TT Mussels useful links: Specimen | Graphic presentation | Customization options About TT Mussels: The TT Mussels font family is the successor of such popular fonts as Bender and TT Squares. At the same time, TT Mussels has a number of fundamental differences that make it a unique font family that stands out from other octagonal typefaces. When designing TT Mussels, we paid great attention to the possibility of imposing large arrays of text, and we can responsibly state that TT Mussels is a rare type of technological text fonts. To go along with the rest, we've created a stencil version of the typeface, in which the location of the incisions changes according to their thickness. In total, the TT Mussels font family consists of 36 faces, which include among other things stylistic alternatives, ligatures, and also implements a broad support for OpenType features: case, frac, ordn, sups, sinf, numr, dnom, onum, tnum, pnum, liga, dlig, salt, ss01. Dynamic contrast is widely implemented in TT Mussels. It is most noticeable in the Black typeface, where the ratio of the thickness of the vertical strokes to the horizontal strokes is approximately two to one. For the Thin typeface, the thickness of the vertical strokes is already consistent with the thickness of the horizontal strokes. You can also find other signs of respect for traditional text fonts in the TT Mussels design, such as the trace of pen movement which is historically typical for antiquas. For example, in the letter M from the Black face, we can first see a thin stroke, then a thick diagonal stroke followed by a thin diagonal stroke, and a finishing bold vertical stroke. As in the case of dynamic contrast, this effect gradually disappears when approaching thin faces. In thick faces, in places such as the “armpits” of the letters MN? or the junctions of the diagonals of WVvw, there are visual compensators that brighten the bold typefaces. As the thickness of typefaces moves from thick to thin, the dimensions and conceptual values of compensators change, and in thin typefaces they completely disappear. TT Mussels 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.

We have updated TT Rounds Neue! TT Rounds Neue was released as a logical continuation of the TT Rounds and TT Rounds Condensed fonts, more modern and technically advanced. In the update, we have preserved the visual nature of the font, the proportions of the letters and the balance between bold and thin faces. We have made the typeface even more functional and convenient by fixing technical flaws, expanding the character set and adding a full-fledged variable font. In the new version of TT Rounds Neue, you will find additional extended Latin and Cyrillic characters, updated kerning and hinting. The font can be used for headings or for text typesetting. The typeface is optimized for web, print and packaging design. Thanks to its soft character and rounded shapes, it is suitable for decorating baby food and eco-products. TT Rounds Neue consists of 3 subfamilies: Compressed, Condensed and Normal. There are 55 faces in the font: 27 upright, 27 italic, and 1 variable font. Variability is across all three axes, thickness, slope, and width. Each style has 684 glyphs. The font has 29 OpenType features, including ligatures, a set of alternative characters, old-style figures, and many others. ?Please note that we are removing the TT Rounds and TT Rounds Condensed fonts from the marketplace, but you can still get them by contacting TypeType's commercial department directly commercial@typetype.org TT Rounds Neue OpenType features: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, case, salt, liga, dlig, calt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10 TT Rounds Neue language support: English, Albanian, Basque, Catalan, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Moldavian (lat), Montenegrin (lat), Norwegian, Polish, Portuguese, Romanian, Serbian (lat), Slovak, Slovenian, Spanish, Swedish, Swiss German, Valencian, Azerbaijani, Kazakh (lat), Turkish, 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, Chiga, Embu, Gikuyu, Gusii, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kirundi, Kongo, 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, Tsonga, Tswana, Vunjo, Xhosa, Zulu, Maori, Alsatian, Aragonese, Arumanian, Belarusian (lat), Bosnian (lat), Breton, Colognian, Cornish, Corsican, Faroese, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Interlingua, Judaeo-Spanish, Karaim (lat), Kashubian, Ladin, Leonese, Manx, Occitan, Rheto-Romance, Romansh, Scots, Silesian, Sorbian, Vastese, Volapu?k, Vo?ro, Walloon, Walser, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, 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), Lezgian, Abazin, Agul, Archi, Avar, Dargwa, Ingush, Kabardian, Kabardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Ossetian, 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, Udmurt, Uighur, Rusyn, Karaim (cyr), Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmykk

TT Ricordi Greto useful links: Specimen | Graphic presentation | Customization options TT Ricordi Greto is the 5th project from the TT Ricordi collection of fonts, the main task of which is to find gems in old tablets and on stones and bring these inscriptions back to life in the form of contemporary fonts under the general name TT Ricordi. TT Ricordi Greto is Kseniya Karataeva’s original experimental project, inspired by a floor plaque dating from 1423 found in the Basilica di Santa Croce, Florence. When working on the typeface, we wanted to do something new and modern, but at the same time find details or artifacts in the source that could be exaggerated to the maximum. TT Ricordi Greto is a non-contrasting Florentine sans-serif with dynamic proportions and a hint on what would be serifs. The main features of the typeface are the closed aperture, dynamic proportions, and the combination of historical forms with modern visual solutions, flowing terminals with curling dash ends and flared ends, and subtle serifs that hint at the historical material. Another feature of the typeface is a large set of graphic icons (characters and objects), margin markers (flowers, stars and drops) and thirteen catchwords. All icons and spacing have been carefully selected and rendered in order to best match the visual plasticity of the font and interact well with it. The TT Ricordi Greto font family consists of 4 styles: Regular, Medium, Demibold + the Variable font. Each style includes 678 glyphs and 14 OpenType features. In addition to wide language support (extended Latin and basic Cyrillic), each style has two sets of figures and currencies (proportional and tabular), a set of arrows alternative versions of the letter M (flared and straight versions) and the letter Ф (round and oval) and the same a set of icons, margin markers and catchwords. TT Ricordi Greto OpenType features list: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, ss01, ss02, ss03, ss04, ss05, calt. TT Ricordi Greto language support: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Bosnian (lat), Breton +, Catalan+, Cebuano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican +, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gikuyu, Guarani, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Kamba, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kikuyu, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian+, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Meru, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss, German +, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana +, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Walser+, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian+, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian.

Useful links: Using the variable font TT Alientz in InDesign About TT Alientz: TT Alientz is a variable* typeface that allows the user to make a visual journey from a laconic extraterrestrial grotesque to a very prickly display serif. As part of this project, we decided to investigate the influence of a foreign substance and the consequent transformation of the original forms, which ultimately leads to extreme visual changes. The TT Alientz family consists of 3 fonts: grotesque, serif and variable* font. Each font contains more than 470 glyphs. In addition to broad language support (including Cyrillic), the typeface has stylish ligatures, contextual alternates, and old-style figures. Variability in the typeface affects the changes in the overall style of the font—moving the slider to adjust the variable axis, you can go from a laconic grotesque to an extreme serif. TT Alientz Grotesque is a fairly neat hipster grotesque, but with its own small features. In the design of some letters of the grotesque you can find small sharp elements that add uniqueness and character to the font when used in large inscriptions and headings. At the same time, when you use the font in a small size of the size and in text blocks, sharp elements do not greatly affect its readability. The design of some letters of the grotesque is quite peculiar and is intended to emphasize the initial concept of slight 'alienness'. TT Alientz Serif is an 'infected' TT Alientz Grotesque and the result of changes to it. Unlike the grotesque, the serif is dynamic, viscous, ductile and very prickly. Serif has a lot of smooth lines and not quite standard strokes contrast. It can be noted that most serifs in the antiqua are pointed inward, not outward. Despite its extremeness, the serif will look good both in large and in small body sizes. *An important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/ FOLLOW US: Instagram | Facebook | Website TT Alientz supports more than 160+ languages, such as: 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, Kabuverdianu, 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, Malagasy, Malay, 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, 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, Walloon, Xhosa, Zaza, Zulu.

Presenting Blessing and Struggle! A Spontaneous Handwritten Font with all-caps glyphs. This font made with the perfect combination of each character. You can combine with Extra to get a unique combination. It looks original and can be used for all your project needs. Each glyph has its own uniqueness and when meeting with others will provide dynamic and pleasing proximity. This font can be used at any time and in any project. You can see in the presentation picture above, Blessing and Struggle looks unique and authentic style on design projects. So, Blessing and Struggle can't wait to give its touch to all your design projects such as quotes, poster design, personal branding, promotional materials, website, logotype, product packaging, etc. WHAT'S INCLUDED? 1. Blessing and Struggle Regular • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 2. Blessing and Struggle Slant • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 3. Blessing and Struggle Slant Bold • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 4. Blessing and Struggle Semi Bold • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 5. Blessing and Struggle Minus Slant • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 6. Extra Swashes • Included 7 Dingbats. You can feature all with typing c_1 until c_7 (in all versions) A Million Thanks Colllab Studio

Are you looking for an appropriate typeface for coffee shops concept? We want to introduce Pistacho, the new type family of Estudio Calderon that contains 18 fonts to design great illustrations and to be applied, especially, in coffee shops, bakeries, ice-cream shops, candy stores, pastry shops, fruit shops and all those places where food is the center. Pistacho was designed by hand using pencils and markers that let us get a handcrafted and rough texture. Below, a brief description of each style: Display: A fresh and modern type, perfect to be used in coffee shops outdoor signs. The logotype of “Central Perk”, the coffee shop of the tv show “Friends” was our inspiration to develop this beautiful font that contains 317 characters and three variables: Display 1, Display 2 and Display 3, each one has specific characteristics that will be an excellent resource for your designs. Sans: Style that contains 7 fonts that can be mixed to get interesting finishes in your designs, each variable has 363 characters with standard ligatures and stylistic alternatives. You can find this styles as: Sans 1, Sans 2, Sans 3, Sans 4, Sans 5, Sans 6 and Sans 7. Good news, you can get Sans 5 DEMO for free. Script: Script 1 and Script 2, two monolineal fonts with a generous spacing that provides contrast and movement, being a suitable complement for the rest of the types of Pistacho family. Serif: Font with a lot of style and personality, inspired in the interlock alphabets shown in «Photo-Lettering´s One Line Manual of Style». Serif 1, Serif 2, Serif 3 and Serif 4 contain a great number of ligatures that generate nice compositions by combining them. One of the characteristics of this style is the combination of upper case and lower case giving as a result a different touch in each design. Soft: Humanist type with a rustic texture and geometric forms ideal for long texts and small sizes. Dingbats: We have designed a package of 244 graphics, illustrations and ornaments that are the perfect complement to combine with each font of this family. Get Pistacho type family, enjoy using it… and do not forget your cup of coffee.

