Caitlyn Buckley

Hiragino Sans Rounded (Maru Gothic) is derived from the basic design of the Hiragino Sans (Kaku Gothic) with its wide counters and comfortable appearance. It features gentle typeface that provides graceful roundedness to the tips of all the strokes of a character. On the flip side of this gentle impression is the fact that every single element in the Hiragino Sans upon which this typeface is based has been carefully polished down in every respect in pursuit of an elegant roundness that makes it possible to handle carefully executed typesetting. That approach is clearly different from the general rounded typeface that makes full use of the body, and makes it possible to respond the requirement of professional typesetting. It is never-uninteresting design whose letterform is rooted in the traditions of traditional printing type. It is a font that of course can be used on its own and easily formatted just like Hiragino Sans while adding splendid coloring to the page.

Furthermore, when used with other Hiragino fonts such as Hiragino Sans or Hiragino Serif (Mincho), the fact that all their designs are oriented on the same vector creates a multiplier effect. The user may be surprised at the sense of unity that cannot be experienced when combining it with other typefaces.

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.

Designed by María Ramos and Jordi Embodas, Nomada Didone exhibits a more pronounced contrast than Nomada Serif, with vertical stress and finer hairlines. The contrast amount is not too extreme, though. It’s robust enough to be used confidently also for smaller text sizes, on screen, and in negative settings. The ball terminals add to its posh demeanor – a feature that is particularly noticeable in the gracile Hairline.
At the other end, another exquisite titling typeface: Nomada Didone Extrablack channels the Fat Faces of the 19th century, with adjusted vertical proportions for contemporary use. The medium weights make for a dapper text face that combines clarity and sophistication.

TG Aqsa Grotesque Pro is the latest version of the font that was previously released in 2017, TG Aqsa Grotesque. In this latest version there are several optical fixes on each glyphs. In this latest version also added 2 new weights namely black and ultra black so that TG Aqsa Grotesque Pro has 6 fonts of different weights.

Still maintaining the sans serif grotesque style coupled with the improvement of the letter form make TG Aqsa Grotesque Pro have a good level of readability when applied as a body text. And this version also has extended latin which will support more than 90+ different languages.

Kometa Sans is a contemporary grotesk with a certain personality. She has a steady geometric skeleton, but its appearance is rather humanistic. The precise details of the artwork, the carefully drawn true italics, the six types of numerals, the variety of alternates, the broad range of open-type features and the extensive glyph set can meet most of the contemporary typographer’s demands for a neutral, but not boring type family for both long text and display use. Among the distinctive qualities of Kometa are also the forms of ligatures (both default and discretionary). They follow the natural constructive transitions between oval parts and stems, which is an advantage to mark, at least for designers who respect the beauty of clean forms.

Note the specially designed Kometa Unicase sub-family, substantially enough to exist as a separate typeface. Its elegant and expressive letterforms are boosting further the power to create outstanding design work. Kometa Unicase has original and playful, yet reasonable approach to letterforms variety.

Kometa has a very broad usability range – from logotypes and poster designs to corporate identities and complex editorial projects. The contemporary Cyrillics of Kometa allows easily completion of graphically consistent multilingual corporate and artistic design projects.

Designed by Kiril Zlatkov and Vassil Kateliev.

JH Hala is a modern style typeface; it is designed based on Koufi style & latin humanist sans serif classification, typical for corporate identity, branding & signage...

Thanks for checking out Madina Script! A fabulously fun yet elegant script font with tons of energy, allowing you to create beautiful hand-made typography in an instant. With extra bouncy curves & loops, Madina Script is guaranteed to make your text stand out - perfect for logos, printed quotes, invitations, cards, product packaging, headers and whatever your imagination holds.

What’s really awesome is that Madina Script comes with a complete set of lowercase alternates, which allows you to create even more authentic custom-feel text. Another great feature is the bonus ornaments font, which allows you to add some really unique and elegant finishing touches to your script text.

★ New Update • Madina Clean! Madina Script has now been updated to include 2 styles; a rough, textured brush version, and a totally clean & smooth version. This gives you the option to completely switch the style of your font at the click of a mouse, whether you're looking for a more rustic, hand-made style, or a silky smooth finish.

Fixture is our massive 72-font take on plentiful offerings of the late 19th century’s typefaces, posters and wood letterpress sundry done in the Grotesk genre. Four widths ranging from Ultra Compressed to Expanded each come in nine weights and accompanying italics. Some common sans-serif alternates, such as the a and g, are included in all the fonts.

