{"id":10046,"date":"2022-07-24T14:15:03","date_gmt":"2022-07-24T11:15:03","guid":{"rendered":"https:\/\/typetype.org\/fr\/?p=10046"},"modified":"2026-05-15T10:18:39","modified_gmt":"2026-05-15T07:18:39","slug":"expansion-of-the-tt-hoves-pro-family","status":"publish","type":"post","link":"https:\/\/typetype.org\/fr\/blog\/expansion-of-the-tt-hoves-pro-family\/","title":{"rendered":"Expansion of the TT Hoves Pro family"},"content":{"rendered":"\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/TT-Hoves-Pro_01-1.gif\" alt=\"TT Hoves Pro\" class=\"wp-image-12143\"\/><\/figure>\n\n\n\n<p>TT&nbsp;Hoves is&nbsp;the youngest font in&nbsp;the collection of&nbsp;universal geometric <a href=\"https:\/\/typetype.org\/fr\/fonts\/sans-serif\/\" data-type=\"URL\" data-id=\"https:\/\/typetype.org\/fr\/fonts\/sans-serif\/\">sans serifs<\/a>. It&nbsp;forms a&nbsp;functional trio with <a href=\"https:\/\/typetype.org\/fr\/fonts\/tt-norms-pro\/\" data-type=\"URL\" data-id=\"https:\/\/typetype.org\/fr\/fonts\/tt-norms-pro\/\">TT&nbsp;Norms<\/a><sup class=\"reg\">\u00ae<\/sup> and <a href=\"https:\/\/typetype.org\/fr\/fonts\/tt-commons-pro\/\" data-type=\"URL\" data-id=\"https:\/\/typetype.org\/fr\/fonts\/tt-commons-pro\/\">TT&nbsp;Commons<\/a>\u2122, yet has its own recognizable character.<\/p>\n\n\n\n<p>The TT&nbsp;Hoves font has managed to&nbsp;win the sympathy of&nbsp;designers from all over the world. The font family has been among the studio\u2019s bestsellers since its release on&nbsp;marketplaces, and yet it\u2019s time to&nbsp;update the typeface!<\/p>\n\n\n\n<p>Luckily for those who love the character of&nbsp;TT&nbsp;Hoves, the visuals of&nbsp;the new font are largely unchanged, although the new font differs in&nbsp;many ways from the first version. We&nbsp;have added new widths, corrected the shape of&nbsp;terminals and ascenders and descenders, and added new technical content. This is&nbsp;thanks to&nbsp;the fact that over the past four years, the TypeType studio\u2019s skills and font knowledge have increased, and we&nbsp;applied them to&nbsp;the creation of&nbsp;<a href=\"https:\/\/typetype.org\/fr\/fonts\/tt-hoves\/\" data-type=\"URL\" data-id=\"https:\/\/typetype.org\/fr\/fonts\/tt-hoves\/\">TT&nbsp;Hoves Pro<\/a>, making the font even more modern and convenient.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"720\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/02-1.png\" alt=\"Expansion of the TT Hoves Pro family\" class=\"wp-image-10048\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/02-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/02-1-420x210.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/02-1-1024x512.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/02-1-768x384.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/02-1-1200x600.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/02-1-600x300.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/02-1-80x40.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Creation of&nbsp;TT&nbsp;Hoves<\/h2>\n\n\n\n<p>The idea to&nbsp;create a&nbsp;Scandinavian sans serif, which later received the name TT&nbsp;Hoves, came to&nbsp;TypeType in&nbsp;2018. We&nbsp;wanted the new typeface to&nbsp;be&nbsp;simple, yet recognizable and original. At&nbsp;that time, the studio had already released the universal TT&nbsp;Norms<sup class=\"reg\">\u00ae<\/sup> and TT&nbsp;Commons\u2122, so&nbsp;the studio\u2019s plans included a&nbsp;typeface that could expand to&nbsp;the collection of&nbsp;functional sans serifs. The name TT&nbsp;Hoves is&nbsp;formed from two words, horizontals and verticals, to&nbsp;emphasize the predominance of&nbsp;vertical and horizontal strokes in&nbsp;the font design. TT&nbsp;Hoves is&nbsp;a&nbsp;sans serif that lacks pronounced contrast.<\/p>\n\n\n\n<p>The first sketches were a&nbsp;visual embodiment of&nbsp;thoughts about a&nbsp;neutral sans serif that could become a&nbsp;convenient tool for designers. The first character set was drawn in&nbsp;2018 using Adobe Illustrator. Despite the fact that many details changed after further iterations, the nature of&nbsp;the future typeface was already discernible. In&nbsp;the first version, the glyphs\u2019 uppercase character height was 700&nbsp;points, and the lowercase character height was 500 font points.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"720\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/03-2.png\" alt=\"\" class=\"wp-image-11315\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/03-2.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/03-2-420x210.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/03-2-1024x512.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/03-2-768x384.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/03-2-1200x600.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/03-2-600x300.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/03-2-80x40.