TT Firs Neue useful links: Specimen | Graphic presentation | Customization options TT Firs Neue is reborn! We have rethought the font to introduce the next-generation typeface. After analyzing each contour and graphic element, we rebuilt the font, preserving its best features while making any necessary adjustments. We have created a flawless and modern sans serif using the new technical capabilities of the studio. TT Firs Neue is a Scandinavian sans serif that combines expressive graphic elements with the versatility of use. In the latest 2023 edition, the font's display elements have become even more attractive, while the overall font balance has also been improved. This is the result of the visual research we did before working on the update. Here is what has changed. The visual elements of the font are now logically coherent. We got rid of the ones that did not suit the font's concept and kept the most attractive ones. The changes affected letters with diagonal strokes "M, N, И", and figures "2, 3, 6, 9". All round characters' shapes have been standardized for all font styles. In the previous version, all glyphs looked different: more square or oval, depending on the font's weight. We made the shapes consistent for the font to feel more integral. Glyphs containing bowls have also changed. We have worked on the balance, altering the height and shape of the bowls. Like rounded ones, we aspired to make the glyphs more balanced for all font styles. The shapes of the letters "J, M, N, S, W, З, И" and Black font style characters have changed. The individuality of these glyphs was slightly different from the whole set, which became apparent in larger sizes. We have improved the shapes and made them more suitable for the font's style. Letters with diagonal strokes and triangular glyphs, such as "A, V, Y, D". We have brought the characters to a consistent logic in their shapes by refining the angles and weight of diagonals in different font styles. The glyphs' terminals follow the same logic in the new version. We have preserved and perfected the old shapes. Ligatures and stylistic sets have been updated entirely and expanded. We have researched Scandinavian languages and designed ligatures and diacritical sets that would definitely be useful for designers. We have redesigned diacritical marks, figures, and punctuation marks. Now all characters follow the same logic and contribute to a well-balanced impression of the font. The character set in each font style has been increased from 934 to 1719, and the number of OpenType features—from 24 to 40. The new font includes 23 font styles: 11 roman, 11 italic, and 1 variable font. The variable font has also become a significant technological advancement for TT Firs Neue. We retained a warm sentiment towards TT Firs Neue's previous success while redesigning the font and implementing substantial alterations. The 2023 font has been developed according to new technical standards that have become significantly higher in the past 5 years. TT Firs Neue is a font well-suited for a wide range of contexts. It can be used for headings, text fragments, visual merchandising and building decoration, and the web. The font is visually aesthetic on podcast and video covers and is an ideal choice for packaging design and brand identity. TT Firs Neue OpenType features: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, case, dlig, liga, c2sc, smcp, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, ss13, ss14, ss15, ss16, ss17, ss18, ss19, ss20, calt. TT Firs Neue language support: English, Albanian, Basque, Catalan, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Moldavian (lat), Montenegrin (lat), Norwegian, Polish, Portuguese, Romanian, Serbian (lat), Slovak, Slovenian, Spanish, Swedish, Swiss German, Valencian, Azerbaijani, Kazakh (lat), Turkish, Uzbek (lat), Acehnese, Banjar, Betawi, Bislama, Boholano, Cebuano, Chamorro, Fijian, Filipino, Hiri Motu, Ilocano, Indonesian, Javanese, Khasi, Malay, Marshallese, Minangkabau, Nauruan, Nias, Palauan, Rohingya, Salar, Samoan, Sasak, Sundanese, Tagalog, Tahitian, Tetum, Tok Pisin, Tongan, Uyghur, Afar, Asu, Aymara, Bemba, Bena, Chichewa, Chiga, Embu, Gikuyu, Gusii, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kirundi, Kongo, Luba-Kasai, Luganda, Luo, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Mauritian Creole, Meru, Morisyen, Ndebele, Nyankole, Oromo, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Swahili, Swazi, Taita, Teso, Tsonga, Tswana, Vunjo, Wolof, Xhosa, Zulu, Ganda, Maori, Alsatian, Aragonese, Arumanian, Asturian, Belarusian (lat), Bosnian (lat), Breton, Bulgarian (lat), Colognian, Cornish, Corsican, Esperanto, Faroese, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Interlingua, Judaeo-Spanish, Karaim (lat), Kashubian, Ladin, Leonese, Manx, Occitan, Rheto-Romance, Romansh, Scots, Silesian, Sorbian, Vastese, Volapük, Võro, Walloon, Walser, Welsh, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, Lakota, Karachay-Balkar (lat), Karelian, Livvi-Karelian, Ludic, Tatar, Vepsian, Guarani, Nahuatl, Quechua, Russian, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Macedonian, Serbian (cyr), Ukrainian, Kazakh (cyr), Kirghiz, Tadzhik, Turkmen (cyr), Uzbek (cyr), Lezgian, Abazin, Agul, Archi, Avar, Dargwa, Ingush, Kabardian, Kabardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Rutul, Tabasaran, Tsakhur, Buryat, Komi-Permyak, Komi-Zyrian, Siberian Tatar, Tofalar, Touva, Bashkir, Chechen (cyr), Chuvash, Erzya, Kryashen Tatar, Mordvin-moksha, Tatar Volgaic, Udmurt, Uighur, Rusyn, Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmyk.

The ITC Franklin™ typeface design marks the next phase in the evolution of one of the most important American gothic typefaces. Morris Fuller Benton drew the original design in 1902 for American Type Founders (ATF); it was the first significant modernization of a nineteenth-century grotesque. Named in honor of Benjamin Franklin, the design not only became a best seller, it also served as a model for several other sans serif typefaces that followed it. Originally issued in just one weight, the ATF Franklin Gothic family was expanded over several years to include an italic, a condensed, a condensed shaded, an extra condensed and, finally, a wide. No light or intermediate weights were ever created for the metal type family. In 1980, under license from American Type Founders, ITC commissioned Victor Caruso to create four new weights in roman and italic - book, medium, demi and heavy - while preserving the characteristics of the original ATF design. This series was followed in 1991 by a suite of twelve condensed and compressed designs drawn by David Berlow. ITC Franklin Gothic was originally released as two designs: one for display type and one for text. However, in early digital interpretations, a combined text and display solution meant the same fonts were used to set type in any size, from tiny six-point text to billboard-size letters. The problem was that the typeface design was almost always compromised and this hampered its performance at any size. David Berlow, president of Font Bureau, approached ITC with a proposal to solve this problem that would be mutually beneficial. Font Bureau would rework the ITC Franklin Gothic family, enlarge and separate it into distinct text and display designs, then offer it as part of its library as well. ITC saw the obvious value in the collaboration, and work began in early 2004. The project was supposed to end with the release of new text and display designs the following year. But, like so many design projects, the ITC Franklin venture became more extensive, more complicated and more time consuming than originally intended. The 22-font ITC Franklin Gothic family has now grown to 48 designs and is called simply ITC Franklin. The new designs range from the very willowy Thin to the robust Ultra -- with Light, Medium, Bold and Black weights in between. Each weight is also available in Narrow, Condensed and Compressed variants, and each design has a complementary Italic. In addition to a suite of new biform characters (lowercase characters drawn with the height and weight of capitals), the new ITC Franklin Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages. ITC Franklin Text is currently under development.

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 1990s, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honored as a member of the Art Directors Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

SHILIA – AN ARABIC FONT THAT LIVES HAND IN HAND WITH LATIN TEXT CHARACTERS A special design principle underlies the Arabic font Shilia created by Mamoun Sakkal: the form of the characters means that they harmonise happily with sans serif Latin fonts, such as Univers. Because of this, Shilia is the ideal choice for any bilingual project and for use in international corporate branding. Shilia™ had its beginnings in the 1970s. Taking one of the oldest variants of Arabic script, the minimalist Kufic, as his inspiration, Mamoun Sakkal fashioned simple stroke shapes that are combined according to a geometric grid. Shilia is at home in both worlds, that of the East and that of the West. And although Shilia has been primarily designed to be used as a display font, it is also ideal for setting shorter texts. Before being published by Linotype, Shilia underwent major adaptation and updating, and is now available in the modern OpenType format. Mamoun Sakkal increased the characters available per individual typeface variant to over 1,800, and his daughter, Aida Sakkal, worked on programming the extensive OpenType features for the font. There are numerous ligatures that can be used to provide suitable variation and avoid repetition within a given context, and many special features such as the dots under the initial and final segments of words being automatically centralised. Shilia not only supports Arabic, but also Persian and Urdu. Special character combinations for setting texts in these languages, particularly Urdu, are provided through OpenType. And there are a total of 19 stylistic sets with additional character variants available to the user. An example of Urdu text Shilia is available in eight weights, from UltraLight to Black. The corresponding condensed versions are in the course of preparation. Along with the Arabic characters, all of the typeface versions include matching Latin alphabet letters of Adrian Frutiger’s Linotype Univers® family, making Shilia intrinsically suitable for setting bilingual texts. A set of ornaments carefully designed to allow for numerous compositions of bands and decorative patterns rounds off the range of characters on offer. With its 21 weights, Shilia is one of the most extensive of Arabic typeface families that is currently on the market. Its clear and well-balanced forms emphasise the linear nature of the font without allowing it to appear sterile or artificial. Shilia not only cuts a good figure as a display font for signage or in artistic projects, thanks to its substantial range of features, the font family can also be used to set texts, such as corporate and administrative documents. In addition, but the full compatibility between the Arabic and Latin characters makes Shilia the perfect choice for international and multilingual design projects.