Touch Me is a Script hand-drawn style typeface—designed by Coto Mendoza—resulting from polyrhythmic exploration, sign deconstruction and altered calligraphic contrast plays with watercolour brush. Coto has been using these experimental calligraphy techniques when creating the catchwords for Macarons, the Boho Family, Bikini Season Script and Matcha Script and so forth. Touch Me was inspired by a character in a story written by Coto while attending a literary workshop with Ina Groovie in Santiago de Chile. The character is a tribal girl who lives on an island in the Caribbean. She is heir of ancestral knowledge and possesses wild beauty, very passionate and sensual: intense, strong and free. These features are reflected in the polyrhythm of the typeface's curves: an irregular baseline, variable x-height, different lengths of initial and terminal strokes (that sometimes expand and sometimes shrink) and amount of brush pressure that generates changes in contrast within the characters. This way, when composing, signs with stroke contrast randomly alternate with monolinear ones and with signs of altered contrast, thanks to the typeface's OpenType programming. The family, with more than 3,000 glyphs, provides a number of alternative characters, swashes, ligatures, initial and terminal forms, in short, a vast ocean of choices! Touch Me is a spontaneous typeface with a fresh and unique personality. It is the perfect choice for short text in both print and digital formats. The family comes with a Script Regular version and a seductive Script Drop that you will enjoy a lot! The Extras set includes some catchwords, dingbats and ornaments that allows for endless composition options. The family also comes with a Caps version —designed by Luciano Vergara—in 2 styles: a funny and big-headed condensed Sans Grotesk display of inverted vertical proportion plus a Grotesk, neutral and slightly expressive Petite. Both versions, available in 6 weights, have been especially designed to create hierarchies when composing. This allows for balance between strokes of different weight when it comes to the Sans and Script fonts. Come and dare yourself! Touch Me! Thanks Alisa for sharing your amazing and beautiful picture with us.

Lindemann Sans is an immediately-inviting typeface with a pleasing distinct visual voice grounded by geometry and golden proportions. This modern geometric san serif typeface serves the interpretive needs of modern design through its legibility. This legibility is achieved through proportional balance of each letter based on the golden ratio, open counters, high x-height and wider individual shapes. In addition, a high level of legibility is arrived through distinctive glyphs like a, e, @, and f, which are engaging and add to Lindemann Sans visual voice. Being a modern, spirited, tech-savvy typeface, Lindemann Sans has many of the features demanded by today's designers. These features include 800 characters within each font, many ligatures, full numbers sets, small caps, alternative characters and other niceties found in opentype fonts. Due to Lindemann Sans high legibility, geometric sans tradition, and a large feature set list, it is a very versatile typeface and can be used in replacement of the more commonly used sans. Specifically, Lindemann Sans can be used by technology corporations, architectural firms in their supporting materials, in magazines as headers and key-points, as the typeface for professional keynotes, for the package design industry as a whole, in automotive concept projects, and for cosmetic branding for high class hair products. With its inviting nature it may also be used for liberal arts promotional materials. In addition, this typeface can be used by green industries because of its nature derived proportions. Each style and weight of Lindemann Sans adheres to the same geometric and golden proportions, however, each weight is innately noteworthy. For example, there is a charm that is found in the ultralight weight's elegant geometry and lights impressive use as oversized headlines. It shines with true clarity of vision with the book weight and the versatility of the medium. One cannot overlook the power and pacing of the bold and extra bold weights with its clear counters and restrained letter forms. Within Lindemann Sans family each weight has a distinctive role to play but stays true to its purpose.

