added to cart
WB
0
Login
72px
Druk Text Wide
Heavy
Согласно Книге рекордов Гиннесса, больше всего букв в алфавите кхмерского языкаСогласно Книге рекордов Гиннесса, больше всего букв в алфавите кхмерского языка
48px
Druk Text Wide
Heavy
The Latin alphabet was used in the earliest Asturian texts. Although the Academia de la Llingua Asturiana published orthographic rules in 1981, different spelling rules are used in Terra de Miranda.The Latin alphabet was used in the earliest Asturian texts. Although the Academia de la Llingua Asturiana published orthographic rules in 1981, different spelling rules are used in Terra de Miranda.
24px
Druk Text Wide
Heavy
Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada; pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. De allí a quince días volvió a Madrid con otras tres muchachas, con sonajas y con un baile nuevo, todas apercebidas de romances y de cantarcillos alegres, pero todos honestos. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro; y en tanto que bailaban.Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada; pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. De allí a quince días volvió a Madrid con otras tres muchachas, con sonajas y con un baile nuevo, todas apercebidas de romances y de cantarcillos alegres, pero todos honestos. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro; y en tanto que bailaban.
15px
Druk Text Wide
Heavy
Prince John held his high festival in the Castle of Ashby. This was not the same building of which the stately ruins still interest the traveller, and which was erected at a later period by the Lord Hastings, High Chamberlain of England, one of the first victims of the tyranny of Richard the Third, and yet better known as one of Shakspeare’s characters than by his historical fame. The castle and town of Ashby, at this time, belonged to Roger de Quincy.Prince John held his high festival in the Castle of Ashby. This was not the same building of which the stately ruins still interest the traveller, and which was erected at a later period by the Lord Hastings, High Chamberlain of England, one of the first victims of the tyranny of Richard the Third, and yet better known as one of Shakspeare’s characters than by his historical fame. The castle and town of Ashby, at this time, belonged to Roger de Quincy.
About

Druk Text Wide is designed to be useful for structural elements, clarifying typographic hierarchy without forcing dramatic changes in scale on the page. The Super weight was developed for the “Etc” section in Bloomberg Businessweek, where it maintains the distinct personality of the display type even in captions and infographics. It can also be used sparingly for short blocks of text, but it is primarily intended for display use at small sizes, maintaining its legibility all the way down to 6pt. Like its related display face, Druk Text Wide has four weights, from Medium to Super, with italics.

Languages

Afrikaans, Belarusian, Bulgarian, Catalan, Chechen, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, German, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Mongolian (cyr), Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovene, Spain, Swedish, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (lat)

Authors

Commercial Type

Based in New York and London, Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Barnes and Schwartz, their staff, and outside collaborators, and also represents the two and their team when they work together on type design projects. Following the redesign of The Guardian, the team headed by Mark Porter, including Barnes and Schwartz, was awarded the coveted Black Pencil by the D&AD. The team was also nominated for the Design Museum’s “Designer of the Year” prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper*.

Ilya Ruderman

Ilya Ruderman, a type and graphic designer and teacher, lives and works in Moscow. He is a graduate of the Moscow State University of the Printing Arts (2002), where his graduation project was done under the supervision of Alexander Tarbeev. He has a MA degree in type design from the Type & Media program at the Royal Academy of Art in the Hague (2005). After completing the program, he returned to Moscow, where he has collaborated for a number of media: Kommersant, Afisha, Moskovskiye Novosti, Bolshoi Gorod and Men’s Health Russia. In 2005-2007 he was art director for Afisha’s city guidebooks, following which he was art director for RIA-Novosti, a news agency, for several years. Since 2007 he has also supervised the curriculum in type and typography at the British Higher School of Art and Design in Moscow. He has been very active as a consultant on Cyrillic since 2008. In 2014 he founded CSTM Fonts with Yury Ostromentsky.

Typefaces by Ilya Ruderman: BigCity Grotesque Pro, Kazimir, Permian (a typeface-brand for the city of Perm) and Cyrillic versions of: Austin, Dala Floda, Graphik, Marlene, Moscow Sans (as a consultant), Typonine Sans, Thema.

Yury Ostromentsky

Yury Ostromentsky is a type and graphic designer. He is a graduate of the Moscow State University of the Printing Arts (2002), where his graduation project was done under the supervision of Alexander Tarbeev. He has worked as a designer and art director for publishers and design studios. From 2004 to 2012, he served as art director of the magazine Bolshoi Gorod (Big City), for which he created several display typefaces as well as several original typefaces and Cyrillic versions of Latin fonts in collaboration with Ilya Ruderman. His typefaces were honored at the Contemporary Cyrillic 2009 and 2014 competitions. In 2004 he and Ruderman, Dmitri Yakovlev and Darya Yarzhambek created DailyType, a website. In March 2014, again with Ruderman, he founded CSTM Fonts.

Typefaces by Yury Ostromentsky: RIA Typeface, Kazimir, Pilar, BestLife.

Berton Hasebe

Berton Hasebe, a type designer, studied in Los Angeles, earning a bachelor of arts degree from the Otis College of Art and Design (2005). He has also completed the Type & Media M.A. program at the Royal Academy of Art in the Hague. During his student years, Hasebe created the typeface Alda, which was published by Emigre and drew the attention of the juries of the Type Directors Club in New York and Tokyo in 2008. He worked for Commercial Type in 2008-2013, where he helped develop typefaces for Bloomberg Businessweek, The New York Times and Wallpaper*. Since 2013 he has been working independently. He teaches typography at the Parsons School of Design in New York and the University of the Arts in Philadelphia, Pa. Since 2016, he has also taught in the Type@Cooper program. His work has been singled out for praise by ATypl conferences and at the graphic-design biennial in Brno. In 2012, he was among those cited by the journal Print on its annual list of new visual artists.

Typefaces by Berton Hasebe: Alda, Druk, Portrait and Platform.

Codepage
Full codepage