The Yalta™ Sans family is a masterful melding of calligraphic, 19th century grotesque and contemporary square sans serif design traits. “I wanted to fuse the warmth of a humanistic typeface with the clarity of a sans serif and create a design that would seem timeless,” says the typeface’s designer, Stefan Claudius. “Yalta Sans is an idiosyncratic fusion. I like to describe it as a humanist technological product.”
History of the TypefaceOpen
Like many typeface designers today, Claudius begins by making pencil sketches. In some cases he also builds the design foundation using a broad-nib pen. “Not so much to create the actual glyphs,” he elaborates, “but to get a feel for the character shapes and the interplay of thick and thin. This technique was especially helpful in developing Yalta Sans.”
The origins of Yalta Sans date back to sketches and trial drawings Claudius made in 2005. “At that time, I had a less analytic approach to typeface design and was more inclined to play with forms,” recalls Claudius. “My work was largely an exploration, to discover how letterforms could be influenced.”
While Yalta Sans changed in many particulars over its eight-year gestation, one aspect remained the same: a subtle modulation of character stroke thickness. “At small sizes,” Claudius points out, “the modulation is felt rather than actually seen. It is only at large sizes that the variation becomes apparent.” He adds, “it is not nearly as apparent as in Optima, for example.”
Yalta Sans was not Claudius’ initial choice to name his typeface. He considered several other possibilities during the design process, before settling on Yalta Sans. “At first, I wanted to call it Poly Sans and then I went for Plural Sans,” recalls Claudius, “but there are so many other typefaces with similar names. I chose Yalta because I wanted the name to reference the idea that different influences – geometry and humanism – are at work within the design. At the Yalta Conference near the end of the Second World War, the principal Allies met together to negotiate the outlines of the new world order. It was necessary for them to reconcile various conflicting attitudes.”
About the DesignerOpen
“I’ve loved letters and lettering for as long as I can remember.” says Claudius. “I recall constructing letters in my early grammar school exercise books. My first computer had a text editor that enabled me to construct bitmap letters. My initial attempts were poorly designed and close to illegible, but I was enraptured with the idea that I could create digital fonts.”
Swiss by birth, Claudius lives and works in Germany. “I am only Swiss on paper,” he says with a smile. “But I am a great fan of Swiss graphic design. For me, the best of Swiss design embodies all the merits of Dutch design – the playful and the experimental.”
A graphic designer known for his typography as well as for typeface design Claudius also founded Cape Arcona Type Foundry with Thomas Schostok. Claudius teaches typography and type design at several universities.
A myriad of design traits give Yalta Sans its distinctive persona. Conical stroke finials in characters like the b, d and n impart a dynamic tension to the design. In contrast, the rounded foot of the i, the slightly diagonal stems of the M, the serifs of the i and j, and the rounded punctuation marks infuse a feeling of warmth and humanity. The lowercase g is in the single-storied form, but a bowl-and-loop variant is available as an alternate character.
Users of Yalta Sans will benefit from its eight design weights – each with a cursive italic counterpart. Weights range from lithe thin to a full-bodied and commanding black.
Yalta Sans is an excellent choice for branding and corporate design. Its character shapes and warm demeanor make for a typeface that is both memorable and easy to read. “I believe it evokes values that are important to many businesses: a human approach and an affinity for technology,” says Claudius.
Yalta Sans is not limited to this narrow scope of design projects. It translates exceptionally well to digital screens and user experience design. Yalta Sans performs beautifully at both large and small sizes, and its extensive range of weights gives the family extraordinary versatility.
The Yalta Sans family is available as a suite of OpenType® Pro and Web fonts. Users can work with this design while taking advantage of OpenType’s capabilities, including the automatic insertion of old style figures, ligatures and small caps. The Yalta Sans fonts also offer an extended character set supporting most Central European and many Eastern European languages.
Licenses for desktop fonts
A typical desktop font EULA will allow you to install the font on your computer for use with authoring tools including word processors, design tools and other applications that permit font selection. Fonts can also be used for creation of print documents, static images (JPEG, TIFF, PNG) and logos. The cost of a desktop font license is determined by the number of workstations on which the font is to be used.View the desktop EULA for this family
Licenses for Fonts.com Web Fonts subscriptions
The Fonts.com Web Fonts license provides access to a selection of fonts for use on websites for use with CSS@font-face. Font delivery from our global network is available through all subscriptions – even our free plan. Some plans include the option to self-host, access to desktop fonts, and use of our FontExplorer X font manager and Typecast design application. The price of a plan is determined by its pageview allowance and other features included.View the Fonts.com Web Fonts subscription license agreement
Licenses for mobile apps
A mobile app license permits the embedding of a font into the iOS, Android or Windows Phone mobile platforms for a single title and a set number of app installations. You can view and modify the installation limit from the cart. App installations can be spread out across the platforms your app is available for. A new license is not required to cover updates to an app, however installations of newer versions of your app do count toward your installation limit.Learn more about licenses for mobile apps
Licenses for electronic publications (eBooks)
An electronic publication license can be used for the embedding of fonts into electronic documents including e-books, e-magazines and e-newspapers. A license covers only a single title but is valid for the full operating life of that title. Every issue of an e-magazine, e-newspaper or other form of e-periodical is considered a separate, new publication. Format variations do not count as separate publications. If a publication is updated and distributed to existing users, a new license is not required. However, updated versions issued to new customers are defined as new publications and require a separate license.Learn more about licenses for eBooks
Server licenses authorize the installation of a font on a server that is accessed by remote users or website visitors. These licenses are commonly used by Web-based businesses providing goods that are personalized by its users such as business cards, images with captions and personalized merchandise. Users are not allowed to download the font file and the font may not be used outside the server environment. The font may not be employed for a software as a service (SaaS) application in which the service is the actual product and not the means of providing the product. Server licenses cover a set number of CPU cores on production servers (development servers are not counted) on which the font is installed. The license is valid for 1 year.Learn more about server licenses