“Hand Sketch Rough Pos­ter” is a hand­made, rough and dirty sans-serif dis­play font for deco­ra­tive head­line sizes. Hand drawn. A–Z (× 2), a–z (× 2) and 0–9 (× 4) are each many dif­fe­rent forms. Con­text­ual alter­na­tes. Is inten­ded to show the hand-made cha­rac­ter and the vibrancy of the dis­play font. The dif­fe­rent forms of rough­ness crea­tes a live­li­ness in the typeface. Stan­dard liga­tures like ae, oe, AE, OE, ff, fl, fi, fj, ffl, ffi, ffj and more deco­ra­tive liga­tures like CT, LC, LE, LH, LI, LO, LU, LY, TOO, TC, TE, TH, TU, TZ and ch, cl, ck, ct, sh, sk, st, sp, addi­tio­nal logo­ty­pes like BPM, fff, ppp, sfz and many more … plus Ver­sal Eszett (Capi­tal Let­ter Dou­ble S) give the font more life and shows that des­pite their retro-looks works with modern Open­Type tech­no­logy (type the word note for the sym­bol ♫ and the word love for the ding­bat ❤ … ). Sym­bols like play, stop, eject, for­ward, back­ward, skip, pause and so on. The topic for the dis­cre­tio­nary liga­tures and the sym­bols are music. Have fun with this font – turn up the volume! How To Use – awe­some magic OpenType-Features in your lay­out application ■ In Adobe Pho­to­shop and Adobe InDe­sign, font fea­ture con­trols are wit­hin the Cha­rac­ter panel sub-menu → Open­Type → Dis­cre­tio­nary Liga­tures … Che­cked fea­tures are applied/on. Unche­cked fea­tures are off. ■ In Adobe Illus­tra­tor, font fea­ture con­trols are wit­hin the Open­Type panel. Icons at the bot­tom of the panel are but­ton con­trols. Dar­ker ‘pres­sed’ but­tons are applied/on. ■ Addi­tio­nally in Adobe InDe­sign and Adobe Illus­tra­tor, alter­nate gly­phs can manu­ally be ins­er­ted into a text frame by using the gly­phs panel. The panel can be opened by selec­ting Win­dow from the menu bar → Type → Gly­phs. Or use sign-overview of your ope­ra­ting sys­tem. ■ For a over­view of OpenType-Feature com­pa­ti­bi­lity for com­mon app­li­ca­ti­ons, fol­low the myfonts-help http://www.myfonts.com/help/#looks-different ■ It may pro­cess a little bit slowly in some app­li­ca­ti­ons, because the font has a lot of lovely rough details (anchor points). TECHNICAL SPECIFICATIONS ■ Font Name: Hand Sketch Rough Pos­ter ■ Font Weights: Regu­lar ■ Fonts Cate­gory: Dis­play for Head­line Size ■ Desktop-Font For­mat: OTF (Open­Type Font for Mac + Win) + TTF (True­Type Font) ■ Web-Font For­mat: SVG + EOT + TTF + WOF ■ Font License: Desk­top license, Web license, App license, eBook license, Ser­ver license ■ Glyph cover­age: 715 ■ Lan­guage Sup­port: Afri­kaans, Alba­nian, Alsa­tian, Ara­go­nese, Ara­paho, Aro­ma­nian, Arr­ernte, Astu­rian, Aymara, Bas­que, Bela­rusian (Lac­inka), Bis­lama, Bos­nian, Bre­ton, Cata­lan, Cebuano, Cha­morro, Che­yenne, Chi­chewa (Nyanja), Cim­brian, Cor­si­can, Croa­tian, Czech, Danish, Dutch, English, Espe­ranto, Esto­nian, Fijian, Fin­nish, French, French Creole (Saint Lucia), Fri­sian, Fri­ulian, Gali­cian, Genoese, Ger­man, Gil­ber­tese (Kiri­bati), Green­lan­dic, Hai­tian Creole, Hawaiian, Hili­gaynon, Hmong, Hopi, Hun­ga­rian, Iba­nag, Iloko (Ilo­kano), Indo­ne­sian, Inter­g­lossa (Glosa), Inter­lin­gua, Irish (Gae­lic), Istro-Romanian, Ita­lian, Jèr­riais, Kas­hubian, Kur­dish (Kur­manji), Ladin, Lat­vian, Lithua­nian, Loj­ban, Lom­bard, Low Saxon, Luxem­bour­gian, Malag­asy, Malay (Lati­ni­zed), Mal­tese, Manx, Maori, Megleno-Romanian, Mohawk, Nahuatl, Norfolk/Pitcairnese, Nort­hern Sotho (Pedi), Nor­we­gian, Occi­tan, Oromo, Pan­gasinan, Papia­mento, Pied­mon­tese, Polish, Por­tu­guese, Pota­wa­tomi, Que­chua, Rhaeto-Romance, Roma­nian, Romansh (Rumantsch), Roto­kas, Sami (Inari), Sami (Lule), Samoan, Sar­di­nian (Sardu), Scots (Gae­lic), Sey­chel­lois Creole (Seselwa), Shona, Sici­lian, Slovak, Slove­nian (Slovene), Somali, Sou­thern Nde­bele, Sou­thern Sotho (Seso­tho), Spa­nish, Swa­hili, Swati/Swazi, Swe­dish, Taga­log (Filipino/Pilipino), Tahi­tian, Tau­sug, Tetum (Tetun), Tok Pisin, Ton­gan (Faka-Tonga), Tswana, Tur­kish, Turk­men, Turk­men (Lati­ni­zed), Tuva­luan, Uyghur (Lati­ni­zed), Veps, Vola­pük, Votic (Lati­ni­zed), Wal­loon, Warl­piri, Welsh, Xhosa, Yapese, Zulu ■ Spe­cials: Alter­na­tive let­ters, logo­ty­pes, ding­bats & sym­bols, accents & €. OpenType-Features like Access All Alter­na­tes (aalt), Con­text­ual Alter­na­tes (calt), Glyph Composition/Decomposition (ccmp), Dis­cre­tio­nary Liga­tures (dlig) Deno­mi­na­tors (dnom), Frac­tions (frac), Kerning (kern), Stan­dard Liga­tures (liga), Lining Figu­res (lnum), Nume­ra­tors (numr), Old Style Figu­res (onum) Ordi­nals (ordn), Pro­por­tio­nal Figu­res (pnum), Sty­listic Alter­na­tes (salt), Sty­listic Set 01 (ss01), Sty­listic Set 02 (ss02), Sty­listic Set 03 (ss03), Sty­listic Set 04 (ss04), Super­script (sups), Tabu­lar Figu­res (tnum) ■ Design Date: 2015 ■ Type Desi­gner: Manuel Viergutz