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>The work began with the Regular and Black styles, on&nbsp;which we&nbsp;tested the set making adjustments. For example, we&nbsp;increased the initial height settings for lowercase glyphs by&nbsp;20&nbsp;points, resulting in&nbsp;a&nbsp;height of&nbsp;520&nbsp;points. We&nbsp;also increased the thickness of&nbsp;the stems to&nbsp;make the font look harmonious, and changed the shape of&nbsp;some glyphs.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>In&nbsp;the first iterations, we&nbsp;experimented with alternative shapes of&nbsp;characters, for example, Q&nbsp;and&nbsp;a.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"495\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/04-1.png\" alt=\"Expansion of the TT Hoves Pro family\" class=\"wp-image-10050\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/04-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/04-1-420x144.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/04-1-1024x352.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/04-1-768x264.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/04-1-1200x413.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/04-1-600x206.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/04-1-80x28.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>We&nbsp;added a&nbsp;set of&nbsp;minuscule figures.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"289\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/05-1.png\" alt=\"Expansion of the TT Hoves Pro family\" class=\"wp-image-10051\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/05-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/05-1-420x84.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/05-1-1024x206.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/05-1-768x154.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/05-1-1200x241.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/05-1-600x120.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/05-1-80x16.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>We&nbsp;continued working on&nbsp;the Black bold face, making stems even thicker. This was a&nbsp;necessary step for expansion of&nbsp;the family because if&nbsp;Black was less thick, the intermediate faces might have looked not quite right from the interpolation point of&nbsp;view.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"292\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/06.png\" alt=\"Expansion of the TT Hoves Pro family\" class=\"wp-image-10052\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/06.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/06-420x85.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/06-1024x208.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/06-768x156.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/06-1200x243.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/06-600x122.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/06-80x16.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>We&nbsp;changed shapes of&nbsp;some glyphs, for instance, characters&nbsp;a, g, s, and&nbsp;b. This way, we&nbsp;achieved the right character of&nbsp;the font, intuitively moving toward the right associations.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"291\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/07-1.png\" alt=\"Expansion of the TT Hoves Pro family\" class=\"wp-image-10053\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/07-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/07-1-420x85.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/07-1-1024x207.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/07-1-768x155.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/07-1-1200x243.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/07-1-600x121.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/07-1-80x16.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>The process of&nbsp;creating TT&nbsp;Hoves was slow, sometimes we&nbsp;took a&nbsp;break to&nbsp;rethink the shape of&nbsp;the characters or&nbsp;to&nbsp;refine the visual flaws. At&nbsp;that time, we&nbsp;worked with all fonts in&nbsp;the FontLab software, where we&nbsp;transferred ready-made characters from Adobe Illustrator. The experience of&nbsp;developing past typefaces, including TT&nbsp;Norms<sup class=\"reg\">\u00ae<\/sup> and TT&nbsp;Commons\u2122, has shown what errors may occur when converting from one program to&nbsp;another, and we&nbsp;took this into account when creating TT&nbsp;Hoves.<\/p>\n\n\n\n<p>After analyzing the first versions of&nbsp;TT&nbsp;Hoves, we&nbsp;continued to&nbsp;work on&nbsp;its improvement. On&nbsp;the one hand, we&nbsp;expanded the set of&nbsp;Regular and Black styles, on&nbsp;the other hand, we&nbsp;improved the character of&nbsp;the font.