Xenia Artemova

Backtrack Script Typeface design by Ilham Nashrul Huda & published by Etcsupply at 3rd August 20 in market place. This font very suitable for photograpy logo, book/magazine cover, business card design, typelogo, packing, advertisement and others.

Backtrack Script Features :

• + 258 total glyph 
• End swash alternate
• 5 Ligature 
• Multilingual Support
• 13 Swash Character
• PUA encode Support

Features: 

• Support for 28 languages: 

  Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German

  Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian  

  SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu

• Contains OpenType features with alternates or substitutes

• Tabular Figures 

• Ordinal numbers 

• 74 icons (It will keep updating.)

• 28 brand symbols (It will keep updating.)

• 27 arrows glyphs

• 0-99 line circled glyphs 

• 0-99 solid circled glyphs 

• A-Z line circled glyphs 

• A-Z solid circled glyphs

Gravitica is a modern sans serif with a geometric touch. It comes in 6 weights, 12 uprights and its matching rounded, italics, so you can use them to your heart’s content. Designed with powerful opentype features in mind. Each weight includes extended language support, fractions, tabular figures, arrows, ligatures, icons and patterned.

Gravitica family consists of 13 styles (6 weights, 6 Italics), in each of which there are more than 940+ glyphs. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. documents and folders, mobile interface. 

Useful links:

Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

Kanyon is a family of typefaces created from basic geometric forms based on the equal width system. Its clean and neutral structure and 3 different widths provide ease of use in different design channels.

With its rich OpenType features, multi-language support and small capital characters, it has a wider usage area than its counterparts.

Ideal for packaging, labels, routing designs, mobile applications, brand designs, logos, all kinds of presentation and editorial designs, indoor and outdoor printing works.

Faculty is a robust, warm and rational sans with a large x-height that lends a clarity in text and headline. Stroke terminals are cut horizontally, lending it a solid colour. Suitable for headlines and text.

Rolhausen is a A Sans Serif Typeface which is suitable for you who needs a typeface for headline, logotype, apparel, invitation, branding, packaging, advertising etc.

Proudly Presenting, Zaniola Lavolce Font. Zaniola Lavolce is a Modern Callihgraphfont that is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. This font includes TTF and multilingual support.

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.

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.

Ace Attitude is a friendly, readable font with character and flair. When I started designing this font I wanted something that was readable as well as interesting and appealing. Something that showed character. When I look at this font now I think of an old fashioned aviator. One of those poeple that likes to show off and have fun but can still follow rules.

This font is perfect for logo's and branding. But its also very versatile would be great in things like magazines, posters, packaging, billboards, etc.

Ace Attitude has 825 glyphs and includes features such as small caps, ordinals, ligatures, fractions, tabular numbers, proportional numbers, subscript, superscript, numerators and denominators. It also has an impressive 179 Contextual alternates. These are like ligatures, but oh so much better. These contextual alternates will give any project that personal touch - all without any extra effort.

Escape Signature was created with a brush pen by handwritten technique in natural brushing. Escape Signature is very inspired my own signature writing.

Escape Signature has a simple and easy characteristic. This font is perfect for all of designs that use script and signature style. You can use it in taglines, signatures, posters, branding, advertising, invitations, greeting cards, and more.

Escape Signature typeface will make your graphic designs stronger and give it more character.

Happy Boy is a handwritten sans typeface that has a rounded corner in each glyph. Inspired from speech bubble for comics, illustrations and kid writing.

Happy Boy is perfect for comics, illustrations, cartoons and very suitable for speech bubble text. It is fun, easy communication and an eye catching style. You can use it for cover book, tagline, poster, branding, advertising, wallpainting letter, graphic design, and more.

Happy Boy comes in 4 styles, regular, italic, bold and bold italic.

Marteni is a beautiful and elegant script font. This font is perfect for logos, branding, invitations, social media posts, and any other designs that require a touch of handwriting and can be used for almost every design. This font is coded PUA which means you can access all the amazing glyphs and swashes easily! It also has many special features including alternative flying machines and ligatures.

To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions.

There are additional ways to access alternatives / swashes, using Character Maps (Windows), Nexus Fonts (Windows), Font Books (Mac) or software programs such as PopChar (for Windows and Mac).

If you need help or advice, please contact me via email.

Thank you!

Burma perfectly represents vintage aesthetics sans serif display typefaces. This project is inspired by beautiful lettering on old label. It come with 4 style (regular, soft, rough and outline). Some letters contain beautiful stylistic alternates characters (ss01 - ss04) and feature ligatures.

