The tour will be kicked off on Monday, 31 March, at the Cooper Type, for a small typography talk for the students.

On Tuesday 1 April (really!), Peter will speak about rethinking publishing, at the DCRIT, MFA Design Criticism, School of Visual Arts. The presentation at 6.30pm seems to be fully booked, but there is also a magazine launch at 8pm, open for public, where magazine will be available for a special price. Please join us for a drink.

Event details
New York, April 1, 2014, 6.30pm
SVA MFA Design Criticism
136 West 21st Street, Second Floor
New York, NY 10010

On Wednesday 2 April, Peter will speak at the Boston University, together with Matthew Carter.

Event details
Wednesday, April 2, 7pm
Boston University, Jacob Sleeper Auditorium
871 Commonwealth Avenue
Boston, MA 02215

On Thursday, he will talk about typography at the RISD (Rhode Island School of Design).

Event details
Thursday, April 3, 6:30pm
Metcalf Auditorium
Museum of Art Chace Center
20 North Main Street
Providence, RI

Hope to meet you in person

Neutral began as Kai Bernau’s graduation project at KABK (the Royal Academy of Art), taking inspiration from typefaces that seem ageless, remaining fresh and relevant even decades after they were designed. It was constructed based on a set of parameters derived by measuring and averaging a number of popular 20th-century Sans Serif fonts.

Aware that there is no such thing as total neutrality, this typeface explores how the absence of stylistic associations can help the reader to engage with the content of a text.

Neutral has been used for numerous projects from books, magazines to websites, and the feedback from these applications helped spur this release. Today, almost a decade after it was originally designed, we are proud to launch an upgraded version of Neutral — completely redrawn, freshly screen optimised, more neutral than ever.

Selected books using Neutral, designed by Lust; Atelier Carvalho Bernau; Joost Grootens; Urs Lehni & Lex Trüb (from top to bottom).

The design process that created Neutral has been documented in this book, and the article ‘An Idea of a Typeface’.

I Read Where I Am: Exploring New Information Cultures, Valiz/Graphic Design Museum, Breda 2011, designed by Lust using Neutral

Selecting the right typeface requires a mixture of knowledge, experience and intuition. As with putting together an outfit or cooking a dinner, you don’t pick just one element, but create combinations, choosing typefaces for running text, headlines and everything in between. Typotheque type specimen No. 10 makes typeface selection easier and more fun with split pages that let you create over 10,000 type combinations using our Latin-script fonts, plus dozens of combinations using our Arabic-script fonts. It even gives you a sneak peek at some typefaces scheduled for release later in 2014.

Buy the specimen for €5

Valter is a graceful and slightly cheeky collection of sans-serif display fonts inspired by pointed-pen writing. Constructed on a monolinear skeleton, it offers seven weights that incrementally increase the contrast between the horizontal and vertical strokes. The thin styles appear wider, while the heavier weights feel normally proportioned, as only the interiors of the letters gain weight. Valter also includes narrower, cursive italics, as well as small caps and advanced OpenType layout features, creating a refined type family of 16 styles. Download the PDF.

Illustrations by Dario Dević and Nikola Djurek (champagne label)

Illustration by PB

Motion design by Vít Zemčík

Giambattista Bodoni (1740–1813) was the most prolific type designer in history, producing 142 Romans, 34 Greeks and 21 Cyrillics, as well as italics, non-Latin typefaces, music notation, and thousands of lines and borders. In Manuale Tipografico, the 1840 inventory compiled by his widow, his typographic material comprised 25,491 punches and 50,283 matrices. To the best of our knowledge, however, no one has ever assembled a definitive catalogue of his work.

1 Garamoncino 1, Como, page 19 (circa 7 pt),2 Garamone 4, Pavia, p. 31 (ca. 9 pt),3 Lettura 8, Mirandola, p. 55 (ca. 11 pt),4 Silvio 1, Pisa, p. 58 (ca. 13 pt),5 Silvio 8, Fermo, p. 65 (ca. 13 pt),6 Testo 1, Reggio, p. 81 (ca. 16 pt),7 Testo 10, Urbino, p. 90 (ca. 17 pt),8 Palestina 4, Roano, p. 116 (ca. 27 pt),9 Ducale 2, Bitonto, p. 137 (ca. 39 pt),10 Imperiale Tondo, p. 141 (ca. 50 pt)

Given the profuse number of styles Bodoni cut, it is illusory to talk of a single Bodoni design. There are significant differences in proportions, shapes, and details between his various Roman styles, for example. The idea most designers have of Bodoni is based on the early 20th century revivals, which were the first typefaces to be named after him.

