Jasmine Dobie

Eloquence has a modern aesthetic with a strong classical influence – this is the “Renaissance Remixed”. While being inspired by the first printed texts of the Renaissance period, this typeface has contemporary features such as a high x-height, open bowls and counters, along with razor-sharp serifs and terminals. It has been designed specifically for creating a pleasant reading experience. With a comprehensive character set, Eloquence can comfortably handle printed documents such as novels, magazines, annual reports, along with their equivalent online/digital formats. This 14-font family also has a few tricks up its sleeve by means of some neat, complementing discretionary ligatures and alternates that will prove to be useful embellishments to your typography. Small Caps are included too, along with corresponding diacritics meeting the Latin Extended specification.

You can view more details, design examples, and a specimen PDF at eloquence-font.com

Key Features:
• 14 font family – 7 weights in Roman and Italic
• Small Caps, Alternates, Ligatures, with Proportional, Old Style, Small Cap, Fractions, Numerators, Denominators, Superior, and Inferior Figures
• Full European character set (Latin Extended)
• 900+ glyphs per font.

Amarone is a spiky calligraphic display typeface with some old fashioned flavour. It was designed by Carl Crossgrove, and includes an extensive set of swash caps which allow for extra drama where needed.

Crossgrove wrote each of Amarone’s letters by hand using pen and rough paper, and has retained some of this visual texture in the final digital design. The typeface works well at small sizes, but when used at larger sizes this texture comes to the fore. Amarone’s elegant, formal character can be modified with its swash caps, which allow the typeface to move from prim and ordered to wildly expressive.

Amarone lends itself well to packaging, posters and editorial usage – or in any environment where designers need to evoke times gone by.

The Amarone font features an extensive character set with support for over 130 languages, and a range of OpenType typographic features including ligatures, initial and terminal forms, figures, fractions and swashes.

Inspired by calligraphy style combined with modern taste.
This is very thin, slim, spontaneity, clean and look wild.
Lemans Pen Script includes full set of gorgeous uppercase and lowercase letters, numerals, a large range of punctuation, ligatures.
All lowercase letters include beginning and ending swashes.
Lemans Pen Script support accent letters of Central Europa, Western (À Â Æ È Ë ã ä æ è...).

Thank you!

Hiragino Serif (Mincho) is a font adapted for the digital age. It was designed to permit finely detailed tuning that allows the sizes of both kanji and kana to be adjusted for greatest visibility. It also broadly satisfies the needs of modern graphic design in advertising, posters, pamphlets, magazines, and other such uses. The font makes the counters comfortably wide while gracefully raising the text’s center of balance, ensuring that the typeset characters will be smooth and well-defined. It gives each line a modern impression thanks to a judicious balance of light and shade and draws out a vivid readability that makes it possible to comfortable push forward with one’s reading.

Latin alphabet and numbers have all been originally designed so that the weights of typeface and the flow of the baseline between Japanese and Latin characters are extremely consistent. Of particular note, vertically formatted text that mixes both Japanese and Latin characters can be beautifully rendered using only this typeface. Thanks to the use of authentic and sophisticated basic design , it creates a different atmosphere by combination of optional unique kana typefaces.

The addition of a monospaced version returns the Ballinger family to (some of) its roots: a 70s-era typewriter face called Candia, which Josef Müller-Brockmann designed for Olivetti. Ballinger Mono is designed on the same principles as its sister face: plain, sturdy forms with large counters, open apertures, deep junctures, and a generous x-height. It matches Ballinger’s eight weights, which makes it unusually versatile for a fixed-width face, and has been carefully rebalanced for ease of reading, like the classic jobbing sanses that inspired it. Oldstyle, inferior, and superior figures are available, as well as old-fashioned nut fractions.

Klein is Zetafonts love letter to the grandmother of all geometric sans typefaces, Futura. Starting from a dialogue with Paul Renner’s iconic letterforms and proportions, Francesco Canovaro and Andrea Tartarelli decided to depart from its distinctive modernist shapes with slight humanist touches and grotesque solutions - with some design choices evoking the softness of humanist sans serifs like Gill Sans.

The end result is a workhorse superfamily of 54 fonts with full multilingual capabilities and coverage of over two hundred languages using latin, cyrillic and greek alphabets. The original display-oriented family, developed in nine weights with matching italics (from the hairline thin to the sturdy black), has been paired with a text version (with slightly higher x-height, better readability and maximum legibility at small point size) and with a condensed version, to be used for space-saving display solutions in editorial and advertising formats.

With a name that is both a nod to its humble functionality and an homage to french nouveau realiste artist Yves Klein, this typeface aims to become your next trusted companion in all your adventures in print, digital and motion design.

