-more informal Fave Casual, each have a primary script with a bold version and three other handwritten faces for a total of ten typefaces spanning the casual spectrum. All are optimized for large type use too so they look as good up close as they do set at smaller sizes. OpenType features The Fave family has a few features that happen largely in the background. All of the fonts use the OpenType Standard Ligature feature to automatically differentiate consecutive lowercase letters and numbers (using separate glyphs) and like our previous release Turbinado, they also automatically differentiate like characters that are separated by another letter. Alternate characters The script fonts have alternate uppercase and lowercase characters including multiple t (and double t) crossbar alternates that can be selected from the OpenType glyph table. Enable Contextual Alternates feature to automatically insert a bigger crossbar as the surrounding letters allow throughout a text box or document. You can also make your own custom lowercase t and crossbar to fit any situation–all of the lowercase t ascenders and crossbars are available separately in the OpenType glyph table, and can be combined and moved around manually. Stylistic sets and other goodies Fave Script and its bold counterpart have two Stylistic Sets. When enabled, one automatically substitutes non-connecting alternate characters at the ends of words, the other substitutes even bigger t crossbars than the Standard Ligature feature does. Smart apostrophes and ligatures Other subtle but hopefully helpful features include smart apostrophes, which insert themselves between two script characters in common situations without breaking their connection, and a few ligatures that also make character connections more seamless.

A girl’s handwriting written on the iPad Writing changes – throughout history over centuries, but also from generation to generation. Each new generation of students learns to write the basic forms of the letters a little differently than their predecessors. The role model is also changing. The cursive handwriting taught in school is getting closer and closer to printed type. The children no longer learn the forms of cursive handwriting required for connected writing, but first the “block letters”, only later should they develop their own individual handwriting from this, which many of them no longer do. And the writing tool is also changing. Of course, script looks different when children no longer learn to write on paper with a fountain pen, but on a tablet computer with the “pencil”. The writing experience is completely different, and the “material properties” are different too. There is practically no writing resistance that would make it difficult to move against the direction of writing. "Die Lara" was created based on the template by Lara Mörwald from the winter of 2023. The font version "Black" corresponds to the handwritten original, all thinner variants up to the wafer-thin "Hairline" are derived from it. In the variable font, the intermediate forms can be selected steplessly. In order to preserve the handwritten character of the font, "Die Lara" contains several alternates to most letters and numerals, so that different character forms alternate in the typeface. If the "ligatures" function is activated in the app (which is the default in most programs), these alternates appear automatically as you type. There is also an alternative "swashed" variant of some letters. So you can set somewhat livelier accents at the beginning or end of a word. "Die Lara" also contains fractions and tabular figures.

Kilkenny is a decorative, Victorian-style font based on the metal type named Nymphic that was designed by Hermann Ihlenberg. Ihlenburg was born in Germany in 1843 where he studied art and worked for several German type foundries. He moved to the USA in 1866 and worked for the L. Johnson & Co. foundry, later MacKellar, Smiths & Jordan. American Type Founders acquired this typeface when they took over the MacKellar, Smiths & Jordan foundry and Nymphic appears in the ATF catalog of 1896. For this digital version, the character set has been expanded to include accented characters, punctuation, and currency symbols—and most everything you would expect to find in a digital font. The original metal font consisted of swash caps, upper case characters, and a “morticed” lower case, which was raised off the baseline. This mortcied form was designed to nestle inside the ornate swash caps as well as to work with the upper case. The five digital versions contained in this set are basically different configurations of these different alphabet sets, they differ as follows: Kilkenny—the original upper case version with a modified lower case that has been enlarged, shifted to align along the baseline, and given taller ascenders to give it a more “regular” appearance. Kilkenny Eureka—true to the original design with the “morticed” or superior lowercase forms. Kilkenny Swash—original swash caps with the modified lower case. Kilkenny Swash Caps—original swash caps with the original caps as the lower case. Kilkenny Swash Eureka—swash caps that have been adjusted to match the weight of the original lower case forms. The OpenType version contains all of the above, plus additional Central European and Cyrillic characters for a total of almost 1000 glyphs.