Now, over 200 years later, Riccardo Olocco and Jonathan Pierini are reinterpreting Bodoni's work for modern use. Their Parmigiano Typographic System (named after Parma, the city where Bodoni established his printing house) has the stated ambition to be the most extensive family of fonts ever to have been inspired by this great designer. Their biggest challenge was to create coherent relationships between various optical sizes (Piccolo, Caption, Text, Headline) and weights, something that Bodoni himself didn’t concern himself with much.

PDF of Parmigiano Serif, PDF of Parmigiano Sans

The project started with a thorough analysis of the Manuale, yet Parmigiano goes beyond it to imagine what would Bodoni have done if he had worked with digital media. The authors consider Parmigiano an 'irreverent descendant’ of Bodoni’s work rather than a revival, as it includes styles (e.g. Sans) that Bodoni never created or even considered creating.

Compulsive Bodoni is the name of the on-going project that publicizes the ideas of the Parmigiano Typographic System. It introduces the font system and is following its development with a series of multidisciplinary events and exhibitions. Read about the process of designing Parmigiano.

Design by Paolo Palma

Woodkit is a playful fixed-width display series of typefaces inspired by wood type, designed by Ondrej Jób.

Woodkit comes as three separate families, with different degrees of print degradation:Solid, Print and Reprint, each with six distinct styles and ornaments.

Woodkit supports a wealth of OpenType layout features. When typing with basic ligatures turned on, the font automatically rotates between three different versions for each letter or number. With contextual alternates turned on, five different versions are being rotated, three full square and two half square wide. And finally, when discretionary ligatures are turned on, the font rotates only between the two half square versions. All this combined together allows for a rich setting where no two words look alike.

Woodkit supports Latin, Cyrillic and Greek scripts. Read more about the development of Woodkit in this description of the process by the author.

Author’s tips

• Use 100% leading (i.e. 20pt text size/20pt leading) to make the gap between lines and the space between glyphs equal.
• Woodkit contains over 10,000 glyphs, explore them by using the Glyph palette in Adobe applications (click and hold on a letter with a tiny arrow in the corner).
• The style of each glyph always depends on the previous glyph. That means that changing the first letter in a word will affect all other letters following it. Quick and easy.
• Every glyph is 1000 units wide and the tracking setting in your graphic application uses the very same units. That means that setting the tracking, e.g. to +500, will create gaps between the glyphs that are exactly half-glyph wide.

Introducing Echo, a sans serif counterpart to the previously published Charlie typeface, designed by Ross Milne, with the Cyrillic by Gayaneh Bagdasaryan and Greek by Natasha Raissaki. Echo is clear and direct, with subtle influences from the broad nib pen. The two typefaces developed more-or-less simultaneously, learning from the other.

We are also re-releasing an improved version of Charlie. There’s no definitive point when a typeface is ‘done’. Charlie was first ‘finished’ in the fall of 2008 at the completion of Ross’ thesis project at Type & Media course. Three years later, Charlie was finished for the second time when it was published. Now for the third time, Charlie is finished yet again with the extension and complete overhaul for the release of Charlie Pro, with support for over 140 languages across Latin, Cyrillic and Greek scripts, eleven weights with corresponding italics, numerous figure styles, expanded icons, arrows and too many currency symbols to count, it’s fair to say that Charlie has grown bigger than ever envisioned, with Echo, as a side product.

Read more about the process of developing Echo & Charlie.

If you have licenced Charlie before, and would like an update, just login to your account and download it again.

Three years ago, we have launched Greta Sans, an extensive typeface system. Now, we further expand the system by Cyrillic (designed by Irina Smirnova) and Greek (designed by Peter Biľak) versions, creating probably the largest type systems available on those languages. Greta Sans Pro is a powerful toolbox capable of dealing with the most complex typographical situations. Available in 80 styles, supporting 148 languages, nearly 200,000 glyphs in total.

Download the PDF presentation.

Greta Sans comes in 10 weights which, combined with its four widths (Compressed, Condensed, Normal, Expanded), create a tremendous range of possibilities. Read more about the process in the Designing Type Systems article.