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 1990s, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honored as a member of the Art Directors Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

Timeless Renaissance looks, gently updated. For novels and billboards alike. Allrounder Antiqua is an old-style serif member of the Allrounder superfamily. A timeless typeface based on classical proportions, Allrounder Antiqua is perfectly suitable for advanced book and editorial design well as packaging and branding. True: its main purpose is to set flawless body copy and to generate an evenly textured page—but its refined shapes work fantastically in display applications, too. Some details, such as the small and sharp bowl of the lowercase a, are fully appreciated in large sizes only. If you need a sophisticated serif typeface for packaging, food, fashion, consumer goods, or lifestyle branding, Allrounder Antiqua is up for it. It's also apt as an outstanding corporate typeface, be it for a more conservative venture or the latest hipster start-up. This classy serif typeface comes in four weights with corresponding true italics. Just like its sans-serif counterpart, Allrounder Grotesk, Allrounder Antiqua is equipped with plenty of Opentype Features like small caps, six sets of figures, case-sensitive forms, superiors, fractions and many ligatures. You will find alternate letters with swashes within this extended character set, as well as all the accented glyphs necessary to support more than 200 Latin-based languages. Historical Background The (French) Renaissance-influenced typeface started as Moritz Kleinsorge's graduation project within the "Expert Class Type design" course of the Plantin Institute for Typography, located in the famous Museum Plantin-Moretus in Antwerp, Belgium. There, Moritz Kleinsorge decided to create a revival of Robert Granjon's "Ascendonica Romain", described as "a beautiful face; typical of Granjon's mature style" in the inventory list of available material. "To touch punches and matrices cut by Robert Granjon back in 1567 was an invaluable inspiration", Moritz explains. Over time, the typeface moved away from being a true revival. Rather, it evolved into a Granjon-inspired typeface. That typeface is now available as Allrounder Antiqua. Perfect Pairing: Allrounder Antiqua + Allrounder Grotesk Allrounder Grotesk is the ideal complement to Allrounder Antiqua. They both share common vertical metrics and a common color. This allows you to pair both typefaces within the same layout—even within the same paragraph—without creating visual disruption. Head over to the Family Page of Allrounder Grotesk to get more information about this typeface. Design Trick: Bilingual Design With the Allrounder Superfamily Combining Allrounder Grotesk with Allrounder Antiqua is an ideal approach for bilingual designs, wherein both languages get the same emphasis yet are distinguished with two different typefaces. It's also best practice to set headlines in a different typeface than the body text if they harmonize with each other. Allrounder Grotesk and Allrounder Antiqua provide you with the perfect pair for this purpose.

A gentle breeze caressed his face as his body took on the easy posture of a dancer on break. Flickering sparklets of light sprinkled the glass-smooth surface of the aqua liquid on which he floated. His mind wandered; he was only days away from his scheduled departure date. This day was no different from a hundred other days he had spent melded to his windsurfer, skittering along the breadth of the modest lake, soaking up the sun's rays and forgetting about the entire rest of the world. Lake Quannapowitt, and the town of Wakefield, Massachusetts, were familiar to Steve, a long-time resident of the picturesque New England town. This is where he grew up; this is where he married and lived for many years; and this is the place he was preparing to leave, not one week hence. Not generally prone to nostalgia, it was in just such a state he nonetheless found himself once Zephyrus retreated, as was his custom, periodically, while patrolling the resplendent lake. Steve was going to miss the lake, and he was going to miss the town. How many hours of how many days had he spent exactly like this, standing on his motionless board, waiting for his sail to fill, and staring at the lake's shores, its tiny beach, the town Common with its carefully maintained greenery, and equally well-tended gazebo, the Center church - its spire shadow piercing the water's edge, like a scissor-cut the better to begin a full-fabric tear? Yes, he was going to miss this place - this town which all of a sudden had become a place out of time, just as he was about to become a person out of place. Once this idea struck him, he couldn't shake it. He was transported back in time four score years, now watching his ancestors walk along the shore. Nothing in view belied this belief - not the church's century old architecture, not the gazebo frozen in time, nor the timeless sands of the beach, nor the unchanging Common. Everything belonged exactly where it was, and where it always would be. This, he decided, was how he would remember his hometown. And this is when it occurred to Steve to design a typeface that would evoke these images and musings - a typeface with an old-fashioned look, reflected in high crossbars, an x-height small in size relative to its uppercase, and an intangible quality reminiscent of small-town quaintness. Wakefield, the typeface, was born on Lake Quannapowitt in the town for which it was named, shortly before Steve moved away. It is at once a tribute to his birthplace and a keepsake.

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 90th, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honoured as a member of the Art Director Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

Introducing "TE Warsh Tharwat Emara," an exquisite Naskh font designed to elevate your typography to the next level. Our font features intricate calligraphic strokes, elegant curves, and graceful flourishes that bring a touch of sophistication and elegance to your text. Designed with the utmost attention to detail, every character in "TE Warsh Tharwat Emara" is beautifully crafted and easy to read. "TE Warsh Tharwat Emara" is perfect for typesetting the Holy Quran, with its beautifully crafted curves and strokes. The Naskh script is one of the most popular calligraphic styles used in Arabic typography and is known for its clarity, making it perfect for Quranic typesetting. With "TE Warsh Tharwat Emara," you can create stunning, high-quality typography that is perfect for publishing the Quran, as well as other religious texts. In addition to its suitability for Quranic typesetting, "TE Warsh Tharwat Emara" is versatile and can be used in a variety of contexts. Its elegant and sophisticated design makes it perfect for book covers, posters, branding, and web design. "TE Warsh Tharwat Emara" supports a wide range of languages, including Arabic, Persian, Urdu, and many others, making it ideal for multi-lingual projects. "TE Warsh Tharwat Emara" includes a range of special features that take your typography to the next level. The font includes ligatures and alternate characters, which allow you to create more natural and fluid connections between characters. The alternate characters provide a variety of stylistic choices, giving you even more control over the typography. "TE Warsh Tharwat Emara" is compatible with a wide range of platforms and software, including Adobe Creative Suite, Microsoft Office, and many others. This means that you can use "TE Warsh Tharwat Emara" in your favorite design software, without worrying about compatibility issues. "TE Warsh Tharwat Emara" comes with a multi-user perpetual license, which allows you to use it for commercial and personal projects. The perpetual license means that you can use the font indefinitely, without having to worry about renewing your license. We also offer a range of licensing options, including a single-user license, to suit your needs. In conclusion, "TE Warsh Tharwat Emara" is a must-have for designers and typographers who are looking to create stunning, high-quality typography that is perfect for publishing the Holy Quran, as well as other religious texts. With its intricate calligraphic strokes, elegant curves, and graceful flourishes, "TE Warsh Tharwat Emara" will elevate your typography to the next level. It's versatile, easy to use, and comes with a range of special features that make it perfect for all kinds of projects. So, whether you're designing book covers, posters, or websites, don't miss out on "TE Warsh Tharwat Emara." Purchase now and experience the beauty of our Naskh font for yourself.

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.

Minicomputer is an exceptional typeface that pays homage to the antique look of computer fonts from the mid-20th century. It is a magnetic ink typeface, characterized by a versatile range of seven weights and italics, which is perfect for graphic design themes. Minicomputer also includes OpenType fractions and numeric ordinals, as well as an array of mathematical symbols that can add depth to any design. With its OpenType old-style numerals feature, Minicomputer enables users to evoke the original MICR E-13B numerals, the very numerals that were once used in bank checks. Back in the 1950s, the MICR E-13B numerals were printed in magnetic ink and were associated with the innovative technology of the time. But that didn’t stop Leo Maggs from creating Westminster, a typeface that emulated the look of the MICR E-13B. Soon after, dozens of magnetic typefaces appeared and quickly became fashionable. By the 1980s, home computers emerged, and the once fashionable magnetic typefaces became outdated. They were replaced with pixel fonts and dot matrix typefaces, which gave a fresh look to digital designs. However, designers today are reviving the magnetic typeface trend in a new context. Magnetic typefaces are now associated with a vintage look that has a unique and synthetic feel and an association with 1960s fashion trends. Despite the half-century since the first magnetic typefaces appeared, designers had limited choices when it came to using them, mainly having to rely on digitized versions of analog fonts from the 1990s. Minicomputer offers an exciting and modern take on the magnetic ink typeface and is a must-have for any designer or writer looking to add a touch of the past to their work. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