Created with headline, logo and other short display work in mind, Duende comes in two weights with alternates for the upper and lowercase, consecutive characters are controlled with the OpenType Ligature feature. Display bigger lowercase crossbars as the surrounding characters allow with OpenType Contextual Alternates on, or create your own custom lowercase f or t with a non-crossbar character and one of the included crossbar options Other features include case-sensitive quotes and smart apostrophes. Duende has an alternate for every capital letter and multiple alternate options for the lowercase including swashy terminal characters and non-connecting alternates. Also included are a few clip-on swash elements that can be used to create initial and terminal forms. Duende uses smart crossbars for common situations, unifying Af, Aft, At, Att, Aff, tt and ff with a single crossbar when the OpenType Ligature feature in on. The Ligature feature also ensures subtle baseline variation when two lowercase characters are keyed twice in a row. Enable Contextual Alternates in your OpenType menu and Duende uses bigger f and t crossbars as the surrounding characters allow. Enable Discretionary Ligatures for lowercase o connections. You can also make your own lowercase f and t to fit any situation combining one of the included crossbars and non-crossbar f or t characters (available as ‘Alternates for Current Selection’ when f or t is selected). Just select the crossbar you want from the glyph table as a separate text element and move it anywhere. Also included are ten tt ligatures with crossbars and one without. Duende also has a few other swashy things that can be used to cross the lowercase f and t. Customize alternate capitals U, V, W, X and Y with any one of the swash options available in the glyph table for those characters.

Y’all ready for this? Now starting for Insigne: the new serif Mirantz. This rookie all-star plays a precise game every game, cutting at all the right angles to leave your reader impressed and ready to see more. You can always count on Mirantz to lead with solid mechanics and a clean style, but don’t be surprised when the face keeps it real with a little individual flare and creativity. This personal touch is nothing short of elegance in every appearance. So what makes us love this rookie above the other great players in the field? Contrast, for one. Mirantz brings more contrast to the game than most serifs out there. The serifs on this face have a crisp, sharp wedge that naturally draws the reader’s eye. You can’t help but fall in love with its clean, natural style. Mirantz also features a tall x-height and regular proportions that can play a number of positions on the page and still stay strong through the last half of the copy or even the final period. Mirantz is a solid powerhouse player, containing a complete set of small capitals and nine weights from thin to bold. It can play well both down low and up top with its subscripts and superscripts and can move your reader’s eye easily across the copy with its titling capitals, condensed and extended variants, and open style figures. With its options covering more than 72 Latin-based languages, look for this newcomer to have international success in the near future. It you haven’t set your draft picks for this next round of projects, think hard before passing up Mirantz. A capable serif like this one is a guaranteed asset to any team of fonts. Production assistance from Lucas Azevedo.

HWT Konop is a monospaced (fixed-width) typeface that is also square! Designed by Mark Simonson (Proxima Nova) as square characters that can be arranged vertically or horizontally and in any orientation. To a traditional letterpress job printer, a font like this wouldn’t make much sense. But to a modern letterpress printer it is an unusual and creative design toolkit. The bold gothic style is reminiscent of gothic wood types but more geometric. Since the characters are meant to be used in any orientation, the usual optical adjustments, such as making verticals thicker than horizontals and making tops smaller than bottoms are set aside. This results in a quirky but charming design. To provide more design options, Simonson came up with a modular system consisting of three sizes: 12-line, 8-line, and 6-line. These three sizes can be used together like Lego® bricks, with endless arrangements possible. And the sidebearing match so that characters always align when different sizes are used together. The digital version of Konop replicates the wood type version as much as possible, including the three different size designs. It includes OpenType stylistic sets that allow most characters to be rotated in place, 90° left, 90° right, or 180°, just like the wood type version. Extra characters not available in the wood type version are included with the digital fonts. The set of 3 is priced just $5 more than one single font, so order via "Package Options" HWT Konop is named for Don Konop, a retired Hamilton Manufacturing employee, who worked from 1959 to 2003. In addition to serving on the Two Rivers Historical Society Board from 2004 to present-day, he was also instrumental as a volunteer in helping with the museum’s move to its current home in 2013.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. A biography/story of each homeless person captures their story, to help raise awareness and bring some dignity to the life of homeless people. Monotype is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Juan Carlos was born in Barcelona, Spain 46 years ago. Since the age of 17 – and during eleven years – he worked double shifts of eight hours every day in a factory. Excessive work and family problems debilitated his health and he lost his job. He then faced a dilemma: to spend unemployment benefits to pay for rent or for food. For a few years, he worked helping in the kitchens of different restaurants while he lived on a pension, until he was definitively left without work and ended up living in the street for 10 years. “In the street I tried to find rest in the ATMs of banks. I preferred to be alone, and if I ran into conflictive people, I looked for somewhere else” he explains. Living in the street he was the victim of an aggression. Since then, with the help of Arrels he moved into a pension. Today, Juan Carlos is a volunteer in the shower service of Arrels, the same showers he used during years. He also collaborates with the maintenance team, helps prepare hygienic and cleaning material, and participates in activities such as the theatre group and the football team.