Burma can be applied in designs such as logotypes, posters, packaging, branding, quotes, badge and more custom design. It features uppercase, lowercase, numeral, punctuation & symbol, ligatures, alternates, multilingual support, and is PUA encoded (fully accessible without additional design software).

How to get access alternate glyphs with designing software to open type fonts check this link:

http://adobe.ly/1m1fn4Y

Slabber is a big ol’ chunky serif that’s specifically designed for display purposes – headlines, logotype, branding, titles, packaging, signage, etc. Its characteristics include heavy bracketed serifs with a strong 19th century wood type influence, while a very large x-height combined with a small cap height creates an awkward tension that delivers a strong, stylish, contemporary typeface. Slabber is enhanced by 22 alternates that will allow you to add flourishes to your typography. All Latin European languages are covered in this 6-weight typeface.

Key features:

• 6 Weights 
• 22 Alternates
• European Language Support (Latin)
• 500 glyphs per font.

BR Nebula is a geometric sans serif that builds on the foundations of early geometric designs such as Paul Renner’s Futura, and later works such as Avant Guarde. BR Nebula takes inspiration from these early explorations in sans serif design and re-imagines them for the modern age. Distinctive geometric letterforms have been refined and simplified with opened terminals to achieve a clear, legible and modern aesthetic.

BR Nebula is available in 20 contemporary styles, with weights ranging from Hairline to Super. The fonts also provide advanced typographic support with OpenType features such as case sensitive forms, stylistic alternates, slashed zeros and multiple figure sets. Also containing advanced language support as standard.

For custom enquiries please contact: mail@brinktype.com

Redriver is a postmodern font in a futuristic graphic style, mixing characteristics from postmodern, contemporary and even older design styles. Redriver's strength will be the soul of your graphic designs.

Redriver is perfect for futuristic and postmodern graphic art, editorial design, posters, t-shirts, book covers, headlines, advertising, branding, movies titling, and more. Redriver can be used for both short or long text in your designs and comes in 3 styles: thin, regular, and bold.

Meet Leifa, a confident, timeless and elegant Flare Serif. 

Leifa is a versatile companion, perfectly usable for a variety of applications. But especially the areas of branding and editorial design are Leifa's preferred playground. There in particular, the typeface impresses with its look and feel, making the design pleasant and smooth. Take a look at the wonderful lowercase letter /f, or the spiky spurs of the other lowercase letters. That's where the fun begins. 

Its flattened serifs and sharp spurs are restrained and almost inconspicuous in copy text, but in display sizes they unfold their potential and provide an organic and humanistic touch.

Designed by Moritz Kleinsorge, Leifa consists of eight weights from Thin to Black with matching italics. Each style has a character set of about 615 glyphs. Four stylistic sets allow an alternative Leifas appearance, there is an option for a single-story /a (ss01), simple /f (ss02), triple-story /g (ss03) and thin punctuation marks (ss04). You will also find a set of ligatures, tabular figures and symbols, case-sensitive forms, fractions and many other features in this beautiful typeface.

The Genau family is a geometric sans serif designed under the influence of the constructivist schools of Vkhutemas and Bauhaus. Despite the traditional shapes, the family has characteristic features in the modern outline. The sharp junction of round and straight strokes repeats the sharp tails in “a” “d” “n” “u” and other. The family has an even, smooth texture. The family has been developed to advert materials for architecture, design, education, modern art. The family has high readability in a small size, and doesn't lose aesthetic qualities when enlarged.

The font family contains 8 styles

The font is equipped with a Variable file with two axes (weight and slope)

Supports languages ​​of central Europe and some languages ​​of eastern Europe

Contains small uppercase letters

Contains tabular figures

There are several alternates in the font

The font has more than 1700 kerning pairs

Comilfo is an amazing handwritten font that is delicate and elegant. It will emphasize your personality in any project and will charm you with its signature. Comilfo looks stunning on wedding invitations, thank you cards, quotes, greeting cards, logos, business cards and every other design which needs a handwritten touch. This font includes alternates, ligatures, and swashes. Comilfo has OpenType features.

Kinetika is a geometric sans serif family that comes in 20 weights, including uprights and matching italics.

The idea behind Kinetika was to create a very impactful display type family that would be perfect for branding — to do so it needed to have large x-height, distinctive and legible letterforms as well as friendly characters.

In summary the font family is ideal for a variety of cases including advertising, branding, motion design, editorial, packaging and most importantly websites. Each font features 800+ finely crafted glyphs, smart quotes, tabular figures, beautiful old-style figures, over 20 stylistic sets made to ease your typesetting process as well as subscripts, superscripts, fractions, and more. Language support is quite extensive, including Cyrillic and extended Latin alphabets, with over 125+ languages supported.

To top it off, Kinetika comes with 2 FREE weights.