High-contrast & all handmade – the powerful Sofa Sans. Sofa Sans is a hand-drawn/handmade all-caps display-family for packaging, posters, book-covers, food- and logo-design and will best stand out in huge grades. Its handcrafted character is friendly and eye-catching. Stylish features and alternates add personality and let you create unique logos and stunning headlines. Two optical sizes and extra shadow-, 3D-, inline- and hatched-styles make Sofa Sans a flexible solution for any display need. Sofa Sans now has a sister: view Sofa Serif here. · The family boasts 4 weights from a monolinear Thin to Black, each containing more than 1000 glyphs, plenty of OpenType features and full ISO latin 1 & 2 language support. In addition, extra shadow-, 3D-, inline- and hatched-styles round out the package. · High contrast is one of Sofa Sans’ key features. To maintain a wide range of use, choose from two optical sizes: Standard and Display with a maximum of contrast especially in the heavier weights. · Sofa Sans includes a variety of OpenType alternates which add uniqueness to your work. OpenType features include Swashes- and Titling-Alternates, Beginnings and Endings, Stylistic-Sets for even more alternative glyphs as well as a “random-double-letter-feature” with “Discretionary Ligatures” activated. OpenType Swashes- and Titling-Alternates are smart features which automatically adjust all swashy letters to the available white space. Switch one on and let Sofa Sans do the rest. Please download the SofaSans-OpenType Feature Guide from the gallery for further details. · Have fun! · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Sofa Sans Hand/ 195 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Bashkir, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Introducing Salma Pro, a modern and sleek sans-serif font that boasts a new design and a strong character. As the successor of the previous version (Salma Alfasans), Salma Pro is an extended version that offers an abundance of features, good legibility, and a wide range of styles, making it perfect for any project. Crafted with great passion and conscientiousness, Salma Pro's unique design is a work of art. You will see beautiful details in every letter, making it perfect for branding, logos, and other design projects. Whether you're using it for headlines or body text, Salma Pro's good legibility ensures that it looks great at any size. Why you need Salma Pro in your font collection: Versatility: With 1400+ glyphs and three different widths to choose from, Salma Pro offers a wide range of styles and features, making it the perfect choice for any project. Reliability: This font is designed specifically for professional designers and offers superior functionality and quality. You can trust Salma Pro to deliver consistent and high-quality results. Unique Design: Salma Pro has a unique and authentic design that will make your work stand out. It's perfect for branding, logos, and other design projects. Good legibility: The font is designed to be highly legible, both at large and small sizes, making it a great choice for both headlines and body text. Language support: Salma Pro supports Latin Extended, Cyrillic, and Greek languages, making it a great choice for projects with a global audience. Multipurpose: It can be used for various purposes such as branding project, logo or logotype, promotion, e-pub, website, mobile app, and many more. Time-saving: With its abundance of features and styles, Salma Pro will save you time and make your job easier. Compatibility: Salma Pro is very compatible when used as a logo and branding projects. Because it has beautiful and authentic details. Passion and conscientiousness: Salma Pro is created with great passion and conscientiousness, giving you the best design result. In conclusion, Salma Pro is a must-have font for professional designers. Its versatility, reliability, unique design, and wide range of features make it an essential tool for any designer. Don't wait any longer, get your hands on Salma Pro now and elevate your design work. Upgrade your font collection today and experience the versatility and power of Salma Pro. Features: Small capitals Tabular and proportional lining figures Tabular and proportional oldstyle figures Scientific inferior and superior characters Numerator, denominator, and fraction characters Circled and squared numbers Standard and discretionary ligatures Arrows, triangles, squares, and circles symbols 16 stylistic sets Contextual alternates Slashed zero And many more advanced typography features. Language Support: Salma Pro supports Latin Extended (including Vietnamese), Cyrillic, and Greek. Suggested Uses: Salma Pro is ideal for branding projects, logos and logotypes, promotions, e-books, websites, mobile applications, and more. This versatile font can be used in a wide range of projects to elevate your designs and make your work stand out. ------ Alifinart Studio alifinart@gmail.com alifinart.com Instagram | Behance

Do you want to create a design with a luxurious and casual style? Barokah Serif Font is the best choice. This is a modern display font has a lot of ligature for uppercase and lowercase. This serif font are perfect for luxury projects and will keep your creativity flowing. Typeface Story In 2021, we released Barokah Script and at that time a lot of people loved it. However, we feel that Barokah Script should be combined with a serif font with a luxurious and casual style, so that it will become a popular for everyone. That's why, today—after 1 year—we are releasing Barokah Serif, as the best match for Barokah Script. Why Barokah Serif Font? Barokah Serif is a font with a myriad of ligatures, both uppercase and lowercase. In this font, there are Stylistic Alternates for each capital letter with an authentic and elegant design. In the lowercase letters you will find an amazing variety of ligatures and in a luxurious style. This will make each of your designs look elegant and classy. For ease of use, we divide it into two; Standard and Discretionary Ligatures. Features: - Uppercase and lowercase letters - Numbers and punctuation - Lots of ligatures for uppercase and lowercase - Stylistic Alternates for each capital letter - True type hinting - Multilingual Standard and Discretionary Ligatures Standard and Discretionary Ligatures are available for the following letter combinations: LA LI LU LE LO LL RA RI RU RE RO KA KI KU KE KO XA XI XU XE XO ZA ZI ZU ZE ZO RS AS MS KS HS EV EW DO OC OG DG OO OQ TT NN WWW SS Th fi ff ffi fj ffj ft fl ffl fb ffb fh ffh fk ffk ſi ſſ ſſi ſl ſſl ſt ct st tt an ah am ap ar ab en eh em ep er eb cn ch cm cp cr cb un uh um up u rub gi gj ti tti tj ss ri rj www Language Supports Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Zulu Suggested Uses Perfect for branding projects, logo or logotype, promotion, book cover, invitation, letterhead, website, and more. Conclusion Barokah Serif is a luxurious authentic font and a must-have in your font collection. Get the Barokah Serif Font now… ----------------------------------- Alifinart Studio alifinart@gmail.com Instagram | Behance

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

TT Milks useful links: Specimen | Graphic presentation | Customization options About TT Milks: The collection of scripts and wonderful decorative typefaces. Initially the idea for TT Milks was to create a collection of fonts to be used for packaging and branding of dairy products. While working on the initial idea, we've tested all possible glyph variations, which resulted in a large decorative designer font family. Thanks to a variety of elements, TT Milks collection has exceeded its initial idea and now offers an unlimited application range. TT Milks type collection includes several subfamilies and consists of 26 typefaces: TT Milks Script subfamily is a satellite to the basic typefaces and features 5 weights. Every typeface of the TT Milks Script subfamily consists of 801 glyphs and supports a lot of OT features: ordn, frac, case, sups, sinf, numr, dnom, tnum, onum, pnum, liga, calt. TT Milks Casual Script consists of two script faces with a different degree of roughness. In TT Milks Casual we've collected 6 typefaces—the unique Black called 900 in three degrees of roughness, and the Bold called 700 featuring three degrees of roughness as well. TT Milks Casual Shadow is a version with broader letter setting and shadow effects. There's a clean shadowed version, three variants of rough typefaces with shadows, and a rough shadowed inline typeface—5 typefaces in total. TT Milks Casual Pie is a special set of typefaces which can be easily combined with each other using different layers. The set of the subfamily includes two basic typefaces—black and inline, and also features a typeface with a clean shadow, a shadowed inline typeface and line typeface. TT Milks Outline completes the collection. It consists of a total of 3 amusing super-display typefaces—outline, outline shadow, and a cow pelt patterned typeface. All typefaces belonging to TT Milks Casual and TT Milks Outline subfamilies contain uppercase letters only, and support tabular numbers and case sensitivity. TT Milks 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.

After my son was born, I found myself reading him a lot of books. A LOT of books. Some were good, some were great, but I found myself wanting to develop something using my skills and interests to make something that only I could make. In short, I realized my son needed to be indoctrinated—I mean, introduced into the wonderfully wild world of fonts. So, I set about to make a board book to teach about typography, called “The Clothes Letters Wear.” You can learn more about the book here. I’ve made the captivating illustrations bright and colorful, and the use of different letter forms makes for a fascinating read to delight ages young and young at heart. And, as an added bonus, this children’s book has a custom designed font. I’m always looking for an excuse to design a new font, and this book created the perfect alibi. Drum roll, please. I now give you … Cabrito (“little goat” en Español). This new serif typeface incorporates the latest research on typographic legibility for children, features to make it—well, extra legible. A little background: studies show that Bookman Old Style is one of the most readable typefaces, and as a consequence or perhaps the reason why, it is used thoroughly for children’s books. This font became my initial inspiration for the typeface. Then, I found more legibility research saying that (brace yourselves) Comic Sans is also very legible for beginning readers, much due to the large x-height and softer, easily recognizable forms. In addition, forms that are closer to handwriting also seem to be more legible. Once I threw all that into my cauldron and stewed it a bit, the result was a pleasantly rounded typeface that includes not-so-strictly geometric, handwriting-inspired forms for the b, d, p, and q. Es guapo! Cabrito’s slender weights are simple and fun, with extras that turn any “bah humbug” into a smile. Add lighter touches to your project with the typeface’s included sparkles or rainbows (not included). Splash a little more color on the page with the firmer look of the thicker weights. Cabrito’s upright variations across all weights are matched by optically altered italics, too, giving you even more variety with the font family. This modern typeface’s bundle of alternates can be accessed in any OpenType-enabled software. The fashionable options involve a significant team of alternates, swashes, and meticulously refined aspects with ball terminals and alternate titling caps to decorate the font. Also bundled are swash alternates, old style figures, and small caps. Peruse the PDF brochure to check out these options in motion. OpenType-enabled applications like the Adobe suite or Quark allows comprehensive control of ligatures and alternates. This font family also provides the glyphs to aid a variety of languages. Cabrito is a welcoming, everyday font family by Jeremy Dooley. Use it to convey warmth and friendliness on anything from candy and food packages to children’s toys, company IDs or run-of-the-mill promotional material. Cabrito’s unique appearance and high legibility make it equally at home in print as it is on a screen.

