TYPE DESIGN INFORMATION PAGE last updated on Thu Apr 4 15:15:04 EDT 2024






Armenian fonts

[This page relates to typefaces for the Armenian langauge and type design by Armenians in general. The image above shows the book cover of John Lane's The Diaspora of Armenian Printing 1512-2012 (2012, Amsterdam: Special Collections of the University of Amsterdam).]


Akira Kobayashi
[Neue Frutiger]

[More]  ⦿

Alexander Hovhannisyan

Graphic designer in Yerevan, Armenia. Creator of the circle and arc-based Latin typeface KPS (2014). Aka Allergic Designer. [Google] [More]  ⦿

Alexander Lange

Karlsruhe-based software developer. Creator of the large (and free) Unicode font Quivira (2005). It covers mathematics, chess, astrological symbols, arrows, fists, Latin, Greek, Cyrillic, Hebrew, Armenian, Georgian, Tifinagh, Coptic, emoticons, Vai, and Braille, to name just a few ranges. Alexander graduated in computer science at the Hochschule Mannheim University of Applied Sciences (degree: Diplom-Informatiker (UAS)). [Google] [More]  ⦿

Amadeus Information Systems
[Phil Chastney]

Amadeus Information Systems Limited / Phil Chastney are the designers of SImPL (1999-2001) and Sixpack Medium (2009), great Courier-like monospace fonts with many diacritics and symbols, filling many of the Unicode pages. The designer is Phil Chastney, who writes One of the design aims of the font was to provide a complete set of all known APL symbols, plus sufficient characters to allow prompts, comments, etc., to be expressed in every European language known to be in current use. Basically, that means the Latin, Greek and Cyrillic alphabets, plus accented and variant letter forms as required for other European languages using these alphabets.. Incidentally, Armenian and Cyrillic are also covered, and the number of mathematical symbols is staggering. [Google] [More]  ⦿

Amanda Morante

Recent graduate from the BFA program in Graphic Design at the Fashion Institute of Technology in New York City, who is currently living on Long Island and working at Curio Design in NYC. Proposer in 2007 of new letterforms that look a bit Armenian to me. [Google] [More]  ⦿

Angela Poghosova

Armenian type designer who won an award at Granshan 2009 for her Armenian typeface Goga. She also created the ASF Angela family for Armenian, Latin, Greek and Cyrillic. This family was awarded Second Prize in the Granshan 2010 competition for Armenian text types, and Second Prize in the Granshan 2010 competition for Cyrillic text types. Her name is also spelled Anzhella Poghosova.

In 2021, she designed ASF Diana (a ten-style text and display family for Latin, Cyrillic and Armenian). [Google] [MyFonts] [More]  ⦿

Anguin font download page

Armenian font Anguin for PC and Mac. [Google] [More]  ⦿

Ani Malkhasyan

Yerevan, Armenia-based designer of an Armenian blakboard bold typeface in 2019. [Google] [More]  ⦿

Anna Harutyunyan

Yerevan, Armenia-based designer of the Latin / Armenian font Agent 044 (2019). [Google] [More]  ⦿

Anna Issabekian

Yerevan, Armenia-born and Paris-based graphic designer. Creator of Shape Type (2012, an octagonal or paper fold typeface).

Behance link. [Google] [More]  ⦿

Anna Sahakyan

Graphic designer and illustrator in Yerevan, Armenia. Creator of a techno typeface for the branding of MSHAK TV (2012). [Google] [More]  ⦿

Antonis Tsolomitis
[Laboratory of Digital Typography and Mathematical Software]

[More]  ⦿

Ara Baghdasaryan

Armenian type designer at the State Academy of Art. At Granshan 2009, he won an award for his Armenian font Ara Rusa. [Google] [More]  ⦿

Aram Megrabyan

Armenian artist and type designer. [Google] [More]  ⦿

Area Download

Free Georgian, Cyrillic, Greek, Armenian, Coptic and Gothic Truetype fonts. [Google] [More]  ⦿

Arev Aleqsanyan

Yerevan, Armenia-based designer of a tringular alphabet (2017). [Google] [More]  ⦿

Arevik Shmavonyan

Armenian type and graphic designer and illustrator. She was a student at the National Academy of Fine Arts in Yerevan, Armenia (2005-2009). The Devian Tart site mentions that she lives in Bulgaria. Arevik created the dingbats font Fashion Plate (2007, Paratype).

Devian Tart link. [Google] [MyFonts] [More]  ⦿

Armenian alphabet

The Armenian alphabet (courtesy of the Granshan site). [Google] [More]  ⦿

Armenian metafont
[Serguei Dachian]

Free package developed by Serguei Dachian in metafont. He writes: These fonts were converted from the TrueType font family "ArTarumianTimes" made by Ruben Hakobian (Tarumian). We would like to thank him for giving us the permission to use his fonts. Other fonts (ars series) were developed based on Raffi Kojian's Sassoun family (1994). [Google] [More]  ⦿

[Nina Stössinger]

Armenotype was launched in 2010 by Nina Stössinger and Hrant Papazian. This site has information about all things related to Armenian typefaces and typography. [Google] [More]  ⦿


Used to offer commercial Armenian fonts. From Oakville, Ontario. [Google] [More]  ⦿


Armenian company which marketed fonts such as ArialArmenian. [Google] [More]  ⦿

Armine Petrosyan

Yerevan, Armenia-based designer of an Armenian display typeface (2017). [Google] [More]  ⦿

[Edik Ghabuzyan]

Head of the Department of Creating and Keeping Armenian fonts of the National Book Chamber in Yerevan, Armenia. Edik Ghabuzyan (b. 1952) has been creating Armenian computer fonts since about 1988---a total of about 300 digital fonts. In 1997, one of his fonts won the Best Font prize in HiArt Armenian Fonts competition. In 2005, his Vernatun and ArmTimesST fonts were awarded the main prizes and the Titghosagir the first prize in Mashtots-1600 Electronic Fonts competition. In 2006, several of his fonts won the main prizes in Armenian Schoolbook Fonts competition. He has designed Armenian letters in Unicode and later Latin, Cyrillic and Greek letters, preserving a uniform style /across the spectrum. Today, Edik Ghabuzyan works at the National Book Chamber of Armenia as the head of the section of Saving and Creating Armenian Fonts. He won several awards at Granshan 2008, and organized both Granshan 2008 and 2009.

He created (free) Armenian extensions of Microsoft's Tahoma, GHEA Tahoma (Regular, Bold), in 1996. His winning entries in Granshan 2009 include Aragast (for Cyrillic), Asparez, Parmani, Notgrir, and Diana.

He also designed Mariam, GHEA Tigran (2008, awarded the Grand price in the Granshan 2008 International Type Design competition), GHEA Koryun (2011), GHEA Gohar (2009), GHEA Aspet (2011), GHEA Lilit (2012, a nice text family), GHEA Narek (2012, a sans family with built-in contrasts), Mijnadaryan (2013), GHEA Arpi (2013), Avandakan (2013), GHEA Dvin (2014), GHEA Tatevik Display (art deco), GHEA Kamar (geometric avant garde sans), GHEA Katil (a plump display typeface related to the modern fat typefaces), GHEA Narek Serif, GHEA Aram.

Free official fonts of the Armenian Government: Grapalat, Mariam. Most of his fonts cover Latin, Greek, Cyrillic and Armenian.

A partial list of his typefaces: ASF Angela, ASF Angela Sans, ASF Daniel, ASF Daniel Sans, ASF Daniel Slant, ASF Dar21, ASF George, ASF Goga, ASF Library, AVH Arman, GHEA Anahit, GHEA Aragast, GHEA Araks, GHEA Aram (skeletally related to didone), GHEA Aram Display, GHEA Aram Title, GHEA Ararat, GHEA Aratta, GHEA Architect, GHEA Arpi, GHEA Ashot Erkat, GHEA Aspet, GHEA Ayb (2020: a multilingual sans typeface for Latin, Cyrillic (+Bulgarian Cyrillic, +Ukrainian Cyrillic) and Armenian), GHEA Ayg, GHEA Bekum, GHEA Bever, GHEA Biayna, GHEA Circle, GHEA Davit, GHEA Diana, GHEA Dvin, GHEA Erebuni, GHEA Gohar, GHEA Granshan (an 18-style sans) (2021), GHEA Hayk Davtyan, GHEA Hayk Title, GHEA Helvetica Geo, GHEA Heqiat, GHEA Kamar, GHEA Karpet, GHEA Kars, GHEA Katil, GHEA Khoragir Pro, GHEA Koryun, GHEA Lilit, GHEA Mymekh, GHEA Narek, GHEA Narek Display, GHEA Narek Poster, GHEA Narek Pro, GHEA Narek Serif, GHEA News (2021), GHEA Parisp, GHEA Pastar (2021), GHEA Petur, GHEA Samo (wedge serif) (2021), GHEA Script, GHEA Sepatar, GHEA Shooter (2020), GHEA Tamara (2021), GHEA Tatev, GHEA TatevikArt, GHEA Terti, GHEA Tigran Pro, GHEA Title, GHEA TitleSS, GHEA Urartu, GHEA Vanadzor, GHEA Vem, GHEA Vernagrayin, GHEA Warm (2021), GHEA VoskeDar, GHEA Yerevan, GHEA Yerevan Serif, GHEA Yerkar, GHEA Zartonk (2021: an 11-style display sans for Latin, Cyrillic and Armenian), GHEA Zeytun, HASH Ani, HASH Ani Soft, HASH Anna, HASH Anush, HASH Ashtghik, HASH Ashtghik Serif, HASH Eva, HASH Heqiati, HASH Hripsimeh, HASH Romantic, IT Grinnar, LGSH Liana, MAA Marieta, MAA Sergo.

GHEA Narek Display won an award at the Morisawa Type Design Competition 2014.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Arshavir Aghajanyan

A site devoted to Armenian Unicode fonts (with downloads): Arial AMU, Arial Unicode, Sylfaen, Courier Unicode, Times Unicode. Direct downloads. [Google] [More]  ⦿

Artavazd Baghdasaryan

Yerevan, Armenia-based designer who created a triangulated Armenian alphabet in 2014. [Google] [More]  ⦿

Arutyun Kiremidzhyan

Armenian type designer who created ARARAT (1992) and ARAGATZ (1992). [Google] [More]  ⦿

Arzo Electronics
[Mike Arzoumanian]

Mike Arzoumanian (Arzo Electronics) created the free Armenian font 1Arzo Ani (1996) and 1ArzoArarat (1996). [Google] [More]  ⦿


(Extinct?) Russian foundry that produced Latin, Armenian and Cyrillic fonts. Fonts included Chiseled 1 and 2, Stratos, Jacker, Serpentine Bold and Domingo. [Google] [More]  ⦿

Avenir Next World

The original Avenir typeface was designed by Adrian Frutiger in 1988. Unlike Futura, which has partially colored Avenir, Avenir is not purely geometric---it has vertical strokes that are thicker than the horizontals and a lower case o that is not a perfect circle. And just as most fonts from the 1980s, Avenir has shortened ascenders. These nuances aid in legibility but the small x-height makes it less elegant.

In 2012, Akira Kobayashi worked alongside Adrian Frutiger on Avenir Next. Akira kept expanding Avenir to cover more languages. Avenir Next World family, released by Linotype in 2021, is an expansive family of fonts that offers support for more than 150 languages and scripts. The subfamilies include Avenir Next Hebrew, Avenir Next Thai, Avenir Next Cyrillic, Avenir Next Arabic and Avenir Next Georgian. Avenir Next World contains 10 weights, from UltraLight to Heavy.

Contributors besides Adrian Frutiger and Akira Kobayashi: Anuthin Wongsunkakon (Thai), Yanek Iontef (Hebrew), Akaki Razmadze (Georgian), Nadine Chahine (Arabic), Toshi Omagari (Arabic) and Elena Papassissa (Greek, Armenian). See also Avenir Next Paneuropean (2021; 56 styles; by Akira Kobayashi). [Google] [MyFonts] [More]  ⦿

Ben Jones

[MyFonts] [More]  ⦿

Ben Karamyan

Yerevan, Armenia-based graphic designer and illustrator. Creator of the free condensed Latin / Armenian sans typeface Calama (2016) and the free update Calama New (2017). [Google] [More]  ⦿

Cahya Sofyan
[Studio Sun (or: Sun Brand Co)]

[MyFonts] [More]  ⦿

Cankat Saribas

Cankat Saribas is UX/UI, graphic, and type desginer of Armenian and Alevi-Kurdish background who was born and raised in London. In 2022, he designed the stencil display typeface Dersima, as an homage to the victims of genocide and oppression. [Google] [MyFonts] [More]  ⦿

Carolyn Puzzovio
[Pomegranate Fonts]

[MyFonts] [More]  ⦿

Charles Emil Heyer

Chicago-based punch-cutter, 1841 (Berlin, b. Carl Emil Heyer)-1897 (Chicago). His typefaces have late Victorian and early art nouveau elements:

  • At BBS: Armenian (+Extended) (1879), Calumet (1887), Castle (1888, a clean basic sans), Challenge Lightface (1888), Fair (1893), Fair Open (1891), Grant No. 2 (1892), Heyer, Jewel Script (1888), La Salle (1889), Lakeside Script (1883), Lyric (+Lightface Lyric, 1882; in 1925 renamed to Greeting Card (+Light)), Maltese (+Open) (1878), Mayo, Myrtle Script (1885), Occident (+Shaded) (1881), Opaque, Plate Script, Princess Script (1887), Princeton, Solar (1888), Sylvan Text.
  • At Boston Type Foundry: Bank Note Italic Ornamented (1874 or 1875), Compressed Black (1875), Copperplate Italic (1875), Harlem (+Open, +Shade) (1875), Karnac (1874 [note: not sure this was done at Boston Type Foundry]), Mayence (1875), Nubian (1876), Rococo (1876), Vienna (1875).
  • At Western Type Foundry: Circular Gothic No. 44 (1879). For a revival, see Foundation Sans Number 44 (Henrik Kubel, 2018).
List of patents taken on fonts, by date: 1879: Armenian extended, unnamed art nouveau face, unnamed BBS face. 1880: unnamed BBS face, unnamed BBS face. 1881: blackletter face, unnamed BBS face, unnamed BBS face, unnamed BBS face, unnamed BBS face. 1882: unnamed BBS face, unnamed BBS face, unnamed BBS face, unnamed BBS face. 1883: unnamed BBS face. 1884: unnamed art nouveau face, unnamed art nouveau face, unnamed art nouveau face, unnamed BBS face. 1886: unnamed BBS face, borders. 1887: School Script for BBS, unnamed BBS face, unnamed BBS face. 1888: unnamed BBS face, unnamed BBS face. 1891: ornaments for BBS. [Google] [More]  ⦿

