Contemporary serif font Inspired by modern culture

Transcription

1 Tg Hagia / Semi Bold / 229 pt Hagia Contemporary serif font Inspired by modern culture

2 Tg Hagia / Semi Bold / 156 pt Mūĺţîĺïñğųåĺ Support more than 90 language : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Morisyen, North Ndebele, Northern Sami, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Turkmen, Upper Sorbian, Vunjo, Welsh, Western Frisian, Zulu

3 Tg Hagia / Character / Extended Latin / 34 pt A Á Ă Â Ä À Ā Ą Å Ã Æ A B C Ć Č Ç Ċ D Ð Ď Đ E É Ě Ê Ë Ė È Ē Ę F G Ğ Ģ Ġ H Ħ I Í Î Ï İ Ì Ī Į J K Ķ L Ĺ Ľ Ļ Ł M N Ń Ň Ņ Ŋ Ñ O Ó Ô Ö Ò Ő Ō Ø Õ Œ P Þ Q R Ŕ Ř Ŗ S Ś Š Ş Ș T Ŧ Ť Ţ Ț U Ú Û Ü Ù Ű Ū Ų Ů V W Ẃ Ŵ Ẅ Ẁ X Y Ý Ŷ Ÿ Ỳ Z Ź Ž Ż a á ă â ä à ā ą å ã æ b c ć č ç ċ d ð ď đ e é ě ê ë ė è ē ę f g ğ ģ ġ h ħ i ı í î ï i ì ī į j k ķ l ĺ ľ ļ ł m n ń ň ņ ŋ ñ o ó ô ö ò ő ō ø õ œ p þ q r ŕ ř ŗ s ś š ş ș ß t ŧ ť ţ ț u ú û ü ù ű ū ų ů v w ẃ ŵ ẅ ẁ x y ý ŷ ÿ ỳ z ź ž ż * :,! #.? " ' ; / [ ] ( ) - $ + = & ^

4 Tg Hagia / Typefamily / 110 pt Hagia Reguler Hagia Semi Bold Hagia Bold Tg Hagia is Contemporary serif fonts, available in three weights : Regular, Semi Bold & Bold

5 Tg Hagia / Semi Bold / 97 pt Ascender Line X - Height Hamburg Schriffertig Descender Line Base Line Hamburg Sčhriffertig Stylistic Alternate a one storey Stylistic Alternate g two storey Extended Latin Support Standard Ligatures Discretionery Ligatures

6 Tg Hagia / Anatomy / 160 Pt Rounded Serif Rounded Dot 70 pt 75 pt Low Contras Stem Vertical Stress Rounded Terminal

7 Baūhăuș*nęue Alternativzeichen und die extremen Stile der einzelnen Glyph NEURAMATICA- Gutenberg Museum und dem

8 BĚGEISTERN 30 Fahrěnhēit, Wind at 20 Km/h Neūe Sçhriftěŋ Ihre Fônts haben immer einen erweiterten lateinischen große

9 Tg Hagia / Paragraf Test / Hagia Bold 59 Pt Hagia Reguler 13 Pt Contemporary Modern Serif 199*0 ( Typographie ) ; neu Qultural Japanese style Inffluencer. #0912 Hagia SemiBold To the type designer, of course, a book like this is manna. In the introduction, Christian Schwartz describes how practical knowledge and intuition were his only guides when he learned how to draw type for different sizes: My eyes and hands knew what to look for and what to do, even if my brain didn t completely understand why I did these specific things. this book has become an invaluable resource both for new type designers learning the craft, and for experienced practitioners looking to understand the reasons behind our instincts. 19 Pt Ironically, it was the primary focal point of the digital world the computer screen that sounded the alarm. Once any font could be used on a website, the drawbacks of one-size-fits-all fonts were exacerbated by the coarse resolution of the pixel grid. This has spurred a renaissance of type optimized for the right setting. In the last few years, more size-specific fonts have become available than in the previous 50 years. And a much greater percentage of new families offer these variations. Still, although size adjustments were commonly practiced in metal type for half a millennium, not much documentation has surfaced on the subject. This is just the right time for a book called Size-specific Adjustments to Type Designs. As its no-nonsense title suggests, this book is not a breezy page-turner for the casual observer. Tim Ahrens and Shoko Mugikura spin no amusing yarns to make the content more accessible, nor do they weave complex Bringhurstian metaphors. (There are, however, a few snappy analogies.) Instead, the authors explain the concepts in a way that is as concise and straightforward as possible. The style could be called dry, but some might prefer dry over sweet and flowery. And, while it is serious and academic, it also lacks the drawn-out meanderings and complications of some academic texts. The principles are delivered with minimal embellishment and the result is clarity. This is why I can recommend Size-specific Adjustments to both type designers and anyone else who truly wants to understand type. Despite the specialized topic, this stuff is valuable even to those who will never sketch a letter or launch a font editor. Those who choose and use type in any capacity will benefit from what this book has to offer. In discovering the ways that type can be optimized for specific applications, readers will learn a lot more about variations in lettershape, stroke contrast, proportions, and spacing than nearly any other text can teach

10 H o m e A b o u t G a l l e r y C o n t a c t W G H B 22 December 17 Extraordinary Pattern on Japanese As its no-nonsense title suggests, this book is not a breezy page-turner for the casual observer. Tim Ahrens and Shoko Mugikura spin no amusing yarns to make the content more accessible, nor do they weave complex Bringhurstian metaphors. (There are, however, a few snappy analogies.) The style could be called dry, but some might prefer dry over sweet and flowery. And, while it is serious and academic, it also lacks the drawn-out meanderings and complications of some academic texts. The principles are delivered with minimal embellishment and the result is clarity. This is why I can recommend Size-specific Adjustments to both type designers and anyone else who truly wants to understand type. Despite the specialized topic, this stuff is valuable even to those who will never sketch a letter or launch a font editor. Those who choose and use type in any capacity will benefit from what this book has to offer. In discovering the ways that type can be optimized for specific applications, readers will learn a lot more about variations in lettershape, stroke contrast, proportions, and spacing than nearly any other text can teach

11

12 Tg Hagia / Hagia Ligatures fi ff ffi fl ffl ft fk tt ti NN fi ff ffi fl ffl ft fk tt ti NN

13 H O M E W O R K S H O P G A L L E R Y C O N T A C T W Mit unseren cleveren Flurmöbeln hast du alles griffbereit, um schnell das Haus verlassen zu können. Ohne langes Suchen nach dem Schlüssel, der Handtasche, der Sonnenbrille und all den anderen Sachen, die man nie findet, wenn man sie dringend braucht. Ohne erstmal über zehn Paar Schuhe zu stolpern. Ohne dass dir beim Griff nach deiner Jacke fünf andere entgegenfallen. Dazu sorgt ein gut eingerichteter Eingangsbereich für ein schönes Willkommen und lässt Raum für einen herzlichen Abschied. Probier es aus, deine Gäste werden es lieben! G H B WORKSHOP Register Now

14 The Untold Sto rey Immer blühend As its no-nonsense title suggests, this book is not a breezy page-turner for the casual observer. Tim Ahrens and Shoko Mugikura spin no amusing yarns to make the content more accessible, nor do they weave complex Bringhurstian metaphors. (There are, however, a few snappy analogies.)

15 - stär-,hi stôrikăl H I S T O R I C A L