  Greta Sans will be expanded by the Arabic version later this year, and we also work on Hebrew and Devanagari versions, and that is no joke.

Animation by Addikt, Amsterdam, script by PB, special thanks to Greta Fischer.

We are proud and excited to announce Fontstand, a new Mac OS X application that lets you test fonts for free and rent them for a fraction of their retail price. We believe that it will give you unprecedented access to thousands of high-quality fonts, expanding your design toolbox and addressing perennial shortcomings of the standard font licensing model.

Here at Typotheque two of the most common questions we deal with are ‘Can you send me a test version of this font?’ and ‘Why are your fonts so expensive?’ To answer the second question first, designing digital typefaces, particularly typefaces that offer advanced typographic capabilities and extensive language support is an extremely time-consuming task requiring not only artistic skill, but also technical expertise, as well as painstaking attention to detail. You can read more about the design process behind some of our fonts here. The answer to the first question is much shorter: no.

We have tried to provide multiple methods of testing our fonts that minimise piracy risks, but as designers ourselves, we know that they are not always satisfactory. We also know the frustration of paying full price for a font that you need for one small project, not knowing if you will ever use it again. Fontstand changes all this. With Fontstand you can test fonts for one hour for free on your own computer with your own software, and rent them for 30 days for just 10% of their regular price.

Fontstand is a partnership between Typotheque and Andrej Krátky, designer of the Nara typeface. Ondrej Jób, another Typotheque designer, designed the app and its website. Of course the project would be useless without the contributions of more than 20 independent font foundries (representing more than 70 designers) whose typefaces are now available through this new platform.

We hope that you’ll find Fontstand useful. Let us know what you think.

Exactly a year ago, we released the Latin version of Parmigiano. Today we announce further expansion of the already extensive Parmigiano Typographic System (Piccolo, Caption, Text, Headline), with Cyrillic and Greek versions. Parmigiano has the ambition to be the most extensive family of fonts ever to have been inspired by Giambattista Bodoni, and since Bodoni has engaged with several non-Latin scripts, it is only natural Parmigiano reflects also this spirit of Bodoni’s work.

Parmigiano Pro is a true collaborative work. Riccardo Olocco and Jonathan Pierini, the authors of Latin versions worked with Ilya Ruderman and Irina Smirnova on the Cyrillic version, and Irene Vlachou on the Greek version. The final files were mastered by Nikola Djurek and Peter Biľak. This is not yet the final release of Parmigiano. The Sans version, ‘irreverent descendant’ of Bodoni’s, will follow later this year.

Parmigiano Pro is available for testing on Fontstand.

We are pleased to present Greta Mono, a fixed-width font family in an unprecedented ten weights and two widths.

Most digital monospaced fonts come with two weights, regular and bold, because making a monospaced font family gets more complicated as the number of weights grows. Imagine, for example, trying to design a font whose lightest style i in Hairline needs to occupy the same width as the heaviest style m in Black. The newest addition to the Greta family, Greta Mono, has an astonishing ten weights and two widths that offer a broad palette of typographical possibilities. [PDF of Greta Mono.]

Greta fonts are calligraphic in structure, and constraining their letters to a uniform space is challenging. Greta Mono doesn’t use monoline construction, but a higher stroke contrast. To make it appear uniform, most of letter stems are non-uniform, optically adjusted to create an even texture throughout a block of text.

Just like all monospaced fonts, Greta Mono works well in tables, invoices and programming code. I expect, however, that it might find much wider usage, as its 40 versions afford a tremendous range of possibilities for typographic expression. I personally use monospaced fonts when drafting texts, whether an email, essays for Works That Work magazine, or this text explaining a new typeface. It is not to pretend that I am coding, or to make it easier to count characters, it’s because monospaced fonts seem solid, serious, functional and honest. They can be serious fun too. I enjoy using monospaced fonts in large-scale applications, on posters or in architectural settings where one may appreciate seeing how the individual characters create a consistent rhythm of forms.

Please note that Greta Mono breaks the traditional ‘pitch’ system (number of glyphs per inch in a specific point size), because Greta fits 10 extremely different weights into the same fixed space. Therefore, when you change from Courier to Greta Mono, the text will reflow, as Greta Mono has its own defined glyph width.