[Raffi Kojian]

This is Raffi Kojian's site. Armenian font links and downloads. Included are fonts by

  • Arutyun Kiremidzhyan: ARAGATZ (1992), ARARAT (1992).
  • Ruben Tarumian: ArTarumianAfrickian, ArTarumianAnpuit, ArTarumianBakhum, ArTarumianBarak, ArTarumianErevan, ArTarumianGovazdItalic, ArTarumianGrig, ArTarumianGrqiNor, ArTarumianGrqiNorBold, ArTarumianGrqiNorBoldItalik, ArTarumianGrqiNorItalic, ArTarumianHamagumar, ArTarumianHeghnar, ArTarumianKamar, ArTarumianMHarvats, ArTarumianMatenagir, ArTarumianMatenagirBold, ArTarumianMatenagirBoldItalic, ArTarumianMatenagirItalic, ArTarumianNorMatenagir, ArTarumianPastar, ArTarumianIshxan, ArTarumianBarak (made from BernhardFashionBT). All fonts from 1994-1996.
  • Raffi Kojian: Arax-AM, AraxBarab-AM, SassounAM (1994), BorderPics (1995), Masis-AM (1995), Tamar (2000). At Armeniapedia, you can find a Unicode version of Arax.
Other fonts here: ANAHID, ARMENTTNormal, ArmNetCourier, SHIRAZNormal. [Google] [More]  ⦿

Claire Agopian

Claire Agopian graduated in 2007 from Ecole Estienne in Paris with a thesis entitled Exotisme familier: une typographie de diaspora, in which she develops an elegant Armenian/Latin typeface, Le Loussiné (2007). She also wrote Edward Fella "I am the vernacular" (2007) at Estienne. She designed the playful display typeface Knock, the handwriting typeface Coquillette, and a font based on glyphs of an imaginary tribe, the Kanaks. [Google] [More]  ⦿

ClearlyU BDF font

Mark Leisher's creation: "ClearlyU is a set of BDF (bitmap) 12 point, 100 dpi fonts that provides glyphs that can be used for Unicode text. The font contains over 4000 glyphs, including numerous additional glyphs for alternate forms and ligatures. The ClearlyU typeface was originally inspired by Donald Knuth's Computer Modern typeface, but has been slowly evolving into something else." Supported are: Navajo, Armenian, Cyrillic, Georgian, Greek and Coptic, Hebrew, Lao, Thai. [Google] [More]  ⦿

[Gayaneh Bagdasaryan]

Cyreal is a type foundry with expertise in both Latin and Cyrillic scripts. Its founders are lecturers at the British Higher School of Art and Design in Moscow. They are

  • Gayaneh Bagdasaryan. Gayaneh began working as a type designer in ParaType in 1996. She has done cyrillization work at ParaType, Typotheque, Linotype, Bitstream, The Font Bureau, ITC, Berthold and Emigre. Her typeface Red Klin received a TDC2 2000 Award. Her New Letter Gothic won an Award for Excellence in Type Design at the Kyrillitsa 99 International Type Design competition in Moscow, 1999. Gayaneh graduated from the Print Design Department of Moscow State University of Printing Arts (2000), and Ryazan College of Art (1992). Designer in 1999 at Paratype of LetterGothic Baltic, LetterGothic Central European, LetterGothic Cyrillic Asian, LetterGothic Cyrillic International, LetterGothic Cyrillic Old Russian, LetterGothic Multi Lingual, LetterGothic Turkish, LetterGothic Western. She made the Cyrillic version of Licko's Base Nine and Base Twelve families (2003) and of Albert Boton's ITC Eras (called PT ITC Eras). Klin Black (2004, Paratype, decorative caps in the style of Russian fine art ca. 1900) is an original: Red Klin (2005) is inspired by Russian fine art from the beginning of the 20th century---lettering by Sergey Chekhonin (1878-1936), graphic design by El Lissitzky (1890-1941) and the Suprematism painting. Sketch design of the font (under the name Klin) was awarded a TDC2 2000 diploma. Finally, she designed ParaType New Letter Gothic (1999) and ParaType Original Garamond (2000).
  • Alexei Vanyashin. Type designer with expertise in Cyrillics. Winner at the Granshan 2010 International Type Design competition with Florian (Second place in the Cyrillic Text Typeface category). He completed the Type&Typography Master Level course in 2010, and studied typography at the Stroganov University of Arts and Industry.


  • Cyrillizations: Akzidenz-Grotesk Condensed, AG Book, Apack (Pisa), Base Nine, Charlie, Fedra Sans, Fedra Serif, Filosofia, Greta, Griffith Gothic, Eras (ITC), Lobster (free, 2011, after Pablo Impallari's Lobster), Neuland, Original Garamond, Renault.
  • Armenian: Newton Armenian, Pragmatica Armenian, Haykakan Kar.
  • Custom: GEO Text, GEO Display.
  • Retail: New Letter Gothic, Red Klin, Schmale, Florian.
  • Free at Fontsquirrel: Artifika (2011), Brawler (2011), Rationale (done with Olexa Volochay and Vladimir Pavlikov).
  • Free fonts at Google Font Directory: Jacques Francois and Jacques Francois Shadow (2012, co-designed with Manvel Shmavonyan, they are revivals of the Enschedé no. 811 type specimen (ca. 1760) by Jacques François Rosart (1714-1774), made for Enschedé Printing House), Artifika (2011, by Yulya Zhdanova and Ivan Petrov), Aubrey (2011, art nouveau by Gayaneh Bagdasaryan), Vidaloka (2011, a didone done by Alexei Vanyashin and Olga Karpushina), Lora (2011, a contemporary serif by Olga Karpushina), Federant (2011, by Olexa Volochay: this revives the Reklameschrift typeface Feder Antiqua by Otto Ludwig Nägele (1911)), Federo (2011, high-contrast sans by Olexa Volochay based on J. Erbar's 1909 font Feder Grotesk), Podkova (2011, slab serif), Wire One (2011, monoline sans by Alexei Vanyashin and Gayaneh Bagdasaryan).
Fontspace link. FontShop link. Klingspor link. Bagdasaryan Gayaneh. [Google] [MyFonts] [More]  ⦿

Daniel Johnson

Canadian type designer. His typefaces:

  • Aguardiente (2010, heavy sans).
  • Deka (2010, a monospace font designed for very small display sizes).
  • Didact Gothic (2010, a simple and readable sans i in the form most often used in elementary classrooms).
  • He contributed to the GNU Freefont project. In particular, he created by hand a Cherokee range specially for FreeFont to be "in line with the classic Cherokee typefaces used in 19th century printing", but also to fit well with ranges previously in FreeFont. Then he made Unified Canadian Syllabics in Sans, and a Cherokee and Kayah Li in Mono. And never to be outdone by himself, then he did UCAS Extended and Osmanya. His GNU Freefont ranges:
    • Armenian (serif) (U+0530-U+058F)
    • Cherokee (U+13A0-U+13FF)
    • Unified Canadian Aboriginal Syllabics (U+1400-U+167F)
    • UCAS Extended (U+18B0-U+18F5)
    • Kayah Li (U+A900-U+A92F)
    • Tifinagh (U+2D30-U+2D7F)
    • Vai (U+A500-U+A62B)
    • Latin Extended-D (Mayanist letters) (U+A720-U+A7FF)
    • Osmanya (U+10480-U+104a7)
  • Grana Padano (2010).
  • Judson (2010, designed for African literacy).
  • Jura (2009). A sans family with support for Burmese, Cyrillic and Greek; redesigned and improved by Alexei Vanyashin in 2016; a variable font was added in 2019 by Mirko Velimirovic). Johnson explains: Jura is a family of sans-serif fonts in the Eurostile vein. It was originally inspired by some work I was doing for the FreeFont project in designing a Kayah Li range for FreeMono. (Kayah Li is a language used by a minority people group in Burma. Because the Burmese government suppresses the teaching of minority scripts, the Kayah Li script is taught only in schools in refugee camps in Thailand.) I wanted to create a Roman alphabet using the same kinds of strokes and curves as the Kayah Li glyphs, and thus Jura was born. Github link for Jura.
  • Megrim (2010, a monoline drawing table sans).
  • Pacaya (2013, a medium-weight sans).
  • Pfennig (2010, an extensive humanist sans family).
  • Rahel (2009, Hebrew).
  • Sacco-Vanzetti (2009, sans).
  • Stanislav Caps (2013).
  • Travelogue (2008).
  • Triad Postnaya (2010). An old Church Slavonic typeface and its Latin simulation twin. Free at the Open Font Library. Triod Postnaya attempts to mimic the typefaces used to publish Old Church Slavonic service books prior to the 20th century. It also provides a range of Latin letters in the same style.

Klingspor link. Fontspace link. Dafont link. Kernest link. Fontsquirrel link. Google Plus link. [Google] [More]  ⦿

Darien Valentine

[More]  ⦿

Darren Rigby
[Darren Rigby]

Refreshing fonts created by Canadian Darren Rigby using High-Logic. The fonts come in truetype format (in 2000): Bayern (fraktur font), Beltane (2002), Brasspounder (2004), Con Jitters (2002, handwriting), Enigmatic, EnigmaticUnicodeRegular, Fitzgerald, GangueOuais (2002), HindsightUnicode (2001, with all European languages, Cyrillic, Armenian, and IPA), HindsightSmallCaps, HindsightRegular, HindsightMonospaceRegular, IntruderAlert, QuicktypeRegular, ThinDime, TorturerUpright, SilverDollar, DontWalkRun, History-Repeating (1999-2000), HistoryHappens, HistoryRepeatingH, HistoryHappens, HistoryRepeatingV, Lemon, Norse-Code (runes), OneEighty, TorturerBound, TorturerCrushed, Daybreaker, Yerevan, Seebreaze, Jareth, Tin Birdhouse, Tin Doghouse, Three-Sixty, Three-Sixty Condensed, Levity (2001, Western font), Gravity, River Avenue, Water Street, Warer Street Detour (unicase), Meridiana, Torquemada, Torquemada Starved, Torquemada Starved Unicode, Radian (2002), All Hooked Up (2002), Brasspounder (2004), Quilljoy (2004). [Google] [More]  ⦿

Darren Rigby
[Darren Rigby]

[More]  ⦿

David Brezina

Czech designer (b. Brno) who graduated with a Masters in Informatics at the Masaryk University in Brno in 2005, spent a term at the Denmark's Designskole in Copenhagen in 2004 and graduated with distinction from the MA in Typeface Design at the University of Reading in 2007, where he wrote a thesis on his typefaces called Skolar and Surat. Skolar won an award at Paratype K2009. It was designed with scholarly and multilingual publications in mind. See, e.g., Skolar Devanagari. Later David founded Rosetta Type.

From 2004 to 2007, he ran his own design studio DAVI, with projects in graphic, web and interface design. Back in Brno, he worked with Tiro Typeworks (Canada) as an associate designer. At ATypI 2008 in St. Petersburg, he spoke about multi-script typography.

His typefaces include

  • CODAN (2005): a typeface inspired by the city of Copenhagen.
  • Yunnan (2004): oriental simulation face. Discussion on typophile.
  • Skolar and Surat (2008). Skolar was designed for multilingual scientific publications and is a serifed typeface in the Menhart tradition. It was published in 2009 by Type Together, and it is also listed by Rosetta Type. Skolar Basic (2009, Type Together) is the official name of this 6-style text family. Surat is an accompanying Gujarati family. Related to that, he wrote The evolution of the Gujarati typographic script (2007, University of Reading). Rosetta writes: Skolar was originally designed for academic publications: its vast character set caters for 90+ Latin-script languages, and its Greek and Cyrillic extensions together with Latin transliterations add support for another 70+ languages. All scripts are available with small caps, superior and inferior letters, five sets of numerals and alternate character forms (see note about the versions below). A comprehensive set of arrows (easily accessed via OpenType) and bullets round off the character set to meet the needs of even the most complex editorial and academic text settings. The light and extrabold styles (upright and italics) were designed with help from Anna Giedrys and Elena Schneider. Skolar's Cyrillic harmonises well with the Latin in its careful balance of distinctive styling and solid performance. Designed in consultation with Alexandra Korolkova, it supports most Slavic languages as well as many others like Kazakh and Mongolian. Additionally, Skolar includes language-specific forms for Serbian and Bulgarian. The Greek is a modern interpretation of the classic styles found in academic works, and is characterised by lively, fluid forms and varying stress. It includes both monotonic and polytonic Greek, and was designed in consultation with Irene Vlachou and Gerry Leonidas. Complete Skolar family also supports Indic scripts Devanagari (codesigned with Vaibhav Singh) and Gujarati distributed separately. Skolar has received international praise at the 2008 ED Awards, and was also shortlisted as one of the best typefaces that year by I LOVE TYPOGRAPHY. In 2009, the Cyrillic was awarded a Special Diploma at the international type design competition Modern Cyrillic, and won the first prize in Granshan's Cyrillic text type category. In 2015, the 72-font family Skolar Sans (see also, Skolar Sans PE, 2016), codeveloped by David Brezina and Slava Jevcinova at Rosetta Type Foundry, won a silver medal at the European Design awards. Skolar PE was added in 2020.
  • Yrsa and Rasa (2015, open-source type families published by Rosetta with financial support from Google). The fonts support over 92 languages in Latin script and 2 languages in Gujarati script (Gujarati and Kachchi). The design and production are by Anna Giedrys and David Brezina. Yrsa is the name of the Latin-only type family. Rasa is the name of the Gujarati type family. They explain: Both type families are intended for continuous reading on the web (longer articles in online news, magazines, blogs). In Yrsa, a special consideration was given to Central and East European languages and proper shaping of their accents. Rasa supports a wide array of basic and compound syllables used in Gujarati. In terms of glyphs included Rasa is a superset of Yrsa, it includes the complete Latin. What makes Yrsa & Rasa project different is the design approach. It is a deliberate experiment in remixing existing typefaces to produce a new one. The Latin part is based on Merriweather by Eben Sorkin. The Gujarati is based on David Brezina's Skolar Gujarati.
  • Adobe Gujarati (2012).
  • In 2019, at Rosetta Type, together with Slava Jevcinova and William Montrose, he released the variable font Adapter (with three axes, for latin, Greek and Cyrillic).
  • In 2020, he released Handjet (started in 2018, at Rosetta Type), which is built on the principle of a dot matrix printer or handjet printer. Glyphs are made up of collections of individual modules that take 23 elemental shapes. The Handjet family covers Armenian, Arabic, Cyrillic, Greek, Hebrew and Latin. Github download link.
  • Gridlite (2020, Rosetta Type) is a modular pixel typeface with adjustable foreground and background patterning. It also has a variable type format with three axes, Weight, Background, and Element Shape.