We've upgraded TT Hoves Pro with 20 new fonts and Vietnamese! TT Hoves Pro useful links: Specimen | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Hoves Pro is the studio's bestseller, one of the top three universal sans serifs along with TT Norms® Pro and TT Commons™️ Pro. TT Hoves Pro has a neutral yet recognizable character suitable for use in any modern project. The font has a large character set, including extended Cyrillic and Latin, as well as a large number of styles. TT Hoves Pro was already perfect, but we made it even more functional! Updated TT Hoves Pro: supports more than 200 languages, including Vietnamese; contains 4 widths: Compact, Normal, Condensed, Expanded; consists of 83 styles, 20 of which are new Compact fonts; includes upright and italic Outline fonts, each with 672 characters; contains an improved variable font that varies in weight, width and slope; includes 1573 characters in each style, except for Outline versions; contains 41 OpenType features, including many ligatures and stylistic alternatives. The geometry of the TT Hoves Pro has remained unchanged. The font lacks pronounced contrast, all terminals are on the same level, and there are wide horizontal strokes in triangular characters. TT Hoves Pro is ideal for web design and use in applications. Perfect for branding, packaging design and printing. TT Hoves Pro OpenType features list: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, c2sc, smcp, dlig, liga, salt, calt, case, zero, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, ss13, ss14, ss15, ss16, ss17, ss18, ss19 TT Hoves Pro 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, 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, Tahi- tian, Tetum, Tok Pisin, Tongan, Uyghur, Afar, Afrikaans, Asu, Aymara, Bemba, Bena, Chichewa, Chiga, Embu, Gusii, Jola-Fonyi, Kabuverdianu, Kalenjin, Kinyarwanda, Kirundi, Kongo, Luba-Kasai, Luganda, Luo, Luyia, Machame, Makhuwa-Meetto, Ma- konde, Malagasy, Mauritian Creole, 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, Belarusian (lat), Bosnian (lat), Breton, Colognian, Cornish, Corsi- can, 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, Welsh, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, Karachay-Balkar (lat), Karelian, Livvi-Karelian, Ludic, Tatar, Vepsian, 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, Kab- ardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Rutul, Tabasaran, Tsakhur, Altai, Buryat, Dolgan, Enets, Evenki, Ket, Khakass, Khanty, Komi-Permyak, Komi-Yazva, Komi-Zyrian, Manci, Shor, Siberian Tatar, Tofalar, Touva, Aleut (cyr), Alyutor, Even, Koryak, Nanai, Negidal’skij, Nivkh, Udege, Ulch, Bashkir, Chechen (cyr), Chukchi, Chuvash, Erzya, Eskimo, Kryashen Tatar, Mari-high, Mari-low, Mordvin-moksha, Nenets, Nganasan, Saami Kildin, Selkup, Tatar Volgaic, Udmurt, Yakut, Uighur, Rusyn, Karaim (cyr), Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmyk, Talysh (cyr), Russian Old, Vietnamese