Specimen illustration by Shiva Nallaperumal.

After Latin, Greek, Cyrillic, Arabic, Armenian, and Devanagari, Inuktitut is the seventh writing script supported by Fedra Sans.

Avataq Cultural Institute, the Inuit cultural organisation of Nunavik (Northern Québec, Canada), commissioned Typotheque to create an Inuktitut version of Fedra Sans for the organisation’s purposes.

Inuktitut is one of the principal Inuit languages of Canada. It is spoken by some 50,480 people, chiefly in the Inuit regions of Labrador, Québec but also in Manitoba, and in the territory of Nunavut. It is one of the aboriginal languages written using the Canadian syllabary.

Typotheque has worked closely with Marvin Harder, the creative director of Avataq, to create a strong contemporary font for use both in print and online. One of the main challenges was to create harmonious spacing of the font for the Inuktitut and Latin characters, as they are commonly used together in bi-script settings. Because of its geometric structure and abundance of open shapes, Inuktitut seems looser in text, so Fedra Sans Inuktitut contains thousands of kerning pairs to optimise Inuktitut text setting. It also automatically spaces Inuktitut words wider than Latin words.

Fedra Sans Inuktitut is available for standard font licensing.

† Fedra Sans Inuktitut comes with Stylistic Sets that change the preferred Nunavik forms of the ng character to forms favoured in Nunavut.

Parmigiano was published in 2014, 200 years after Giambattista Bodoni’s death, and represents the most extensive family of fonts ever to have been inspired by his work. The Parmigiano Typographic System later expanded to include matching Cyrillic and Greek versions.

Now we are pleased to present a further extension of Parmigiano, the Stencil series. Needless to say, Bodoni never cut stencil typefaces, and would probably have scorned this series of fonts as irreverent. Stencil typefaces are relatively late arrivals on the typographic scene, first appearing in the 20th century. Stencilled letters date back farther, but only as a means of constructing lettershapes in liturgical books or technical drawings, and the breaks in the letters were inked in afterwards.

Parmigiano Stencil, on the other hand, is a celebration of fragmented letterforms. These letters are complete even when they are missing something, offering new possibilities for expression. It is an elegant, high-contrast stencil, which naturally breaks the strokes, but only where the construction logic allows.

Parmigiano Stencil was designed by Riccardo Olocco, and it is available for testing on Fontstand.

Type specimen images by Shiva Nallaperumal.

We think you will find it a step forward from its predecessors, and aside from a new design, it also offers new licensing methods and new payment options while addressing new technological developments.

Typotheque first went online in 1999 with a very simple website, and during its first 10 years we continuously added features as the company and the font collection expanded. Today the site includes over a million lines of code, so even relatively simple changes can become mammoth tasks, and we’ve actually been trying to reduce the number of pages, options and features, in order to make the site easier to browse and manage. Two years ago we decided to completely overhaul not only our user interface, but also the behind-the-scenes code, so we’ve finally retired the faithful but antiquated text engine that generated font samples for live webfont previews. We’ve also replaced most of the images on the site with high-resolution versions. Here is a quick overview of the most significant changes.

Typotheque font collection can be viewed either in compact tile preview, or by showing editable text as seen on the image above.

Main font page
As our type library has grown (it currently consists of 79 type families and 1232 individual fonts), we’ve had to rethink the way we present it. We now offer an easier way to navigate, preview and filter the selection of fonts. You can switch from the tile preview to a line preview which lets you easily type and compare your own text. The previews now use webfonts instead of static images, a system which will be easier to maintain going forward.

Combining fonts is made easy with Typotheque font combinator. Just drag and drop fonts from the right hand side menu.

Font Combinator
Five years ago we introduced our popular Font Combinator. Our new, simplified version lets you drag and drop fonts (even Greek and Cyrillic ones) to see how they look together. This feature is also powered by webfonts now, and is much faster and easier to work with.

New Payment provider
More significantly, we have switched to a new credit card processing company for payments. This is an under-the-hood change, but should make the ordering process smoother and more reliable. We accept all credit cards, Paypal and many local payment methods such as Sofort in Germany or iDeal in the Netherlands.

All licensing options are now selectable by client next to fonts.

New Licensing Options
We have also updated our licensing options, dramatically reducing the cost of self-hosting webfont licenses, and offering an app embedding license online. (We had these options before, but they had to be processed manually.) Now all licensing options are automated and easy to calculate.

