Alexandra Thornber

Monark family is designed with legibility and wide language support in mind. Rooted in Fyodor Dostoevsky’s Crime and Punishment, it captures the anguish & distortion atmosphere and suppresses them into ruthless letterforms. Top-heavy stems, heavy serifs, and low-contrast forms are all extractions of Dostoevsky’s dilemma. Rest assure this typeface would bring you all the needs for advanced typography with true small caps with symbols, 4 styles of figures, support for inferior/superiors, and more than 200 Latin languages.

Features:
• Support for 200+ Latin languages
• Low contrast with unique details
• Unique Italic letterforms
• Small caps with symbols
• Arbitrary and pre-defined fractions
• Support for superscript & subscript in normal & scientific alignments
• Proportional lining, proportional old-style, tabular lining, tabular old-style

Buy the complete TT Trailers family and get the variable version for free.

The starting point of the TT Trailers project was the idea to develop a new generation of narrow typefaces for use in movie credits and posters. Our portfolio already had a modular geometric sans TT Bluescreens, so the new project from the very beginning was in a humanist spirit. In addition, we conducted a small study and found that there are not many modern narrow humanist grotesques on the market. TT Trailers is based on the concept of preserving the amount of white: when changing from thin to bold, the width of characters increases significantly, which ultimately allows you to save an equal amount of white inside and between letters.

The big challenge for us was the task of making the curves sufficiently smooth. The closed aperture of the characters also emphasizes the smoothness and plasticity of the letters and helps the typeface to maintain a consistent rhythm. In some letters, we designed flared diagonals and added massive compensators, which are designed to combat potential sticking. In addition, we quite actively used “loops” in the design of some letters, which, together with the contrast and humanist style give TT Trailers a slight retro touch and refer us to the cinema posters of the 60s.

We spent a lot of time working with the rhythm of the typeface, which was quite difficult because of its humanist character, especially in the Cyrillic segment. We have drawn contextual alternates for some Cyrillic pairs of characters that are designed to help preserve the rhythm of the typeface and to deal with possible holes in the set, which is especially important for this type of ultra-thin fonts. In addition, the design of some Cyrillic letters turned out to be a bit unusual, which is due to the functions embedded in them, but at the same time this is intended to emphasize the character and the spirit of the font family.

And now we will tell you a little more about the unique TT Trailers features. First, it is the TITL OpenType feature (titling alternates), which allows you to arrange the letters one above the other, while not going beyond the height of the uppercase character. So, all you have to do is choose an even number of characters and click on the TITL feature and the characters will be placed one above the other. Moreover, all the signs in this feature are monospaced, so they will always be located strictly one above the other.

Secondly, we made it possible to raise letters and numbers to lower or upper case. In both cases, the character will occupy half the height of the uppercase character and will perfectly match with blocks of double characters. In addition, you can include underscores in upper case characters. These features are great for use in movie titles and posters, or for layouts that require underlined notation for topographic units.

In total, the TT Trailers font family includes 11 fonts: this is the main typeface consisting of 9 styles, a variable version of the font, and 1 font with icons. The main styles consist of 1078 glyphs and have a broad language support (extended Latin, Cyrillic, Bulgarian locl., etc.). In addition, we drew a large number of ligatures and alternates (for Latin and Cyrillic), oldstyle figures and simply there are a lot of other useful features (ordn, case, c2sc, smcp, ccmp, frac, sinf, sups, numr, dnom, tnum, pnum , onum, lnum, liga, dlig, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, titl, calt).

And be sure to try the variable version of TT Trailers, with which you can choose the individual thickness you need. The variable version of TT Trailers completely copies the composition and functionality of standard styles and allows you to use all the features. By the way, when you purchase the entire TT Trailers family, you will receive entirely free the variable version of the TT Trailers, TT Trailers Variable.

Dolcissimo is a sans serif typeface with a geometric skeleton that has been built drawn by hand which makes it a friendly typeface.

This font has more than 25 decorative styles, that can be overlapped, because Dolcissimo is a layered font.

We highly recommend to use Dolcissimo for packaging design, logo branding, ads.

The TT Tsars font family is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century. The project is based on title fonts, that is, the fonts that were used to design book title pages. The idea for the project TT Tsars was born after a small study of the historical development of the Cyrillic type and is also based on Abram Shchitsgal’s book “Russian Civil Type”.