The idea with this design was to put together a workhorse font family with enough functional flexibility to work in multiple environments, from the subtlety of magazine layout or film credits to the visual drama of billboards or packaging.

Aesthetically speaking, it is quite interesting — though in retrospect quite unintentional — that each different width and/or weight of this face ended up pulling a different dominant trait from the melting-pot origins of the entire family. It’s almost like a tribute album to some famous band’s covers of older songs. It may also be a good conversation piece on our tools shaping the very things for which they’re used. Can’t really get any more post-Grotesk than this. In the 21st century, this is the one genre to rule them all.

Grava is Neil Summerour’s injection of warmth within the geometric sans font category. Historically, geometric sans families have been based on primal shapes — triangle, circle, square — and the more closely they held to those rigid rules, the more internal inconsistencies they showed. Angles won’t match up correctly, letters will lean, overshoots complicate clean typesetting, and idealized circles become grotesque and unwieldy in some weights. Because of issues like these, geometric sans fonts have a reputation of being cold, austere, even a bit “off”. Grava was made to hold a T-square and triangle in one hand while giving a welcoming handshake with the other.

The Grava font family comes in two styles (a normal and a Display), each with 20 weights (Thin to Ultra) and paired with italics. Its design allowed the three scripts of Latin, Cyrillic, and Greek to emerge seamlessly, ensuring Grava will find its home in multilingual publications. Even better, each character in the three scripts is spaced with every other character for a beautifully matched fit, and it’s a buy-one-get-all-three deal since they are all packaged together. The normal style’s large x-height won’t let you down in paragraphs, headings, and any call-out text. And have you seen the angles on those numerals? Pairing Grava’s numerals on a jersey is sure to catch some eyes, just sayin'.

Grava Display is purposefully quirky and sharp, and made for poster sizes, book and album covers, and those websites with a well-defined character — somewhere between playfully self-aware and overtly vintage. Flat edges are abandoned to make way for sharp points and conspicuousness, for geometrical attitude and respectful expressiveness. Corporate reports use Grava Display to take on a professional and current look. The optional ligatures (N–T, L–L, G–A, C–O, almost anywhere an ‘A’ is placed, and more) in both the normal and Display styles invoke a midcentury modernist and high art feel. Now that introductions are done, you can let go of Grava’s hand and put it to work for you.

Sveglia is a hand brush casual script font inspired by urban fashion. This font is great for your next creative project such as Logotype, printed quotes, invitations, cards, product packaging, headers, Letterhead, Poster, Apparel Design, Label, and etc.

Sveglia comes with uppercase, lowercase, numerals, punctuations and so many variations on each character include OpenType alternates, and common ligatures to let you customize your designs.

Mikkel is a smooth and goofy script with an easygoing attitude.

A brushy script for anything that doesn’t take itself too seriously, Mikkel is the cheeky joker in TypeMates’ font library and the best buddy of expressive typography at large sizes.

And Mikkel is a double act. Along with its expressive script style, Mikkel has a ‘sans’ with a disconnected lowercase that allows it to pull off more tricks. As Mikkel’s script forms work their magic in logos and lettering, its close friend Mikkel Sans can ensure any additional text is clear and complementary.

As Mikkel’s uppercase is pretty swashy, we designed its small caps to be a little more restrained for all caps settings — keeping Mikkel’s soul and providing typographic contrast. Smart OpenType features take Mikkel back to its lettering roots; alternate characters ensuring tricky combinations and double letters stay smooth, smart and sunny.

An exuberant and bouncy typeface that’s full of fun at large sizes, Mikkel is also serious when it comes to your workflow. With over 1000 glyphs per font, huge Latin language support, OpenType features to give text the flow of lively lettering plus many typographic goodies like small caps, oldstyle and tabular numerals, Mikkel’s got it where it counts.

Da capo! Mikkel is extended with cartoonish icons to spice it up! We do not want to praise this goofy brush script too much but, c’mon, if you like eating ice cream in the sun, go with Mikkel.

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.

Useful links:
TT Tsars PDF Type Specimen
TT Tsars graphic presentation at Behance

Candide is a neoclassical face for editorial, magazine and newspaper applications. It reflects classical archetypes and is distinguished by its elegant and sophisticated appearance.

The Candide family consists of 16 styles. It comes in OpenType format and provides an extended language support. All weights contain standard and discretionary ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternative characters.