Write like the inventor of the diesel engine — it’s possible with the Diesel Rudolf Script (patterned after the original handwriting of Rudolf Diesel)... In 2008 the city of Augsburg and the MAN Group celebrated the 150th birthday of Rudolf Diesel, inventor of the diesel engine which was named after him. With the help of a few preserved original letters, it was possible to create a convincing digital version of Rudolf Diesel’s personal handwriting. The engineer and inventor Rudolf Diesel was born in Paris in 1858 and also went to school there. In1870 his family moved to England and Rudolf was sent to relatives in Augsburg where he continued going to school. Later, after completing his studies in Munich, he began working as an engineer in the machine factory Linde. Alone this part of his life makes clear why Rudolf Diesel’s handwriting was so ”jerky,“ hesitant and inconsistent. He learned to write according to the French style, that is, Latin cursive — completely different from the very correct and neat German handwriting taught at that time which he had to learn at 13 years of age. These circumstances explain why his handwriting is ”messy“ (especially for those days) with its mixtures of letter forms within a text, even within individual words. Plus, he obviously did not attach much importance to ”pretty writing.“ Sometimes the characters are wide, then narrow, sometimes large and clear and then again crammed and primitive. The individuality is emphasized with characteristics derived from quill and ink. The diversified images of the font Diesel Rudolf Script make more than 80 ligatures and stylistic alternates possible which can be selected with help from the OpenType functions Ligatures and Discretional Ligatures.

›Hi! Please note you are visiting Old Supernett. We decided to upgrade it: more styles, more glyphs, more features, more everything! View New Supernett here: Supernett 2019› Georg from FaceType Supernett – a versatile hand drawn/handmade/handwritten font – is tailored for large font sizes but also impresses with an astounding legibility in small typesettings. Supernett is fairly condensed for space-saving headlines. The extensive character set supports Central and Eastern European as well as Western European languages. Each style contains more than 4700 glyphs to let the font look real hand-made. Three OpenType features are specially created to enhance this impression, with a maximum effect when applied to big type: Alternating Letters For a truly hand-drawn look, letters and numerics alternate randomly between three different variants → activate Contextual Alternates Rotating letters All glyphs rotate randomly and slightly around their own axis → activate OpenType Swashes Varying Baseline Shift Each single glyph moves individually up or down → activate OpenType Titling Alternates More OpenType Features: Case Sensitive Forms This feature shifts various punctuation marks to a position that works better with all caps typography → It is deployed when an app’s all-caps styling is applied Slashed Zero The problem with the numeral 0 is that it can look too much like O in some typefaces. This feature replaces every zero with a slashed zero → activate Zero with a Slash Fractions Substitutes figures separated by a slash by proper fraction glyphs. A date however, written like 10/12/2013 will remain unchanged → activate Fractions Stylistic Set 03 Choose between two different styles of bullet (•) → activate Stylistic Set 03 Stylistic Set 04 Choose between two different styles of Y → activate Stylistic Set 04 View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut

Tomato is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare. This typeface is an obvious child of funk, the audio-visual revolution that swept America and put an end to the art nouveau period we now associate with the hippy era. Funk is of course little more than jazz with a chorus and an emphatic beat. Nevertheless, it became the definition of cool in the 1970s, thanks to blaxploitation movies with excellent soundtracks like Shaft and Superfly. Funk began as a commercial audio experience, then later expanded its signature to cover everything, from design to fashion to the later birth of disco, which is really a further simplification of funk. Funk had very strong and unique typographical elements, particularly a kind of titling with an essentially western, wooden core that suddenly changed and flared in unexpected areas until a very individual brand was achieved. Everything that can be tacked on to the alphabet was used towards that individuality. Things like curls, swirls, swashes, ligatures were always plentiful in funk, sometimes giving the titling a specific gender, sometimes bulging, sometimes speeding, sometimes fading in the distance, sometimes doing nothing but crazily aligning with other design elements, but the result was always a fascinating creature that seemed to invariably want to dance and have fun. Tomato was built in exactly that spirit. The original film type certainly had enough swashes and curls to be an unmistakable funk font in itself, but our further expansion of it cements it and makes it the definite font for the genre. With as many as 12 different possibilities for some letters, the designer's choices for a titling set in Tomato are virtually limitless. The Postscript and True Type versions of Tomato come in five fonts, including two fonts for alternates, one font for ligatures, and one font for swashes. These are split into two affordable packages. The entire family package is also available at an even more affordable price, and includes complimentary Cyrillic, Greek, Turkish, and Central European versions of Tomato. A Tomato Pro OpenType version is also available. It is a single font that includes over 650 characters, glued together with extensive programming for convenience of use in OpenType-friendly applications, where you can watch the letters morph and dance as you push the buttons and change the options of your OT palette. Now you know which font will come to mind when someone says the word "funky".

In B-movie awesomeness, Air began as Grotesk vs. Grotesque. I was trying to unify the prevailing traits of German and English Grotes(que/k)s in order to make something different but familiar. I am NOT trying to reinvent Helvetica (snore), so get that out of your system. From the onset, I intended this typeface to be a true workhorse that offers infinite options and flexibility for the user. At its core, it is the maturation of the Aaux Next skeleton I developed years ago. I worked out Aaux Next to settle my issues and love for Akzidenz. With Aaux Next, I strove to be mechanical, cold and unforgiving with it. I was single, young, cocky and it fit. Now I'm married, kids, dog and have found that I've turned into a big softy. When I look at Aaux Next (and have for the past few years) I see another typeface trying to eek out. I wanted it to avoid the trappings of robotic sans, quick tricks and compromises. The typeface’s DNA needed to be drawn and not just generated on a screen — so I set aside a year. I love type. I love working with type. I hate when my options for a slanted complement is only oblique or italic. I set out to produce both to balance usage — there are more than enough reasons to prepare both and I want the user to feel free to consciously choose (and have the option to choose) the appropriate typeface for print, web, etc. That flexibility was central to my decision-making process. The Oblique is immediate and aggressive. The Italic was redrawn at a less severe angle with far more movement and, as a result, is far more congenial when paired with the Uprights. Condensed and Compressed. Yep, why not? I know I would use them. There are nine weights currently available. The logical progression of weights and the intended flexibility demanded I explore a number of light weights and their potential uses — this has produced a number of ‘light without being too light’ options that really work based on the size. The result is a robust 81-font superfamily that is functional, professional, and highly legible without compromising its personality. Pair that with over 900 characters per font that includes ligatures, discretionary ligatures, stylistic alternates, fractions, proportional/tabular lining and proportional/tabular oldstyle figures, numerators, denominators, ordinals, superiors, inferiors, small caps, case-sensitive functionality and extensive language support and you have a versatile superfamily well-suited for any project.

The ITC Stone Sans II typeface family is new from the drawing board up. Sumner Stone, who designed the original faces in 1988, recently collaborated with Delve Withrington and Jim Wasco of Monotype Imaging to update the family of faces that bears his name. Sumner was the lead designer and project director for the full-blown reworking – and his own greatest critic. The collaborative design effort began as a relatively simple upgrade to the ITC Stone Sans family. As so often happens, however, the upgrade proved to be not so simple, and grew into a major design undertaking. “My initial intent,” recalls Sumner, “was to provide ITC Stone Sans with even greater versatility. I planned to add an additional weight, maybe two, and to give the family some condensed designs.” As Sumner began to look more closely at his twenty-year-old typeface, he decided that it would benefit from more extensive design improvements. “I found myself making numerous refinements to character shapes and proportions,” says Sumner. “The project scope expanded dramatically, and I’m pleased with the final result. The redesign has improved both the legibility and the overall appearance of the face.” The original ITC Stone Sans is part of the ITC Stone super family, along with ITC Stone Serif and ITC Stone Informal. In 2005 ITC Stone Humanist joined the family. All of these designs have always offered the same three weights: Medium, Semibold, and Bold – each with an italic counterpart. Over time, Stone Sans has emerged as the godfather of the family, a powerful design used for everything from fine books, annual reports and corporate identity programs, to restaurant menus, movie credits and advertising campaigns. ITC Stone Sans, however, lacked one attribute of many sans serif families: a large range of widths and weights. “These fonts had enjoyed great popularity for many years – during which graphic designers repeatedly asked for more weights and condensed designs in the family,” says Sumner. “Their comments were the impetus.” ITC Stone Sans II includes six weights ranging from an elegant Light to a commanding Extra Bold. An italic counterpart and suite of condensed designs complements every weight. In all, the new family encompasses 24 typefaces. The ITC Stone Sans II family is also available as a suite of OpenType Pro fonts, allowing graphic communicators to pair its versatile design with the capabilities of OpenType. These fonts offer automatic insertion of ligatures, small caps and use-sensitive figure designs; their extended character set also supports most Central European and many Eastern European languages. ITC Stone® Sans II font field guide including best practices, font pairings and alternatives.

Sapore is a script font family, mostly monoline, inspired by the elegant handmade signs in the beautiful city of Venice, Italy, where I work and live. Many of these signs were made at the beginning of the 20th century by skillful craftsmen and artists, carrying that distinct vintage Italian flavour, and this is why I named the font Sapore, which means precisely flavour (also, one of the signs is from a pastry shop that makes the most delicious things). The design takes this retro vibe into the 21st century, making it up-to-date and fresh, while keeping it authentic. It is a script font, but I added some stand alone capitals that you can use in all caps words and texts effortlessly, as the open type code is taking care of using the right set of letters at the right time, I could have made two separate fonts, but I wanted to give you the best value I could and ease of use. Make sure contextual alternates are always on! There are also swashes, alternate styles, stylistic sets, small caps, 2 figure sets and decorative elements, all accessible through open type. I think the font is particularly suited for display use, as in logos, packaging design, branding, but it is readable enough for small text blocks. You can access the non-linking caps by clicking on the discretionary ligatures button. You can access the loopy caps by clicking on the titling alternates button. The main version has straight terminals but I included a round version and a calligraphic one, called “classico”. Hope you like it!