Other Improvements and Updates
We were the first foundry to offer its own webfont service, and we’ve been upgrading it continuously ever since. A few smaller improvements to that system are debuting with our website overhaul. For example, webfont service management has been simplified and given a cleaner interface. We have also lowered the price of extra bandwidth, and we have added the option to apply Stylistic Sets.

Typotheque presents custom typefaces projects made for clients world-wide, explaining reasons for making custom type.

Finally, we have updated both the Studio and Custom Fonts sections of our website so you can see what we have been working on for the past five years. We do a lot more than just drawing and publishing type, and are proud of our projects concerning dance, jewellery, exhibitions, etc.

As always, do let us know what you think. We welcome feedback, and if you come across some bugs or ideas for improvement, we’ll consider them. The website, after all, is never finished. And before you ask, yes mobile version of the website is coming soon.

Huge thanks to Ondrej Jób for the website design, Slonline for the web development, and all the testers for their careful viewing of the site.

Vita (and Vita Condensed) have been carefully drawn to perform well as a webfont on both low- and high-resolution screens. Although designed for digital displays, it also produces striking results in print. Its minimalist letterforms remain easily distinguishable even at the smallest sizes, thanks to the serifs that differentiate similar shapes, such as C and G, or I, l and 1.

In print, Vita is a sturdy, recognisable typeface that gives flavour to short and long texts alike. With seven weights and two widths in Roman and italics, the family consists of a total of 28 styles.

Type illustrations by Shiva Nallaperumal

The first Typotheque website was designed by founder Peter Biľak in 1999. Unable to afford external help, he wrote all the texts and coded all the pages himself. The design was very plain and well suited to the internet speeds of the day. The blazing fast static homepage had no images and was a whole 4kb in size! The font pages were designed to take advantage of the latest technology of the era, animated GIFs.

Typotheque.com launched in September 1999. For the first two years, we didn’t have a logo, and the site included very few images.

The first significant changes came in 2001, with the creation of dynamic PHP pages and the addition of the online store. It was hugely expensive, and revenues barely covered the monthly credit card processing fees, but it was also an indication that the foundry was serious about business and willing to take risks. This version of the website also included a reasonably popular discussion forum which was closed two years later when moderating became too time-consuming.

In 2001, we included an online credit card system, a very expensive one, where monthly costs often exceeded our income.

In 2004, the site changed to a three-column layout, and the online offering of books and t-shirts expanded. The site was still designed by Peter, but this time he hired external developers to code it. 2004 saw the addition of a detailed Fonts in Use section, tagging images by language, place, technology and font style used.

The site got more complex in 2004 with a range of products, fonts in use section, and regularly published articles

As the font collection continued to grow, the website became more and more visually oriented. In 2006, rotating slideshows debuted on the homepage as well as on each of the font presentation pages, (but these were later replaced by static images). 2006 was also the year that Typotheque started developing its own text engine to process fonts on the server and generate images on the fly. This system was used for the font presentation texts which were translated into the 150+ languages supported by the fonts, generating them in five different point sizes for each of the font styles. (For Fedra Sans alone, a family consisting of 10 styles and small caps, that meant 15,000 images available to be viewed.) Creating a custom text engine was a huge investment of both time and resources. It took two years to write a library in C++ which rendered fonts and OpenType substitutions on the website for nearly a decade. The same library is the foundation of the Type-Applications.com website where Typotheque offers its internal tools for licensing, and there are a dozen foundries that still use the OpenType font tester today.

Typotheque focused in developing own technology from 2005, investing heavily into proprietary text engine to generate font previews on the fly.

In 2009, we asked Ondrej Jób to design a new site, a bit step, as previously, the site was designed by the founder.

Last year, the site looked like this. It is not a radical change, but a functional improvement, that will allow improving the site for the future.

Around 2013 it became clear that the old custom text engine had been pushed as far as it could go. Incompatible with modern server infrastructure, it made upgrading to more robust and reliable systems impossible. Rewriting the libraries in C++ would have been a Sisyphean task, so in 2014, another redesign began, and Ondrej once again accepted the challenge of taking the website another step forward. The site is more intuitive, more image-oriented and optimised for high-resolution screens. The mobile version is coming next. The decade-old text renderer has been retired, and font samples are now rendered as webfonts, a setup that will be easier maintain going forward. The new design also introduces many new features (which are described in a separate blog post). It’s a natural next step in this 17-year project, and a good opportunity to reminisce about Typotheque’s history and progress.