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Our task was to&nbsp;preserve the glyph shapes in&nbsp;Black keeping the minimum stroke contrast.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"360\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/08-1.png\" alt=\"Expansion of the TT Hoves Pro family\" class=\"wp-image-10054\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/08-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/08-1-420x105.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/08-1-1024x256.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/08-1-768x192.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/08-1-1200x300.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/08-1-600x150.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/08-1-80x20.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>In&nbsp;the Latin&nbsp;L, a&nbsp;tail appeared that supported the horizontal line of&nbsp;the font and allowed to&nbsp;tell it&nbsp;apart from the capital I.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"360\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/09-2.png\" alt=\"\" class=\"wp-image-11316\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/09-2.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/09-2-420x105.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/09-2-1024x256.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/09-2-768x192.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/09-2-1200x300.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/09-2-600x150.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/09-2-80x20.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The uppercase&nbsp;Q in&nbsp;the regular face has a&nbsp;diagonal tail which is&nbsp;partially cut off in&nbsp;Black to&nbsp;prevent the space between the letters to&nbsp;become too narrow. We&nbsp;decided to&nbsp;use this solution in&nbsp;bold faces, starting with Bold. <\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"360\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/10-2.png\" alt=\"\" class=\"wp-image-11317\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/10-2.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/10-2-420x105.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/10-2-1024x256.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/10-2-768x192.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/10-2-1200x300.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/10-2-600x150.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/10-2-80x20.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>We&nbsp;worked on&nbsp;creating a&nbsp;more authentic drawing of&nbsp;the font. The character shifted towards being more geometric and angular. For example in&nbsp;the letters&nbsp;f, l, and&nbsp;t, the turns have become sharper, and the glyphs with diagonal stroke crossings, like&nbsp;x, v, and&nbsp;y, became more squared.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"290\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/11-1.png\" alt=\"Expansion of the TT Hoves Pro family\" class=\"wp-image-10057\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/11-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/11-1-420x85.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/11-1-1024x206.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/11-1-768x155.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/11-1-1200x242.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/11-1-600x121.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/11-1-80x16.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>After making new changes, we&nbsp;started working on&nbsp;expanding the family by&nbsp;thicknesses. We&nbsp;settled on&nbsp;the following faces: Thin, ExtraLight, Light, Regular, Medium, DemiBold, Bold, ExtraBold, Black. At&nbsp;this stage, the font has already been transferred from Adobe Illustrator to&nbsp;FontLab, and the character contours have been adjusted. Despite our efforts to&nbsp;reduce errors, some of&nbsp;the contours were still not transferred correctly, so&nbsp;we&nbsp;had to&nbsp;correct them manually.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"720\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/12.gif\" alt=\"Expansion of the TT Hoves Pro family\" class=\"wp-image-10058\"\/><\/figure>\n\n\n\n<p>After these edits, we&nbsp;began to&nbsp;expand the family. The peculiarity of&nbsp;working in&nbsp;FontLab 5&nbsp;was that absolutely all styles were manually drawn by&nbsp;the team, like reference masters. Because of&nbsp;this, the work was carried out in&nbsp;parallel, by&nbsp;several designers at&nbsp;once. The rendered styles were corrected, after which we&nbsp;expanded the character set, testing the setting and making adjustments.