TT Autonomous useful links: Specimen PDF | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Autonomous: The idea was born in Amsterdam when one of our colleagues took the official electric taxi at the Schiphol airport. At the moment we were thinking about creating a new wide sans-serif, and an interesting question emerged during the trip: what font would be associated with autonomous electric transport. Then we thought it would also be nice to expand this theme visually. This is how the font family TT Autonomous came about. It is a modern brutal technological sans-serif. The basic visual characteristic of the typeface is the noticeable squareness of the characters and angular internal space. In addition, the typeface proportions tend to appear monospaced, but they are not really monospaced. The width of the characters is inspired by automobile logotype proportions, which are mostly rather wide. We could not disregard the fact that code lines in software for autonomous cars are traditionally typed using monospaced fonts and added a special monospaced subfamily to the TT Autonomous typeface. Thanks to the squareness of the characters inherited from the main family and the real monospace properties, the character forms in the subfamily turned out very specific and interesting. This is especially true for oblique monospaced fonts, which are true italics. In addition, we created a couple of outline styles which are great for use in titles and large inscriptions and perfectly match the basic family and the monospaced family. As opposed to outlines that can be created in graphic editors, in TT Autonomous Outline we worked through the narrow and questionable spots, thanks to which the font looks professionally complete and harmonious. As from the very beginning, the font was developed with tomorrow's technologies in mind, we could not miss addressing variability and creating a variable font. TT Autonomous has variable versions for both the basic and the monospaced subfamilies. TT Autonomous is a complex font family that consists of 32 fonts intended to solve a broad range of design tasks. Overall, the font family features 14 regular styles, 6 monospaced styles, 7 reversed styles, 2 outline styles and 3 variable fonts. The number of glyphs varies from 630+ in the monospaced font to 790+ in the basic styles. The basic subfamily has alternates, ligatures, old-style figures, slashed zeroes, and many other useful features. FOLLOW US: Instagram | Facebook | Website TT Autonomous 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, Number, 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, Superscripts and Subscripts, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Talysh (lat), Tatar, Teso, Tetum, Tok Pisin, Tongan, Tsakhur (Azerbaijan), Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Valencian, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh, Wolof, Xhosa, Zaza, Zulu.

Garalde: the word itself sounds antique and arcane to anyone who isn’t fresh out of design school, but the sort of typeface it describes is actually quite familiar to all of us. Despite its age—born fairly early in printing’s history—the style has fared well; Garaldes are still the typefaces of choice for books and other long reading. And so we continue to see text set in old favorites—Garamond, Sabon®, and their Venetian predecessor, Bembo®. Yet many new books don’t feel as handsome and readable as older books printed in the original, metal type. The problem is that digital type revivals are typically facsimiles of their metal predecessors, merely duplicating the letterforms rather than capturing the impression—both physical and emotional—that the typefaces once left on the page. MVB Verdigris is a Garalde text face for the digital age. Inspired by the work of 16th-century punchcutters Robert Granjon (roman) and Pierre Haultin (italic), Verdigris celebrates tradition but is not beholden to it. Created specifically to deliver good typographic color as text, Mark van Bronkhorst’s design meets the needs of today’s designer using today’s paper and press. And now, as a full-featured OpenType release, it’s optimized for the latest typesetting technologies too. With MVB Verdigris Pro Text, Van Bronkhorst has revisited the family, adding small caps to all weights and styles, extensive language support, and other typographic refinements. Among the features: • Support for most Latin-based languages, including those of Central and Eastern Europe. • Precision spacing and kerning by type editor Linnea Lundquist. The fonts practically set beautiful text by themselves. • Proportional and tabular figure sets, each with oldstyle and lining forms with currency symbols to match. • Ligatures to maintain even spacing while accommodating Verdigris’ elegant, sweeping glyphs. • Numerators and denominators for automatic fractions of any denomination. • Useful, straightforward dingbats including arrows, checkboxes, and square and round bullets in three sizes. • Alternative ‘zero’ and ‘one’ oldstyle figures for those who prefer more contemporary versions over the traditional forms. • An alternative uppercase Q with a more reserved tail. • An optional, roman “Caps” font providing mid-caps, useful for titling settings, and for those situations when caps seem too big and small caps seem too small. __________ Sabon is a trademark of Linotype Corp. Bembo is a trademark of the Monotype Corporation.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

The typeface Typewriter 1950 Tech Mono is designed for the Typo Graphic Design font foundry in 2017 by Manuel Viergutz. A display slab serif type for headlines. Based on an old typewriter machine from 1950. Plus state-of-the-art OpenType-features like contextual alternates (calt), decorative ligatures e. g. type the word “LOVE” for ❤ and the word “SMILE” for ☺ and Versal Eszett (German Capital Sharp S). For use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Character Set: Latin Extended (Adobe Latin 3). 1490 glyphs with 5× A–Z, 5× a–z, 5× 0–9 and 290+ extra icons like arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! How To Use – OpenType-Features ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the glyphs panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. ■ For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ Font Name: Typewriter 1950 Tech Mono ■ Font Weights: Regu­lar + Negative + Black + Mono + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Slab Serif Dis­play for Head­line Size ■ Font For­mat:.otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1490 glyphs ■ Lan­guage Sup­port: 28+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Mal­tese, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 290+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. ■ Open Type Fea­tures: Kerning (kern), Sty­listic Set 1 (ss01) … Sty­listic Set 6 (ss06), Ornaments (ornm), Titling (titl), Loca­li­zed Forms (locl), Sub­script (subs) Super­script (sups), Ordi­nals (ordn), Old­style Figu­res (onum), Lining Figu­res (lnum), Frac­tions (frac), Deno­mi­na­tors (dnom), Nume­ra­tors (numr), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2017–2018 ■ Type Desi­gner: Manuel Vier­gutz

