Stella Tyas

Dirk is a strong, heavy slab serif meant for large, attention grabbing display use. Dirks design lives somewhere between a Clarendon wood type style and a more modern geometric slab serif.

It features the bracketed serifs, large x-height, and short ascenders/descenders of a Clarendon design, but drawn with the precision curves and smooth, sturdy structure of a geometric slab.

The result retains the charm of wood type, but sheds a lot of the over-familiarity and sameness of a digital revival.

Dirk is available in both a clean, Black weight as well as a Stencil version.

Each styles feature a full Western, Central, and South Eastern European character set.

The first glyphs of Nougat Script were born in 2010 to honor the birth of my first chubby and charming daughter, Siena.

The ongoing project with significant progress was presented at Tipos Latinos, the biennal of Latin America typography where Nougat Script was selected among 70 of the best fonts.

After a long pause, the project had a powerful restart at the begining of 2018.

In those days, it not only grew in number of signs but in complexity of behavior.

There are 4 different types of writing within the same font file accesible via opentype features: Script (base or normal), two glyphic alternatives with well differentiated swashes and finally a small cap version.

Nougat Script has a fresh and relaxed lettering attitude combined with the typographic harshness for elegant text compositions.

Bison is a sophisticated and strong family of sans serif fonts. Its sturdy uncompromising style is felt through controlled letterforms and modern touches. A balance of hard lines and smooth curves, each font in the family can stand on its own dynamic and authoritative in their own right.

FEATURES Bison includes ten all-caps fonts: Four weights / Italics / Outlines / Numbers & Punctuation / Extensive Language Support More Bison Bold - bold and commanding Bison Demibold - the persuasive middleweight Bison Regular - a sturdy midground between light and bolds Bison Light - quiet but confident Bison Outline (Thick and Thin) - edgy and engaging USE Bison works great in any branding, logos, magazines, films.

The different weights give you full range to explore a whole host of applications, while the outlined fonts give a real modern feel to any project.

Blond is modern sans serif family with 22 members - 11 weights from Thin to Heavy with matching Italics.

Distinctive, recognizable and uniform, Blonde family is well balanced typeface that will find appliance in any situation - from editorial design to web design.

Contains extended Latin character map and small Stylistic set.

Vin (translated from Ukrainian as he) is a superfamily consisting of three robust typefaces with pronounced vertical stems and rounded corners.

All three typefaces feature very large x-height for even more expression and assertiveness.

Vin Mono Pro is a squarish monospaced font family with extra-large x-height and rounded corners.

It is characterized by evident straight elements even in horizontal stems. Be sure to check other two typefaces of Vin superfamily: Vin Sans Pro and Vin Slab Pro.

Vin (translated from Ukrainian as he) is a superfamily consisting of three robust typefaces with pronounced vertical stems and rounded corners.

All three typefaces feature very large x-height for even more expression and assertiveness.

Vin Slab Pro is a condensed rigid slab-serif with extra-large x-height and rounded corners.

It is designed specifically for short texts to add significance and emphasis.

Be sure to check other two typefaces of Vin superfamily: Vin Sans Pro and Vin Mono Pro.

Marmalade Script by Uniontype is a modern multilingual type family inspired by vintage monoline fonts.

The family consists of light, regular, bold and printed styles. Choose olor and offset according to your taste. Marmalade Script provides advanced typographical support with contextual alternates, ligatures and swashes.

That way, youll have automatic access to the dozens extra glyphs in each of the fonts.

Marmalade Script is good for menu, signs, packaging, posters, letterings and logos.

Rileno Sans is sharp with geometric forms and strong personality. It is constructed in a geometric manner and inspired by the constructivist typefaces of the 1920s with a humanistic quality.

It comes in 6 weights, 6 uprights and their matching italics. Rileno Sans is equipped with opentype features like Alternate charates, Fractions, Monospace Numbers, Superscript/subscript, Arrow, Roman Numbers, Ligatures and More.

The typeface that became Quair was originally planned as an extension of our Oban typeface.

As it developed it became different enough to be a stand-alone, but connected typeface.

Quair mixes typographic and graphic reference points, most notably from market-stall trader lettering and from Thorowgood and Scotch nineteenth-century typefaces.

Quair isnt an updating or redrawing of these. It adds different ideas to make a distinctive, separate-looking typeface. More The lettering by Market stall traders to advertise their products has immediacy and economy, but is expressive and surprising.

Letter shapes that look drawn but have a feeling of being written in quite a simple, unfussy way.

Shapes are big, decorative but unrefined, Quairs lettershapes have this idea of being reduced.

They are minimal, in that they lack subtlety, but are characterful and individual.

Round and Triangle serif options highlight this idea of the letters as graphic shapes, and offer a difference in emphasis between curvy and angular.