The general idea: Can You imagine to yourself, what the hydroelectric power station is? The building of this electricity production foundry is half hidden under the water, but the visible above-water part astonishes your sense. It is a construction almost 1,5 km length dammed out the powerful river stream. Besides thousand of electricity conduction lines supports it bears also the highway and the railroad. From a faraway distance the train seems like a caterpillar that has climbed up the stout tree. There are also the navigable sluices, the flood channels and other erections. The idea of this typeface outlines arrived to the authors exactly on the viewing platform, under the impression of the waterfalls, which are escaping from the dam womb, falling from almost 50 meters altitude and becoming white-haired during this flight. Release: in the form of "gorod.Volgograd" font with the one style. We work with other styles now and sometime we will be very glad to introduce the Bold and Italic styles to You. We should explain the font name meaning. "Gorod" is "city of" in Russian and Volgograd is the old, big and famous Russian city. The Volga hydroelectric power station of a name of XXII congress of the CPSU caused the Volgograd sea formation. It expands of 14 km width and more than 600 km along the Volga river-bed. But HEPS isn't the sole Volgograd sight. There are many interesting places here. The most known tourist sight, the visit card of Volgograd is the Mamaev Hill. Being here You can see almost all 100 kilometers of city length. Due to its geographical position, Mamaev Hill has got a great importance during the Great Patriotic War (1941-1945). It became and still is the Main Height of Russia. Soviet people have built the huge stately memorial ensemble here. There are many other witnesses of the heroic past of Volgograd: the Alley of Heroes, the Perished Fighters Square, the Soldiers Field and others. The line of tank turrets is stretched out along all town not far from Volga bank. It marks the line, where fascist troops was stopped in 1943. It is very amazingly when You dive under the ground on a usual tram. Volgograders have built a few underground station for the high-speed tramway. The river tram need a quarter of an hour to get an island in the Volga. And You need the same time to walk across the river station. The Volga-Don navigable channel starts from Volgograd. There are planetarium, circus, some theatres, many museums in Volgograd. One of football matches of Euro-2004 qualifying round took a place in the "Rotor" stadium in Volgograd. Volgograd holds the longest - above 50 km - park in the world. Its avenues, squares, embankments are beautiful, Volgograd central districts are built in unique architecture style called the Stalin Empire. You can enjoy fountains, parks, attractions, water-pools and other Volgograd sights. If You visit Volgograd once You'll never forget it. You can read about the ancient history of Volgograd city on the Tsaritsyn font page. Also we plan to create the Stalingrad font and give You a short story about another period in Tsaritsyn-Stalingrad-Volgograd history.

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, see also Selfie Neue Rounded for more!) 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 Sharp 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 Sharp 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

Father's Day, or June 17 of this year, is in the middle of Argentinian winter. And like people do on wintery Sunday mornings, I was bundled up in bed with too many covers, pillows and comforters. Feeling good and not thinking about anything in particular, Father's Day was nowhere in the vicinity of my mind. My eleven year old son, Matías, came into the room with a handmade present for me. Up to this point, my Father's Day gift history was nothing unusual. Books, socks, hand-painted wooden spoons, the kind of thing any father would expect from his pre-teen son. So you can understand when I say I was bracing myself to fake excitement at my son's present. But this Father's Day was special. I didn't have to fake excitement. I was in fact excited beyond my own belief. Matí's handmade present was a complete alphabet drawn on an A4 paper. Grungy, childish, and sweeter than a ton of honey. He'd spent days making it, three-dimensioning the letters, wiggle-shadowing them. Incredible. A common annoyance for graphic designers is explaining to people, even those close to them, what they do for a living. You have to somehow make it understandable that you are a visual communicator, not an artist. Part of the problem is the fact that "graphic designer" and "visual communicator" are just not in the dictionary of standard professions out there. If you're a plumber, you can wrap all the duties of your job with 3.5 words: I'm a plumber. If you're a graphic designer, no wrapper, 3.5 or 300 words, will ever cover it. I've spent many hours throughout the years explaining to my own family and friends what I do for a living, but most of them still come back and ask what it is exactly that I do for dough. When you're a type designer, that problem magnifies itself considerably. When someone asks you what you do for a living, you start looking for the nearest exit, but none of the ones you can find is any good. All the one-line descriptions are vague, and every single one of them queues a long, one-sided conversation that usually ends with someone getting too drunk listening, or too tired of talking. Now imagine being a type designer, with a curious eleven year old son. The kid is curious as to why daddy keeps writing huge letters on the computer screen. Let's go play some ball, dad. As soon as I finish working, son. He looks over my shoulder and sees a big twirly H on the screen. To him it looks like a game, like I'm not working. And I have to explain it to him again. This Father's Day, my son gave me the one present that tells me he finally understands what I do for a living. Perhaps he is even comfortable with it, or curious enough about that he wants to try it out himself. Either way, it was the happiest Father's Day I've ever had, and I'm prouder of my son than of everything else I've done in my life. This is Matí's font. I hope you find it useful.

A Postmodern vernacular sanserif in 8 fonts Prosaic designed by Aurélien Vret is a Postmodern typographic tribute to the french vernacular signs created by local producers in order to directly market their products visible along the roads. These signs drawn with a brush on artisanal billboards do not respect any typographic rules. The construction of these letterforms is hybrid and does not respect any ductus. Nevertheless the use of certain tools provokes a certain mechanism in the development of letter shapes. It’s after many experiments with a flat brush, that’s these letterforms have been reconstructed and perfected by Aurélien Vret. This is the starting point for the development of an easily reproducible sanserif with different contemporary writing tools. From non-typographical references of Prosaic towards readability innovation The influence of the tool is revealed in the letterforms: angular counterforms contrasting to the smoothed external shapes. This formal contrast gives to Prosaic a good legibility in small sizes. These internal angles indirectly influenced by the tool, open the counterforms. In the past, to deal with phototype limitations in typeface production, some foundries modified the final design by adding ink traps. In our high resolution digital world, these ink traps — now fashionable among some designers — have little or no effect when literally added to any design. Should one see in it a tribute to the previous limitations? Difficult to say. Meanwhile, there are typeface designers such as Ladislas Mandel, Roger Excoffon, and Gerard Unger who have long tried to push the limits of readability by opening the counters of their typefaces. Whatever the technology, such design research for a large counters have a positive impact on visual perception of typefaces in a small body text. The innovative design of counter-forms of the Prosaic appears in this second approach. Itself reinforced by an exaggerated x-height as if attempting to go beyond the formal limits of the Latin typography. It is interesting to note how the analysis of a non-typographical letters process has led to the development of a new typographic concept by improving legibility in small sizes. Disconnected to typical typographic roots in its elaboration, Prosaic is somewhat unclassifiable. The formal result could easily be described as a sturdy Postmodern humanistic sanserif! Humanistic sanserif because of its open endings. Sturdy because of its monumental x-height, featuring a “finish” mixing structured endings details. The visual interplay of angles and roundness produces a design without concessions. Finally, Prosaic is Postmodern in the sense it is a skeptical interpretation of vernacular sign paintings. Starting from a reconstruction of them in order to re-structure new forms with the objective of designing a new typeface. Referring to typographic analogy, the Prosaic Black is comparable to the Antique Olive Nord, while the thinner versions can refer to Frutiger or some versions of the Ladislas Mandel typefaces intended for telephone directories. Prosaic, a Postmodern vernacular sanserif Prosaic is radical, because it comes from a long artistic reflection of its designer, Aurélien Vret, as well a multidisciplinary artist. The Prosaic is also a dual tone typeface because it helps to serve the readability in very small sizes and brings a sturdy typographic power to large sizes. Prosaic, a Postmodern vernacular sanserif

If you are into the vintage feel, you will love this one. This is as vintage as it probably gets. There are probably only a handful of places in the world where schools still use blackboards and chalk – they’ve given way to their white board and marker counterparts for decades now. White boards are definitely more practical and less messy when compared to chalk, but then if you are creatively inclined you will agree that a little bit of mess is worth it if you are going to get the effects that you desired! Well, we can give you the effects minus the mess with our chalk hand lettering fonts! As the name suggests, this font gives you that distinctly unique chalk on slate feel, and if you are wondering what’s distinct about it; writing on slate or blackboard was a slow process which required deliberated and concentrated efforts resulting in a handwriting which was usually quite different to a person’s handwriting on paper. Typography of chalk on slate was an everyday event in the classrooms of yesterday, and today we hardly ever get to see one of these if it all. Writing on a black board with chalk was quite an interesting achievement in its own right, if you ended up with anything legible and if your writing remained focused and ‘in-line’! But of course like everything else, his took time to master and when you did get it right, chalk hand lettering was quite an enjoyable experience! For semi-permanent designs, say for example an eventful day at school; students of the day would create beautiful typography on the boards, and add a solidarity to it sometimes by shading one side of the lettering – usual y the right side towards which the lettering leaned. This is the effect our chalk hands lettering shaded variation gives you. You could get this font individually, but we strongly advise you check out the “chalk hand lettering pack” font. It includes the simple “chalk hand lettering” (minus the shading effect) and also a “chalk hand elements” bag of tricks. The elements is a collection of graphic art which resemble shapes and designs that used to be added to chalk art, to beautify the typography. If you enjoyed seeing the effects of our Chalk Hands font, and the shaded variant – you are simply going to go gaga over Chalk Hand Elements! The chalk hand font of course enables you to make typographic art similar to the effect of chalks on slates and black boards. This was quite the art form in the days gone by! The shaded variation added a bit of solidarity and the technique was commonly used to make semi-permanent designs say for example a welcome note when somebody important was to visit. Classic chalk hand designs, especially the semi permanent ones often had little pieces of art to help beautify the creation as a whole. It could simply be symmetrical graphics appearing before and after the title and headings, maybe just an interesting shape to fill in an empty area on the board, and such…our Chalk Hand Elements offers you a ton of such graphics. The two chalk hand variations and the elements are all included in the Chalk Hand Family, and this is strongly recommended if you want to make designs that are truly reminiscent of the days of chalk on slate.

Over the past few years, every designer has seen the surprising outbreak of blackletter types in marketing campaigns for major sports clothing manufacturers, a few phone companies, soft drink makers, and more recently on entertainment and music products. In such campaigns, blackletter type combined with photos of usual daily activity simply adds a level of strength and mystique to things we see and do on a regular basis. But we couldn't help noticing that the typography was very odd in such campaigns, where the type overpowers all the other design elements. This is because almost all blackletter fonts ever made express too much strength and time-stamp themselves in a definite manner, thereby eliminating themselves as possible type choices for a variety of common contemporary design approaches, such as minimal, geometric, modular, etc. So extending the idea of using blackletter in modern design was a bit of a wild goose chase for us. But we finally found the face that completes the equation no other blackletter could fit into: Leather is a digitization and major expansion of Imre Reiner's forgotten but excellent 1933 Gotika design, which was very much ahead of its time. In its own time this design saw very little use because it caused problems to printers, where the thin serifs and inner bars were too fragile and broke off too easily when used in metal. But now, more than seventy years later, it seems like it was made for current technologies, and it is nothing short of being the perfect candidate for using blackletter in grid-based settings. Leather has three features usually not found in other blackletter fonts: - Grid-based geometric strokes and curves: In the early 1930s, blackletter design had already begun interacting back with the modern sans serif it birthed at the turn of the century. This design is one of the very few manifestations of such interaction. - Fragile, Boboni-like serifs, sprout from mostly expected places in the minuscules, but are sprinkled very aesthetically on some of the majuscules. The overall result is magnificently modern. - The usual complexity of blackletter uppercase's inner bars is rendered simple, geometric and very visually appealing. The contrast between the inner bars and thick outer strokes creates a surprising circuitry-like effect on some of the letters (D, O, Q), wonderfully plays with the idea of fragile balances on some others (M, N and P), and boldly introduces new concepts on others (B, F, K, L, R). Our research seems to suggest that the original numerals used with this design in the 1930s were adopted from a previous Imre Reiner typeface. They didn't really fit with the idea of this font, so we created brand new numerals for Leather. We also expanded the character set to cover all Western Latin-based languages, and scattered plenty of alternates and ligatures throughout the map. The name, Leather, was derived from a humorous attempt at naming a font. Initially we wanted to call it Black Leather (blackletter...blackleather), but the closer we came to finishing it, the more respect we developed for its attempt to introduce a plausible convergence between two entirely different type categories. Sadly for the art, this idea of convergence didn't go much further back then, due to technological limitations and the eventual war a few years later. We're hoping this revival would encourage people to look at blackletter under a new light in these modern times of multiple design influences.

Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.” The great hype of Swisspalooza '07 prompted a look at Max Miedinger, the designer of Neue Haas Grotesk (later renamed to Helvetica). Surprisingly, what little biographical information available about Miedinger indicates that he was a typography consultant and type sales rep for the Haas foundry until 1956, after which time he was a freelance graphic designer — rather than the full-time type designer most Helvetica enthusiasts presume him to have been. It was under that freelance capacity that he was commissioned to design the regular and bold weights of Neue Haas Grotesk typeface. His role in designing Helvetica was never really trumpeted until long after the typeface attained global popularity. And, again surprisingly, Miedinger designed two more typefaces that seem to have been lost to the dust of film type history. One is called Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre. The other, made in 1964, is much more interesting. Its original name was Horizontal. Here it is, lest it becomes a Haas-been, presented to you in digital form by Canada Type under the name of its original designer, Miedinger, the Helvetica King. The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces four new weights, ranging from Thin to Medium, alongside the bold original. The Miedinger package comes in all popular font formats, and supports Western, Central and Eastern European languages, as well as Esperanto, Maltese, Turkish and Celtic/Welsh. A few counter-less alternates are included in the fonts.

The Tecn@ Dark&Light Triangle Background Nomenclature Font family is differentiated by the direction of the triangle tip in the 4 cardinal points. The family were designed to head, enumerate, indicate or highlight writings or design plans, for this reason, the characters are available only in capital letters and some signs or symbols that can serve such purposes. A triangle or empty character is included so that the user can use it overlaying any character of his choice or to be used alone. What is Lorem Ipsum? Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum. Why do we use it? It is a long established fact that a reader will be distracted by the readable content of a page when looking at its layout. The point of using Lorem Ipsum is that it has a more-or-less normal distribution of letters, as opposed to using 'Content here, content here', making it look like readable English. Many desktop publishing packages and web page editors now use Lorem Ipsum as their default model text, and a search for 'lorem ipsum' will uncover many web sites still in their infancy. Various versions have evolved over the years, sometimes by accident, sometimes on purpose (injected humour and the like). Where does it come from? Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Lorem Ipsum comes from sections 1.10.32 and 1.10.33 of "de Finibus Bonorum et Malorum" (The Extremes of Good and Evil) by Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the Renaissance. The first line of Lorem Ipsum, "Lorem ipsum dolor sit amet..", comes from a line in section 1.10.32. The standard chunk of Lorem Ipsum used since the 1500s is reproduced below for those interested. Sections 1.10.32 and 1.10.33 from "de Finibus Bonorum et Malorum" by Cicero are also reproduced in their exact original form, accompanied by English versions from the 1914 translation by H. Rackham. Where can I get some? There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don't look even slightly believable. If you are going to use a passage of Lorem Ipsum, you need to be sure there isn't anything embarrassing hidden in the middle of text. All the Lorem Ipsum generators on the Internet tend to repeat predefined chunks as necessary, making this the first true generator on the Internet. It uses a dictionary of over 200 Latin words, combined with a handful of model sentence structures, to generate Lorem Ipsum which looks reasonable. The generated Lorem Ipsum is therefore always free from repetition, injected humour, or non-characteristic words etc.

Times with a Human Face: In my article of the same name which appeared in the magazine Font, volume 2000 I described the long and trying story of an order for a typeface for the Czech periodical Lidové noviny (People’s Newspaper). My task was to design a modification of the existing Times. The work, however, finally resulted in the complete re-drawing of the typeface. The assignment, which was on the whole wisely formulated, was to design a typeface which would enable “a smooth flow of information in the reader’s eye”, therefore a typeface without any artistic ambitions, from which everything which obstructs legibility would be eliminated. A year later Lidové noviny had a different manager who in the spring of 2001 decided to resume the cooperation. The typeface itself definitely profited from this; I simplified everything which could be simplified, but it still was not “it”, because the other, and obviously more important, requirement of the investor held: “the typeface must look like Times”. And that is why the above-mentioned daily will continue to be printed by a system version of Times, negligently adjusted to local conditions, which is unfortunately a far cry from the original Times New Roman of Stanley Morison. When I was designing Lido, the cooperation with the head of production of Lidové noviny was of great use to me. Many tests were carried out directly on the newspaper rotary press during which numerous weak points of the earliest versions were revealed. The printing tests have proved that the basic design of this typeface is even more legible and economical than that of Times. The final appearance of Lido STF was, however, tuned up without regard to the original assignment – the merrier-looking italics and the more daring modelling of bold lower case letters have been retained. The typeface is suitable for all periodicals wishing to abandon inconspicuously the hideous system typefaces with their even more hideous accents and to change over to the contemporary level of graphic design. It is also most convenient for everyday work in text editors and office applications. It has a fairly large x-height of lower case letters, shortened serifs and simplified endings of rounded strokes. This is typical of the typefaces designed for use in small sizes. Our typeface, however, can sustain enlargement even to the size appropriate for a poster, an information table or a billboard, as it is not trite and at the same time is moderate in expression. Its three supplementary condensed designs correspond to approximately 80% compression and have been, of course, drawn quite separately. The intention to create condensed italics was abandoned; in the case of serif typefaces they always seem to be slightly strained. I named the typeface dutifully "Lido" (after the name of the newspaper) and included it in the retail catalog of my type foundry. In order to prevent being suspected of additionally turning a rejected work into cash, Lido STF in six designs is available free of charge. I should not like it if the issuing of this typeface were understood as an “act out of spite” aimed against the venerable Times. It is rather meant as a reminder that there really are now alternatives to all fonts in all price categories.

FF Fago Thanks to his many years of involvement in major corporate type projects, Ole Schäfer had the necessary resources from which to construct his FF Fago™. The result is an extended family that provides comprehensive typographic support and whose qualities come to the fore in all relevant contexts ? from print to office through internet and wayfinding systems. FF Fago The sizable x-height together with the generous and open design of the characters ensure that the sans serif Fago remains clearly legible even in small point sizes or in potentially difficult situations, such as on wayfinding systems. A subtle contrast in line weight and letter forms that are reminiscent of those of an antiqua typeface provide the font with a restrained yet friendly and lively tone. Available in five weights, each with three different kerning widths and matching genuine italic variants, FF Fago is equipped for practically every situation. There are also small caps, oldstyle and lining figures, a selection of ligatures and geometric symbols. The range of potential applications of this universal font is almost inexhaustible ? it can be used in packaging design, on signs, posters and even for setting longer text sections. Fago is the ideal partner for those working on major corporate projects! FF Fago Correspondence Sans und Correspondence SerifThe Correspondence versions of Fago have been optimized for use in the business environment and in office communication. The carefully modified characters have a particularly robust feel, so that the clear, easily differentiated glyphs allow for straightforward communication even on screen. With these aims in mind, Schäfer has not only adjusted the x-height, but has provided certain letters in the sans variant ? such as the lowercase "i", the "r" and the uppercase "I" ? with serifs. Correspondence Serif, on the other hand, has been conceived as a slab serif throughout and in appearance has the look of the letters produced by the old office typewriting machines. An individual note has been added by providing a few unusual serif forms, as for example in the case of the "m", the "v" and the "y". Both Correspondence Sans and Serif are available in two weights with complementary italic versions and thus are ideally suited for use with standard office programs. This is all rounded off with a selection of office symbols. FF Fago Monospaced The use of a few typographic tricks is necessary to ensure that the letters of the alphabet appear to have the same width. Narrow letters such as "r" and "i" have been made to seem more expansive by using prominent serifs while the broader letters ? a good example is the "m" ? have the forms seen in a condensed font. And it is thanks to this design strategy that Fago Monospaced has the character of old typewriter text. What was once unavoidable because of the technology of the time is now a welcome alternative that can be used for the purposes of emphasis. As an additional supplement to the Fago superfamily, Fago Monospaced can be used, for example, to set short notes or draw attention to special text passages. There are three weights, in their original form without italic variants or small caps, but offering an alternative, technical form of the "0" with a crossbar.

Green Fairy is a chromatic font family highly ornamented for display purposes. Green Fairy’s characters have been specifically designed to accommodate its loops and ornaments following a modern typeface structure. Green Fairy has four chromatic weights: 1. Green Fairy Outline 2. Green Fairy Dots 3. Green Fairy Stencil 4. Green Fairy Full The outline weight has been created as the base or structure for the other weights. You can combine these weights as well as add colours to obtain multiple effects and type styles. Green Fairy has also three combined weights (combos) to simplify your work flow, for these occasions when you only want to use one single colour in your font: 5. Green Fairy Dots Combo 6. Green Fairy Stencil Combo 7. Green Fairy Full Combo GREEN FAIRY ORIGINS The origin of this typeface is the lettering I designed in October 2015 as part of my illustrated cocktail artwork called “Absinthe. La Fée Verte (The Green Fairy)”. Originally, this lettering only featured eight letters “AB·SINTHE” vector drawn in Illustrator. Right after creating the full-colour artwork, I designed a fountain-letterpress print version of it, in collaboration with Ladies of Letters, A.K.A. Carla Hackett and Amy Constable from Saint Gertrude Fine Printing. At the beginning of 2016 –and thanks to the project @36daysoftype– I found the motivation, and most importantly the deadline, to draw the rest of the twenty-six letters of the uppercase alphabet using Illustrator. I started 2017 having my first two calligraphy courses sold out, so I took this amazing opportunity to devote myself to Green Fairy for a few months. In February 2017, I purchased the font software Glyphs and I started to re-draw all twenty-six letters of the uppercase alphabet again. PRODUCTION PROCESS Green Fairy started being one weight, but quickly turned into a layered/chromatic font. Things were going more or less fine till I arrived to the Dots weight: 1) I started drawing squares following a grid; 2) Then, the squares turned into diamonds following the same grid; 3) Then, the grid wasn’t working so well on the round letters so I tried randomising the position of the diamonds but it didn’t work; 4) So I went back to the grid, and this time scaled down the size of the diamonds creating a visual half-tone effect. I spent over four weeks working on the Dots weight and I felt like I was in the middle of a very long tunnel and I couldn’t see the light at the end. I encountered many other problems along the way but by June 2017, I felt I was back on track again. I kept working, tweaking, re-drawing and re-adjusting, and then the diacritics came on board… And then more re-drawing, re-tweaking, re-adjusting and then numbers… And then spacing, symbols, and currencies… And then more spacing, kerning, contextual kerning for triplets… In September 2017 I told myself “that’s it, I’m going to finish it now!” But guess what? More re-tweaking, testing, hinting, testing, rendering, testing… For those of you not familiarized with typeface design, it is extremely time consuming and it requires a lot of hard work, focus and determination. This project could not have been possible without the help of these generous professionals: Jose Manuel Urós, typeface designer based in Barcelona and my teacher twice in the past; Jamie Clarke, freelance letterer and typeface designer who has released a couple of chromatic fonts recently; Troy Leinster, Australian full-time typeface designer living and working in New York City; Noe Blanco, full-time typeface designer and hinting specialist based in Catalonia; And Nicole Phillips, typographer currently relocating from Australia to New Zealand. To all of you: THANK YOU VERY MUCH!

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.

Sterling Script was initially meant to a be digitization/reinterpretation of a copperplate script widely used during what effectively became the last decade of metal type: Stephenson Blake's Youthline, from 1952. The years from 1945 to 1960 saw a heightened demand for copperplate faces, due to post-war market optimism, as well as the banking and insurance industries booming like never before, which triggered the need for design elements that express formal elegance and luxury. The name Sterling Script is a tip of our hat to England, the Stephenson Blake foundry's country of origin. It is also a historical hint about copperplate scripts having been used mainly for banking and bonds in the 19th century. Originally we just wanted to resurrect a gorgeous metal type from the ashes of forgotten history. But after the main font was done we saw that the original s really needed an alternate. We made one. But we felt sorry for the original s and didn't want to see it dropped from use altogether, so we saved it by building a set of ligatures that solve the minor connection problem with the s at large sizes. Before the completion of the ligatures, a few different alternates were also drawn, and we were faced by the fact that the single font we set out to do was now a much larger set than we anticipated. While thinking about how to split up our unexpected bundle of large characters, we drew a few more alternates and some swashes. This abundance "problem" reached a certain point where there was no looking back, so we just decided to go all the way with this font. We added many more alternates, swashes, ligatures, and two full sets of each beginning and ending lowercase letter. The result is over 750 characters of sheer elegance. Sterling Script has many features that set it above and beyond other copperplate scripts: - It has 2 beginning and 2 ending alternates for every single lowercase character. The beginning and ending variants on the vowels are also available in accented form in the appropriate cells of the character map. - Sterling Script is the ultimate elegant font choice for luxury design. Very elegant, but not too soft. Its strong and confident shapes convey a message that is real, comforting and assuring. - One of the eventual purposes of expanding Sterling Script this extensively was to create a script that finds the middle ground between formal and informal without compromising either trait, a script where the degree of formality can be gauged, tweaked, cranked up or toned down depending on the layout's needs. Aside from beginnings and endings, there are multiple variations for the majority of the basic characters. This is a formal script on steroids, where twirls and swashes can be set to come out unexpectedly from any place in the word, which is great for reducing the inherent rigidity of words set in copperplate scripts and "humanizing" them whenever needed. This is especially useful for wedding, postcard and invitation design, where not every viewer of the collateral material has something to do with banking or insurance. - With such an extensive character set, a designer can easily set a word or a sentence in 10 or more different ways, and choose the perfect one for the task at hand. This is particularly useful for work where details are of utmost importance, like logos, slogans, or elegant engravings that consist of one to three words. Let those swashes and twirls intertwine for maximum elegance. The Sterling Script complete package consists of 7 fonts: Sterling Script, Alternates, Beginnings, Endings, Swashes, Swash Alternates, and Ligatures. Sterling Script is available in five different purchase options and price ranges. But with such a massive offering of variation, the Sterling Script complete package is definitely the most value-laden set in its class. Once you use Sterling Script, you will never want to go back to other copperplates.

‘Thwaites’ typeface is fully dedicated to one of my best Canadian friends who I do cherish and value highly. This great and industrious Canadian friend is ‘James Douglas Thwaites’ who lives along with his good-natured family in British Columbia, Canada. For me, James is like a source of inspiration and I do consider him as an ideal in my life. Our strong friendship has started since 1999 and I hope that it will endure just to the last moment of my life. Sometimes I see him as the writer and poet that I learn a lot from, sometimes I see him as a devoted religious minister that I try to understand more about his teachings, and other times I see him as the educator that I strive to imitate verbatim in my life. When I want to talk more about this Canadian friend, I will not be able to give him his due in full. Thus, I will instead mention some excerpts of his biography that he wrote himself saying that: “James D. Thwaites is a self-accomplished man. Having worked in various fields including restaurant management and cleaning, he has achieved his goals of being a full-time teacher, past-time writer, and volunteer religious minister for the Christian Congregation of Jehovah's Witnesses. His personal and academic pursuits have led him to be published in various magazines, newspapers, self-published books, and websites, including his now defunct ‘poetryofthemonth.com’ website. He continues to learn and augment the craft of writing while working primarily in early literacy and delayed literacy learners, teaching reading and literature to a wide age range of students. He views his religious endeavors as an extension of his academic ones. He teaches others both as a public speaker and in one-on-one situations, teaching about the benefits of submission to God and to His teachings. His future goals include expanding his ministry and continuing his writing.” The name ‘Thwaites’ itself comes from Great Britain and originated from the last Viking raids upon England, being an Anglicized version of a Scandinavian term meaning—depending on the source material—either "a place that is difficult to approach" or "a small thicket of trees." Another recitation mentions that ‘Thwaites’ can be described also as an English surname but one of pre 7th century Norse-Viking origins. It may be either topographical or locational, and is derived from the word "thveit", meaning a clearing or farm. As a locational surname it originates from any one of the various places called "Thwaite", found in several parts of Northern England and East Anglia to the south. The various modern spelling forms include Thwaite, Thwaites, Thwaytes, Thoytes, Twaite, Twatt, Twaites, Tweats and Twite. The name, although often appearing unique to outsiders, can often be found within other famous names like Braithwaite, Goldthwaites, or Misslethwaites. With various spellings, some families not including the ‘e’ or the ‘s’ at the end, Thwaites and its derivations—although not exceedingly common—is a name found worldwide. ‘Thwaites’ typeface is simply a sans-serif streamlined, stylish, and versatile font. It is designed using a combination of thick and thin strokes for its +585 characters. Its character set supports nearly most of the Central, Eastern, and Western European languages using Latin scripts including the Irish language. The typeface is appropriate for any type of typographic and graphic designs in web, print, and other media. It is also absolutely preferable to be used in the wide fields related to publication, press, services, and production industries. It can create a very impressive impact when used in headlines, posters, titles, products’ surfaces, logos, medical packages, product and corporate branding, and also signage. It has also both of lining and old-style numerals which makes it more suitable for any printing or designing purposes. ‘Thwaites’ typeface is really the cannot-miss choice for anyone who wants to possess unique artistic and modern designs produced using this streamlined typeface.

It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there. Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds. Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff. Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well. This is one quill script that no large bird had to die for. A few technical notes The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on. Awards During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.