<\/p>\n\n\n\n<p>For TT&nbsp;Hoves, we&nbsp;drew small capitals, and the work on&nbsp;creating italics for upright styles began. By&nbsp;the way, TT&nbsp;Hoves was the first project in&nbsp;which we&nbsp;started using the instruction written to&nbsp;create italic fonts for the main weights: for thin, medium and bold. Since several designers were involved in&nbsp;working on&nbsp;italics, it&nbsp;helped to&nbsp;carry out the work on&nbsp;italics within certain values \u200b\u200bfor each style. The instructions described the necessary steps and parameters to&nbsp;help avoid errors in&nbsp;further work. For example, it&nbsp;specified how to&nbsp;italicize characters with diacritics. Most often, these characters are composed of&nbsp;components: the parent character is&nbsp;italicized manually, and the diacritical component automatically. The instruction helped to&nbsp;avoid doubling work and described how to&nbsp;tilt such characters so&nbsp;that all diacritical elements were in&nbsp;the correct places. The instruction contained steps for working with round and straight characters, as&nbsp;well as&nbsp;peculiarities specific to&nbsp;each style.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"720\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/13-2.png\" alt=\"\" class=\"wp-image-11319\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/13-2.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/13-2-420x210.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/13-2-1024x512.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/13-2-768x384.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/13-2-1200x600.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/13-2-600x300.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/13-2-80x40.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>When all styles were created, and the character set was expanded, we&nbsp;started working on&nbsp;alternative sets. Some characters swapped places, and we&nbsp;run tests, finding optimal solutions.<\/p>\n\n\n\n<p>As&nbsp;a&nbsp;result, the last edits were made at&nbsp;this stage of&nbsp;the work: alternative forms of&nbsp;glyphs appeared in&nbsp;the Latin characters&nbsp;a, y, l, g, G, Q, and in&nbsp;Cyrillic&nbsp;\u0430, \u0443, \u0447, \u0427.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"360\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/14-2.gif\" alt=\"\" class=\"wp-image-11320\"\/><\/figure>\n\n\n\n<p>In&nbsp;2019, work on&nbsp;TT&nbsp;Hoves was fully completed, the font was assembled, tested and released on&nbsp;platforms.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">TT&nbsp;Hoves&nbsp;2.0 <\/h2>\n\n\n\n<p>As&nbsp;time went&nbsp;on, TT&nbsp;Hoves became one of&nbsp;the studio\u2019s bestsellers. Despite the functionality and visual appeal of&nbsp;the font, after the release of&nbsp;the first version, the skills of&nbsp;our team improved, including the technical ones, and we&nbsp;decided to&nbsp;update the font.<\/p>\n\n\n\n<p>As&nbsp;we&nbsp;said, the first version of&nbsp;the font was created in&nbsp;the FontLab program, and all the styles were drawn by&nbsp;hand. In&nbsp;2020, we&nbsp;almost completely switched to&nbsp;a&nbsp;new program, Glyphs, and had gained experience transferring fonts from one editor to&nbsp;another. After working with TT&nbsp;Norms<sup class=\"reg\">\u00ae<\/sup> Pro, which has already been updated and rebuilt in&nbsp;Glyphs, our team created an&nbsp;instruction describing possible problems, errors and other nuances that arise when exporting fonts to&nbsp;the new program.<\/p>\n\n\n\n<p>We&nbsp;won\u2019t go&nbsp;into much detail of&nbsp;these processes, but will outline the main stages that received our attention.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>We&nbsp;made sure extrema points were set everywhere necessary. Extrema points are the points on&nbsp;the vertical and horizontal axes. The curves, that&nbsp;is, the lines departing from the contour points, should not be&nbsp;the same as&nbsp;the extrema points. All this helps to&nbsp;interpolate correctly, so&nbsp;we&nbsp;checked these issues with help of&nbsp;special scripts and corrected all points that had shortcomings. This might look complicated but it&nbsp;was an&nbsp;important part of&nbsp;the work so&nbsp;that in&nbsp;the future we&nbsp;could expand the font family without technical problems.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"360\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/15-2.png\" alt=\"\" class=\"wp-image-11321\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/15-2.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/15-2-420x105.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/15-2-1024x256.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/15-2-768x192.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/15-2-1200x300.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/15-2-600x150.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/15-2-80x20.