Uni Grotesk and its Condensed variant is an adaptation of Universal Grotesk and well suited for contemporary use, with its particularly Central European flavour of early 20th century geometric sans. Uni Grotesk is a new typeface with a purpose and function, with geometric structure and elementary letterforms, and with flavourful details that lend this sans its unique character.

Designed by Peter Biľak, with the help of Nikola Djurek and Hrvoje Živčić. Read more about the development of Uni Grotesk in this article.

William Caslon (1692–1766) established the cornerstone of British type founding, ending reliance on the Dutch types which were commonly used in England up to that point (and which inspired his designs). Caslon achieved success both at home and abroad, and the American Declaration of Independence was printed in 1776 using Caslon type. Caslon typefaces set the aesthetic standard for book design, and by the 20th century, the name Caslon referred not only to a specific set of typefaces, but an entire brand.

A Specimen of Printing Types, a digital scan of the 1796 book used as the starting point of William

Maria Doreuli started drawing William in 2008 under the guidance of Alexander Tarbeev at the Moscow Institute of Printing, basing her work on digitised versions of the Caslon Foundry’s catalogues from 1785 and 1796. Various pre-release versions of William have been used in books and magazines since 2009, and these early samples helped to shape and improve the typeface. In 2011, William was one of the winners of AtypI’s Letter 2 competition, a collection of the best typefaces of the decade.

In 2013, Typotheque committed to publishing William, and restructured the typeface family jointly with Maria, creating new styles and dropping some others to create a truly useful multilingual family of fonts. Three years later we are pleased to officially announce the release of a polished and expanded family in two weights, three optical sizes, an engraved version, and a set of ornaments. William is delicately modelled on the original sources but adapted to digital technologies, making it useful both in print and on screen.

Caslon’s work has a permanent place in the history of typography. William builds on his foundation and makes his type relevant for a new generation of designers. It is available in three optical sizes, a Text version with a large x-height for smaller text from 7 to 12pt, a Subhead version for use at 14 to 30 points, and Display version for text larger than 36 points. Just as Caslon cut many non-Latin types and ornaments, William focuses on his international typography, and Cyrillic and Greek versions will follow the current release.

Type specimen illustrations by Shiva Nallaperumal.

Handwriting fonts are a curious breed. Handwriting by definition is not typographic. Even the most trained hand produces a unique specimen every time, influenced by the size and quality of the paper, the type of pen and ink, the writer’s mood, even how fast he or she writes. Digital fonts, on the other hand, assemble preformed shapes, making them available at the touch of a key, over and over again. If the basic principle of typography is that it is a repeatable act, ‘handwriting font’ is very nearly a contradiction in terms.

Manu is a sophisticated, modern handwriting font based on the fluid, casual writing of its author. It comes with the OpenType features that the most demanding users are accustomed to finding in serious text typefaces. Manu comes in three styles, Formal, Informal and Emphasis.

Manu Formal is based on slow careful writing that humanises printed type. Manu Informal is fast, cursive, uninterrupted writing with the rhythm of handwriting. Both Formal and Informal styles are written with the same pen (Muji Pen 0.7mm) at small (18pt) text sizes. Emphasis is a semi-fast all-caps typeface written with a heavier felt-tipped pen. All three styles can be combined and recombined, and give plenty of space for expression, personality and typographic hierarchy. Each style comes with a handy set of symbols, icons and emoticons, plus advanced typographic Opentype features. See this PDF for more details.

For some reason, handwriting fonts are usually produced by amateurs, while professional designers focus on serious text typefaces. There are some exceptions — most notably, Erik van Blokland and Just van Rossum’s FF Hands — and wonderful examples of informal handwritten fonts. While they are very expressive, they also have all the hallmarks of early 1990s fonts: quickly digitised, with limited character sets and features. Manu is designed as carefully as any of our text fonts, with the same attention to detail, and with the same (or perhaps even more complex) OpenType substitution features. As it is standard for Typotheque fonts, Manu supports over 150 languages, offering nuanced voices for various situations.

Illustrations by Shiva Nallaperumal.

Illustrations by Fabien Roché