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

After 13 months of hard work, Iza W and Intellecta Design are proud to announce Penabico. This is a free interpretation of the copperplate script styles to be found in the Universal Penman . London, 1741 , the monumental publication of engraved work by George Bickham (along with collaborators Joseph Champion, Wellington Clark, Nathaniel Dove, Gabriel Brooks, William Leckey and many others). This enhanced OpenType version is a complete solution for producing documents and artworks which need this kind of calligraphic script: 100s of stylistic alternates for each letter (upper- and lowercase), accessed with the glyph palette; 250 ornaments and fleurons (mostly in the copperplate roundhand renaissance style) encoded in the dingbats range and accessed with the glyph palette (plus a special set with over 50 of these ornaments accessed with the ornaments feature); an extensive set of ligatures (100s of stylistic and contextual alternates plus discretionary ligatures) providing letterform variations that make your designs really special, resembling real handwriting on the page; complete, intricate, ready-made calligraphic words; abbreviations (in many languages). The principal font contains the complete Latin alphabet, including Central European, Vietnamese, Baltic and Turkish with all diacritic signs, punctuation marks (including interrobang ). The German ‘ß’ (germandbls, eszett, sharp s) even has over six different alternate forms. And we don't forget to add the unconventional germandbls uppercase. In non-OpenType-savvy applications it works well as an English commercial script style font. Because of its high number of alternate letters and combinations (over 1500 glyphs), we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette. Two last things — we have placed some of the ornaments, catch-words and other material in supplementary fonts, for easier access in non-OpenType-savvy programs. They are: Penabico Words (see the pdf user guide in “Gallery”), Penabico Abbreviations (free font), and Penabico Extras (free font). And, when buying Penabico you get the 'Penabico EPS Bonus Set", a gift pack containing various highly intrincated frames in EPS format, easy and ready to work with your preferred vector design software like Corel or Illustrator (see the pdf in the Gallery). Know too our other superscript font : Van den Velde Script at http://new.myfonts.com/fonts/intellecta/van-den-velde-script/

Handmade Mr Moustache™ is designed for Great Type. · Extra thin letters, condensed and with a handwritten touch, Mr Moustache gives a warm and friendly feeling to your layout. Mix upper- and lowercase letters according to your own liking. Furthermore, choose between a hand-drawn Unicase and an almost Unicase appearance. Use Mr Moustache Display for headlines and anything BIG. Use Mr Moustache Text for small type sizes or large volumes of text. · Mr Moustache is accompanied by frames, ornaments and dingbats in regular and solid, that can be layered for multicolored effects, providing endless design-possibilities. Please download MrMoustacheAccessories.pdf to get a complete overview. If you prefer the document in Indesign, please send an email to office@buerofliegenpilz.at · Mr Moustache offers OpenType features, including contextual alternates and stylistic sets. The font family works best with frame-based layout programs that support full OpenType functionality. · For Mr Moustache Frames please note: The glyph preview in your design application may be a bit confusing due to the size of the "letters". Please download the MrMoustacheAccessories.pdf which shows all possible frame parts. Here you can easily copy and paste all the parts you need. · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for MrMoustache / 175 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hiligaynon, Hopi, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Manx, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, 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, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Walloon, Waraywaray, Warlpiri, Wayuu, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

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.

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.

TT Travels Next Update 1100. We've expanded the range of stylistic alternates and added a calmer version for lowercase letters t f, uppercase Q, and ligatures fi ffi fj ffj. Thanks to the calmer alternative characters, TT Travels Next can be used in more conservative layouts or in designs that require a certain austerity. TT Travels Next in numbers: • 21 styles: 9 upright, 9 italics, 1 variable font and 2 outline styles • 757 glyphs in each style • Support for more than 190+ languages: extended Latin, Cyrillic and many other languages • 26 OpenType features in each style: stylistic alternates, ligatures, old-style figures, numbers in circles, arrows and other useful features • Amazing Manual TrueType Hinting TT Travels Next useful links: Specimen PDF | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Travels Next: The idea to create an alternative version of the TT Travels font family emerged at the “Mail.ru Design Conf x Dribbble Meetup” that took place in August 2020 in Moscow. All conference branding was designed using the TT Travels font family, and, even though the set was very beautiful, we found that if the typeface were more radical and display, it would have complemented the event's graphics even better. Thus, was born the idea for the TT Travels Next typeface, which was to create a very trendy and modern wide display sans serif for use in different sets, be they print or web. TT Travels Next is an experiment answering the "what-if" question of what would happen if the original TT Travels looked different, less compromising and more radical. The typeface has very wide proportions and characters that almost do not get narrower as you move from the bold styles to a light one. TT Travels Next has an exaggerated closed aperture, low contrast, noticeable visual compensators, and a harmonic combination of soft and sharp shapes. In inclined styles, we have purposefully increased the slant up to 14 degrees so that you can type slashing dynamic inscriptions. In addition, the TT Travels Next typeface has two great outline styles which match the upright styles perfectly and complement them, and also work well as display styles. The TT Travels Next typeface consists of 21 fonts: 9 upright and 9 corresponding italics, two outline styles, and one variable font with two variability axes (weight and slant). Each style consists of 757 characters and supports over 190+ languages. The typeface has 26 useful OpenType features, such as stylistic alternates that change the design of characters responsible for the style, ligatures, pointers, circled figures, and many other useful features. TT Travels Next OpenType features list: aalt, ccmp, ordn, locl, subs, sinf, sups, numr, dnom, frac, tnum, onum, lnum, pnum, case, dlig, liga, calt, salt, ss01 (Alt. Latin & Cyrillic), ss02 (Romanian Comma Accent), ss03 (Dutch IJ), ss04 (Catalan Ldot), ss05 (Turkish i), ss06 (White Circled Numbers), ss07 (Black Circled Numbers). TT Travels Next language support: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Bosnian (lat), Breton +, Catalan+, Cebuano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican +, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gikuyu, Guarani, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Kamba, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kikuyu, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian+, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Meru, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss, German +, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana +, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Walser+, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian. TT Travels Next font field guide including best practices, font pairings and alternatives.