Blog. Myfonts link. Klingspor link. Speaker at ATypI 2013 in Amsterdam on the topic of multilingual type design. [Google] [MyFonts] [More]  ⦿

DejaVu Fonts
[Stepan Roh]

The DejaVu fonts form an open source font family based on the Bitstream Vera Fonts. Free download. Its purpose is to provide a wider range of characters (see Current status page for more information) while maintaining the original look and feel through the process of collaborative development. Included are DejaVuSans-Bold, DejaVuSans-BoldOblique, DejaVuSans-Oblique, DejaVuSans, DejaVuSansCondensed-Bold, DejaVuSansCondensed-BoldOblique, DejaVuSansCondensed-Oblique, DejaVuSansCondensed, DejaVuSansMono-Bold, DejaVuSansMono-BoldOb, DejaVuSansMono-Oblique, DejaVuSansMono-Roman, DejaVuSerif-Bold, DejaVuSerif-BoldOblique, DejaVuSerif-Oblique, DejaVuSerif-Roman, DejaVuSerifCondensed-Bold, DejaVuSerifCondensed-BoldOblique, DejaVuSerifCondensed-Oblique, DejaVuSerifCondensed.

Authors and contributors comprise Adrian Schroeter, Ben Laenen, Dafydd Harries, Danilo Segan (Cyrillic), David Jez, David Lawrence Ramsey, Denis Jacquerye, Dwayne Bailey, James Cloos, James Crippen, Keenan Pepper, Mashrab Kuvatov, Misu Moldovan (Romanian), Ognyan Kulev, Ondrej Koala Vacha, Peter Cernák, Sander Vesik, Stepán Roh (project manager; Polish), Tavmjong Bah, Valentin Stoykov, and Vasek Stodulka. The idea is to eventually cover most of unicode. Currently, this is covered: Latin (+supplement, extended A and part of extended B), IPA, Greek, Coptic, Cyrillic, Georgian, Armenian, Hebrew, N'ko, Tifinagh, Lao, Canadian aboriginal syllabics, Ogham, Arabic, math symbols, arrows, Braille, chess, and many dingbats.

Alternate download site. Wiki page with download information.

Fontspace link. Open Font Library link. [Google] [More]  ⦿

Di Barros
[Roberto Teixeira]

Brazilian designer of the retro display typeface Di Barros (2020), which has an extensive glyph set for Latin, Greek, Armenian and Cyrillic. [Google] [MyFonts] [More]  ⦿

Diego Sanz Salas

Peruvian creator (b. 1984, Arequipa, Peru) at FontStruct in 2009 of Sencilla (+Cuadrada, +Morena), a family that covers Latin, Cyrillic, Extended Latin, Hebrew, Greek, Armenian, Coptic, Arabic, Thai, and Devanagari. At FontStruct in 2008, he made mercury and mercury_bold. At Cocijotype, he created the artsy Incan stone wall-inspired Quincha (2009), which according to this site is the first commercial font made in Peru. It won an award in the experimental category at Tipos Latinos 2010.

Amarilis (2011) is an ornamental caps face, which can be bought here.

Chicha (2012) is a bouncy curvy layered set of typefaces published by Cocijotype. It is based upon Peruvian market signs.

Typefaces from 2018: Papaia (plumpish and curvy, with many dingbats). Winner at Tipos Latinos 2018 of a type design award for Papaia.

MyFonts link. Logo. Interview in March 2010. Behance link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Dmitry Goloub

Russian type foundry, est. 2014 by Dmitry Goloub, the Moscow-based codesigner with Lucas Perdidaão of the free grid-based art deco typeface Bobber (2012, in ai format) and of Alpine (2014). From 2009 until 2010 and again in 2012, he lived in Firenze, Italy.

Typefaces from 2013 include Bolognese Sans, Moor (multilined art deco family), Bobber Script, and Bread & Milk Sans. Genplan (2013) is a great free layered inline typeface for Latin and Cyrillic that is based on 1930s Soviet poster types. See also TT Genplan Pro (2014).

Cittadino Symbols (2013) is a free rounded city traffic icon font related to a Milan subway project. In 2013, this was replaced, still for the Milan metro maps, by Meneghino Wayfind, a tweetware typeface that was influenced by PT Sans Caption.

In 2015, Goloub created Ardent: Ardent is my Sergey Chekhonin-inspired typeface. Ardent is an attempt to prove that the bizarre Cyrillic letterforms of 20s are still decent for use in modern design, even in Latin script. It is highly ornamental and lapidary. Still in 2015, he designed the sans typeface family Intersans (a multilingual Swiss army knife sans), which supports Extended Latin, Extended Cyrillic (including Bulgarian and Serbian Cyrillic), Polytonic Greek, Armenian (Asomtavruli, Nuskha-khutzuri, Mkhedruli, Mkhedruli Mrglovani), Georgian and Hebrew. It also includes true italics, small caps, small caps italics and a lot of pictograms.

Typefaces from 2020: Grrr (at Paratype, with Alexandra Korolkova: a techno family characterized by an oversized lower case f).

Dmitry Goloub's home page. [Google] [MyFonts] [More]  ⦿

Edik Ghabuzyan

[MyFonts] [More]  ⦿

Elena Papassissa

Italian graduate of ISIA Urbino, Italy (M.Sc. in Communication and Design for Publishing and a Bachelor's in Graphic Design and Visual Communication). Graduate of the MATD program at the University of Reading in 2012. Her graduation typeface at Reading was the multi-script Dr. Jekyll and Miss Hyde (2012), created for Latin, Greek and Armenian. My first reaction is that the curviness and roundness of the Latin part is due to the desire to harmonize with the two other scripts. All styles are flared out near the top, which gives the result a comic book feel. In fact, Elena mentions that children's books was one of the main motivations.

Elena Papassissa (Greek) collaborated with Akira Kobayashi and Monotype Studio on the Greek and Armenian parts of Avenir Next World (2021).

She is pursuing a PhD at the University of Reading on the history of Armenian type design under Fiona Ross. At ATypI 2013 in Amsterdam, she discusses the current state of Armenian type design. Speaker at ATypI 2017 Montreal. [Google] [More]  ⦿

Elena Schneider

Graphic designer from Dortmund, Germany, who lives in Husavik, Iceland. Her design company is called Elefont. After studying visual communication in the university of applied sciences in Dortmund, she co-founded the design studio Radau. Graduate of the University of Reading in 2011. Elena designs logos, retail and custom fonts. She is a visiting lecturer at HBK Saar and LHI Reykjavík, and a mentor at Alphabettes, a network to support and promote women in the type industry.

Creator of these typefaces: Eskorte (2011, her graduation project), Eskorte Persian (2011), Klebo (2011, mechanical / octagonal), Eskorte Armenian (2011), Paroli (2011, a bold rounded signage face, Die Gestalten), and Biec (2012).

In 2013, Eskorte was published by Rosetta Type. Eskorte supports Arabic, Farsi, Urdu, and over ninety languages using the Latin script. Titus Nemeth was consulted for the Arabic portion.

Cargo Collective link.

In 2016, Elena Schneider and Miles Newlyn co-designed the almost reverse contrast typeface family New Herman.

In 2019, she published the experimental techno typefaces Halunke and Konsole at Future Fonts. She writes about Konsole: Konsole is a clean sans serif typeface with a touch of technology. Inspired by audio equipment, it gives off robotic energy. A variable font was added in 2019.

Still in 2019, she released the German expressionist typeface Birra Bruin at Darden Studio.

At Tomorrow Type, she released the Cyrillic version of Halunke (2020).

Future Fonts link. [Google] [MyFonts] [More]  ⦿

Eugenijus Paulauskas
[Naujas Vytis]

[More]  ⦿

Evertype (was: Everson Typography)
[Michael Everson]

Michael Everson's (b. Norristown, PA, 1963) brilliant pages on Celtic and other languages and on font standards, featuring the following sub-pages:

  • CeltScript describes Michael's contributions to unicode in general and to Celtic typography in particular. He created (commercial) Celtic fonts such as Gaillimh (1989, bitmap font), Ceanannas (1993), Duibhlinn (1993, after Monotype Series 24), Everson Mono Gaelic (1995, hybrid sans), Acaill (1997, based on the Watts type, an early 19th century transitional angular form of Gaelic type; it was renamed and further developed into a unicode-compliant typeface called Dumha Goirt in 2011), Corcaigh (1997), Darmhagh Underwood (1993, a "rough" monowidth font based on the typeface used on the old Underwood manual typewriter), and Loch Garman (1999, after Baoithin, Colm Ó Lochlainn). He is working on Cluain (Gaelic modern grotesque), Cois Life (his take on the hybrid Queen Elizabeth type), Darmhagh (Underwood), Doolish (Gaelic modern round, after Biggs), Lóbháin (after Louvain), Páras (after the Paris type).
  • Everson Mono is a huge free monospaced font family started in 1994, but still being adjusted in 2010. As Michael puts it, Everson Mono is a simple, elegant, monowidth font. I designed it primarily to make glyphs available in support of all the non-Han characters in the Basic Multilingual Plane of ISO/IEC 10646-1 (BMP = Unicode, if you prefer), though I hope that users may find it a pleasant alternative to Courier and Monaco for general purposes, e-mail, and so forth. I have found it quite legible at sizes as small as 4 points. It is lighter and a bit looser than Courier.
  • Ogham fonts created by Michael Everson (and free for download): Beith-Luis-Nion, Pollach, Maigh Nuad, Craobh Ruadh, Everson Mono Ogham, Cog, Crosta. Mac and PC. This page also has TITUS Ogham by Jost Gippert, and Ragnarok Ogham by David F. Nalle from Scriptorium.
  • Inuktitut fonts designed by Everson include Allatuq (1998, hand-printed glyphs), Everson Mono Inuktitut, Jiniiva Maanaku, Naamajuttaaqqauq, Sikaagu.
  • The Sutton signwriting fingerspelling fonts created by Everson are free.
  • List of language lists.
  • Fonts for the Sami language of the Barents region.
  • Gaelic Typefaces: History and Classification.
  • Armenian encoding on the web.

Elsewhere, one can find rare Everson creations such as Musgrave (1994).

MyFonts sells these typefaces:

  • Allatuq.
  • Ceanannas.
  • Duibhlinn.
  • Timenhor.
  • Loch Garman. Everson: : Loch Garman is based on Baoithmn, designed by Viktor Hammer and Colm Ó Lochlainn; Baoithmn was based on Hammerschrift, which was related to Hammer's American Uncial -- though Loch Garman is more authentic Gaelic font than American Uncial. He continues: American Uncial sucks. It is inauthentic and it's not even attractive. It has a "dot" on the i (which it shouldn't) which makes it look like an í (which it doubly shouldn't). Hammer Uncial isn't much better. In my own view, the only one of Hammer's Uncials that I have seen that was any good was Pindar, and then only in its reworking as Baoithín (with Colm ÓÓ Lochlainn).
  • Teamhair (1993). A monowidth font based on the typeface used on the old Sears Tower Gaelic manual typewriter.
  • Teamhair Tower (1999). The rough version of Teamhair.
  • Dumha Goirt.
  • Corcaigh.
  • Doire (1993). A monowidth font based on the typeface used on the old Royal Gaelic manual typewriter.
  • Doire Royal (1999). A rough version of Doire.
  • Darmhagh Underwood.

His bio, in his own words: Michael Everson, based in Westport, Co. Mayo, is an expert in the writing systems of the world. He is active in supporting minority-language communities, especially in the fields of character standardization and internationalization. He is one of the co-authors of the Unicode Standard, and is a Contributing Editor and Irish National Representative to ISO/IEC JTC1/SC2/WG2, the committee responsible for the development and maintenance of the Universal Character Set. He is a linguist, typesetter, and font designer who has contributed to the encoding in of many scripts and characters. In 2005 and 2006 his work to encode the Balinese and N'Ko scripts was supported by UNESCO's Initiative B@bel programme. Michael received the Unicode "Bulldog" Award in 2000 for his technical contributions to the development and promotion of the Unicode Standard. Active in the area of practical implementations, Michael has created locale and language information for many languages, from support for Irish and the other Celtic langauges to the minority languages of Finland. In 2003 he was commissioned by the United Nations Development Programme to prepare a report on the computer locale requirements for Afghanistan, which was endorsed by the Ministry of Communications of the Afghan Transitional Islamic Administration. He prepared a number of fonts and keyboard layouts for Mac OS X 10.3 (Panther). Michael moved to Tucson, Arizona at the age of 12. He studied German, Spanish, and French for his B.A. at the University of Arizona (1985), and the History of Religions and Indo-European Linguistics for his M.A. at the University of California, Los Angeles (1988). He moved to Ireland in 1989, and was a Fulbright Scholar in the Faculty of Celtic Studies, University College Dublin (1991). In 2010, he made Timenhor, a Latin-script font whose glyphs are based on the uncial letterforms of Coptic manuscripts. Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik.

