Grato Marker Bold

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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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Исследуется механизм спонтанно возникающих и саморазрушающихся коммуникаций.Исследуется механизм спонтанно возникающих и саморазрушающихся коммуникаций.

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Покойный А. В. Сутягин: "Бывают ли у вас, Любочка, такие состояния, при которых буквально все, что происходит с вами и вокруг вас – вон старушка – видите? – что-то ищет в сумке, а вон кошка забежала за угол, – что все это исполнено какого-то великого и тайного смысла, который, кажется, сделай лишь малое усилие – и поймешь сразу и навсегда? Что, простите?"Покойный А. В. Сутягин: "Бывают ли у вас, Любочка, такие состояния, при которых буквально все, что происходит с вами и вокруг вас – вон старушка – видите? – что-то ищет в сумке, а вон кошка забежала за угол, – что все это исполнено какого-то великого и тайного смысла, который, кажется, сделай лишь малое усилие – и поймешь сразу и навсегда? Что, простите?"

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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

Grato and Gratimo are a system of typefaces joined by geometry but differing in genre and function. Grato’s geometric core is shared by two designs with different terminals and different uppercase proportions to make a Grotesk and a Classic. And, for greater function and economy, both were redrawn for text and interface: Gratimo Grotesk and Gratimo Classic. They were later joined by Grato Marker, a playful hybrid of geometry and informality. Its vertical strokes tilt and its baseline bounces as the typeface plays with letter sizing. Its handmade forms can feel charmingly wobbly, but remain clear and legible, even in small sizes. Like real markers, Grato Marker has a compact set of weights: four weights, from Light to Bold. And three stylistic sets to fine-tune Grato Marker’s cheerful text image. Combining serious, readable typography with honest expression, it is a powerhouse for children’s books, open-hearted packaging and casual brands. Although it has a casual attitude, Grato Marker is serious about supporting Latin and Cyrillic languages. Reviewed by skilled experts, it supports more than 260 languages.

Specimen (PDF, 2 MB)

Features

Case sensitive forms, standard ligatures, proportional lining figures, proportional oldstyle figures, tabular lining figures, tabular oldstyle figures, ordinals, fractions, denominator, numerator, subscript / inferiors, superscript / superiors, slashed zero, seven stylistic sets

Languages

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

Authors

TypeMates

TypeMates: a straightforward font foundry.

For years, we — Jakob, Lisa and Nils — have been passionate about type and in 2015 we started working together, from our offices in Munich and Hamburg, as a type foundry.

We don’t believe that typefaces are neutral or purely functional systems for reading, rather that they are a visual language with emotional values. Our aim is to be straightforward in the complex field of type design. We do not want to hype or praise type too much, we want to work together with our clients and partners to deliver good results.

Our practice covers everything, from the tiniest nuance in a logo or piece of lettering to the design of extensive type systems. And whether it’s a beautiful idea, a complex client project with intense technical demands, or we’re just following our investigative TypeMate’s nose — we’re passionate about well-made letterforms delivered to the highest technical standard.

Whether it’s Die Zeit online, Fast Company, Red Bull TV or Lufthansa Magazine, typefaces we designed are used by magazines, newspapers and corporations who set the bar for design.

Jakob Runge

From 2009 Jakob Runge has been fired by letters and type systems. After studying communication design at the University of applied sciences in Würzburg (BA) and then at Muthesius Academy of Fine Arts and Design in Kiel (MA), his master’s project was published as FF Franziska in 2014, and became a successful textface at FontFont.

A new dad, he works in Munich as an independent type and brand designer who specialises in developing typefaces and custom lettering for corporate and editorial design.

Alongside working in the design industry, Jakob is active in typographic education. Along with running numerous workshops at universities in Germany, Switzerland and Austria, he has been a lecturer for typography and type design at FH Münster from 2011. For him, type design is more than the foundation of precise and coherent communication: it’s a passion. twitter, website

Teja Smrekar

Teja Smrekar graduated from the Academy of Fine Arts and Design in Ljubljana where she became fascinated by letterforms and typography. She continued her studies at the University of Reading (UK) where she completed a Master’s degree in Typeface Design in 2016. She often collaborates with clients from all over the world. Alongside her type design practice, she loves challenges in graphic design projects. Her passion for handmade fonts led her to establish Flehatype type foundry. She teaches a typography class at the Faculty of Design in Ljubljana.

Codepage

Font in use