At the very beginning of the project, we had developed a basic universal skeleton for the forms of all characters in all subfamilies of the family, and later on we added styles, visual features, artefacts and other nuances typical of the given period onto the skeleton. Yes, from the historical accuracy point of view it might be that such an approach is not always justified, but we have achieved our goal and as a result we have created perfectly combinable serifs that can be used to style an inscription for a certain time period.

The TT Tsars font family consists of 20 fonts: 5 separate subfamilies, each of which consists of 4 fonts. Each font contains 580 glyphs, except for the TT Tsars E subfamily, in which each font consists of 464 characters. Instead of lowercase characters in the typeface, small capitals are used, which also suggests that the typeface is rather a display than text one. In TT Tsars you can find a large number of ligatures (for Latin and Cyrillic alphabets), arrows and many useful OpenType features, such as: frac, ordn, sinf, sups, numr, dnom, case, onum, tnum, pnum, lnum, salt (ss01), dlig.

Time-related characteristics of the subfamilies are distributed as follows:
• TT Tsars A—the beginning of the 18th century (Latin and Cyrillic)
• TT Tsars B—the beginning of the 18th century (Latin and Cyrillic)
• TT Tsars C—the middle of 18th century (Latin and Cyrillic)
• TT Tsars D—the end of the 18th century (Latin and Cyrillic)
• TT Tsars E—conditionally the beginning of the 18th century (only Latin)

TT Tsars A and TT Tsars B families (both the beginning of the 18th century) have different starting points: for TT Tsars A it is Latin, for TT Tsars B it is Cyrillic. The development of the TT Tsars A family began in Latin, the font is based on the royal serif Romain du Roi. Cyrillic alphabet is harmoniously matched to the Latin. The development of the TT Tsars B family began in Cyrillic, which is based on a Russian civil type. Characteristic elements are the curved one-sided serifs of triangular characters (A, X, Y), drops appear in the letter Ж, the middle strokes В and P are adjacent to the main stroke. Latin was drawn to pair with Cyrillic. It is still based on the royal serif, but somewhat changed: the letters B and P are closed, and the upper bar of the letter A rose. This was done for the visual combination of Cyrillic and Latin and at the same time to make a distinction between TT Tsars A and TT Tsars B.

TT Tsars C is now the middle of the 18th century. Cyrillic alphabet itself did not stand still and evolved, and by the middle of the 18th century its forms have changed and become to look the way they are shown in this font family. Latin forms are following the Cyrillic. The figures are also slightly modified and adapted to the type design. In TT Tsars C, Cyrillic and Latin characters are created in parallel. A distinctive feature of the Cyrillic alphabet in TT Tsars C is the residual influence of the flat pen. This is noticeable in such signs as З, Ж, K. The shape of the letters Р, Ц, Щ, Э is very characteristic of the period. In the Latin alphabet, a characteristic leg appears at the letter R. For both languages, there is a typical C characterised by an upper serif and the appearance of large, even somewhat bolding serifs on horizontals (T, E, Г, L).

TT Tsars D is already the end of the 18th century, when with the development of printing, the forms of some Cyrillic characters had changed and turned into new skeletons of letters that we transposed into Latin. The figures were also stylized. In this font, both Cyrillic and Latin are stylistically executed with different serifs and are thus logically separated. The end of the century is characterized by the reduction of decorative elements. Straight, blueprint-like legs of the letters Я, R, K, Ж. Serifs are very pronounced and triangular. E and Э are one-sided on the middle horizontal line. A very characteristic C with two serifs appears in the Latin alphabet.

TT Tsars E is a steampunk fantasy typeface, its theme is a Latinized Russian Сivil type (also referred to as Grazhdansky type which emerged after Peter the Great’s language reform), which includes only the Latin alphabet. There is no historical analogue to this typeface, it is exclusively our reflections on the topic of what would have happened if the civil font had developed further and received a Latin counterpart. We imagined such a situation in which the civil type was exported to Europe and began to live its own life.

