Sophie O'Donnell

Metafora Sans is a contemporary display family with multifunctional workhorse designed to work best in any printed and on screen contexts, including logo design, brand identities, websites, packaging, poster and headline. The Typeface come in 13 weights, with Upright and Oblique each, for a total of 26 styles.

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.

Phagoth is calligra-futuristic gothic typeface. It is suitable for simple logo design, website headers, wedding invitations, fashion, menu designs and others. Good for vintage theme, tattoes etc.

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Thank you for purchasing and happy designing :)

A handmade and digitally re-traced font. Very suitable for headlines that needs that simple, yet handmade and legible look!

Konya is a signature script-style font with a very luxurious look. It can look very soft and very firm in an elegant frame, high but not too towering, and flat but not too low. Its appearing with a balance like dervish whirling around in ‘Konya town’ with two hands stretched, one hand facing to the sky and the other hand facing to the earth.

This font is perfect for branding, as we equipped it with a number of alternatives that allow you to make it a feminine and masculine logo, and some swash to add to the firmness of signature.

This font also has ligatures to present a natural handwritten impression.

Sainthorn Script is a typeface thick and easy to read, it would be so comfortable to wear .You can use it as a logo, badge, headline, and on insignia, packaging, posters, t-shirts/apparel, greeting cards, business cards, wedding invitations and more. The flowing characters are ideal to make an attractive messages to your taste.

Mix and match with many alternative characters to fit your project.It will be more interesting if you add swash / alternative swash.

The alternative characters in this font were divided into several OpenType features such as Stylistic Alternates, Ligature and Ligature Alternates.

Mail support : [email protected]

Thank you! Maculinc

I remember as a kid, having a shampoo that smelled like carrot. It even looked like carrot juice, so of course I had to taste it. And, of course It didn't taste of carrot at all! This font is inspired by the tiny roots of the carrot, and the healthy taste. Comes with multilingual support, ligatures for double letters and fancy swashes

The other day I had a dream of a cake - one that was both crispy and creamy. Just like that favorite one that my wife makes! Yummy! :)
This font also has a lot of crunchy and munch things inside - play around with the contextual alternates (4 different versions of each lowercase letter!) and the Regular and Clean versions.

The act in a staring contest is two people maintain eye contact and the one who blinks first or breaks eye contact loses..
Did you know that there is a world record in not blinking? Last time I checked, the record was about 41 minutes - maybe someone took that record since I checked!? Anyway, you can stare as much as you like on this font, it will only get better, the longer you stare! Ha ha, maybe not, but it is easy for the eye, legible and playful at the same time. Comes to you in both regular and “brush” versions

The TT Tsars font family is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century. The project is based on title fonts, that is, the fonts that were used to design book title pages. The idea for the project TT Tsars was born after a small study of the historical development of the Cyrillic type and is also based on Abram Shchitsgal’s book “Russian Civil Type”.

At the very beginning of the project, we had developed a basic universal skeleton for the forms of all characters in all subfamilies of the family, and later on we added styles, visual features, artefacts and other nuances typical of the given period onto the skeleton. Yes, from the historical accuracy point of view it might be that such an approach is not always justified, but we have achieved our goal and as a result we have created perfectly combinable serifs that can be used to style an inscription for a certain time period.

The TT Tsars font family consists of 20 fonts: 5 separate subfamilies, each of which consists of 4 fonts. Each font contains 580 glyphs, except for the TT Tsars E subfamily, in which each font consists of 464 characters. Instead of lowercase characters in the typeface, small capitals are used, which also suggests that the typeface is rather a display than text one. In TT Tsars you can find a large number of ligatures (for Latin and Cyrillic alphabets), arrows and many useful OpenType features, such as: frac, ordn, sinf, sups, numr, dnom, case, onum, tnum, pnum, lnum, salt (ss01), dlig.

Time-related characteristics of the subfamilies are distributed as follows:
• TT Tsars A—the beginning of the 18th century (Latin and Cyrillic)
• TT Tsars B—the beginning of the 18th century (Latin and Cyrillic)
• TT Tsars C—the middle of 18th century (Latin and Cyrillic)
• TT Tsars D—the end of the 18th century (Latin and Cyrillic)
• TT Tsars E—conditionally the beginning of the 18th century (only Latin)

TT Tsars A and TT Tsars B families (both the beginning of the 18th century) have different starting points: for TT Tsars A it is Latin, for TT Tsars B it is Cyrillic. The development of the TT Tsars A family began in Latin, the font is based on the royal serif Romain du Roi. Cyrillic alphabet is harmoniously matched to the Latin. The development of the TT Tsars B family began in Cyrillic, which is based on a Russian civil type. Characteristic elements are the curved one-sided serifs of triangular characters (A, X, Y), drops appear in the letter Ж, the middle strokes В and P are adjacent to the main stroke. Latin was drawn to pair with Cyrillic. It is still based on the royal serif, but somewhat changed: the letters B and P are closed, and the upper bar of the letter A rose. This was done for the visual combination of Cyrillic and Latin and at the same time to make a distinction between TT Tsars A and TT Tsars B.

TT Tsars C is now the middle of the 18th century. Cyrillic alphabet itself did not stand still and evolved, and by the middle of the 18th century its forms have changed and become to look the way they are shown in this font family. Latin forms are following the Cyrillic. The figures are also slightly modified and adapted to the type design. In TT Tsars C, Cyrillic and Latin characters are created in parallel. A distinctive feature of the Cyrillic alphabet in TT Tsars C is the residual influence of the flat pen. This is noticeable in such signs as З, Ж, K. The shape of the letters Р, Ц, Щ, Э is very characteristic of the period. In the Latin alphabet, a characteristic leg appears at the letter R. For both languages, there is a typical C characterised by an upper serif and the appearance of large, even somewhat bolding serifs on horizontals (T, E, Г, L).

TT Tsars D is already the end of the 18th century, when with the development of printing, the forms of some Cyrillic characters had changed and turned into new skeletons of letters that we transposed into Latin. The figures were also stylized. In this font, both Cyrillic and Latin are stylistically executed with different serifs and are thus logically separated. The end of the century is characterized by the reduction of decorative elements. Straight, blueprint-like legs of the letters Я, R, K, Ж. Serifs are very pronounced and triangular. E and Э are one-sided on the middle horizontal line. A very characteristic C with two serifs appears in the Latin alphabet.

TT Tsars E is a steampunk fantasy typeface, its theme is a Latinized Russian Сivil type (also referred to as Grazhdansky type which emerged after Peter the Great’s language reform), which includes only the Latin alphabet. There is no historical analogue to this typeface, it is exclusively our reflections on the topic of what would have happened if the civil font had developed further and received a Latin counterpart. We imagined such a situation in which the civil type was exported to Europe and began to live its own life.