Dafont link. View Michel Everson's commercial typefaces. [Google] [MyFonts] [More]  ⦿

[Darien Valentine]

Free truetype fonts: Tai Le Valentinum (for the Tai Le script used in China, Burma and Laos), Valentine Arabic, the faux pixel font Sounds of Apathy, and the unicode faux pixel font Fixedsys Excelsior 2.0 (2007). The latter covers Latin, Greek, Cyrillic, Hebrew, Armenian, Tamil, Hylian, N'Ko, Ethiopic, blackletter, Dehong Dai, Pahawh Hmong, Thaan, Arabic, Thai, Ogham, runic, and IPA. All fonts made by Darien Valentine in 2004. See also here. [Google] [More]  ⦿

Fred Afrikyan

Aka Fred Africkian. Yerevan, Armenia-based architect, letterer and type designer who wrote The Art of Letter-Type by Fred Africkian. 120 Tables of Armenian decorative types (1984). See also here. Taboo (Canada Type) is a Latin typeface inspired by lettering from Africkian's book. Patrick Griffin of Canada Type writes: Virtually unknown in the West, Africkian was one of the most talented eastern block artists. Though mainly a calligrapher working with traditional tools, he embraced geometry on multiple occasions for the sake of drawing simple modern Armenian and Cyrillic alphabets. Though he normally tried to maintain in his work a certain homage to Mesrop Mashtots (5th century Armenian monk who invented the Armenian alphabet), his late 1970s experiments made use of so many modern elements that the results were hailed as "real art mingled with science." [Google] [More]  ⦿


Spanish language site for various non-Latin language fonts. A sampling: Afus Deg Wfus 2 (for Berber), AlKatib1 (2001, an Arabic typeface by Naseem Amjad), Albanian, Alice_0 (Lao typeface by by Ngakham Southichack), LAOMAY_5 CHAREUNSILP (Lao typeface by by Soupasith Bouahom), Arial AMU (1999, Armenian typeface by Ruben Tarumian), BaltFrutigerLight, BaltHelveticaMedium, BaltNewCenturySchoolbookMedium, BaltOptimaMedium, BaltTiffanyMedium, BaltUniversityMedium, CarloAtor (1997, Arabic family by Timm Erickson, Summer Institute of Linguistics), Caligraf-W, Ciula (1996, a Romanian typeface by Paul Hodor), Cursiv (Romanian), AnlongvillKhek, GabrialAtor (another Arab family by Timm Erickson), Gin, Greek (1993, by Peter J. Gentry&Andrew M. Fountain), HandSign (1993, Sam Wang), HFMassisShantNUnicode (1990-1994, an Armenian unicode typeface by BYTEC Computers and Massis Graphics), HONGKAD (1994, a family by Dr. Hongkad Souvannavong), IsmarBold, IsmarLight, Lakshmi, X000000A (1994, a lao typeface by Sith Bouahom), LAOMAY_2-CHAREUNSILP, Alice3Medium, Alice0Medium, Langagedessignes (1998, by Philippe and François Blondel), NorKirk (1997, a great Armenian typeface by Ruben Tarumian), NovaTempo (for Esperanto), Pazmaveb (for Armenian), ILPRumanianB100 (1996, by Charles J. Coker), Saysettha-Lao, Saysettha-LaoBold, SenzorgaAnhok, Timok, Tribuno, Turn-W, TimesUnicode, ArialAMU, PoliceTypeAPI (for Armenian), Cieszyn-Regular, PoojaNormal, Shibolet (1995, Hebrew), Shree-Ass-0552 (2000, by Modular InfoTech), Tudor-Semi-Lite, Webdunia, TimesNRCzech, TNRLiboriusVII (2001, a fully accented Times typeface by Libor Sztemon), GreatMoravia (2001 Libor Sztemon, Czechia), Johaansi-ye-Peyravi (2001, a full accent blackletter typeface by Libor Sztemon, Czechia), TimesNREuskaraEuransiEsperanto (2001, Libor Sztemon). [Google] [More]  ⦿

Gagik Martirosyan

Armenian graphic and type designer. [Google] [More]  ⦿

Gani Hakobian

Yerevan, Armenia-based designer of a few Armenian alphabets in 2016. [Google] [More]  ⦿

Garegin Martirosyan

Armenian graphic and type designer. [Google] [More]  ⦿

Gayane Baghdasaryan

Armenian type designer. [Google] [More]  ⦿

Gayaneh Bagdasaryan

[MyFonts] [More]  ⦿

George Douros
[Unicode Fonts for Ancient Scripts]

[More]  ⦿

GNU Freefont (or: Free UCS Outline Fonts)
[Steve White]

The GNU Freefont is continuously being updated to become a large useful Unicode monster. GNU FreeFont is a free family of scalable outline fonts, suitable for general use on computers and for desktop publishing. It is Unicode-encoded for compatability with all modern operating systems. There are serif, Sans and Mono subfamilies. Also called the "Free UCS Outline Fonts", this project is part of the larger Free Software Foundation. The original head honcho was Primoz Peterlin, the coordinator at the Institute of Biophysics of the University of Ljubljana, Slovenia. In 2008, Steve White (aka Stevan White) took over.

  • URW++ Design&Development GmbH. URW++ donated a set of 35 core PostScript Type 1 fonts to the Ghostscript project.
    • Basic Latin (U+0041-U+007A)
    • Latin-1 Supplement (U+00C0-U+00FF)
    • Latin Extended-A (U+0100-U+017F)
    • Spacing Modifier Letters (U+02B0-U+02FF)
    • Mathematical Operators (U+2200-U+22FF)
    • Block Elements (U+2580-U+259F)
    • Dingbats (U+2700-U+27BF)
  • Yannis Haralambous and John Plaice. Yannis Haralambous and John Plaice are the authors of Omega typesetting system, which is an extension of TeX. Its first release, aims primarily at improving TeX's multilingual abilities. In Omega all characters and pointers into data-structures are 16-bit wide, instead of 8-bit, thereby eliminating many of the trivial limitations of TeX. Omega also allows multiple input and output character sets, and uses programmable filters to translate from one encoding to another, to perform contextual analysis, etc. Internally, Omega uses the universal 16-bit Unicode standard character set, based on ISO-10646. These improvements not only make it a lot easier for TeX users to cope with multiple or complex languages, like Arabic, Indic, Khmer, Chinese, Japanese or Korean, in one document, but will also form the basis for future developments in other areas, such as native color support and hypertext features. ... Fonts for UT1 (omlgc family) and UT2 (omah family) are under development: these fonts are in PostScript format and visually close to Times and Helvetica font families.
    • Latin Extended-B (U+0180-U+024F)
    • IPA Extensions (U+0250-U+02AF)
    • Greek (U+0370-U+03FF)
    • Armenian (U+0530-U+058F)
    • Hebrew (U+0590-U+05FF)
    • Arabic (U+0600-U+06FF)
    • Currency Symbols (U+20A0-U+20CF)
    • Arabic Presentation Forms-A (U+FB50-U+FDFF)
    • Arabic Presentation Forms-B (U+FE70-U+FEFF)
  • Yannis Haralambous and Wellcome Institute. In 1994, The Wellcome Library The Wellcome Institute for the History of Medicine 183 Euston Road, London NW1 2BE, England, commissioned Mr. Haralambous to produce a Sinhalese font for them. We have received 03/09 official notice from Robert Kiley, Head of e-Strategy for the Wellcome Library, that Yannis' font could be included in GNU FreeFont under its GNU license: Sinhala (U+0D80-U+0DFF).
  • Young U. Ryu at the University of Texas at Dallas is the author of Txfonts, a set of mathematical symbols designed to accompany text typeset in Times or its variants. In the documentation, Young adresses the design of mathematical symbols: "The Adobe Times fonts are thicker than the CM fonts. Designing math fonts for Times based on the rule thickness of Times =,, +, /, <, etc. would result in too thick math symbols, in my opinion. In the TX fonts, these glyphs are thinner than those of original Times fonts. That is, the rule thickness of these glyphs is around 85% of that of the Times fonts, but still thicker than that of the CM fonts." Ranges: Arrows (U+2190-U+21FF), Mathematical Symbols (U+2200-U+22FF).
  • Valek Filippov added Cyrillic glyphs and composite Latin Extended A to the whole set of the abovementioned URW set of 35 PostScript core fonts, Ranges: Latin Extended-A (U+0100-U+017F), Cyrillic (U+0400-U+04FF).
  • Wadalab Kanji Comittee. Between April 1990 and March 1992, Wadalab Kanji Comittee put together a series of scalable font files with Japanese scripts, in four forms: Sai Micho, Chu Mincho, Cho Kaku and Saimaru. The font files were written in custom file format, while tools for conversion into Metafont and PostScript Type 1 were also supplied. The Wadalab Kanji Comittee has later been dismissed, and the resulting files can be now found on the FTP server of the Depertment of Mathematical Engineering and Information Physics, Faculty of Engineering, University of Tokyo: Hiragana (U+3040-U+309F), Katakana (U+30A0-U+30FF). Note that some time around 2009, the hiragana and katakana ranges were deleted.
  • Angelo Haritsis has compiled a set of Greek type 1 fonts. The glyphs from this source has been used to compose Greek glyphs in FreeSans and FreeMono. Greek (U+0370-U+03FF).
  • Yannis Haralambous and Virach Sornlertlamvanich. In 1999, Yannis Haralambous and Virach Sornlertlamvanich made a set of glyphs covering the Thai national standard Nf3, in both upright and slanted shape. Range: Thai (U+0E00-U+0E7F).
  • Shaheed Haque has developed a basic set of basic Bengali glyphs (without ligatures), using ISO10646 encoding. Range: Bengali (U+0980-U+09FF).
  • Sam Stepanyan created a set of Armenian sans serif glyphs visually compatible with Helvetica or Arial. Range: Armenian (U+0530-U+058F).
  • Mohamed Ishan has started a Thaana Unicode Project. Range: Thaana (U+0780-U+07BF).
  • Sushant Kumar Dash has created a font in his mother tongue, Oriya: Oriya (U+0B00-U+0B7F). But Freefont has dropped Oriya because of the absence of font features neccessary for display of text in Oriya.
  • Harsh Kumar has started BharatBhasha for these ranges:
    • Devanagari (U+0900-U+097F)
    • Bengali (U+0980-U+09FF)
    • Gurmukhi (U+0A00-U+0A7F)
    • Gujarati (U+0A80-U+0AFF)
  • Prasad A. Chodavarapu created Tikkana, a Telugu font family: Telugu (U+0C00-U+0C7F). It was originally included in GNU Freefont, but supoort for Telugu was later dropped altogether from the GNU Freefont project.
  • Frans Velthuis and Anshuman Pandey. In 1991, Frans Velthuis from the Groningen University, The Netherlands, released a Devanagari font as Metafont source, available under the terms of GNU GPL. Later, Anshuman Pandey from Washington University in Seattle, took over the maintenance of font. Fonts can be found on CTAN. This font was converted the font to Type 1 format using Peter Szabo's TeXtrace and removed some redundant control points with PfaEdit. Range: Devanagari (U+0900-U+097F).
  • Hardip Singh Pannu. In 1991, Hardip Singh Pannu has created a free Gurmukhi TrueType font, available as regular, bold, oblique and bold oblique form. Range: Gurmukhi (U+0A00-U+0A7F).
  • Jeroen Hellingman (The Netherlands) created a set of Malayalam metafonts in 1994, and a set of Oriya metafonts in 1996. Malayalam fonts were created as uniform stroke only, while Oriya metafonts exist in both uniform and modulated stroke. From private communication: "It is my intention to release the fonts under GPL, but not all copies around have this notice on them." Metafonts can be found here and here. Ranges: Oriya (U+0B00-U+0B7F), Malayalam (U+0D00-U+0D7F). Oriya was subsequently dropped from the Freefont project.
  • Thomas Ridgeway, then at the Humanities And Arts Computing Center, Washington University, Seattle, USA, (now defunct), created a Tamil metafont in 1990. Anshuman Pandey from the same university took over the maintenance of font. Fonts can be found at CTAN and cover Tamil (U+0B80-U+0BFF).
  • Berhanu Beyene, Prof. Dr. Manfred Kudlek, Olaf Kummer, and Jochen Metzinger from the Theoretical Foundations of Computer Science, University of Hamburg, prepared a set of Ethiopic metafonts. They also maintain the home page on the Ethiopic font project. Someone converted the fonts to Type 1 format using TeXtrace, and removed some redundant control points with PfaEdit. Range: Ethiopic (U+1200-U+137F).
  • Maxim Iorsh. In 2002, Maxim Iorsh started the Culmus project, aiming at providing Hebrew-speaking Linux and Unix community with a basic collection of Hebrew fonts for X Windows. The fonts are visually compatible with URW++ Century Schoolbook L, URW++ Nimbus Sans L and URW++ Nimbus Mono L families, respectively. Range: Hebrew (U+0590-U+05FF).
  • Vyacheslav Dikonov made a Braille unicode font that could be merged with the UCS fonts to fill the 2800-28FF range completely (uniform scaling is possible to adapt it to any cell size). He also contributed a free Syriac font, whose glyphs (about half of them) are borrowed from the free Carlo Ator font. Vyacheslav also filled in a few missing spots in the U+2000-U+27FF area, e.g., the box drawing section, sets of subscript and superscript digits and capital Roman numbers. Ranges: Syriac (U+0700-U+074A), Box Drawing (U+2500-U+257F), Braille (U+2800-U+28FF).
  • Panayotis Katsaloulis helped fixing Greek accents in the Greek Extended area: (U+1F00-U+1FFF).
  • M.S. Sridhar. M/S Cyberscape Multimedia Limited, Mumbai, developers of Akruti Software for Indian Languages (http://www.akruti.com/), have released a set of TTF fonts for nine Indian scripts (Devanagari, Gujarati, Telugu, Tamil, Malayalam, Kannada, Bengali, Oriya, and Gurumukhi) under the GNU General Public License (GPL). You can download the fonts from the Free Software Foundation of India WWW site. Their original contributions to Freefont were
    • Devanagari (U+0900-U+097F)
    • Bengali (U+0980-U+09FF)
    • Gurmukhi (U+0A00-U+0A7F)
    • Gujarati (U+0A80-U+0AFF)
    • Oriya (U+0B00-U+0B7F)
    • Tamil (U+0B80-U+0BFF)
    • Telugu (U+0C00-U+0C7F)
    • Kannada (U+0C80-U+0CFF)
    • Malayalam (U+0D00-U+0D7F)
    Oriya, Kannada and Telugu were dropped from the GNU Freefont project.
  • DMS Electronics, The Sri Lanka Tipitaka Project, and Noah Levitt. Noah Levitt found out that the Sinhalese fonts available on the site metta.lk are released under GNU GPL. These glyphs were later replaced by those from the LKLUG font. Finally the range was completely replaced by glyphs from the sinh TeX font, with much help and advice from Harshula Jayasuriya. Range: Sinhala (U+0D80-U+0DFF).
  • Daniel Shurovich Chirkov. Dan Chirkov updated the FreeSerif font with the missing Cyrillic glyphs needed for conformance to Unicode 3.2. The effort is part of the Slavjanskij package for Mac OS X. range: Cyrillic (U+0400-U+04FF).
  • Abbas Izad. Responsible for Arabic (U+0600-U+06FF), Arabic Presentation Forms-A, (U+FB50-U+FDFF), Arabic Presentation Forms-B (U+FE70-U+FEFF).
  • Denis Jacquerye added new glyphs and corrected existing ones in the Latin Extended-B (U+0180-U+024F) and IPA Extensions (U+0250-U+02AF) ranges.
  • K.H. Hussain and R. Chitrajan. Rachana in Malayalam means to write, to create. Rachana Akshara Vedi, a team of socially committed information technology professionals and philologists, has applied developments in computer technology and desktop publishing to resurrect the Malayalam language from the disorder, fragmentation and degeneration it had suffered since the attempt to adapt the Malayalam script for using with a regular mechanical typewriter, which took place in 1967-69. K.H. Hussein at the Kerala Forest Research Institute has released "Rachana Normal" fonts with approximately 900 glyphs required to typeset traditional Malayalam. R. Chitrajan apparently encoded the glyphs in the OpenType table. In 2008, the Malayalam ranges in FreeSerif were updated under the advise and supervision of Hiran Venugopalan of Swathanthra Malayalam Computing, to reflect the revised edition Rachana_04. Range: Malayalam (U+0D00-U+0D7F).
  • Solaiman Karim filled in Bengali (U+0980-U+09FF). Solaiman Karim has developed several OpenType Bangla fonts and released them under GNU GPL.
  • Sonali Sonania and Monika Shah covered Devanagari (U+0900-U+097F) and Gujarati (U+0A80-U+0AFF). Glyphs were drawn by Cyberscape Multimedia Ltd., #101, Mahalakshmi Mansion 21st Main 22nd "A" Cross Banashankari 2nd stage Banglore 560070, India. Converted to OTF by IndicTrans Team, Powai, Mumbai, lead by Prof. Jitendra Shah. Maintained by Monika Shah and Sonali Sonania of janabhaaratii Team, C-DAC, Mumbai. This font is released under GPL by Dr. Alka Irani and Prof Jitendra Shah, janabhaaratii Team, C-DAC, Mumabi. janabhaaratii is localisation project at C-DAC Mumbai (formerly National Centre for Software Technology); funded by TDIL, Govt. of India.
  • Pravin Satpute, Bageshri Salvi, Rahul Bhalerao and Sandeep Shedmake added these Indic language cranges:
    • Devanagari (U+0900-U+097F)
    • Gujarati (U+0A80-U+0AFF)
    • Oriya (U+0B00-U+0B7F)
    • Malayalam (U+0D00-U+0D7F)
    • Tamil (U+0B80-U+0BFF)
    In December 2005 the team at www.gnowledge.org released a set of two Unicode pan-Indic fonts: "Samyak" and "Samyak Sans". "Samyak" font belongs to serif style and is an original work of the team; "Samyak Sans" font belongs to sans serif style and is actually a compilation of already released Indic fonts (Gargi, Padma, Mukti, Utkal, Akruti and ThendralUni). Both fonts are based on Unicode standard. You can download the font files separately. Note that Oriya was dropped from the Freefont project.
  • Kulbir Singh Thind added Gurmukhi (U+0A00-U+0A7F). Dr. Kulbir Singh Thind designed a set of Gurmukhi Unicode fonts, AnmolUni and AnmolUni-Bold, which are available under the terms of GNU license from the Punjabu Computing Resource Center.
  • Gia Shervashidze added Georgian (U+10A0-U+10FF). Starting in mid-1990s, Gia Shervashidze designed many Unicode-compliant Georgian fonts: Times New Roman Georgian, Arial Georgian, Courier New Georgian.
  • Daniel Johnson. Created by hand a Cherokee range specially for FreeFont to be "in line with the classic Cherokee typefaces used in 19th century printing", but also to fit well with ranges previously in FreeFont. Then he made Unified Canadian Syllabics in Sans, and a Cherokee and Kayah Li in Mono! And never to be outdone by himself, then did UCAS Extended and Osmanya.... What next?
    • Armenian (serif) (U+0530-U+058F)
    • Cherokee (U+13A0-U+13FF)
    • Unified Canadian Aboriginal Syllabics (U+1400-U+167F)
    • UCAS Extended (U+18B0-U+18F5)
    • Kayah Li (U+A900-U+A92F)
    • Tifinagh (U+2D30-U+2D7F)
    • Vai (U+A500-U+A62B)
    • Latin Extended-D (Mayanist letters) (U+A720-U+A7FF)
    • Osmanya (U+10480-U+104a7)
  • George Douros, the creator of several fonts focusing on ancient scripts and symbols. Many of the glyphs are created by making outlines from scanned images of ancient sources.
    • Aegean: Phoenecian (U+10900-U+1091F).
    • Analecta: Gothic (U+10330-U+1034F)
    • Musical: Byzantine (U+1D000-U+1D0FF)&Western (U+1D100-U+1D1DF)
    • Unicode: many miscellaneous symbols, miscellaneous technical, supplemental symbols, and mathematical alphanumeric symbols (U+1D400-U+1D7FF), Mah Jong (U+1F000-U+1F02B), and the outline of the domino (U+1F030-U+1F093).
  • Steve White filled in a lot of missing characters, got some font features working, left fingerprints almost everywhere, and is responsible for these blocks: Glagolitic (U+2C00-U+2C5F), Coptic (U+2C80-U+2CFF).
  • Pavel Skrylev is responsible for Cyrillic Extended-A (U+2DEO-U+2DFF) as well as many of the additions to Cyrillic Extended-B (U+A640-U+A65F).
  • Mark Williamson made the MPH 2 Damase font, from which these ranges were taken:
    • Hanunóo (U+1720-U+173F)
    • Buginese (U+1A00-U+1A1F)
    • Tai Le (U+1950-U+197F)
    • Ugaritic (U+10380-U+1039F)
    • Old Persian (U+103A0-U+103DF)
  • Primoz Peterlin filled in missing glyphs here and there (e.g., Latin Extended-B and IPA Extensions ranges in the FreeMono family), and created the following UCS blocks:
    • Latin Extended-B (U+0180-U+024F)
    • IPA Extensions (U+0250-U+02AF)
    • Arrows (U+2190-U+21FF)
    • Box Drawing (U+2500-U+257F)
    • Block Elements (U+2580-U+259F)
    • Geometrical Shapes (U+25A0-U+25FF)
  • Jacob Poon submitted a very thorough survey of glyph problems and other suggestions.
  • Alexey Kryukov made the TemporaLCGUni fonts, based on the URW++ fonts, from which at one point FreeSerif Cyrillic, and some of the Greek, was drawn. He also provided valuable direction about Cyrillic and Greek typesetting.
  • The Sinhala font project has taken the glyphs from Yannis Haralambous' Sinhala font, to produce a Unicode TrueType font, LKLUG. These glyphs were for a while included in FreeFont: Sinhala (U+0D80-U+0DFF).

    Fontspace link. Crosswire link for Free Monospaced, Free Serif and Free Sans. Download link. [Google] [More]  ⦿

  • Gor Jihanian

    Type and graphic designer from Armenia who graduated first from the University of Colorado in Boulder (2012) and later from the MATD program in Type Design at the University of Reading in 2016. His graduation typeface is Byron, a text typeface family for Latin, Greek and Armenian. Interview at Future Fonts.

    In 2020, he released Spindle, a symbiotic script typeface for Latin and Armenian, and explains: After the MATD program, I spent late nights digging through medieval Armenian manuscripts. Though not a strict revival, Spindle began as a study of three styles. The basis stems from the Notrgir style, a notary script invented for speed and efficiency, but not always legibility. In contrast, the earlier Bolorgir style is built up from a steady rhythm of vertical strokes and counters. While the later Slagir style is a chaos of cursive flourishes. I began trying to replicate the strokes, and as I transferred the letters into digital, I noticed characteristics from each style synthesizing into surprising and fluid shapes that would later become Spindle. The project was shelved for months until one day David Jonathan Ross asked to see my work. I showed those rough yet-unnamed letters of Spindle, and to my surprise he liked them and was curious if there were plans of adding Latin...there was not. With a little encouragement and constructive feedback, I dusted off the files and began drafting the Latin. The addition was more of a revision, a swinging pendulum constantly going between the two scripts.

    Future Fonts link. [Google] [More]  ⦿

    Granshan 2008

    The Ministry of Culture of the Republic of Armenia sponsored a competition for type design: Granshan 2008 (Granshan means character in Armenian). The competition judging took place in Yerevan, 21-28 June 2008. Categories:

    • Armenian text type serif
    • Armenian text type sans serif
    • Armenian traditional text type
    • Latin text type
    • Cyrillic text type
    • Display type
    The competition was open to type designers/producers internationally. Chairman of the organizing committee was Edik Ghabuzyan. The winners:
    • Edik Ghabuzyan (Armenia, two grand prizes, two first prizes, two second prizes).
    • Manvel Shmavonyan (Armenia, one grand prize and one second prize).
    • Sybille Hagmann (USA, one grand prize).
    • Hrant Papazyan (USA, one grand prize).
    • Veronika Burian (UK, four first prizes).
    • Carolyn Puzzovio (UK, first prize).
    [Google] [More]  ⦿

    Granshan 2009

    The Ministry of Culture of the Republic of Armenia held the type design competition Granshan 2009 (Granshan means character in Armenian). The competition judges were Miguel Sousa, Carolyn Puzzovio, Fred Afrikyan, Ara Baghdasaryan, and Garegin Martirosian. Chairman of the organizing committee was Edik Ghabuzyan. The results:

    • Armenian text fonts: 1. Aragast (Edik Ghabuzyan), 2. Ara Rusa (Ara Baghdasaryan), 3. Asparez (Edik Ghabuzyan).
    • Armenian School textbook and children's book fonts: 1. Parmani (Edik Ghabuzyan), 2. Goga (Angella Poghosova), 3. Tpagrakan (Mariam Simonyan).
    • Armenian traditional text fonts: 1. Notrgir (Edik Ghabuzyan).
    • Latin text fonts: 1. Karmina Sans (Veronika Burian, José Scaglione), 2. Marat (Ludwig Übele), 3. Adelle (Veronika Burian, José Scaglione).
    • Cyrillic text fonts: 1. Skolar Pro (David Brezina), 2. Aragast (Edik Ghabuzyan), 3. Luba (Hendrik Möller)
    • Display fonts: 1. Vogue (Henrik Kubel, Inge Kubel), 2. Notrgir (Edik Ghabuzyan), 3. Diana (Edik Ghabuzyan).
    [Google] [More]  ⦿

    Granshan 2010

    The Ministry of Culture of the Republic of Armenia and the Typographic Society Munich (tgm --- Typographische Gesellschaft München) organized Granshan 2010, The 3rd International Eastern Type Design Competition, which was created especially for Armenian, Cyrillic and Greek fonts. Edik Ghabuzyan and Boris Kochan were the big bosses. The jury consisted of Gerry Leonidas, Oliver Linke, Hrant Papazian, Carolyn Puzzovio and Manvel Shmavonyan. The outcome:

    [Google] [More]  ⦿

    Granshan 2011

    The Ministry of Culture of the Republic of Armenia and the Typographic Society Munich (tgm --- Typographische Gesellschaft München) organized Granshan 2011, The Fourth International Type Design Competition for Non-Latin Typefaces, which was created especially for Armenian, Cyrillic and Greek fonts. Edik Ghabuzyan and Boris Kochan are the big bosses. The jury consisted of the two big bosses, plus Veronika Burian, Thomas Phinney, Manvel Shmavonyan, Panos Vassiliou and Emil Yakupov. They were aided for Armenian text typefaces by Fred Afrikyan, Gagik Martirosyan, and Aram Megrabyan. For Cyrillic, the help came from Gayane Baghdasaryan, Dmitry Kirsanov, and Vladimir Yefimov. Finally, the Greek rescue subcommittee consisted of Konstantine Giotas, Klimis Mastoridis, and Kostas Aggeletakis.