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>While transfering, we&nbsp;changed the thicknesses of&nbsp;some faces. The updated TT&nbsp;Hoves is&nbsp;slightly different from the first version as&nbsp;the thin faces of&nbsp;the font became a&nbsp;little bolder. This solution allowed to&nbsp;make the font visually more beautiful and convenient in&nbsp;use.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"660\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/16-2.png\" alt=\"\" class=\"wp-image-11322\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/16-2.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/16-2-420x193.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/16-2-1024x469.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/16-2-768x352.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/16-2-1200x550.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/16-2-600x275.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/16-2-80x37.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>We&nbsp;reviewed the character set and corrected some of&nbsp;the glyphs. Over the two years since the release of&nbsp;the font, in&nbsp;addition to&nbsp;gaining technical skills, we&nbsp;also improved the graphic component of&nbsp;the work. Although the character set was not drastically changed, we&nbsp;improved the characters in&nbsp;extended Latin and Cyrillic, the visuals of&nbsp;Bulgarian Cyrillic glyphs, and edited the ascenders and descenders in&nbsp;small capitals. We&nbsp;made the contours more uniform, reworked the roundings in&nbsp;the glyphs, and checked the thicknesses in&nbsp;all faces. Some of&nbsp;the characters were improved with help of&nbsp;small edits, others we&nbsp;had to&nbsp;redraw.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"887\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/17-3.png\" alt=\"\" class=\"wp-image-11330\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/17-3.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/17-3-420x259.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/17-3-1024x631.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/17-3-768x473.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/17-3-1200x739.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/17-3-600x370.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/17-3-80x49.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>After this iteration, we&nbsp;got an&nbsp;updated version of&nbsp;TT&nbsp;Hoves, technically and graphically more correct and modern. It&nbsp;is&nbsp;worth noting that we&nbsp;transferred all styles to&nbsp;Glyphs, that&nbsp;is, all hand-drawn styles remained masters. We&nbsp;additionally created a&nbsp;variable font and updated kerning and hinting.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">TT&nbsp;Hoves Pro <\/h2>\n\n\n\n<p>We&nbsp;were not going to&nbsp;stop there, and almost immediately after updating the font in&nbsp;2020, we&nbsp;thought about expanding the family. We&nbsp;wanted to&nbsp;give designers a&nbsp;more functional tool to&nbsp;work with, with improved <a href=\"https:\/\/typetype.org\/fr\/fonts\/variable\/\">variable<\/a> fonts and more expressive options.<\/p>\n\n\n\n<p>TT&nbsp;Hoves Pro, released in&nbsp;2022, has a&nbsp;recognizable neutral character, but surpasses previous versions in&nbsp;terms of&nbsp;convenience.First, it&nbsp;has two additional widths: Condensed, which is&nbsp;a&nbsp;narrower version, and Expanded, which is&nbsp;wider. Each width has 10&nbsp;upright and 10&nbsp;oblique styles.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"564\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/18-2.png\" alt=\"\" class=\"wp-image-11324\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/18-2.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/18-2-420x165.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/18-2-1024x401.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/18-2-768x301.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/18-2-1200x470.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/18-2-600x235.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/18-2-80x31.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>Before starting to&nbsp;create new fonts, we&nbsp;did some research to&nbsp;determine the required values. We&nbsp;selected sans serifs, which included Condensed and Expanded, and studied how and by&nbsp;what parameters the proportions of&nbsp;glyphs change. We&nbsp;measured the width of&nbsp;the character by&nbsp;straight and round characters in&nbsp;lowercase and uppercase, then compared these with the parameters in&nbsp;the classical style. It&nbsp;turned out that in&nbsp;Condensed, the characters are about&nbsp;70% of&nbsp;the original width, and in&nbsp;Expanded&nbsp;\u2014 about 120%. We&nbsp;are talking about approximate values \u200b\u200bnot because we&nbsp;could not calculate the exact percentages, but because these values change for different glyph shapes, and there is&nbsp;no&nbsp;universal parameter.