Georgia Carne

Tzimmes is a tasty morsel for those who love tasty letters. The fleshy serifs combined with the subtle references to calligraphy create a distinctive character that will turn every text into a feast for the eyes. The family consists of 22 weights including true italics. This will allow you to freely compose even the most demanding projects. Book? Magazine? Logotype? Everything available à la carte!

Light and bold weights, due to their strong personality, are perfect for display uses. At the same time, Regulars create a harmonious structure that provides good legibility in long texts. Tzimmes covers all latin languages and cyrillic. It contains a wide set of numerals, small capitals, fractions, ligatures and other OpenType goodies. Bon appetite!

Matrice is a sans serif (Semi Extended) display font family in 8 weights plus matching natural italics. support 75+ Languanges (Latin Based) influenced by the grotesk typefaces developed in the early 20th century, perfect for branding (Identity), logotype, headline text, and caption.

Fact is a workhorse open sans serif type system. It is inspired by the great Frutiger typeface. While the Regular style is slightly modernized but still quite close to Frutiger, changing the weight or width makes differences of the design more pronounced. The style range of Fact is wider than of any cognate type family, including weights from Thin to Black and widths from Compressed to Expanded. Fact type system contains 48 upright styles with variations in width and weight and 8 italics of normal width. The font was designed by Alexandra Korolkova and Manvel Shmavonyan and released by Paratype in 2018.

Majora is a slab serif typeface which derives its name from a Portuguese historical toy manufacturer. The font comes in 8 styles, ranging from a delicate Thin to a robust Black, with matching italics and an upright version of stencil fonts, resulting in a total of 24 weights.

Majora is well-suited to a wide range of design projects which include packaging, editorial design, screen use, etc. Its humanistic features and moderate contrast between thick and thin strokes make it also suitable for long block of texts while having a high degree of legibility. The font includes a set of alternate glyphs which help give your compositions a different and unique look.

The Stencil version was specially designed for use in signage, packaging, titles and headings.

Majora contains a set of 520 characters that support over 200 Latin-based languages.

Galatea is a universal sans serif family – clean and timeless. Both iconic and legible, Galatea is suited to cover many needs from brand identities to editorial design, advertising, logos and beyond. Cyrillic characters are featured and a wide range of languages is supported. 
Open Type features are abundant – from built-in small capitals to various numeral styles (linear and old style; tabular and proportional, subscript and superscript). 

Galatea comes in three widths – each featuring eight weights and corresponding italics.

Ekster is a geometric sans serif typeface from the Parisian designer Ilya Naumoff. Many of its letters are simplified; you’ll find several places in the typeface where the connection of bowls to stems isn’t fussy, for example, and horizontal strokes – like those in the ‘f’ and the ’t’ along the x-height – don’t bisect their letters’ main vertical stems (but populate the left-hand side only instead). Ekster’s lowercase ‘u’ is also symmetrical. The family includes a staggering number of weights – eight in total, and these range from Thin through Black. Each weight has both an upright font and an oblique-style italic on offer. The letterforms in all of the Ekster weights are drawn with virtually monolinear strokes. Ekster’s x-height is moderate, and the lowercase’s ascenders rise up to the same height as the capital letters and the numerals. However, the best feature of Ekster’s fonts is the large number of alternates that they contain. Ekster includes alternate forms for almost every lowercase letter, and some even have more than one alternate available – like the ‘a’, ‘e’, and ‘r’. Ekster is an excellent choice for use in both corporate design and editorial design projects, both because of its range of font weights and styles as well as because of its legibility in text.

Based on a Monotype 1930s condensed poster typeface, Placard Next is bursting with personality. Unexpected details appear throughout the design, from its wedged diagonals and single storey a to its round tittles – which would more ordinarily be square, and mechanical. The warmth and quirkiness of its character really shines through when set at larger sizes, making this a typeface for posters, headlines, and anywhere else designers need to make a statement. Designer Malou Verlomme has paid particular attention to the typeface’s ‘word images’, further amping up its impact, and added some vintage flavor with Placard Next Round.

As well as a striking display typeface, Placard Next’s four widths and six weights – hairline to bold - mean it’s a versatile design, that can be adapted for use in almost any environment. The complete family contains 48 fonts: 24 in Placard Next and 24 in Placard Next Round. It includes a large multilingual character set.

Everland Script is a hand painted bold script font inspired by old signage and sign painting. 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.

Everland Script 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.

Litmus is the newest typeface from ITF founder Satya Rajpurohit. It is a slightly condensed humanist sans serif design, with a tall x-height and strokes that end with either horizontal or vertical terminals, instead of diagonals. Ascenders rise noticeable above the tops of capital letters, while the fonts’ numerals are slightly shorter than the caps. Litmus’s interior counterforms are rather open. There are five weights on offer: the Light is monolinear, but the stroke-contrast grows with every weight. The amount of contrast in the Bold is quite high. Each Litmus font makes use of a double-storey ‘a’ and single-storey ‘g’. The fonts may be put to excellent use for text on websites, or in print – especially in documents where a little space-saving is necessary.

DINosaur is the typographical mise en scène of a calligraphic standard for technical writing, found in a 1967 manual. Although its base is a regular grid and its main reference is the DIN norm, it is full of a multitude of small original features. The microtypographic details refer to the tools originally used for its reproduction.

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.

Epura is a geometric sans typeface named after Épura the base structure for descriptive geometry. Architecture and pure lines have inspired the design of Epura. The alternative shapes for a and g give it an informal look changing the texture of the font. Epura has clean geometric shapes but still infused with identity.

Bakeshop is a casual script font family. It is drawn with rounded marker so the contrast is quite low. It has bumps at the end of strokes where the pen has stopped and the ink has spread. Bakeshop includes three weights and has both connecting and non-connecting versions.

Connecting Bakeshop versions has OpenType features like Final Forms, looping connections with lowercase e, high connecting stroke with ascenders and plenty of discretionary ligatures. You can enable Final Forms either enabling Final Form feature or Contextual Alternates. If you want to use the high connection strokes with ascenders enable Stylistic Alternates or Stylistic Set 2. And if you like to use the ligatures just enable Discretionary Ligatures feature.