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

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

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

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.

TT Ricordi useful links: Specimen | Graphic presentation | Customization options The TT Ricordi font family is a collection of three display heading serifs designed to significantly diversify the traditional font palette. Each font from the TT Ricordi family was drawn by a separate designer and has its own story. With that, all three fonts are close in thickness and similar in their character compositions and are featured in the uppercase set and the small capitals set, which replaces lowercase characters. The fonts have the broad support of Latin languages and support basic Cyrillic. The project originates from the pre-coronavirus tourist trips to Italy, during which our art director Yulia Gonina has accumulated many photographs of historical inscriptions and tablets. Many of these inscriptions had interesting character or unusual character shapes. We wanted to work with them, to try to reinterpret them, and, if possible, make them ultramodern and accessible to the modern font user. The fonts from the TT Ricordi typeface turned out to be quite display and contemporary, but at the same time, they retained subtle references to historic inscriptions. The fonts fit perfectly both on the covers of book classics and in glossy magazine layouts. They can also be used in posters and packaging, or as the main expressive element of company branding. In addition, all three serifs from the TT Ricordi font family go well with functional sans-serifs such as TT Norms Pro or TT Commons. TT Ricordi Nobili is a display serif with a rich Roman ancestry and contemporary world views. It stands out from the crowd with its subtlety and elegance. The font was drawn by Anna Tikhonova and was inspired by an inscription carved into the stone floor of a cathedral in Florence. Because people walked over the inscription, some of the letters got thinner and worn out over time. It is this feeling of disappearing or flickering elements that we wanted to capture and implement in the project. The TT Ricordi Nobili has high contrast, even though the font itself is quite thin. The serifs in the font are not massive at all, but at the same time, they are display serifs. There is a certain tension in TT Ricordi Nobili, and the viewer perceives this tension. We can say that behind the external classic facade lies a rather modern plot. The font has a large set of discrete ligatures which allow to create interesting combinations and expand the capabilities of the font. There are 709 glyphs in the TT Ricordi Nobili font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Todi is a wide serif with a classic base and a contemporary nature. The font turned out to be refined yet sharp, and in places even pushy and aggressive. The font was drawn by Yulia Gonina, and the project was based on plaques with engraved street names from the small Italian town of Todi. The main challenge was to decipher the characteristic features of the signs and emphasize them in a modern way. In addition, it was necessary to draw a Cyrillic alphabet that would not be inferior to the Latin alphabet in its expressiveness. The TT Ricordi Todi has fairly wide character proportions, and there is practically no contrast in them. The main feature of the font is the combination of smooth round shapes with deliberately squared shapes. In addition, the font is characterized by crisp and sharp character details, exaggerated ascenders and descenders, and muted contrast. Among the interesting font peculiarities, you can choose between the characteristic long descenders and ascenders and their more tempered versions, you can find a stylistic set with triangular dots, alternative versions of the EF characters and two letter ? shapes, round and squared. There are 876 glyphs in the TT Ricordi Todi font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Fulmini is a fashionable contemporary serif firmly holding on to its historic roots. The font turned out to be like a thistle flower: bright and catchy, but still subtle and delicate. TT Ricordi Fulmini was drawn by Marina Khodak, and the initial inspiration for the project was the inscription on the altar from the National Gallery of Umbria in Perugia. As the font was pulled into “contemporaneity”, it was completely transformed and revealed its new side. The main catchy detail in the TT Ricordi Fulmini is the aggressive and rather sharp diagonal serifs. In addition, in the process of working on the font, several graphic solutions emerged, for example, the mono-serifs and the very calligraphic connections of diagonal strokes with their historic spirit. We wanted to keep them, and thus 4 thematic stylistic sets appeared in the font, thanks to which we can greatly change the perception of TT Ricordi Fulmini. In addition, the font has a set of interesting discrete ligatures. There are 793 glyphs in the TT Ricordi Fulmini font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi supports more than 180+ languages, such as: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican +, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gusii, Haitianm, Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss German +, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana +, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian+, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian.

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