Like Oban, Quair takes inspiration from the Thorowgood, nineteenth century headline typefaces.

These have striking and idiosyncratic drawing, with exuberent, bold letter shapes.

As with the market trader lettering their character and individuality is expressed through an economy of drawing, and the impact of the high contrast between thick and thin.

Quairs character shapes have something of the sparse, rigorous quality of Scotch typefaces.

Scotch typefaces are known for their utility aesthetic. Quair has something of this, but typographic nuance has been reduced with a simplified, graphic shape.

Modulation has been replaced with binary thick/thin. An angular, basic and inelegant look, but functional and useable.

Ash is a script font hand drawn with dry brush. Ash is packed with automatic Contextual Alternates that keep the text vivid. Ash also has Swash alternates for lowercase letters that add extra flavour. In Titling Alternates theres 26 swooshes and strokes placed in a-z that can be used as underlines or just decorations.

Ash is great display font for a swift hand drawn look. Ash has wide language support and it is PUA encoded so you can access extra glyphs in most graphic design softwares.

The publication of this more mature design is the result of a previous 1-style project which was developed in 2010.

Rita, the new design, has increased from one single style to a full font family, with a strong personality, ideal for short text for high impact designs.

Rita is a slab serif typeface that offers a wide range of weights and widthsfrom a thin, ultra condensed font to a heavy variant for poster design.

Its variety of weights and widths allows users to create a number of different compositions such as titles and text for impact or high impact graphics.

More Rita comes in 10 styles and includes a set of 400 characters that support over 200 languages.

Rita was designed by Daniel Hernández with the collaboration of Rodrigo Fuenzalida.

Useful links: TT Tricks PDF Type Specimen TT Tricks graphic presentation at Behance TT Tricks is a modern serif font family whose design refers us to the style of transitional serifs.

The distinctive features of TT Tricks are the relatively low contrast of strokes, the slightly squarish shapes of round characters and the emphasized businesslike nature.

More The original idea of TT Tricks is based on the graduation project of student Sofia Yasenkova, who chose to create a daily planner font as her final project.

This led to many stylistic decisions, for example, the large and asymmetrical serifs, low contrast strokes, and the presence of interesting details.

In the process of working on TT Tricks, we have significantly revised the initial idea and expanded the areas of possible font application, while maintaining the original spirit of the project.

Despite the large number of display details, the typeface looks great in a small point size, and also when it is used in large text arrays.

TT Tricks features an original stylistic set which, when turned on, adds features of typical pointed-pen serifs to some of the lowercase characters.

In addition, TT Tricks has small capitals for Latin and Cyrillic alphabets, as well as several interesting ligatures.

The TT Tricks font family consists of two font subfamilies, these are the main version and the version with the original stencil cutting.

Each subfamily consists of 12 fonts: Light, Regular, DemiBold, Bold, ExtraBold, Black + True Italics.

Following a good tradition, TT Tricks supports a large number of OpenType features: ordn, case, c2sc, smcp, frac, sinf, sups, numr, dnom, onum, tnum, pnum, dlig, liga, calt, salt (ss01).

Roc is a sans serif grotesk inspired by American wood types from the end of the 19th century.

With nine weights in five widths, this family contains 45 fonts in total. The character set supports Western and Central European languages, as well as Turkish. More Roc Grotesk comes in a range of five widths: Compressed, Condensed, Normal, Wide and ExtraWide, in order to cover a wide scope of applications.

Although the styles at both ends of each range are made in their most pronounced form in terms of width and weight, they are not taken to such extremes as to become absurd, and are quite usable in display settings.

The Normal width keeps all its nine styles in proportionally similar widths. The Compressed width, however, is deliberately made to be disproportionate, so that every style takes the least possible horizontal space.

That is why the contrast between Compressed Thin and Compressed Heavy style is substantial.

As the weights progress from Thin to Heavy, the stroke contrast becomes more prominent.

It is intentionally exaggerated in heavier weights, which is particularly apparent in the uppercase E and R of the Black and Heavy style.

Roc has a large x-height and relatively short descenders and ascenders. No uppercase letter descends below the baseline, so the lines of an all-caps text can be packed tightly on a poster or a headline.

The Regular style is somewhat generously spaced, as it is most likely to be used for setting longer passages of text.

Its Bold counterpart is spaced in such a way that the width of the text column will be similar to the text set in Regular.

Tabular figures in these two styles have exact matching widths, so for example, you could emphasize one row of numbers in a data column without visually disrupting the vertical order of the table.

The lowercase g and r have alternatives to accommodate what most designers expect from a typical Grotesk typeface.

The single-story g and the cut-off r are accessible via the OpenType feature.