<\/p>\n\n\n\n<p>We&nbsp;measured other parameters as&nbsp;well, after starting to&nbsp;create Condensed and Expanded in&nbsp;TT&nbsp;Hoves Pro. It&nbsp;happened like this: first we&nbsp;applied automatic deformation of&nbsp;characters divided into groups, and then we&nbsp;looked at&nbsp;and edited the glyphs manually. In&nbsp;addition to&nbsp;the width of&nbsp;characters themselves, the thickness of&nbsp;the stems and the thickness of&nbsp;the contour lines changed, and the overhangs and metrics changed, too. At&nbsp;each stage, we&nbsp;checked the drawing by&nbsp;typing test words and looking at&nbsp;the resulting font in&nbsp;the set. Of&nbsp;course, we&nbsp;weren\u2019t just checking the glyphs inside Condensed or&nbsp;Expanded, we&nbsp;were also comparing them to&nbsp;standard font characters, since all three widths are part of&nbsp;the same TT&nbsp;Hoves Pro font family.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"500\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/19.gif\" alt=\"Expansion of the TT Hoves Pro family\" class=\"wp-image-10065\"\/><\/figure>\n\n\n\n<p>In&nbsp;TT&nbsp;Hoves Pro, we\u2019ve brought terminals to&nbsp;a&nbsp;more consistent look improving the visual experience of&nbsp;the font. To&nbsp;be&nbsp;honest, the idea with terminals that are on&nbsp;the same level came to&nbsp;us at&nbsp;the stage of&nbsp;creating the first version of&nbsp;TT&nbsp;Hoves, but then we&nbsp;decided to&nbsp;do&nbsp;it&nbsp;at&nbsp;some point in&nbsp;the future. In&nbsp;the Pro version, we&nbsp;decided to&nbsp;try this approach.<\/p>\n\n\n\n<p>Of&nbsp;course, all terminals cannot be&nbsp;exactly at&nbsp;the same level, so&nbsp;we&nbsp;started by&nbsp;checking the terminals in&nbsp;the classic version to&nbsp;determine what we&nbsp;can change. It&nbsp;turned out that in&nbsp;the set, we&nbsp;had characters in&nbsp;which the length of&nbsp;the terminals differed by&nbsp;two or&nbsp;three typographic points, although these values \u200b\u200bcan be&nbsp;made the same. In&nbsp;a&nbsp;small size, a&nbsp;designer can spot such details intuitively rather than see them, but in&nbsp;large sizes, such a&nbsp;solution will be&nbsp;noticeable. We&nbsp;decided that this update would allow the font to&nbsp;look more stylish and coherent, and began long-term work on&nbsp;improving the terminals. Now we&nbsp;can say for sure that terminals in&nbsp;glyphs look great, and it\u2019s especially the case when working with a&nbsp;variable font.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"427\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/20-2.gif\" alt=\"\" class=\"wp-image-11325\"\/><\/figure>\n\n\n\n<p>In&nbsp;TT&nbsp;Hoves Pro, we&nbsp;have moved on&nbsp;to&nbsp;work with reference masters. We&nbsp;mentioned for a&nbsp;reason that all hand-drawn masters were transferred to&nbsp;Glyphs. The fact is&nbsp;that at&nbsp;this point, in&nbsp;our studio we&nbsp;work with reference masters, on&nbsp;the basis of&nbsp;which the rest are interpolated, that&nbsp;is, automatically generated. Simply put, we&nbsp;manually draw about 3\u20134 masters per subfamily, and the remaining faces are only corrected and finalized by&nbsp;hand. This solution helped&nbsp;us improve the quality of&nbsp;fonts, make them more correct, and make variable styles lighter in&nbsp;weight and, as&nbsp;a&nbsp;result, more convenient to&nbsp;use.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"360\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/21-1.png\" alt=\"\" class=\"wp-image-11326\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/21-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/21-1-420x105.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/21-1-1024x256.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/21-1-768x192.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/21-1-1200x300.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/21-1-600x150.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/21-1-80x20.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>When we&nbsp;thought about the number of&nbsp;reference masters for TT&nbsp;Hoves Pro, we&nbsp;initially wanted to&nbsp;stop at&nbsp;three, but later a&nbsp;fourth master was added. Classical masters are thin, regular and the boldest faces. However, sometimes an&nbsp;additional support weight between regular and bold is&nbsp;needed to&nbsp;avoid excessive contrast in&nbsp;characters or&nbsp;incorrect outlines, as&nbsp;was the case with TT&nbsp;Hoves Pro. By&nbsp;the way, when generating intermediate faces using reference masters, you need to&nbsp;make sure in&nbsp;advance that all contours and points match each other, otherwise the interpolation will be&nbsp;lumpy, and the resulting fonts will be&nbsp;visually wrong.