Turquoise Inline is a new version of our bestseller Turquoise. This version of roman capitals is more focused on display use, with the details of an inline roman type. This font can be used, for ads, labels, wine labels, logo and all kind of display uses. Open Type features needs to be activated for all the ligatures and alternates. Enjoy it!
We recommend to combine Turquoise Inline with Nautica Sottile & Auster

Blue Jeans, is a new unconnected brush script font designed with Pentel brush sign.

Kisba is a brand new serif typeface that operates to arouse attention. As contrasts are known to attract each other, Kisba combines sharp, triangular serifs and spiky outgoing strokes with round and soft ball terminals. It’s a typeface driven by visual contrast.

Kisba’s extraordinary design of thin and monolinear diacritics, selected punctuation marks and symbols creates a modern and elegant atmosphere. With extravagant letters like the f, k and x, Kisba is primarily labeled as a typeface for display usage or shorter texts, that catches the reader’s eyes.

The typeface exists in seven weights from Thin to Black offering plenty of possibilities to set texts and headlines. With about 600 Characters per weight, Kisba contains Open Type Features like an extended set of ligatures and language support, case sensitive forms, different sets of figures and arrows.

As a perfect companion to Kisba, my geometric Sans Serif Flink owns the same cap height. That way, you can set uppercase letters next to each other very easily.

TT Supermolot Neue is a redesigned, extended and greatly enhanced reincarnation of the popular TT Supermolot and TT Supermolot Condensed font families. During its existence, the hammers (‘molot’ in Russian) managed to get into the spotlight in a huge number of projects, for example, in popular video games, films, and branding. Despite its popularity, the limited composition of old families put boundaries their development, which prompted us to release a completely redesigned and greatly extended version. And while the old families could offer designers only a limited number of tools, in the new version you can already find 54 fonts, and each individual font now consists of more than 620 glyphs.

First, we have added a completely new subfamily, TT Supermolot Neue Extended. But this is only the tip of the iceberg—in order to achieve visual harmony between the three subfamilies, we completely revised the distribution of widths among them. As a result of this work, the width of the TT Supermolot Neue Normal subfamily became a bit narrower, and the width of the TT Supermolot Neue Condensed subfamily became even narrower than it was in the old version. Secondly, we’ve increased the number of weights. While in the old versions there were only 5 weights, in the new ones there are 9 in each of the subfamilies.

In addition, we gave a facelift to the lowercase and uppercase letters. In TT Supermolot Neue, the design of all controversial grapheme forms was soothed and now the family can also be used in the text set. We have completely redrawn italics. It took us half a year to compensate for all the circles, to transform italic strokes, to work out the position of the diacritics, to make right the spacing, and to finish kerning.

Following a good tradition, in the TT Supermolot Neue extensive support for useful OpenType features was added, and hinting was also improved. If we talk about visual features, we recommend paying closer attention to two stylistic sets: the first set (ss01) is designed to make the typeface more humanist, and when you turn on the second set (ss02), the typeface becomes even more technological. In addition, the typeface has more than 26 items of standard and discretionary ligatures. We also have not forgotten about the figures and we added a set of old-style figures to the standard version. In addition, the typeface has case, ordn, frac, sups, sinf, numr, dnom, onum, tnum, lnum, pnum, calt, liga, dlig, salt, ss01, ss02.

Ballarih is a contemporary humanist typography, including 16 fonts with 08 weights and italics. Characterized by a prominent x-height and excellent readability for both web and print. Ballarih contains 820 glyphs including tabular figures, ligatures, fractions, small caps, alternate glyphs,case-sensitive forms, superscripts, subscripts and extensive language support.

Quida Rough is a textured display family with three styles; Regular, Italic and Script. The personality of the design comes the rough, worn outlines and concave vertical shapes, which are consistent through all styles. This makes them work together seamlessly.

Quida Rough Script is packed with opentype goodness such as swash caps, stylistic alternates, ligatures and ending forms for lowercase letters. All styles have an extended language support for most European languages.

Neometric is a contemporary sans serif that is built from a geometric foundation but with a more natural approach to the heavier weights creating an enhanced visual approach throughout. The standard version features sharp apex tops on the N & M characters creating a unique and powerful look that would be the perfect font for branding, digital or offline treatments.

Neometric features extensive European language support as well as basic Cyrillic to add to the flexibility and useability for big brands and small companies alike.

The font is made up of 36 styles, including two subtle design variations each featuring 9 weights plus matching italics.