This font is not just historic, but classy, timeless, and in its current form, a modern classic. The original Titling Caps and icons Jacque François Rosart painstakingly carved, now meticulously digitized to be a true, accurate, and complete representation of the original designs. You can get the fully matching family with "ALL", or choose the set that meets your immediate needs: Zodiac and Constellations - The Stars Have Aligned into a Great Font So what's your sign? Whatever it is, R&F has it, and in so many ways! Pictograph, symbol, constellation and picto-constellation are all included. Constellations are useable even in scientific and education settings: based on current star charts and matched to Bayer designations, these stars shine both in design and accuracy! Includes Rosart's original moon and sun faces. Faces for the planets to match those for the sun and moon. Rosart's symbols for the planets. Astrology symbols including, Rosart’s pictographs for the twelve signs. Constellations of the Zodiac from precise star charts. Precise small star shapes, so you can design other constellations. Pinwheel, saltires, asterisks, solid stars, and even the Christmas star. Dave Lawrence, "Each symbol was carefully designed to match the main font." Alchemy Symbols - Turns A Design into Gold From labeling your cupboard of magical ingredients to getting one step closer to the golden goose, these rare alchemical symbols are a treasure trove of possibilities. Including: classic symbols for elements combinations medicinals chemistry mathematical symbols Includes music symbols for titling, as well as Verse and Response symbols. Seasons - Symbols to Keep Things Organized Throughout the Year Classic weather stylings, including old fashioned lightning and an eclipsing moon with the four-o'clock shadow. Map Markers Religious Symbols Phases of the moon. Pointing symbols: fingers, arrows, triangles, with circles Matching Italics CAL's Dimension Slant™ Instead of sloping all the pictures and drawings to an even slant, a multidimensional approach was used. And each symbol was evaluated and crafted individually. Pro World1 Font The pro world font contains all of these: Latin Standard set Rosart's original backwards X alternate. Alternate U shape. In the italic: swash variants for the J, Q, and Y. Proportional Lining (default), proportional old style, small caps figures. CAL Dimension Slant, for dynamic italics Includes Rosart's original moon and sun faces, along with additional faces for each planet. Rosart’s symbols for the planets and pictographs for the twelve signs of the zodiac. Constellations of the Zodiac along with small star shapes. Large stars, pinwheel, saltires, asterisks Symbols for chemistry Medicine Music symbols Mathematical symbols Pointing symbols like the finger, acorn, arrow and triangle. Geometrical shapes. Plus these more: Latin Pro character set for central European languages and Turkish. Rare kerns for Polish, Czech, Slovakian and others. Ligatures needed for some central European orthographies. Lowered German Umlauts for better line spacing. Cyrillic uppercase and small caps for eastern Europe, southern Europe, and Russia, with kerning. Rosart’s original Greek uppercase and small caps, but also tonos for monotonic Greek. Vietnamese, which has been kerned. Pinyin, including a special form of the Ü so that titles can be set closer. Numbers: A set of stacking (nut) fractions, along with very elegant automatic fractions A large set of currency symbols in lining, old style, small caps, denominator and numerator sizes. Our first Retail Pricing Feature: (ss03 + ss04) Just turn on the feature and type $1.99 and Rosart will do the rest. Ampersand alternates. Numerator sized musical sharp and flat symbols. Dave Lawrence, “From the moment I saw these letters I knew I had to make this typeface. What I didn’t know was that I would end up drawing most of Rosart’s special symbols... But it was too hard to resist."

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.

TT Ramillas useful links: Specimen | Graphic presentation | Customization options TT Ramillas in numbers: • 28 styles: 7weights, 7 true italics, 4 decorative styles, 7 initials styles, and 3 variable fonts • 900 glyphs in each style (except decorative & initials 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 Hinting TT 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 ? and a bright "tongue" in the letters ??, ductile legs in ??, ??, and ??, 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 28 styles: 7 weights and 7 corresponding italics, 4 decorative ones, 7 initials styles and 3 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.

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.

TT Runs useful links: Specimen PDF | Graphic presentation | Customization options TT Runs Version 2.0—an Unusual Wide-Proportioned Sans Serif! An update that expands the font's capabilities. TT Runs is a font designed for the sports industry. Before starting the development, we researched the identities of various Olympic venues and analyzed current sports brands. We put in maximum effort to design a unique yet elegant modern font well-suited for the sports sector. TT Runs has wide and unusual proportions that are different from traditional ones. It is because of the reversed contrast, which refers to the distinction between the upper and lower parts of letters. The uppercase letters have distinctive inverted proportions, particularly noticeable in characters like K, C, S, and R. This design choice gives the font an original personality and makes the letters look stylish and suitable for both athletic and casual sportswear. While updating the font, we kept its distinctive characteristics and preserved the graphical look of the majority of the characters. However, we thoroughly redesigned the outlines and italic font styles and updated the font's technical aspects entirely. As a result, TT Runs has become more convenient to use, and its range of applications has significantly broadened. - More projects and countries! The set of each font style has expanded from 791 to 917 characters. We added new languages and characters of the expanded Latin and Cyrillic writing systems. - Perfect italics! The new italic font styles are flawless from both graphical and technical points of view. The updated variable font. We have united the roman and italic font styles. You can now change the font on the axes of slope and weight, choosing the suitable values. - The new set of OpenType features! We added the updated numerators with currency symbols, numbers in filled circles, and localization features for the Dutch, Catalan, Turkish, Serbian, Bashkir, Chuvash, Bulgarian, and Romanian languages. TT Runs is an expressive font. It looks aesthetically pleasing on both athletic and casual clothing and is well-suited for printing on any material. Due to its proportions, the font is an ideal choice for headings, offering excellent readability and an elegant appearance in bigger blocks of text. Created with the sports industry in mind, this font brings a touch of style to any modern project. FOLLOW US: Instagram | Facebook | Website TT Runs OpenType features: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, case, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt. TT Runs language support: English, Albanian, Basque, Catalan, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Moldavian (lat), Montenegrin (lat), Norwegian, Polish, Portuguese, Romanian, Serbian (lat), Slovak, Slovenian, Spanish, Swedish, Swiss German, Valencian, Azerbaijani, Kazakh (lat), Turkish, Uzbek (lat), Acehnese, Banjar, Betawi, Bislama, Boholano, Cebuano, Chamorro, Fijian, Filipino, Hiri Motu, Ilocano, Indonesian, Javanese, Khasi, Malay, Marshallese, Minangkabau, Nauruan, Nias, Palauan, Rohingya, Salar, Samoan, Sasak, Sundanese, Tagalog, Tahitian, Tetum, Tok Pisin, Tongan, Uyghur, Afar, Asu, Aymara, Bemba, Bena, Chichewa, Chiga, Embu, Gikuyu, Gusii, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kirundi, Kongo, Luba-Kasai, Luganda, Luo, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Mauritian Creole, Meru, Morisyen, Ndebele, Nyankole, Oromo, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Swahili, Swazi, Taita, Teso, Tsonga, Tswana, Vunjo, Wolof, Xhosa, Zulu, Ganda, Maori, Alsatian, Aragonese, Arumanian, Asturian, Belarusian (lat), Bosnian (lat), Breton, Bulgarian (lat), Colognian, Cornish, Corsican, Esperanto, Faroese, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Interlingua, Judaeo-Spanish, Karaim (lat), Kashubian, Ladin, Leonese, Manx, Occitan, Rheto-Romance, Romansh, Scots, Silesian, Sorbian, Vastese, Volapük, Võro, Walloon, Walser, Welsh, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, Lakota, Karachay-Balkar (lat), Karelian, Livvi-Karelian, Ludic, Tatar, Vepsian, Guarani, Nahuatl, Quechua, Russian, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Macedonian, Serbian (cyr), Ukrainian, Gagauz (cyr), Moldavian (cyr), Kazakh (cyr), Kirghiz, Tadzhik, Turkmen (cyr), Uzbek (cyr), Azerbaijan, Lezgian, Abazin, Agul, Archi, Avar, Dargwa, Ingush, Kabardian, Kabardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Rutul, Tabasaran, Tsakhur, Buryat, Komi-Permyak, Komi-Yazva, Komi-Zyrian, Shor, Siberian Tatar, Tofalar, Touva, Bashkir, Chechen (cyr), Chuvash, Erzya, Kryashen Tatar, Mordvin-moksha, Tatar Volgaic, Uighur, Rusyn, Karaim (cyr), Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmyk, Talysh (cyr) .

