Jasmine Dobie

Aila is a surprising slab serif built on the structure of a realistic Roman, but with unique organic features that make this typeface an exercise in tension between structure and rhythm. This expressive tension is displayed in heavier styles (Aila Bold and Aila Black), and is strongly evident in the italic forms. Aila’s italics offer an interesting re-interpretation of the cursive ductus of classic italic forms, to offer rhythmic and swift variants, which are the ideal counterpoint to the regular set in body text.
Each style of the Aila family offers an extended character set specially designed for editorial design projects.

TT Firs Neue is a contemporary reincarnation of the good old Scandinavian TT Firs sans-serif. In the process of updating the old typeface, we realized that the number of innovations and the amount of work done definitely deserve a full-fledged new release, and thus TT Firs Neue has come to life.

What has changed? Everything, starting from the proportions of letters and ending with a new formula for the interpolation of weights! So, we changed the proportions of uppercase and lowercase characters; corrected the difference in weight between the letters in fonts of different weights. We changed the basic thicknesses of the strokes so that none of their 18 fonts would stand out with their weight and would be completed following a strict system. We created completely new Italics. And, of course, we made changes directly to the style of the typeface and its letters—the letters have become fresher and cleaner from the geometric point of view.

The most interesting change in the font is the significant extension of its scope. While the old type family was primarily focused on display matters—that is, very large short inscriptions, the new version implies active use of the typeface in the text and on the web. With all this, the font’s character has not been weakened, but has even gained some more strength. This can be perfectly seen in the radical extenders of the letters gltf, or in the super-display visual compensators for horizontal strokes in the bold weights of the typeface. Even though the standard display of TT Firs Neue has become brighter and more audacious, you can always calm it down a little by simply turning on stylistic alternates.

And that is not all! And how about small capitals, and other OpenType features, you ask? In TT Firs Neue, you will find small caps (for Latin and Cyrillic alphabets) and a set of stylistic alternates. In addition to the “standard ligatures”, in TT Firs Neue you can find a large number of original ligatures (30 items) for capital letters, which cover popular two- and three-letter high-frequency combinations from Scandinavian languages. In addition, to support the linguistic features of Scandinavian countries, we prepared a set of capital letters with pinned-down diacritics (including their small capital versions). To access this function, you need to use the calt feature (contextual alternates), or enable the second stylistic set (ss02) in InDesign. And that’s not all, there are a lot of useful features in TT Firs Neue, such as: ordn, case, c2sc, smcp, ccmp, frac, sinf, sups, numr, dnom, tnum, onum, lnum, pnum, dlig, liga , salt (ss01), ss02, locl, calt.

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.

Matahari (English : Sun) is the power source of life. The symbol of power and energy that synergies with other part of daily lives. It is one of the most fundamental thing us humans need, just like communication. And like Matahari itself, words are powerful enough to make a living.

Referring to Grotesque Font and influenced by the works of Eric Gill, Matahari Typeface is available in 3 widths and 7 weights, also in Oblique version in each font. The font uses oldstyle and transitional letters (double-story ‘a’ and ‘g’). It has a humanist gesture, the thickness of the font is semi-monolinear where the horizontal and vertical size is almost equal, making the font reach its maximum optical readability even in small sizes. The font anatomy refers to the basic geometric square-sized of the letter ‘M’, while the letters of S/C/G/c/e have uneven curve shape which give the sense of humanist and flexibility.

This typeface is ideal for various design needs, from Printing to On-Screen/Digital Reading, from Brand Identity, Posters, Caption, Headline, to Body Text. With the numbers of widths available, the font can be used for all kinds of purposes (Label, Signage, Packaging, Website, etc). Supported well over 75+ languages, including Greek & Cyrillic, Matahari Typeface will give you an excellent way in aesthetic communication and message-delivering.

Kiperman is a text typeface designed in honor of Henrique Leão Kiperman, founder of the publishing house Artmed, now Grupo A.
Its forms are simple and straightforward, with no unnecessary embellishments that could disturb the reading. The fonts are slightly narrower than normal, which yields higher efficiency without compromising reading comfort. Besides that, its italics are not just a slanted version of the romans, but rather a separate drawing. With a slope of 8°, its calligraphic structure provides the right amount of emphasis when necessary. The Kiperman typeface works best when setting books, magazines, ebooks and websites. It will also work very well in branding and packaging projects where a sober typeface is needed.
The inspiration for the design came from the personality of the honoree. Just as Henrique always wanted to stay away from spotlights, the Kiperman typeface was designed so that it would not call attention to itself or impose any obstacles in the understanding of the text. In this way, the fonts revere Henrique’s legacy by respecting and honoring the published content.
Henrique Leão Kiperman began his career in 1958, selling medical books in travels through the interior of the Brazilian states of Paraná and Santa Catarina. In 1973, he opened a bookstore in downtown Porto Alegre, the Artes Médicas Sul, and a few years later edited his first book. Since then, his company has grown to become one of the most important publishers in Brazil in the area of scientific, technical and professional books, with more than 2400 active titles distributed among the McGraw Hill, Bookman, Artmed, Penso and Artes Médicas imprints. Henrique passed away in 2017 at the age of 79. The Kiperman type family has been commissioned by Grupo A and is available for licensing. This was the way found for the fonts to be read by more people, spreading some of his spirit around the world.

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.

A truly faithful ally for every designer looking for fresh yet familiar and reliable font choice. Geller was created as a part of graduation project in Typowa Pracownia at Academy of Fine Arts in Warsaw. It is a typeface family intended for newspaper, editorial usage.

Geller family comes in two optical sizes - headline and text, it is a complete solution for editorial purposes. During design process the technical needs of certain typographic fractions were examined. The capital letters were designed with certain purpose: it’s modern proportions (derived from Didone fonts) with optimised inner lights as well as short ascenders and descenders work very well within titles and leads. Except of wide range of opentype features, Geller contains bullets & dingbats providing many possibilities in introduction of entry points in editorial design. Compact diacritics, proportionally tall x-height, narrow letter construction, all this designed features make typesetting of narrow text columns and spreads economical.

Yotin is a contemporary half-serif inspired by summer days vibe. Vibrant, round with a little bit of contrast makes the design of Yotin unique, friendly and flexible at the same time, suitable for text, headlines, display and other design needs such as layouts, branding and anything in between. Yotin is here to serve your creativities.

Yotin comes in 9 weights from Thin to Black, each equipped with Italic plus
many OpenType features; tabular numerals, inferiors & superiors, numerators & denominators, fractions, ligatures etc.