Sole Sans, companion to Sole Serif, is a newspaper sanserif available in a wide range of weights and styles. It’s a workhorse, suitable for headlines, diagrams, graphics and tabular work. Contrast at the junctions between arches and stems is a feature of early 19th-century sanserifs which inspired Sole Sans. It was originally designed for the leading Italian financial newspaper Il Sole 24 ore.

Iconic PDF Specimen
FEATURES
- 30 styles: 8 weights in upright, 8 in italic, 6 stencil weights, 6 icons weights, 2 free stencil layers
- +1200 glyphs that covers +220 languages using the Latin alphabet, Greek, Russian Cyrillic
- Opentype features: small caps, positional figures, alternate letterforms, stylistic sets, discretionary ligatures, arrows and extra punctuation

Iconic is a rounded condensed sans serif typeface designed by Andrea Tartarelli together with Cosimo Lorenzo Pancini and Francesco Canovaro at Zetafonts. It’s a multi-purpose workhorse family designed for clear and effective editorial, interface and information design with minimum usage of space. The soft, rounded shapes are all derived from basic circular geometry, but slight humanist touches have been added to make the family look more informal and readable. With his slim, minimal aesthetic, Iconic embodies the spirit of contemporary tech, and the desire for an effortless, natural digital experience. The extensive range of weights allows both for text and display usage. In body copy Iconic excels in clarity from light to bold with a choice of medium and regular for text appearance fine tuning; in display use it allows endless design expressions with a range that goes from the hairline thin weight to the super-fat heavy, all with matching italics. To complement the basic, regular shapes of the Iconic family, a Stencil subfamily has been designed with a more aggressive technical look. Perfect for way-finding, branding and interaction design, the six Stencil weights can also be used next to the base family for a rich textural approach to type setting.

Fieldwork brings back the manual tradition of typography production, veering away from lab interpolations. Each of its 24 variants was drawn based on optical evaluation; many of its curves and details were specifically adjusted for each weight, reformulating them to better suit the requirements of the distinct stroke weighs.

It is the product of a collaborative effort by the TipoType team, combining their personal strengths and “most importantly” their enriching individual outlooks to achieve a more versatile and fresh outcome. Its shapes successfully combine geometric strokes (in the Geo variants) with the humanistic warmth of the double-storey glyphs (like a and g in the Hum variant) in a system that grows with alternates, swashes and the corresponding italics for every weight.

It includes a very thorough coverage for a wide variety of Latin alphabet-based language families.

Special thanks to:
- José “Pollo” Perdomo: Font production assistent.
- Rasmus Jappe Kristiansen: Detroit City project

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.

Hefring Slab is a geometric Slab Serif type family. Based on simple geometry, it has minimal stroke contrast, solid serif presence and a uniform thickness of strokes. The family consists of 20 fonts: 5 weights in 4 widths, each in Roman and Italic. Inspired by the work of the renowned Margaret Vivienne Calvert, Hefring Slab is robust, clear and functional. Opentype features include alternative characters, arrows, tabular figures, ligatures and fractions.

Karibu™ is a 100-font original, ultra versatile geometric grotesk family with a lot of character. It is designed for modern projects, to serve as display as well as paragraph text typeface.

It is perfect for lots of design situations - from magazine editorial use, logo design & branding, to web design, user interfaces and mobile applications.

Main features:
- 5 widths (Narrow, Condensed, Normal, Expanded, Wide), each consisting 20 fonts
- 10 weights for each width (from Hairline to Black)
- handdrawn, carefully crafted italics
- alternate stylistic set for more technical and minimalistic projects
- pronounced ink traps and large x-height improving legibility in small sizes and adding strong personality to display sizes
- flatten letter shapes adding vertical rhythm and elegance to narrow widths
- extended latin language support
- OpenType features (case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols)

Say hello to Kokomo Breeze - A deliciously bold and nonchalant casual marker font.

Kokomo Breeze was designed to keep a naturally handwritten marker-style look , while still maintaining some subtle inky marker imperfections on its edges , to keep in line with a more realistic, yet very legible look.

Great for headlines, bold branding, classy packaging, eye-catching callouts and stand-out advertising, Kokomo Breeze is designed to be your jack of many trades.

Be sure to turn on your OpenType features when type with Kokomo Breeze - it’s packed with natural-looking ligatures and alternate characters for both upper and lower case - all of these opentype extras make your type design look mush less mechanical, and much more like naturally formed words as you type.

Pair it with a bold tall sans serif font, or a classy serif to add another whole new dimension to this very versatile marker font.

Great as large and small sizes, Kokomo Breeze is perfect for any size design.