Varidox, a variable typeface design, allows users to connect with specific design combinations with slightly varied differences in style. These variations in design enable the user to reach a wider scope of audiences. As the name suggests, Varidox is a paradox of sorts--that is, a combination of two disparate forms with two major driving influences. In the case of type design, the conflict lies in the age-old conundrum of artistic expression versus marketplace demand. Should the focus center primarily on functionality for the customer or err on the side of advancing creativity? If both are required, where does the proper balance lie? Viewed as an art, type design selections are often guided by the pulse of the industry, usually emphasizing unique and contemporary shapes. Critics are often leading indicators of where the marketplace will move. Currently, many design mavens have an eye favoring reverse stress. However, these forms have largely failed to penetrate the marketplace, another major driving factor influencing the font world. Clients now (as well as presumably for the foreseeable future) demand the more conservative forms of monoline sans serifs. Typeface designers are left with a predicament. Variable typefaces hand a great deal of creative control to the consumers of type. The demands of type design critics, personal influences of the typeface designer and the demands of the marketplace can all now be inserted into a single font and adjusted to best suit the end user. Varidox tries to blend the extremes of critical feature demands and the bleeding edge of fashionable type with perceptive usability on a scalable spectrum. The consumer of the typeface can choose a number between one and one-thousand. Using a more conservative style would mean staying between zero and five hundred, while gradually moving higher toward one thousand at the high end of the spectrum would produce increasingly contemporary results. Essentially, variable fonts offer the ability to satisfy the needs of the many versus the needs of the few along an axis with a thousand articulations, stabilizing this delicate balance with a single number that represents a specific form between the two masters, a form specifically targeted towards the end user. Practically, a user in some cases may wish to use more conservative slab form of Varidox for a more conservative clientele. Alternatively, the same user may then choose an intermediate instance much closer to the other extreme in order to make a more emphatic statement with a non-traditional form. Parametric type offers a new options for both designers and the end users of type. In the future, type will be able to morph to target the reader, based on factors including demographics, mood or cultural influences. In the future, the ability to adjust parameters will be common. With Varidox, the level of experimentality can be gauged and then entered into the typeface. In the future, machine learning, for example, could determine the mood of an individual, their level of experimentality or their interest and then adjust the typeface to meet these calculated parameters. This ability to customize and tailor the experience exists for both for the designer and the reader. With the advent of new marketing technologies, typefaces could adjust themselves on web pages to target consumers and their desires. A large conglomerate brand could shift and adapt to appeal to a specific target customer. A typeface facing a consumer would be more friendly and approachable, whereas a typeface facing a business to business (B2B) customer would be more businesslike in its appearance. Through both experience, however, the type would still be recognizable as belonging to the conglomerate brand. The font industry has only begun to realize such potential of variable fonts beyond simple visual appearance. As variable font continues to target the user, the technology will continue to reveal new capabilities, which allow identities and layouts to adjust to the ultimate user of type: the reader.

TT Ricordi useful links: Specimen | Graphic presentation | Customization options The TT Ricordi font family is a collection of three display heading serifs designed to significantly diversify the traditional font palette. Each font from the TT Ricordi family was drawn by a separate designer and has its own story. With that, all three fonts are close in thickness and similar in their character compositions and are featured in the uppercase set and the small capitals set, which replaces lowercase characters. The fonts have the broad support of Latin languages and support basic Cyrillic. The project originates from the pre-coronavirus tourist trips to Italy, during which our art director Yulia Gonina has accumulated many photographs of historical inscriptions and tablets. Many of these inscriptions had interesting character or unusual character shapes. We wanted to work with them, to try to reinterpret them, and, if possible, make them ultramodern and accessible to the modern font user. The fonts from the TT Ricordi typeface turned out to be quite display and contemporary, but at the same time, they retained subtle references to historic inscriptions. The fonts fit perfectly both on the covers of book classics and in glossy magazine layouts. They can also be used in posters and packaging, or as the main expressive element of company branding. In addition, all three serifs from the TT Ricordi font family go well with functional sans-serifs such as TT Norms Pro or TT Commons. TT Ricordi Nobili is a display serif with a rich Roman ancestry and contemporary world views. It stands out from the crowd with its subtlety and elegance. The font was drawn by Anna Tikhonova and was inspired by an inscription carved into the stone floor of a cathedral in Florence. Because people walked over the inscription, some of the letters got thinner and worn out over time. It is this feeling of disappearing or flickering elements that we wanted to capture and implement in the project. The TT Ricordi Nobili has high contrast, even though the font itself is quite thin. The serifs in the font are not massive at all, but at the same time, they are display serifs. There is a certain tension in TT Ricordi Nobili, and the viewer perceives this tension. We can say that behind the external classic facade lies a rather modern plot. The font has a large set of discrete ligatures which allow to create interesting combinations and expand the capabilities of the font. There are 709 glyphs in the TT Ricordi Nobili font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Todi is a wide serif with a classic base and a contemporary nature. The font turned out to be refined yet sharp, and in places even pushy and aggressive. The font was drawn by Yulia Gonina, and the project was based on plaques with engraved street names from the small Italian town of Todi. The main challenge was to decipher the characteristic features of the signs and emphasize them in a modern way. In addition, it was necessary to draw a Cyrillic alphabet that would not be inferior to the Latin alphabet in its expressiveness. The TT Ricordi Todi has fairly wide character proportions, and there is practically no contrast in them. The main feature of the font is the combination of smooth round shapes with deliberately squared shapes. In addition, the font is characterized by crisp and sharp character details, exaggerated ascenders and descenders, and muted contrast. Among the interesting font peculiarities, you can choose between the characteristic long descenders and ascenders and their more tempered versions, you can find a stylistic set with triangular dots, alternative versions of the EF characters and two letter ? shapes, round and squared. There are 876 glyphs in the TT Ricordi Todi font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Fulmini is a fashionable contemporary serif firmly holding on to its historic roots. The font turned out to be like a thistle flower: bright and catchy, but still subtle and delicate. TT Ricordi Fulmini was drawn by Marina Khodak, and the initial inspiration for the project was the inscription on the altar from the National Gallery of Umbria in Perugia. As the font was pulled into “contemporaneity”, it was completely transformed and revealed its new side. The main catchy detail in the TT Ricordi Fulmini is the aggressive and rather sharp diagonal serifs. In addition, in the process of working on the font, several graphic solutions emerged, for example, the mono-serifs and the very calligraphic connections of diagonal strokes with their historic spirit. We wanted to keep them, and thus 4 thematic stylistic sets appeared in the font, thanks to which we can greatly change the perception of TT Ricordi Fulmini. In addition, the font has a set of interesting discrete ligatures. There are 793 glyphs in the TT Ricordi Fulmini font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi 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+, 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, Haitianm, 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 (cyr), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian+, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian.

