This authoritative sans serif with quirky, diamond-shaped tittles (the little dots over lowercase i's and j's), appears in the ubiquitous blue, red and white station-sign roundels, and in all the other underground signage and advertising across the city.
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A 2016 release by Marc Schütz with an x-height between the original and the ITC digitisation in 9 weights with italic styles to complement them. Another distinction that Neue Kabel has are stylistic alternates such as lower-case letters "a", "g", "e" and "l", circular and 45° square tittles.
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In 2014, Matias Duarte announced at Google I/O that Roboto was significantly redesigned for Android 5.0 "Lollipop". Punctuation marks and the tittles in the lowercase "i" and "j" were changed from square to rounded, and the entire typeface was made “slightly wider and rounder” with many changes in details.
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Century Gothic is similar to ITC Avant Garde in its pure geometry, and does not possess the subtle variation in stroke width found in either Futura or Twentieth Century. However, it differs from ITC Avant Garde in that like Futura and Twentieth Century, Century Gothic does not have a descender at bottom right of the "u" (making it appear like a Greek upsilon υ), whereas Avant Garde does. Century Gothic also has larger, rounder tittles on the letters i and j more akin to Futura, whereas Avant Garde keeps the tittles square and the same width as the letter strokes. Most notably, it lacks the extreme stylistic alternates of Avant Garde, such as highly slanted letters designed to fit together closely in kerning.
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Downer has described the design "more Venetian than Aldine" and influenced by lettering. It has diamond-dots (tittles) on the “i” and “j” similar to the Arts and Crafts-influenced Goudy Old Style. Iowan began as a design for ITC, but after the company dropped plans to release it, the font was bought up by Matthew Carter of Bitstream, who digitized and released it. Bitstream later revisited the design, adding ornaments and titling capitals.
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Liberation Serif, with tittles in red. A tittle or superscript dotOxford Dictionaries Online (US) — Is there a name for the dot above the letters i and j? is a small distinguishing mark, such as a diacritic in the form of a dot on a lowercase i or j. The tittle is an integral part of the glyph of i and j, but diacritic dots can appear over other letters in various languages.
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On March 1, 2009, by decree No. 11/20/1/080 of the Commander of the Volga-Urals Military District (PUVO), the 34th Motorized Rifle Division was reorganized into brigade with the same designation. The unit inherited the division's honorifics tittles and orders. Besides Yekaterinburg, elements of the brigade located in the settlements of Verkhnyaya Pyshma, Tyubuk, Chebarkul, and Karabash. On 2 March 2011, Colonel Dmitry Kasperovich became commander of the brigade.
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The lower case i and j have diagonally-placed square dots or tittles, a motif that in some digitisations is repeated in the full stop, commas, apostrophes and other punctuation marks. Johnston's design process considered a variety of eccentricities, such as a capital-form 'q' in the lower-case and a single-storey 'a' like that later seen on Futura, before ultimately discarding them in favour of a clean, simplified design. However, many early versions of Johnston's "alphabet" included a Garamond-style W formed of two crossed 'V's, and some early renderings as hand-lettering showed variation. Unlike many sans-serifs of the period, Johnston's design (while not slender) is not particularly bold.
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Jan Middendorp, Dutch Type, 010 Publishers, Rotterdam (2004), p. 120. Since his letter shapes only contain horizontals and verticals, some of the glyphs are unconventional, while others bear virtually no resemblance to any version of the letters they represent (in some examples, the frequently appearing a glyph looks like a J, K looks like a t, numeral 1 resembles a 7, numeral 8 resembles capital H, and the x glyph looks like a capital I). Because of this, the typeface was received with mixed feelings by his peers. Most of the letters are based on a grid of 5 by 7 units, with 45-degree corners. Each glyph is represented by two or more sides of a square, with ascenders, descenders or tittles added where necessary.
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Like both Johnston and Gill Sans, Granby has an upper-case influenced by Roman square capitals and a lower-case inspired by traditional "old-style" serif letters, making it an example of what is now called the humanist style of sans-serif fonts. Granby’s regular style is a robust design bolder than conventional body text fonts, making it suitable for headings and posters and also for legible text at smaller sizes. Stephenson Blake had prepared type for the Johnston project and Granby is almost identical in many ways, more like Johnston than Gill Sans with diamond-shaped dots (tittles) on the 'i' and 'j' and a wide ‘a’. A difference is its ‘g’, a ‘single-storey’ design influenced by handwriting.
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Digital- period Monotype designer Dan Rhatigan, author of an article on Gill Sans's development after Gill's death, has commented: "Gill Sans grew organically ... [it] takes a very 'asystematic' approach to type. Very characteristic of when it was designed and of when it was used." (At this time the idea that sans- serif typefaces should form a consistent family, with glyph shapes as consistent as possible between all weights and sizes, had not fully developed: it was quite normal for families to vary as seemed appropriate for their weight until developments such as the groundbreaking release of Univers in 1957.) In the light weights, the slanting cut at top left of the regular "t" is replaced with two separate strokes. From the bold weight upwards Gill Sans has an extremely eccentric design of "i" and "j" with the dots (tittles) smaller than their parent letter's stroke.
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At the age of 16 Assis was already showing potential on Gremio's youth team and would gain the attention of Torino, who would try to steal the player in what would be dubbed 'the Assis Kidnap,' ultimately forcing Gremio to act quickly and sign on Assis by offering his family a sign on bonus of a new house with a swimming pool, where his father would drown. Assis made a name for himself early on at Gremio, winning three consecutive state tittles between 1988 and 1990. Despite this success, and interest for him to play on Brazil's national team in 1992, hardship would again find him as Assis suffered a serious knee injury in 1991, sidelining him for 8 months. Gremio would sell Assis to Swiss team FC Sion in 1992 who he would play with until 1995, where he would win his first Swiss Cup in 1995; before being loaned out to several teams, helping Sporting CP win the Portuguese Super Cup in 1995, before returning in 1996.
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