Kiara Bland

Maipo Sans is a modern typeface inspired by the mountain landscape of Cajón del Maipo, Chile. Its
forms are inspired by the first sans serif European Humanist fonts of the twentieth century along with a touch of reverse contrast. This typeface is specially designed for projects using extensive text blocks and striking ads.
Maipo Sans puts a careful focus in the interpolation; therefore it gains expressiveness as its weight
increases. That is why it has moderate and functional forms in its thinner weights, while in his heavier variants it gains freshness and sympathy.
To make it more complete, this family has a complete Stencil Version with a lot of character and power.
Maipos Sans is composed by 40 styles, 826 glyphs and Small Caps.
Besides, it has powerful OpenType features for each style, including stylistic sets, extended language
support, ligatures, contextual alternates, lining figures, oldstyle figures, arrows, fractions,
superscripts, subscripts and many more.

Ageo is geometric sans serif font family designed by Eko Bimantara.

It’s contain 8 weight from Thin to Heavy with each matching Italics. It’s shown a clean, minimalist, elegant, warmth, quirky, yet still purposed to be versatile and easy to read. Fit for various design or creative project.

It’s contain several OpenType features as: standard ligature, figures variation (oldstyle, fraction, numerator, denominator), and also broad language support.

-OC Pájaro [pah-hah-roh, Spanish for bird] is a contemporary sans serif available in twelve styles. It combines the readable width, rhythm and regular proportions of a grotesk with roots in a geometric. The result is a highly versatile font which fuses the timeless elegance of Futura with the compact utilitarian typesetting of the likes of Akzidenz and Helvetica.

-OC Pájaro effortlessly traverses the spectrum from high-end sophistication, approachable readability, and functional information design. Crafted with a tireless focus on kerning, angled terminals are cut to fit neighboring curved letters making the bolder weights perfect for logotypes and display type, while lighter weights are well suited for long passages of text. A large x-height and short ascenders that run level with the low cap-height give a strong horizontal emphasis and allow for tightly packed lines of type.

Typical of both grotesk and geometric styles the design has an even weight with minimal stroke contrast and the slanted form is an oblique rather than a true italic. The default double-story ‘a’ and ‘g’ give a more academic touch, while the friendlier single stories are available as alternates.

The font is designed with extensive open type features including old style figures when setting extensive copy in sentence case and circled uppercase, numbers and symbols inspired by 1960s transit signage.

Cocogoose Classic is a geometric sans serif typeface designed with straight, monolinear lines and circular or square shapes. Its strong, modernist look has been soft ended by rounded corners and slight visual corrections that make Cocogoose Classic not only perfect for logos and headings with a vintage feel, but also very readable as a text font, thanks to its generous x-height.

Cocogoose Classic is part of the Coco Gothic family, a collection of twelve typefaces each inspired by the fashion mood of every decade of last century, named in homage to fashion beloved icon Coco Chanel. Its strong character makes it ideal for display uses.

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.

Useful links:
TT Tsars PDF Type Specimen
TT Tsars graphic presentation at Behance