<\/p>\n\n\n\n<p>In&nbsp;TT&nbsp;Hoves Pro, as&nbsp;in&nbsp;our other fonts, we&nbsp;work following the \u00abmatryoshka principle\u00bb. At&nbsp;least that\u2019s what we&nbsp;call&nbsp;it. The idea is&nbsp;that everything small in&nbsp;a&nbsp;font should fit into everything big, especially when it&nbsp;comes to&nbsp;large subfamilies. On&nbsp;the example of&nbsp;TT&nbsp;Hoves Pro, you can see how it&nbsp;works.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"426\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/22-2.png\" alt=\"\" class=\"wp-image-11327\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/22-2.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/22-2-420x124.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/22-2-1024x303.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/22-2-768x227.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/22-2-1200x355.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/22-2-600x178.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/22-2-80x24.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>We&nbsp;add all the weights, from the lightest to&nbsp;the boldest, and see that everything comes together in&nbsp;each glyph. For example, the letter c&nbsp;in&nbsp;the narrow font Condensed fits all the narrow c\u2019s, and the same happens in&nbsp;wide and standard widths. Horizontals, terminals, overhangs of&nbsp;glyphs should fit harmoniously. It&nbsp;is&nbsp;important to&nbsp;pay attention to&nbsp;diacritical elements, which should be&nbsp;located above the letter in&nbsp;the same place.<\/p>\n\n\n\n<p>After visual tests and technical verification, TT&nbsp;Hoves Pro got new <a href=\"https:\/\/typetype.org\/fr\/mastering\/\">kerning and hinting<\/a>.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-style-default\"><img decoding=\"async\" width=\"1440\" height=\"720\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/23-1.png\" alt=\"\" class=\"wp-image-11328\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/23-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/23-1-420x210.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/23-1-1024x512.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/23-1-768x384.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/23-1-1200x600.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/23-1-600x300.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/23-1-80x40.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>The updated font is&nbsp;more convenient to&nbsp;use and looks more solid visually. The good news for designers is&nbsp;that the TT&nbsp;Hoves Pro has completely retained the graphic design of&nbsp;the familiar TT&nbsp;Hoves, becoming more functional and modern thanks to&nbsp;the new widths and improved technical content.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Project team: <\/h2>\n\n\n\n<p>Ivan Gladkikh\u2014head of\u00a0the project<br>Pavel Emelyanov\u2014art director, designer of\u00a0the basic font<br>Yulia Gonina\u2014art director<br>Marina Khodak\u2014lead type designer, technical project manager<br>Vika Usmanova\u2014type designer<br>Antonina Zhulkova\u2014type designer<br>Olexa Volochay\u2014type designer<br>Kseniya Karataeva\u2014type designer<br>Nadyr Rakhimov\u2014type designer<br>Nadezhda Polomoshnova\u2014type designer<br>Yuri Nakonechny\u2014mastering<br>Anastasia Pogorelova\u2014mastering<br>Victor Rubenko\u2014hinting specialist<\/p>\n","protected":false},"excerpt":{"rendered":"<p>TT\u00a0Hoves is\u00a0the youngest font in\u00a0the collection of\u00a0universal geometric sans serifs. It\u00a0forms a\u00a0functional trio with TT\u00a0Norms<sup class=\"reg\">\u00ae<\/sup> and TT\u00a0Commons\u2122, yet has its own recognizable character.<br \/>\nThe TT\u00a0Hoves font has managed to\u00a0win the sympathy of\u00a0designers from all over the world. The font family has been among the studio\u2019s bestsellers since its release on\u00a0marketplaces, and yet it\u2019s time to\u00a0update the typeface!<\/p>\n","protected":false},"author":1,"featured_media":48022,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[183,184],"class_list":["post-10046","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","tag-font-creation","tag-typetype-fonts"],"acf":{"show_sidebar":true},"_links":{"self":[{"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/posts\/10046","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/comments?post=10046"}],"version-history":[{"count":3,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/posts\/10046\/revisions"}],"predecessor-version":[{"id":52136,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/posts\/10046\/revisions\/52136"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/media\/48022"}],"wp:attachment":[{"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/media?parent=10046"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/categories?post=10046"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/tags?post=10046"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}