The idea of a brand-new grotesk is certainly rather foolish – there are already lots of these typefaces in the world and, quite simply, nothing is more beautiful than the original Gill. The sans-serif chapter of typography is now closed by hundreds of technically perfect imitations of Syntax and Frutiger, which are, however, for the most part based on the cool din-aesthetics. The only chance, when looking for inspiration, is to go very far... A grotesk does not afford such a variety as a serif typeface, it is dull and can soon tire the eye. This is why books are not set in sans serif faces. A grotesk is, however, always welcome for expressing different degrees of emphasis, for headings, marginal notes, captions, registers, in short for any service accompaniment of a book, including its titlings. We also often come across a text in which we want to distinguish the individual speaking or writing persons by the use of different typefaces. The condition is that such grotesk should blend in perfectly with the proportions, colour and above all with the expression of the basic, serif typeface. In the area of non-fiction typography, what we appreciate in sans-serif typefaces is that they are clamorous in inscriptions and economic in the setting. John Sans is to be a modest servant and at the same time an original loudspeaker; it wishes to inhabit libraries of educated persons and to shout from billboards. A year ago we completed the transcription of the typefaces of John Baskerville, whose heritage still stands out vividly in our memory. Baskerville cleverly incorporated certain constructional elements in the design of the individual letters of his typeface. These elements include above all the alternation of softand sharp stroke endings. The frequency of these endings in the text and their rhythm produce a balanced impression. The anchoring of the letters on the surface varies and they do not look monotonous when they are read. We attempted to use these tricks also in the creation of a sans-serif typeface. Except that, if we wished to create a genuine “Baroque grotesk”, all the decorativeness of the original would have to be repeated, which would result in a parody. On the contrary, to achieve a mere contrast with the soft Baskerville it is sufficient to choose any other hard grotesk and not to take a great deal of time over designing a new one. Between these two extremes, we chose a path starting with the construction of an almost monolinear skeleton, to which the elements of Baskerville were carefully attached. After many tests of the text, however, some of the flourishes had to be removed again. Anything that is superfluous or ornamental is against the substance of a grotesk typeface. The monolinear character can be impinged upon in those places where any consistency would become a burden. The fine shading and softening is for the benefit of both legibility and aesthetics. The more marked incisions of all crotches are a characteristic feature of this typeface, especially in the bold designs. The colour of the Text, Medium and Bold designs is commensurate with their serif counterparts. The White and X-Black designs already exceed the framework of book graphics and are suitable for use in advertisements and magazines. The original concept of the italics copying faithfully Baskerville’s morphology turned out to be a blind alley. This design would restrict the independent use of the grotesk typeface. We, therefore, began to model the new italics only after the completion of the upright designs. The features which these new italics and Baskerville have in common are the angle of the slope and the softened sloped strokes of the lower case letters. There are also certain reminiscences in the details (K, k). More complicated are the signs & and @, in the case of which regard is paid to distinguishing, in the design, the upright, sloped @ small caps forms. The one-storey lower-case g and the absence of a descender in the lower-case f contributes to the open and simple expression of the design. Also the inclusion of non-aligning figures in the basic designs and of aligning figures in small caps serves the purpose of harmonization of the sans-serif families with the serif families. Non-aligning figures link up better with lower-case letters in the text. If John Sans looks like many other modern typefaces, it is just as well. It certainly is not to the detriment of a Latin typeface as a means of communication, if different typographers in different places of the world arrive in different ways at a similar result.

“A picture is worth a thousand words” and here, that’s more than true. Take a look at Erotica’s Booklet; Erotica’s Poster Design and Erotica’s User’s Guide before reading below. THE STYLES The difference between Pro and Std styles is the quantity of glyphs. Therefore, Pro styles include all the decorative alternates and ligatures while Std styles are a reduced version of Pro ones. Big and Small styles were thought for better printing results. While Big is recommended to be printed in big sizes, Small may be printed in tiny sizes and will still show its hairlines well. INTRODUCTION I have always wondered if the circle could ever be considered as an imperfect shape. Thousands of years have passed and we still consider circles as synonyms of infinite beauty. Some believe that there is something intrinsically “divine” that could be found in them. Sensuality is many times related to perfectly shaped strong curves, exuberant forms and a big contrasts. Erotica is a font created with this in mind. THE PROCESS This story begins one fine day of March in 2012. I was looking for something new. Something which would express the deep love I feel regarding calligraphy in a new way. At that time, I was practicing a lot of roundhand, testing and feeling different kinds of nibs; hearing the sometimes sharp, sometimes soft, sound of them sliding on the paper. This kind of calligraphy has some really strict rules: An even pattern of repetition is required, so you have to be absolutely aware of the pressure of the flexible pen; and of the distance between characters. Also, learning copperplate can be really useful to understand about proportion in letters and how a minimum change of it can drastically affect the look of the word and text. Many times I would forget about type-design and I would let myself go(1): Nothing like making the pen dance when adding some accolades above and below the written word. Once something is mastered, you are able to break some rules. At least, that’s my philosophy. (2) After some research, I found that the world was in need of a really sexy yet formal copperplate. (3) I started Erotica with the idea of taking some rules of this style to the extreme. Some characters were drawn with a pencil first because what I had in mind was impossible to be made with a pen. (4) Finding a graceful way to combine really thick thicks with really thin hairlines with satisfactory results demanded months of tough work: The embryo of Erotica was a lot more bolder than now and had a shorter x-height. Changing proportions of Erotica was crucial for its final look. The taller it became the sexier it looked. Like women again? The result is a font filled with tons of alternates which can make the user think he/she is the actual designer of the word/phrase due to the huge amount of possibilities when choosing glyphs. To make Erotica work well in small sizes too, I designed Erotica Small which can be printed in tiny sizes without any problems. For a more elegant purpose, I designed Erotica Inline, with exactly the same features you can find in the other styles. After finishing these styles, I needed a partner for Erotica. Inspired again in some old calligraphic books I found that Bickham used to accompany his wonderful scripts with some ornated roman caps. Erotica Capitals follows the essentials of those capitals and can be used with or without its alternates to accompany Erotica. In 2013, Erotica received a Certificate of Excellence in Type Design in the 59th TDC Type Directors Club Typeface Design Competition. Meet Erotica, beauty and elegance guaranteed. Notes (1) It is supossed that I'm a typographer rather than a calligrapher, but the truth is that I'm in the middle. Being a graphic designer makes me a little stubborn sometimes. But, I found that the more you don't think of type rules, the more graceful and lively pieces of calligraphy can be done. (2) “Know the forms well before you attempt to make them” used to say E. A. Lupfer, a master of this kind of script a century ago. And I would add “And once you know them, it’s time to fly...” (3) Some script fonts by my compatriots Sabrina Lopez, Ramiro Espinoza and Alejandro Paul deserve a mention here because of their undeniable beauty. The fact that many great copperplate fonts come from Argentina makes me feel really proud. Take a look at: Parfumerie, Medusa, Burgues, Poem and Bellisima. (4) Some calligraphers, graphic and type designer experimented in this field in the mid-to-late 20th century and made a really playful style out of it: Letters show a lot of personality and sometimes they seem drawn rather than written. I want to express my sincere admiration to the fantastic Herb Lubalin, and his friends Tony DiSpigna, Tom Carnase, and of course my fellow countryman Ricardo Rousselot. All of them, amazing.

Supernett was originally created in 2013. Now we decided to upgrade it: more styles, more glyphs, more features, more everything. Have fun with Supernett 2019! Supernett 2019 super revised version Supernett is a versatile handmade text- and display-family and is perfect for space-saving headlines. All letters and numerics are available in three variants which alternate randomly with OpenType Contextual Alternates activated. One of Supernetts key features is Wiggling & jumping letters: letters jump around the baseline or tilt forward and backwards without a plan. Combine this with OpenType Contextual Alternates and let Supernett look truly hand-drawn with a maximum effect when applied to big typesetting. Further features include small caps, glyph alternates, case-sensitive forms, fractions, symbols and many more. Supernett is a hand-drawn / handmade / handdrawn Sans-Serif font-family. Supernett is available in three weights, two widths, Uprights and Italics. The handmade family is tailored for large font sizes but also impresses with seamless legibility in small type sizes. Due to its display origin and slightly condensed appearance, make sure to increase the spacing a little when used in text setting. The extensive character set supports 209 Central and Eastern European as well as Western European languages (for details, please see below). Supernett Font and Feature Guide Download it | View it online Supernett OpenType Features Alternating Letters Letters and numerics are available in three variants which alternate randomly → OpenType Contextual Alternates Small Caps Supernetts Small Caps mixes Upper- and Lowercase letter forms. Choose between »Small Caps« or »OpenType All Small Caps«. The latter replaces lower- AND uppercase letters, as well as the dotted i and activates punctuation to match the small caps’ height. Wiggling letters All glyphs tilt slightly and randomly forward and backwards → OpenType Swashes (or OpenType Stylistic Set 06) Jumping letters Each single glyph moves individually up or down → OpenType Titling Alternates (or OpenType Stylistic Set 07) → for a stronger effect, add OpenType Stylistic Set 08 (Jumping Baseline MORE) Case-Sensitive Forms This feature shifts various punctuation marks to a position that works better with all caps typography. → activated when an app’s all-caps styling is applied Slashed Zero Make clear what you’re talking about and work with a slashed zero → OpenType Zero with a Slash Fractions Figures separated by a slash are substituted by proper fraction glyphs. A date however, written like 10/12/2019 will remain unchanged. → OpenType Fractions Alternate Glyph Set 1 → OpenType Stylistic Set 01 Alternate Glyph Set 2 → OpenType Stylistic Set 02 Alternate Glyph Set 3 The default glyph set. Activate it to disable Alternating Letters within OpenType Contextual Alternates. → OpenType Stylistic Set 03 Y Alternate Choose between two different styles of Y → OpenType Stylistic Set 04 Underlined Uppercase O & ordinals → OpenType Stylistic Set 05 → activate OpenType Ordinals to substitute No. by № Uppercase I Alternate There’s an alternate for the isolated ›I‹ (I love you) → included in OpenType Contextual Alternates → or activate OpenType Positional Forms: Automatic Form → substitute every single ›I‹ with OpenType Stylistic Set 09 Bullet Alternate Choose between two different styles of bullet (•) → OpenType Stylistic Set 11 Squares and Circles Type a – z and out pop squares and circles. All symbols are PUA-encoded for easy copy and paste between different applications. → OpenType Stylistic Set 10 → or open your apps’ glyphs panel and double-click the desired symbols Supernett is an organic and decorative hand-drawn / handmade Sans Serif display-family for packaging, posters, book-covers, kids- (children-), food- and logo-design and will best stand out in huge grades. Its handmade / hand-drawn origin is subtle yet visible. Supernett supports 209 languages Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Atayal, Aymara, Bashkir, Basque, Belarusian, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Inari, Sami Lule, Sami Northern, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Ukrainian, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni View other fonts from Georg Herold-Wildfellner Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut