The typeface family TV Nord is based on the corporate typeface NDR Sans which was developed by Elsner+Flake for the Norddeutsche Rundfunk (www.ndr.de) between 1999 and 2001. This new design came into being as part of a complete overhaul of the visual image of the NDR. This became necessary because the NDR, founded in 1954, incorporated the stations of the East German states Mecklenburg-Vorpommern (1992) and Brandenburg (1997) after the re-unification of Germany. The Hamburg advertising agency DMCGroup developed a new and unified image for the NDR which is in existence to this day. The typeface TV Nord relates to the design of the Trade Gothic and similar American sans serif typefaces of the early part of the last century. Its development concerns itself as much with good legibility for print, as it does for the reproduction on TV screens, which among others, is achieved through its high x-height. The logotype for the NDR as well was developed from the capitals of the NDR Sans. In 2014, the TV Nord was revised stylistically and expanded to incorporate all European-Latin languages. As part of this effort, further complementary cuts were added.

Classica Pro by Bernd Möllenstädt A real alternative for letterpress printing A masterpiece It was only after many years, shortly before the end of his life, Bernd Möllenstädt brought out these early drafts of his Classica Light and Light Italic from his drawer, and asked me to produce for him on the computer a Bold and Bold Italic, from which we later wanted to interpolate further cuts like Regular and so on. The boldening of letters with an oblique axis and with hairlines which should not grow to the same extent as the general line widths, is hard to cope with perfectly, even for the smartest computer program, and even more so, when it concerns an as complicated set of data as those conceived by Bernd. The automatically generated result could therefore only be a first step that had to be improved manually later. This was about the stage that we had reached when Bernd died in March 2013, leaving me behind with comprehensive corrections on proofs of this automatically generated Bold. Although I was aware that it would mean a lot of work to complete the project, I did not want to leave it unfinished and decided to finalize and publish the Classica, also in Bernd‘s honor. In the course of the two years that I worked on this font family it somewhat naturally became also my own. New details were added and some of the existing changed. A book typeface requires the supreme and forgives rarely, it represents a true masterpiece. My intention and my ambition were to create a real alternative for letterpress printing, with a font family that contains all the typographic options for an excellent typesetting, and is better readable and has a better appearance than other existing typefaces. Whether this was achieved, the reader may decide. Volker Schnebel, Hamburg, december 2014

To Rafaella, a menina dos cachos. We, designers, have grown accustomed to seeing that lowercase letters—not only in calligraphy but also in typography (1)—may be very playful and decorative. Almost every part of them can become a potential swash, ligature or decorative accolade (2) if the designer has some expertise regarding this matter. However, since we are living in an era that elevates the status of handcrafts, lettering has gained a lot of ground in different kinds of mediums, and with it there’s a sort of overuse of capitals. This may be due to the reason that lettering pieces need a high impact to convey their messages and many times why big capitals are the only solution. With this in mind, I started Rafaella: A font consisting entirely of capitals which go from unadorned to very decorative. Rafaella has ductus and forms vaguely based on the 1970s Bookman-like styled fonts. The presence and behaviour of serifs and ball terminals in this style were the perfect excuse to make really attractive aternates which the user can choose from the glyphs panel. The result is a font full of life. Able to be both very playful and formal due to its roman style which can be combined with (and between) a wide range of other styles of expressive scripts or geometric fonts with nice results (3). Also try Rafaella Shade Solo combined with Rafaella or Rafaella Bold for a layer effect to emphasize any given word or phrase. NOTES (1) See my fonts Erotica from 2013 or Dream from 2014. (2) Accolades is a wonderful word that refers to the ornaments made around the words in the spencerian style of calligraphy (3) Combinations often seen in different pieces of lettering were usually a contrast of style is wanted.

›Hi! Please note you are visiting Old Supernett. We decided to upgrade it: more styles, more glyphs, more features, more everything! View New Supernett here: Supernett 2019› Georg from FaceType Supernett – a versatile hand drawn/handmade/handwritten font – is tailored for large font sizes but also impresses with an astounding legibility in small typesettings. Supernett is fairly condensed for space-saving headlines. The extensive character set supports Central and Eastern European as well as Western European languages. Each style contains more than 4700 glyphs to let the font look real hand-made. Three OpenType features are specially created to enhance this impression, with a maximum effect when applied to big type: Alternating Letters For a truly hand-drawn look, letters and numerics alternate randomly between three different variants → activate Contextual Alternates Rotating letters All glyphs rotate randomly and slightly around their own axis → activate OpenType Swashes Varying Baseline Shift Each single glyph moves individually up or down → activate OpenType Titling Alternates More OpenType Features: Case Sensitive Forms This feature shifts various punctuation marks to a position that works better with all caps typography → It is deployed when an app’s all-caps styling is applied Slashed Zero The problem with the numeral 0 is that it can look too much like O in some typefaces. This feature replaces every zero with a slashed zero → activate Zero with a Slash Fractions Substitutes figures separated by a slash by proper fraction glyphs. A date however, written like 10/12/2013 will remain unchanged → activate Fractions Stylistic Set 03 Choose between two different styles of bullet (•) → activate Stylistic Set 03 Stylistic Set 04 Choose between two different styles of Y → activate Stylistic Set 04 View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut