type.today
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Или как будто бы кто-то невидимый подкрадется сзади, положит руки тебе на плечи и засмеется таким знакомым смехом, что и слез не сдержатьИли как будто бы кто-то невидимый подкрадется сзади, положит руки тебе на плечи и засмеется таким знакомым смехом, что и слез не сдержать
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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.
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А потом как-то неожиданно присмирел, затих, даже плакать перестал. Но смотреть на него никто не решался. А к ночи куда-то исчез. Искали да так и не нашли…А потом как-то неожиданно присмирел, затих, даже плакать перестал. Но смотреть на него никто не решался. А к ночи куда-то исчез. Искали да так и не нашли…
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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 (Cyr), 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 is a type and graphic designer and teacher, lives and works in Barcelona. 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. In 2007–2015 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, Kazimir Text, Navigo, 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

Graphic and type designer, co-founder of type.today store. Graduate of the Moscow State University of Printing Arts (Department of Arts and Technical Design of Printed Materials). Yury worked as a designer and art director for publishers and design studios. From 2004 to 2012, he was art director with Bolshoy Gorod (Big City) magazine. In 2004, he and lya Ruderman, Dmitry Yakovlev, and Daria Yarzhambek launched the DailyType webpage. Later in 2014, Yury and Ilya Ruderman founded CSTM Fonts type design studio which released Pilar, Big City Grotesque, Kazimir, Navigo, Normalidad, RIA Typeface, Lurk, Loos, Maregraph typefaces and CSTM Xprmntl series, as well as Cyrillic versions of Druk, Graphik, Spectral, Stratos and Apoc. The works by Ostromentsky and CSTM Fonts were awarded by European Design Award, Granshan and Modern Cyrillic Competition.

Berton Hasebe

Berton Hasebe(born 1982) moved from Hawaii to study and work in Los Angeles, obtaining a BA from Otis College of Art and Design in 2005. In 2007 he moved to the Netherlands to study type design through the Type and Media Masters course at The Royal Academy of Art in the Hague (KABK). His typeface Alda, designed while attending Type and Media, was awarded the 2008 judges pick from the Type Directors Club in New York. In the same year Alda was also selected by the Tokyo Type Directors Club to be included in its annual publication. Berton has resided in New York since 2008, and he was a staff designer with Commercial Type from 2008 to 2013, when he left to start his own studio. Typefaces by Berton Hasebe: Alda, Druk, Portrait Platform, Styrene.

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