The Deberny typeface is an interpretation–carrying a contemporary imprint–of a typographic style which appeared and spread at the end of the 19th century until the begining of the 20th. These typefaces were named Italian, Venetian, Veronese and were classified in the Hellenic category, a spontaneous typographic movement caracterized by triangular and heavy serifs. They found their inspiration among numerous references, from incised to slab serif typefaces and their extreme expressions in wood type letterforms. The Deberny font family is made of 26 styles in 3 complementary sets of style, offering a wide palette of visual resonance: • Deberny Line is ideally suited for editorial, branding, posters and billboards. It has sharp contrast between thick and thin strokes. Heavy horizontal strokes are not frequent in roman letters, but here they fit naturally with the italic letters. • Deberny Open is a stylish outline declination of Deberny Line Medium and Medium Italic. • Deberny Text is an adaptation of Deberny Line made for broader use. Its shapes are less contrasted, which makes it perfectly legible for print or screen reading in small size text. Old style figures and small caps complete Deberny Text in all its 8 styles. The Deberny typeface family supports Latin-based languages and will be available soon in Cyrillic and Greek. Deberny Narrow will be released this year in all its 26 styles.

Rufolo is a family of fonts that can be considered both aesthetic and utilitarian. It has an apparent serif, barely hinted at, whose clear past reference is a beautiful epigraphic script on the marble plate placed at the southern entrance of the Roman amphitheatre, in Pompeii. Perhaps its origin dates back to Ugarit's cuneiform writing (as Morrison suggests as the origin of the serif in "Politics and Scripts") whose characteristic triangular-shaped incision footprint produces a powerful trait that not only gives character to the writing but also facilitates its support and visual compensation of sizes with neighboring signs. Other clear inspirational references have been Robert Hunter Middleton's Stellar (1929); Albertus (1932) by William A. Dwiggins; Optima (1952) by Hermann Zapf; And more recently RRollie (2016) by our foundry. Rufolo collects the attractive characteristic of the stroke endings but the proportions of its structure becomes much more regular, the capitals are in line with a constant square module, while the above references retain the proportions of the Roman Trajan. Some endings strokes have slightly baroque reminiscence with the intention of giving it greater plasticity and aesthetic enrichment, but absolutely controlled, taking special care of the aspects of readability and expressive neutrality. Rufolo Family comes in four weight: Light, Regular, Bold and Black, accompanied by its corresponding Italic versions.