Ruslana Kolesnikova

This monospace font is to display braille in an original although in a rather "steganographic" way.

Its glyphs are designed from a flat hexagon which can be read as 3 rows of 2 vertices (i.e. regular braille glyph grid). The initial design is illustrated by glyph 'ç' (no dot) and 'û' (6 dots) as illustrated by poster 5.

HexBraille glyphs are connected to each other, so there are 6 connections for each (2 on left/right and 4 on top/bottom). A text using this font will display a lattice, not the honeycomb but instead it will show various patterns and the whole looks similar to a PCB.

In the interline squares are frequent and diagonally there are unclosed "irregular convex octagons". For esthetical reasons, squares were favored over octagons.

Note 1: It's also possible to frame the text with 2 sets of border glyphs: octagonal (€°£µ§¥~¢) and rectangular (èéêïîàâä), as illustrated by poster 2.

Note 2: For best esthetical result (especially when using frame glyphs) with Microsoft Word, use CTRL+8 to display Pilcrow (¶) and Non Breaking Space glyphs.

Majorant is a geometric sans serif interpreted from a contemporary point of view. Its wide range of weights makes it a multipurpose family. The extreme weights work as a display typeface, from the mathematical rigour of the UltraThin to the expressive refinement of the Black. Thanks to the several alternates included, the font offers multiple personalities. From sharp and audacious in the default version, to the soft and classic in the stylistic sets. Majorant PDF.

Carot Sans is designed on the basis of three elements - square, circle and triangle. Simple and fresh typeface for visual identities, book covers, magazines and advertisement.

The whole Carot system of 64 members offers a modern alternative for all types of design work.

Carot Display is made for book covers and posters, but will also shine in advertising and visual identity. The whole Carot system is built up from what has long been around; in any case, it was the intention: to evoke the already experienced visual reminiscences of today's spectacled people. We all have a tendency toward sentiment, which, with each new diopter, deepens to melancholy. Only good font can calm us down. I believe in the raw effect of “Carot” typefaces. The superfamily of 64 members offers a modern alternative for all types of design work.

Words in a blurry world want to be more firmly anchored in the line - this is the task of the Slab-serif, characterized by solid heels. They can be used in extreme sizes – under 6 points – as well as on huge tarpaulins covering trucks, boats and house facades. Carot serves its robust clarity. The eye takes a while to become accustomed to various character simplifications, but then comes a refreshing reading perception, familiar texts get actual sound.

The whole Carot system of 64 members offers a modern alternative for all types of design work.

Breakout is a carefully hand-lettered bold script font. Breakout comes in two styles; Regular and Rough Version. Breakout has a lots alternative of each letter to make it look unique and attractive. It is can give a solid and standout impression. Breakout is suitable for logotype, digital printing, packaging, T-shirt, social media post, Merchandise, and many more.

TT Octosquares is a fresh, revised, expanded, and significantly improved version of our first commercial typeface TT Squares and its narrow version TT Squares Condensed. With all our love for the original font family, it felt there was a lack of functionality, character composition, features, and design freshness, which prompted us to the idea of a complete restart. Now TT Octosquares can be safely called a superfamily consisting of 4 widths (Compressed, Condensed, Standard, Expanded), 72 faces (18 in each width), and 1 incredible variable font in which variability works jointly on three axes.

In addition to working on the contours themselves and their design, we completely revised the composition of the typeface. First, we added two completely new widths: Compressed and Expanded. Secondly, we increased the number of weights in each of the subfamilies—while in the old versions there were 5 weights, now in each of the subfamilies there are 9 weights. At the stage of working with the contours of characters, we revised the roundings, changed the forms of shoulder and stem crossings, added noticeable shelves at the letters, removed the sharpness from the triangular characters and cut off all sharp endings.

From the very beginning of work on TT Octosquares, we planned to make a variable 3-axis version of it sewn into 1 font file. This means that by installing just one variable font file, you get access to three axial adjustment of the font: by thickness, width and inclination. Thanks to this flexibility in settings, you can always choose a custom combination of thickness, width or inclination that best suits your tasks.

Due to the increased language support and the appearance of a bunch of useful OpenType features, the number of glyphs in the typeface has increased from 480 to 825 in each style. Now you can use stylistic alternates, standard and discretionary ligatures, or use old-style figures, numbers in circles and even slashed zeros in your design. Full list of features: aalt, mark, mkmk, ccmp, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, case, zero, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt, locl.

To use the variable font with three variable axes on Mac you will need MacOS 10.14 or higher. For other software and browsers, you can check the support status here: v-fonts.com/support/.