    The grand prize (1000 Euors) was won by Alexandra Korolkova for Belladonna. The other results are as follows:

    • Armenian text typefaces category
      • 1st prize - not awarded
      • 2nd prize - Aregak: Hrachuhi Grigoryan, Armenia
      • 3rd prize - Emrys: Ben Jones, UK
    • Cyrillic text typefaces category
      • 1st prize - William: Maria Doreuli, Russia
      • 2nd prize - Permian: Ilya Ruderman, Russia
      • 3rd prize - Circe: Alexandra Korolkova, Russia
    • Greek text typefaces category
      • 1st prize - Emrys: Ben Jones, UK
      • 2nd prize - Artigo: Joana Maria Correia da Silva, Portugal
      • 3rd prize - Foxhill: Hanna Donker, UK
    • Display category
      • 1st prize - Belladonna: Alexandra Korolkova, Russia
      • 2nd prize - Fry: Oleg Macujev, Russia
      • 3rd prize - Meteor Script: Ilya Ruderman, Russia
    [Google] [More]  ⦿

    Granshan 2012

    Armenian conference organized from 14-16 June 2012 by the Ministry of Culture of Armenia on the topic of non-Latin type design in Yerevan. Program.

    Speakers included Ara Baghdasaryan (Yerevan State Academy of Fine Arts), Gayaneh Bagdasaryan (Founder of Brownfox Type Design Studio, Russian Federation), John D. Berry (President of ATypI), Edik Ghabuzyan (National Book Chamber of Armenia), David Ghazaryan (Chief specialist of the Ancient Manuscripts, Department of Matenadaran, Armenia), Lars Harmsen (Executive director of MAGMA Brand Design in Karlsruhe, Germany), Alexander Kazaryn (President of Moscow International Union of Designers, Russian Federation), Vardges Keshishian (Lecturer of History at the Cinema and Theatre State Institute, Armenia), Boris Kochan (President of the Typographic Society Munich), Karen Komendaryan (Founder and Director of ABC connexion Company, Armenia), Ahmed Mansour (Deputy Director, at the Bibliotheca Alexandrina's Calligraphy Center, Egypt), Thomas Milo (Dutch Arabic script expert). [Google] [More]  ⦿

    Granshan 2012

    The Ministry of Culture of the Republic of Armenia and the Typographic Society Munich (tgm --- Typographische Gesellschaft München) are organizing Granshan 2012, The Fifth International Type Design Competition for Non-Latin Typefaces, which was created especially for Armenian, Cyrillic, Greek, Indic (i.e., Devanagari, Bengali, and Tamil only) and Arabic fonts. Exceptionally, this year, Latin fonts designed in the last ten years can also be nominated.

    Edik Ghabuzyan and Boris Kochan are the big bosses. The jury consists of Timothy Donaldson, Otmar Hoefer, Ahmed Mansour, Fiona Ross, Manvel Shmavonyan, Panos Vassiliou, and Vladimir Yefimov. There are five expert panels:

    • Armenian text typefaces category: Ara Baghdasaryan, Gagik Martirosyan, Aram Megrabyan.
    • Arabic text typefaces category: Mamoun Ahmed, Mohamed Hassan, Nehad Nadam.
    • Cyrillic text typefaces category: Gayane Baghdasaryan, Dmitry Kirsanov, Tagir Safayev.
    • Greek text typefaces category: Konstantine Giotas, Klimis Mastoridis, Kostas Aggeletakis.
    • Indic text typefaces category: Ravi Pooviah, Mahendra Patel, Graham Shaw.

    Impossible to find the list of winners. [Google] [More]  ⦿

    Granshan 2013

    Armenian conference and non-Latin typeface competition organized on 10 October 2013 in Amsterdam by the Ministry of Culture of Armenia and the Typographische Gesellschaft München on the topic of non-Latin type design. The chairs were Boris Kochan and Edik Ghabuzyan. [Google] [More]  ⦿

    Granshan 2014

    Non-Latin typeface competition. Chairmen of the jury: Edik Ghabuzyan (Head of Department of Creating and Keeping Armenian Fonts at the National Book Chamber of Armenia, consultant for Adobe Systems, Armenia) and Boris Kochan (CEO of Kochan & Partner, and Past President of tgm Typographische Gesellschaft München). The jury: Gerry Leonidas (UK), Fiona Ross (UK), Keith Tam (Hong Kong), Angela Poghosova (Armenia), Rezan Fouad Gassas (UK), Anuthin Wongsunkakong (Thailand), Chang Sik Kim (USA). The results:

    • Armenian: INS Gor (Nvard Iskajyan, Armenia)
    • Arabic: Intel Clear (Naïma Ben Ayed, Damien Collot, Dalton Maag Ltd, UK), Omid (Omid Emamian, Iran), Novin (Hirbod Lotfian, Iran).
    • Cyrillic: Intel Clear (Tom Foley, Mary Faber, Stuart Brown, Hanna Donker, Dalton Maag Ltd, UK), SST (Alexey Chekulaev, Akira Kobayashi, Monotype Design Studio, Germany), Basil (Vassil Nikolaev Kateliev, Bulgaria).
    • Greek: Catalana Serif (Pilar Cano, Letterjuice, UK).
    • Indic: Prakashan Regular (Alessia Mazzarella, Italy), Nokia Bengali (Amélie Bonet, Dalton Maag Ltd, UK).
    • Korean: Sandoll Myeongjo Neo1 (Kyung-Seok Kwon, Soo-Hyun Park, Sandoll Communications Inc, Korea), Sandoll Gothic Neo1 (Kyung-Seok Kwon, Do-Kyung Lee, Sandoll Communications Inc, Korea), Yooungothic 700 (Pyun-Suk Hoon, Cheok Denk Young, Korea).
    • Thai: HP Simplified (Pilar Cano, Spike Spondike, Dalton Maag Ltd, UK), Sarabun Mai (Suppakit Chalermlarp, Thailand), Muttayat (Thanarat Vachiruckul, Thailand).
    • Display: Sandoll Tokyo (Doo-yul Kwak, Sandoll Communications Inc, Korea), Adamant Sans Pro (Vedran Erakovic, Serbia), VAZ Tatevik (Vardan Zakaryan, Armenia).
    [Google] [More]  ⦿

    Granshan 2015

    Non-Latin typeface competition in these categories: Armenian, Arabic, Chinese, Cyrillic, Greek, Hebrew, Indic, Thai, Korean, and display typefaces. Chairmen of the jury are Edik Ghabuzyan (Head of Department of Creating and Keeping Armenian Fonts at the National Book Chamber of Armenia, consultant for Adobe Systems, Armenia) and Boris Kochan (CEO of Kochan & Partner, and Past President of tgm Typographische Gesellschaft München). The jury: Gerry Leonidas (UK), Fiona Ross (UK), Keith Tam (Hong Kong), Angela Poghosova (Armenia), Adi Stern (Israel), Haytham Nawar (Egypt), Anuthin Wongsunkakong (Thailand), Chang Sik Kim (USA). [Google] [More]  ⦿

    Granshan 2016

    Non-Latin typeface competition in these categories, held in 2016: Armenian, Arabic, Chinese, Cyrillic, Greek, Hebrew, Indic, Thai, Korean, and display typefaces. Chairmen of the jury are Edik Ghabuzyan (Head of Department of Creating and Keeping Armenian Fonts at the National Book Chamber of Armenia, consultant for Adobe Systems, Armenia) and Boris Kochan (CEO of Kochan & Partner, and Past President of tgm Typographische Gesellschaft München). The jury: Gerry Leonidas (UK), Fiona Ross (UK), Liu Zhao (China), Angela Poghosova (Armenia), Adi Stern (Israel), Haytham Nawar (Egypt), Aleksey Vanyashin (Russia), Anuthin Wongsunkakong (Thailand), Chang Sik Kim (USA).

    The results: The Grand Prize was awarded to Jamal Bustan and Mamoun Sakkal for Bustan. Special categories in which some or all of 1st, 2nd and 3rd prizes are give. Special mentions are denoted by 4, 5 and 6 below, in the order listed on the granshan page.

    • Armenian Typefaces: 1 MAA Mary (Marieta Arzumanyan) 2 SHK An (Syuzi Hakobyan) 6 HASH Anoush (Hrachuhi Grigoryan)
    • Arabic Typefaces: 1 Symbio (Rui Abreu)
    • Chinese Typefaces: 4 M Ying Hei (Robin Hui, Monotype)
    • Cyrillic Typefaces: 4 Petra (Ana Prodanovic)
    • Indian Typefaces: 4 Linotype Devanagari (Monotype Studio) 5 Linotype Gujarati (Monotype Studio)
    • Korean Typefaces: 1 Nanum Square (Naver Corp., Sandoll Communications) 2 Sandoll LateSpring (Moa Ku, Jiin Park, Sungwoo Choi, Sandoll Communications) 4 Sandoll Gyeokdong MyeongJo (Moa Ku, Sungwoo Choi, Sandoll Communications)
    • Thai Typefaces: 3 Danvivek (Knaz Uiyamathiti)
    • Hebrew Typefaces: 4 Susim (Daniel Berkovitz)
    • Display typefaces: 1 Bustan (Jamal Bustan, Mamoun Sakkal) 2 Lalezar (Borna Izadpanah) 3 Alef (Mehdi Ravandi) 4 MAA Sergo (Marieta Arzumanyan) 5 Let's play (Ghada Wali) 6 Cairo (Mohamed Gaber)
    • Latin / Arabic Typefaces: 2 Calibri Arabic (Mamoun Sakkal, Aida Sakkal) 3 Riwaya (Katharina Seidl) 4 DIN Serif (Panos Vassiliou) 5 FF DIN Arabic (Yanone) 6 Effra (Dalton Maag: Azza Alameddine, Alex Blattmann)
    • Latin / Cyrillic Typefaces: 1 Eqil (Kostas Bartsokas) 4 FS Sally Pro (Phil Garnham, Jason Smith)
    • Latin / Indian Typefaces: 1 Myriad Devanagari (Vaibhav Singh) 2 Aktiv Grotesk (Dalton Maag: Sebastian Losch, Kalapi Gajjar-Bordawekar) 4 Amikal (Matthias Pauwels)
    • Latin / Thai Typefaces: 2 Prompt (Thanarat Vachiruckul) 3 Kantaraksa (Sasikarn Vongin) 4 Intel Clear Thai (Dalton Maag: Hanna Donker, Spike Spondike)
    [Google] [More]  ⦿

    Granshan 2017

    Non-Latin typeface competition in these categories, held in 2017: Armenian, Arabic, Chinese, Cyrillic, Greek, Hebrew, Indic, Thai, Korean, and display typefaces. Chairmen of the jury are Edik Ghabuzyan (Head of Department of Creating and Keeping Armenian Fonts at the National Book Chamber of Armenia, consultant for Adobe Systems, Armenia) and Boris Kochan (CEO of Kochan & Partner, and Past President of tgm Typographische Gesellschaft München). The jury: Gerry Leonidas (UK), Chang Sik Kim (USA), and these specialists: (for Armenian) Vahan Balasanyan, Garegin Martirosyan, Ruben Malayan, (for Arabic) Bahia Shehab, (for Chinese) Min Wang, Curt Huang, Zhiwei Zhu, Keith Tam, (for Greek) Klimis Mastoridis, Irene Vlachou, (for Hebrew) Liron Lavi, Anat Katzir, (for South Asian scripts) Ravi Pooviah, Rathna Ramanathan, Graham Shaw, (for Korean) Joo Sung Kim, Jeong-mi Yu, Seong Jae Song.

    The results: Special categories in which some or all of 1st, 2nd and 3rd prizes are give. Special mentions are denoted by 4, 5 and 6 below, in the order listed on the Granshan page. Categories without awards are not listed. There was no grand prize this year.

    • Armenian Typefaces: 1 Hash Eva (Hrachuhi Grigoryan) 2 Zah Hasmik (Hasmik Zakaryan) 4 Avm Vahagn (Vahagn Minasyan)
    • Arabic Typefaces: 2 Mirza (Amirmahdi Moslehi) 4 Ray (Reza Bakhtiarifard, Omid Emamian)
    • Chinese Typefaces: 4 Dongxin (Xuwei Zhang) 5 ZhaoPai (Ye Tianyu, Ye Ni)
    • Cyrillic Typefaces: 3 Averta CY (Kostas Bartsokas)
    • Greek Typefaces: 4 Bynx (Franziska Hubmann)
    • Thai Typefaces: 1 Thutija (Panuwat Usakulwattana) 4 Tatsana Chon (Knaz Uiyamathiti) 5 Satidti (Parin Rungpattarathakun)
    • Display typefaces: 1 Lamon (Dmitry Lamonov) 2 SGH Sepftar (Syuzi Grigoryan) 4 Kanun (Kourosh Beigpour) 5 Fit (David Jonathan Ross and Maria Doreuli) 6 Jaini (Girish Dalvi and Maithili Shingre) 7 TheClassic (Park Yunjung, Choi Eunkyu, Kim Woori, Lee Hyunho) 8 Mudan Type (Reeji Studio)
    • Latin / Arabic Typefaces: 1 Graphic Arabic (Wael Morcos, Khajag Apelian)
    • Multiscript: 4 November (Peter Bilak, Irina Smirnova, Kristyan Sarkis)
    • Latin / Armenian Typefaces: 4 LGSH Liana (Liana Shushanyan)
    • Latin / Cyrillic Typefaces: 2 Triplet (Yana Kutyina, Andrey Belonogov, Valery Golyzhenkov) 3 Vesterbro (Jeremie Hornus, Ilya Naumoff, Alisa Nowak)
    • Latin / Hebrew Typefaces: 2 Greta Text Hebrew (Michal Sahar)
    [Google] [More]  ⦿

    Gurgen Afrikian

    Yerevan, Armenia-based designer of the squarish Latin typeface Riccardo (2019). [Google] [More]  ⦿

    Haig Der Ohanian

    Torontonian who sells two Armenian fonts at 15 USD a piece. Also, four Arabic fonts. [Google] [More]  ⦿

    Haik Avanian

    Haik Avanian is probably Armenian, but he lives in Toledo, OH, where he practices graphic design, digital photography and an occasional custom type design. Behance link. He created the condensed upright monoline sans typeface Autopilot (2009). [Google] [More]  ⦿

    Hasmik Sahakyan

    [MyFonts] [More]  ⦿

    Hasmik Zakaryan

    Armenian type designer. His typeface Zah Hasmik won an award at Granshan 2017. [Google] [More]  ⦿


    A site with over one hundred free Armenian fonts: Aramian Expanded Bold, Aramian Expanded Italic, Aramian Expanded Italic Bold, Aramian Normal, Aramian Normal Bold, Aramian Normal Italic, Aramian Normal Italic Bold, Aramian Outline, Aramian Outline Italic, Aramian Reversed, Aramian Reversed Italic, Araratn, ArialArmST, ArialArmST Bold, ArialArmST Bold Italic, ArialArmST Italic, Arial AM, Arial AM Bold, Arial Armenian, Arial ArmenianNew, Arial ArmenianNew Bold, Arial ArmenianNew Bold Italic, Arial ArmenianNew Italic, Arial LatArm, Arik Armenian, Arm+Times, ArmAdver, ArmAdver Bold, ArmAllegro, ArmAria, ArmArial, Armarialbold, ArmArt Black, ArmBahamas, ArmBernhard, ArmBoloragir Bold Italic, ArmBoloragir Italic, Armbrag, Armbrush, Armcaps, ArmChance, ArmChess, ArmChess New Bold, ArmColon, ArmColonna Bold, ArmCoronet, ArmCottage, ArmCourierNew, ArmCupertino, ArmDauph, ArmDecorative Italic, ArmDesign Bold, ArmDzeragir Italic, Armenian Decorative Italic, Armenian Garamond, Armenian Normal, Armenian Olive Bold, Armenian Round, Armenian SchoolScript Normal, Armenian Vernatun Bold, Armenian Vernatun Bold talic, ArmErkatatarST Italic, Armfrankenstein, Armguard, ArmHarpoon, ArmHelvetica, armhelvetica Bold, armhelvetica Italic, ArmKars Bold, ArmKatil, ArmLincoln, ArmLombard, ArmLongTytle Bold, Armmarigold, Armmatura, ArmMetsatar Bold, ArmModern, Armplaybill, ArmScool, ArmScool Bold, ArmScool Bold Italic, ArmScool Italic, ArmScript, ArmSport Bold, ArmTeg Bold, ArmTertayin, ArmTertayinTytle Bold, ArmTertayin Bold, ArmTertayin Bold Italic, ArmTertayin Italic, ArmText, ArmText Bold, ArmText Bold Italic, ArmText Italic, ArmTimesST, ArmTimesST Bold, ArmTimesST Bold Italic, ArmTimesST Italic, ArmTimesTytleST Bold, ArmTimesTytleST Bold Italic, ArmTitle, ArmTytle Nor Bold, ArmVernagrayinST Bold, ArmVineta Bold, ArMystica, Arm artur, Arm Book, Arm Garamond, Arm Helvetica, Arm Helv etica, Arm Italic, Arm Times, Arm Times Italic, Arm Times Italic Bold, Arm Times Regular Bold, ArshaluyseArt Bold, ArTarumianAfrickian, ArTarumianAnpuit, ArTarumianBakhum, ArTarumianBarak, ArTarumianBarak Bold, ArTarumianErevan, ArTarumianGovazd Italic, ArTarumianGrig, ArTarumianGrqiDasakan, ArTarumianGrqiNor, ArTarumianGrqiNor BoldItalic, ArTarumianGrqiNor Bold, ArTarumianGrqiNor Italic, ArTarumianHamagumar, ArTarumianHandes, ArTarumianHarvats, ArTarumianHeghnar, ArTarumianHeghnar Bold, ArTarumianHelvetica, ArTarumianHelvetica ExtraBold, ArTarumianHelvetica Light, ArTarumianHelvetica Bold, ArTarumianIshxan, ArTarumianKamar, ArTarumianMatenagir Italic, ArTarumianMHarvats, ArTarumianNorMatenagir, ArTarumianPastar, ArTarumianTimes, ArTarumianTimes Bold, ArTarumianTimes Bold Italic, ArTarumianTimes Italic, ArT Heghnar, Art Vernagrayin Bold, Ar SV Versus, Ashot Erkat Bold, ATN, Avetik Mkrtchyan, Avetik Mkrtchyan Bold, Avetik Mkrtchyan Bold Italic, Avetik Mkrtchyan Italic, Barz Condensed, Barz, Barz Condensed Bold, Barz Condensed Italic, Barz Condensed Italic Bold, Barz Expanded, Barz Expanded Bold, Barz Expanded Italic, Barz Expanded Italic Bold, Barz Normal, Barz Normal Bold, Barz Normal Italic, Barz Normal Italic Bold, Barz Outline, Barz Outline Italic, Barz Reversed, Barz Reversed Italic, BazumNew Bold, Bazum Bold, Boloragir Vernagrayin Bold, Brabion Medium, Cakout Tytle Bold, Courier AM, Courier AM Bold, Courier LatArm, Dallak Helv, Dallak Helv Bold, Dallak Time, Dallak Time Bold, Dallak Time Bold Italic, DAL HEADI, DAL TIME, DAL TIME BOLD, DAL TIME BOLD ITALIC, DAL TIME ITALIC, DALL TITLE. [Google] [More]  ⦿

    HAYKNET: Armenian Multilingual Database

    Very complete Armenian font page! Most Armenian fonts are displayed, but there are no downloads. The list: ATN, Anguin, Aramian, Ararat, Arial Armenian, Arm, Arm Times, ArmNorkIR, Armenian Play, Armenian School Seript, Armschool, Anpuit, ArTarumian Areg, ArTarumian Bakhum, ArTarumian Afrikian, ArTarumian Barak, ArTarumian Erevan, ArTarumian Grig, ArTarumian Hamagumar, ArTarumian Handes, ArTarumian Harvats, ArTarumian Helvetica, ArTarumian Helvetica Extrabold, ArTarumian Helvetica Light, ArTarumian Kamar, ArTarumian Matenagir, ArTarumian Nor Matenagir, ArTarumian Times, Barz, Dallak Time, Dallak Title, Dallak helv, Eras Contour, Erkatagir, Erkatatar, Grotesk, Kamarak - TT, Maral, MaralBold, Masis, Masis Nihar, Navasard - TT, Nork New, Sassoun, Sovorakan, Times Armenian, VS&TV Nork, ArTarumian Govazd 1997, ArTarumian Grqi Nor 1997, ArTarumian Pastar 1997, Hay Helv, Hay Times, Hay Title, MK Goud Armenian, MK Helv Armenian, MK Nork, MK Times Armenian, Tigran. [Google] [More]  ⦿

    Henrik Mnatsakanyan

    Lived from 1923-2001. Developer of more than one hundred Armenian typefaces, including Sovorakan Nor, Astch, Mnatsakanyan, Ibbenaran, Anragitaran, Lragrayn, Ararat, Grakan, Shoghshoghoun (1996), Henrik (1978), Grabar (1977), Haykakan Kar (1997), Jinj (1996), Dprotsakan, and Roslin. He founded the Type Design Laboratory in Yerevan in 1964, and ran it until 1984. Bardi (a tall extra-condensed face) and Haverj are Latin/Cyrillic typefaces that were digitized and extended in 2004 by Manvel Shmavonyan at ParaType. At the moment of his death in May 2001, Mnatsakanyan was the leading type designer in Armenia. Obituary at TDC.

    Sharon Irving: Henrik Mnatsakanyan has been designing typefaces for more than fifty years. He developed more than one hundred Armenian typefaces, including Sovorakan Nor, Astch, Mnatsakanyan, Ibbenaran, Anragitaran, Lragrayn, Ararat, Grakan, Dprotsakan, and Roslin. His design skills were formed in the studio of the well-known Armenian artist Akop Kodjoyan. From 1954 to 1960 Henrik Mnatsakanyan worked at the Type Design Laboratory of the All-Union Printing Research Institute (NIIPolygraphmash). In 1962 he founded the Type Design Laboratory in Yerevan, and directed its work until 1984. He is a veteran of World War II and a member of the Armenian Artists Union. Bardi [Google] [More]  ⦿

    Hrachuhi Grigoryan

    Designer of the Armenian text typeface Aregak (2011), which won Second Prize at Granshan 2011. He won an award at Granshan 2016 for Hash Anoush (Armenian category). Hash Eva won an award at Granshan 2017. [Google] [More]  ⦿

    Hrag Kazanjian

    Armenian graphic design student at the College of Fine Arts and Design (CFAD) at the niversity of Sharjah (UAE) in 2016. During his studies, he created a squarish Latin typeface (2016). In 2018, he added the Armenian font Hye. [Google] [More]  ⦿

    Hrant Grigoryan

    Yerevan, Armenia-based designer of the calligraphic Latin font Masterpiece (2015). [Google] [More]  ⦿

    Hrant H. Papazian
    [The MicroFoundry]

    [MyFonts] [More]  ⦿

    Hripsime Melikyan

    Yerevan, Armenia-based designer of the squarish Armenian typeface Helime (2019). [Google] [More]  ⦿


    Here you can find Monotype's Armenian/Latin font Times LatArm. [Google] [More]  ⦿

    Indrek Hein
    [Letter Database]

    [More]  ⦿

    [Hasmik Sahakyan]

    Armenian designer of the geometric Armenian typeface DaDi Arm (2021). [Google] [MyFonts] [More]  ⦿

    Jogi Weichware

    Berlin and Frankfurt-based company which published these fonts for ancient Middle Eastern scripts between 1990 and 2001: TitusAncientNeareastNormal, TitusArabic-Farsi, TitusArmenianNormal, TitusAsomtavruliMrglovani, TitusAsomtavruliMrglovani, TitusAsomtavruliNuskhuri, TitusBaltic, TitusBibleGothic, TitusBuzuku, TitusChristianEastNormal, TitusCyrillicNormal, TitusECLINGMxedruli-Normal, TitusECLINGTranscription-Bold, TitusECLINGTranscription-Italic, TitusECLINGTranscription, TitusEastEuropeanNormal, TitusGreekNormal, TitusGreekReverseNormal, TitusHebrew-Normal, TitusHebrewNormal, TitusIndoIranianNormal, TitusIndologyNormal, TitusKroatianGlagolicaNormal, TitusManichean, TitusMiddleIranian-Normal, TitusMxedruliNormal, TitusNearEastNormal, TitusNuskhaKhutsuri, TitusOghamNormal, TitusOldGeorgian, TitusOldPersianNormal, TitusOldPersianNormal, TitusOscanInscriptionsNormal, TitusRoundGlagolicaNormal, TitusRunicNormal, TitusSlavonicNormal, TitusSogdianIntNormal, TitusSyriacEstrangelo, TitusSyriacNestorian, TitusSyriacNestorianNormal, TitusSyriacSerto, TitusSyriacSertoNormal, TitusTaanaNormal, TitusUmbrianInscriptionsNormal, TitusWesternNormal. Downloadable here. [Google] [More]  ⦿

    Johannes Lang

    [MyFonts] [More]  ⦿

    John A. Lane

    John A. Lane (b. 1955) is a type and printing historian. He was born and raised in the United States and has lived in Leiden (Holland) since 1990. He who often writes on typography:

    • One of his crowning achievements is the book Letterproeven van Nederlandse gieterijen (1998), which shows Dutch typefounders' specimens from the Library of the KVB and other collections in the Amsterdam University Library with histories of the firms represented. It is coauthored with Mathieu Lommen, a noted type librarian and historian. Discussion of the text.
    • Coauthor with Mathieu Lommen in 2003 of "Bram de Does Boektypograaf&Letterontwerper" (Amsterdam, 2003).
    • Author of Early Type Specimens in the Plantin-Moretus Museum (New Castle and London: Oak Knoll Press and the British Library, 2004).
    • Author of The Diaspora of Armenian Printing 1512-2012 (2012, Amsterdam: Special Collections of the University of Amsterdam). From the book's blurb: In 1512, in the city of Venice, Hakob Meghapart printed the first book in Armenian type. [...] For technical and political reasons, all Armenian books were printed outside Armenia until 1771. The art of Armenian printing developed in major centres like Venice, Constantinople and Amsterdam, but also in many others around the world. Its history moves along highways and byways reflecting the ups and downs of the Armenian people. The book describes the diaspora of Armenian printing, highlighting the role of Amsterdam.
    [Google] [More]  ⦿

    John M. Fiscella
    [Production First Software]

    [MyFonts] [More]  ⦿

    Jonas Niedermann

    Swiss-born MATD University of Reading graduate, class of 2013, who lives in St. Gallen, Switzerland. He describes his graduation typeface Caligula as follows: The roman emperor Gaius Julius Caesar, also known as Caligula is described as a noble and moderate ruler during the first six months of his rule. After an illness, the sources focus upon his cruelty, extravagance, and sexual perversity, presenting him as an insane tyrant and maniac with a split personality. Caligula is a typeface family originally intended for both magazines in print as well as on screen. Styles for highly legible bodytext are accompanied by various and distinctive display styles for expressive headlines. The Latin has an angular character which makes it readable. It is harmonized with an Armenian style.

    Cofounder of the Swiss type foundry ABC Litera together with Jost Hochuli and Roland Stieger.

    In 2018, he designed the soccer shirt font Gruenweiss for FC Sankt Gallen 1879.

    Creator with Roland Stieger of the sans typeface Alena, about which they write: It all started with the woodcut from Jost Hochuli, published in the year 1980. I found this woodcut in a bookshop around 1992 and was fascinated by it for many years. Until my interest in type design became so huge that I took it as a starting point to design an own typeface, a sans serif, called Alena, which builds on the shapes and proportions of this woodcut. Released in 2019 at Nouvelle Noire. [Google] [More]  ⦿

    Karapet Sargsyan

    Yeghvard, Armenia-based designer of the Latin art deco typeface Karm (2019). [Google] [More]  ⦿

    Katy Pearce's Armenian Font Archive

    About 60 of the finest free Armenian fonts. [Google] [More]  ⦿

    Khajag Apelian

    Freelance graphic designer from Lebanon. Born in Sharjah, UAE, an Armenian with a Lebanese nationality. Graduate of the Type and Media program at KABK, 2009. There, he designed Arek, an Armenian typeface specifically designed to replace the typefaces currently used in school books. It is a fresh interpretation of the ancient Armenian script used in the old manuscripts. My ambitious plan for this project is to include a serif and a sans serif version, containing upright and cursive forms, with multiple weights, display versions and initials. However, currently the project includes only the serif upright, regular and black weights, in addition to the cursive and the initials. This typeface was awarded First Prize in the Granshan 2010 competition for Armenian text types. Arek was finally published by Rosetta Type Foundry in 2012.

    After graduation, he started freelancing as a graphic and type designer in Amsterdam. Partner at The Place.

    Other typefaces include The Chattam (2009, a Clarendon revival), Boujour (2008, an ultra fat deco face), Moudwi (2007, an experimental Arabic detached typeface inspired by the Unified typeface created by Nasri Khattar).

    His typefaces: Arek, Hagatir, Boujour (2008, piano key typeface), Mulsaq (2008, Arabic), Moudwi, Nuqat (2010: a dot matrix typeface by René Knip, Khajag Apelian, Jeroen van Erp, and Reza Abedini).

    Graphic Arabic (Wael Morcos and Khajag Apelian) won an award at Granshan 2017.

    IBM Plex Sans Arabic (2019, by Mike Abbink, Paul van der Laan, Pieter van Rosmalen, Wael Morcos and Khajak Apelian) is a free typeface family at Google Fonts.

    Typecache link. Behance link. [Google] [More]  ⦿


    At AUA in Yerevan, Armenia, Kharatyan designed Armenian Rune (2017). [Google] [More]  ⦿

    Laboratory of Digital Typography and Mathematical Software
    [Antonis Tsolomitis]

    The Department of Mathematics of the University of the Aegean (Samos, Greece) has established a laboratory on Digital Typography and Mathematical Software in 2006. It supports the Greek language with respect to the TeX typesetting system and its derivatives. Antonis Tsolomitis (who lives in Karlovassi, Samos, and is a professor of Mathematics at that university) writes: After the support for Greek was added by A. Syropoulos and the first complete Greek Metafont font was presented by Claudio Beccari there was an obvious need, to be able to use a scalable Greek font with LaTeX. With this in mind, we developed the first Greek fontfamily in Type1 format with complete LaTeX support, called "Kerkis". Their Greek font Epigrafica (2006) is a modification of MgOpen-Cosmetica, which in turn was based on Optima. Tsolomitis is the author of the math font family Kerkis, and of GFS Complutum (2007, with George D. Matthiopoulos), which is based on a minuscule-only font cut in the 16th century (see also here).

    About GFS Complutum, they write: The ancient Greek alphabet evolved during the millenium of the Byzantine era from majuscule to minuscule form and gradually incorporated a wide array of ligatures, flourishes and other decorative nuances which defined its extravagant cursive character. Until the late 15th century, typographers who had to deal with Greek text avoided emulating this complicated hand; instead they would use only the twenty four letters of the alphabet separately, often without accents and other diacritics. A celebrated example is the type cut and cast for the typesetting of the New Testament in the so-called Complutensian Polyglot Bible (1512), edited by the Greek scholar, Demetrios Doukas. The type was cut by Arnaldo Guillén de Brocar and the whole edition was a commision by cardinal Francisco Ximénez, in the University of Alcalá (Complutum), Spain. It is one of the best and most representative models of this early tradition in Greek typography which was revived in the early 20th century by the eminent bibliographer of the British Library, Richard Proctor. A font named Otter Greek was cut in 1903 and a book was printed using the new type. The original type had no capitals so Proctor added his own, which were rather large and ill-fitted. The early death of Proctor, the big size of the font and the different aesthetic notions of the time were the reasons that Otter Greek was destined to oblivion, as a curiosity. Greek Font Society incorporated Brocar's famous and distinctive type in the commemorative edition of Pindar's Odes for the Athens Olympics (2004) and the type with a new set of capitals, revived digitaly by George D. Matthiopoulos, is now available for general use. He also made GFS Solomos (2007) and GFS Baskerville (2007; note that several sites state that GFS Baskerville Classic is due to Sophia Kalaitzidou and George D. Matthiopoulos).

    In 2010, Tsolomitis published txfontsb, in which he added true small caps and Greek to the txfonts package. These fonts form a family called FreeSerifB, in type 1, that covers Latin, Greek, many Indic languages, Armenian, chess symbols, astrology, music, domino, and tens of other ranges of symbols.

    GFSNeohellenicMath was published in 2018: The font GFSNeohellenicMath was commissioned to the Greek Font Society (GFS) by the Graduate Studies program "Studies in Mathematics" of the Department of Mathematics of the University of the Aegean, located on the Samos island, Greece. The design copyright belongs to the main designer of GFS, George Matthiopoulos. The OpenType Math Table embedded in the font was developed by the Mathematics Professor Antonis Tsolomitis. The font is released under the latest OFL license, and it is available from the GFS site at http://www.greekfontsociety-gfs.gr. The font is an almost Sans Serif font and one of its main uses is for presentations, an area where (we believe) a commercial grade sans math font was not available up to now.

    In 2019, Tsolomitis released the free New Computer Modern package. An outgrowth of Knuth's Computer Modern, the fonts cover Latin and accented Latin letters and combinations, Greek (monotonic and polytonic), Hebrew, Cherokee and Cyrillic, and basically any possible math glyph. He writes in 2020: As far as the NewCMMath font is concerned, this is a derivative of lm-math with a huge amount of improvements and new glyphs. Currently the font should at least match STIX fonts in glyph coverage. [...] Finally, a long awaited feature, a Book weight for ComputerModern is added (math included). It produces slightly heavier output suitable for book production with high resolution printing. Further changes were added in 2021. [Google] [More]  ⦿

    Language Fonts for Mac

    ChicagoVD, GenevaVD, VDTimes, GenevaKirillika, KirillikaVD, FGenEllinika, Timellinik, Latinus, Haykakan. For East-European languages, Cyrillic, Greek, Armenian. Free. Link down. [Google] [More]  ⦿

    [Johannes Lang]

    Johannes Lang (Langustefonts) is a graduate of the KABK in Den Haag in 2008. Originally from Vienna, he created the transitional text family Dendra as a student at KABK. Other fonts made by him at his Langustefonts: Alefbet, A Maze Thing, Audiotypi (filled in art deco letters), Baguette (smudged), Canard (octagonal), Canontire, Crossword, Doggy, Donotiron (glyphs like clothes), Elfenfreund (2006-2012, handwriting), Ella (connected upright script), Fontball Field, Fontballet (soccer dingbats), Hellvetica, Kapitalschaden (grunge), Klatschmohn, Lamb, Lichtenberg, LF Pixel, Noncept, Overdressed, Schnoerkel2512, Setzkasten, Somehand, Tak (child's hand), Unisize, Vin rouge (handwriting with scratchy hairy endings). He also made the Armenian text typeface Foltyn (2011).

    In 2013, Johannes Lang and Stefan Ellmer co-designed the free display typeface Brevier Viennese. It is based on a Victorian typeface called Viennese by the Fann Street Foundry from 1874.

    In 2014, Johannes Lang and Stefan Ellmer revived the frilly Victorian typeface Stencil Gothic [MyFonts link] originally designed by John West in 1885.

    In 2014, Stefan Ellmer and Johannes Lang cofounded Ellmer Stefan & Johannes Lang.

    Alternate URL. [Google] [MyFonts] [More]  ⦿

    Laval Chabon

    Québec City-based creator (b. 1952) of the octagonal font Vegesignes (2009, FontStruct). This font also appeared in 2010 at Open Font Library. It consists of almost 7,615 glyphs.As of 2014, 188 languages care covered, inclufing Afrikaans, Arabic, Archaic Greek Letters, Armenian, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Bengali, Catalan, Central European, Cherokee, Devanagari, Dutch, Euro, Farsi, Georgian, Gujarati, Hanunó'o, Hebrew, Igbo Onwu, IPA, Kannada, Kazakh, Lao, Malayalam, Myanmar, New Tai Lue, N'Ko, Ogham, Oriya, Pashto, Pinyin, Polytonic Greek, Romanian, Runic, Sindhi, Syriac, Tai Le, Tai Tham (Lanna), Telugu, Thaana, Thai, Tibetan, Turkish, Uighur, Unified Canadian Aboriginal Syllabics, Urdu, Vietnamese, Western European.

    Dafont link. Fontspace link. Aka Leaurend-Lavie-Hyppere (Laval) Chabon and as Joseph Rosaire Laval Frandey Leaurend Lavie Hyper Chabom. [Google] [More]  ⦿

    Les écritures caucasiennes

    Intro to the Georgian and Armenian alphabets. In French, by Jean-Christophe Loubet del Bayle. [Google] [More]  ⦿

    Les Ecritures de Mesrob

    J.-C. Loubet del Bayle sketches the development of Armenian and Georgian alphabets. [Google] [More]  ⦿

    Letter Database
    [Indrek Hein]

    Indrek Hein's online character database, based in Estonia. Invaluable data base of all unicode letters, with pictures! (Only the Asian languages are missing, but it is complete for all East-European languages, for example.) [Google] [More]  ⦿

    Liana Shushanyan

    Armenian type designer. Her typeface LGSH Liana won an award at Granshan 2017. In 2021, she published LGSH Davit (a typeface family with didone roots; for Latin, Armenian and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Lidia Gh

    Yerevan, Armenia-based designer of the paper-fold typeface TypE (2016) and the deco typeface Typo (2016). Home page. [Google] [More]  ⦿

    Lidia Gh

    Yerevan, Armenia-based designer of a decorative Latin display typeface in 2016. [Google] [More]  ⦿

    Lilit Harutyunyan

    Graphic designer in Yerevan, Armenia, who created an experimenal typeface in 2012.

    Behance link. [Google] [More]  ⦿

    Lilit Harutyunyan

    Yerevan, Armenia-based designer of an Armenian display typeface (2017). Behance link. Home page. [Google] [More]  ⦿

    [Sebastian Kempgen]

    Europe's largest independent foreign language font developer for the Macintosh, which is directed by Sebastian Kempgen from Germany. Fonts include: Western Languages (CoreFont series), Eastern Europe (CE-Font series), Cyrillic (Professional series: RomanCyrillic Pro, Ladoga Pro etc. (text fonts); DEsign fonts: Faktor, Inessa Cyr etc. (headline, handwriting); Olliffe Fonts: Batumi, Schechtel, Russian Open (display type; example: Mashinka); Scientific Cyrillic (includes old orthography, accents, old characters); Old Church Slavonic (Cyrillic and Glagolitic, Square and Round); Non-Slavic Cyrillic: Roman CyrTurk, Ladoga CyrTurk), Greek (Modern Greek and Classical Greek (Agora and Parmenides)), Icelandic&Faeroese (PolarFont series), Irish&Welsh (Gaelic, Celtic in the CeltoFont series), Romanian (DacoFont series), Turkish (TurkoFont series), BalkanFont series (Hungarian, Romanian, Turkish, Azerbaijani, Maltese), Basque (BaskoFont series), Saami (SamoFont series), Georgian, Armenian, Coptic (such as the Pachomius font), Cuneiform, Sabean, SinoFont series for Vietnamese plus more or Chinese (Pinyin) transliteration, phonetic Fonts (Trubetzkoy&Phonetica), Transliteration Fonts. Some of its fonts (like Campus Ten/Twelve and Magister Book) are now sold through Agfa/Monotype.

    Names of some fonts: Breitkopf Fraktur, Campus Sans, CampusRoman Pro, CampusSans Block, Dareios, Faktor, Glagol Pro, Inessa, Konkret, Kronstadt, Marib, Method, Moskva Pro, Parmenides, Retrograd, Tafelkreide, Tatlin, Trubetzkoy. [Google] [More]  ⦿

    Mane Arshduysyan

    Or Mane Arsh. Yerevan, Armenia-based designer of an Armenian display typeface in 2016. [Google] [More]  ⦿

    Manvel Shmavonyan

    Moscow-based Armenian type designer (b. 1960, Artashat, Armenia) and graphic artist. In 1984 graduated from the Moscow Poligraphic Institute, department of Polygraphic Product Design. He worked for the Type Department of Committee of Print in Yerevan, and for the publishing houses Ayastan, Luys and Sovetakan Grokh. At Microsoft's request, in 1999, he was consulted for the Armenian section of the Sylfaen project.

    Creator of PT Margarit Armenian and Asmik (1997, Armenian, based on PT Petersburg, 1992, by Vladimir Yefimov), available from ParaType, where he is an active type designer. These fonts won awards from the Type Directors Club in 1999.

    At ParaType, he also published Propisi Cyrillic + western (1997, a school script family), PT Henman Pictograms (2001, based on Armenian ornaments revived by Henrik Mnatsakanyan), Cooper BT (2000, a Cyrillic version of the Bistream family by the same name), Henman Western, Karolla Western (2002, art nouveau face, based on an alphabet of Lucian Bernhard, 1912), Zagolovochnaya Western (2002, based on a Caslon model from 1725), Haverj Western (2004, flared mini-serifed typeface with an f and a j ready for the paralympics), PT Margarit (1997, based on PT Bodoni by A. Tarbeev), Bardi (2004, Paratype, an extra compressed decorative stenciled typeface based on the lettering created in 1970s by the Armenian type designer Henrik Mnatsakanyan (1923-2001)), Haverj (2004, Paratype, also based on Mnatsakanyan's work), and PT Noah (1997, to accompany Tagir Safayev's PT FreeSet, 1992).

    Asmik, and Humanist 531 Cyrillic (the latter co-designed with Isay Slutsker) won awards at Bukvaraz 2001.

    In 2007, he designed the text and display family Susan (Paratype; award winner at Paratype K2009), which was named after his wife. Award winner at Granshan 2008.

    In 2010, he designed the Ripe Apricot humanist sans family (ParaType). Narevik (2011, Paratype) is a dynamic low contrast design with slightly rounded triangle serifs.

    In 2011, he created the free Google Web Font Marmelad, meant for headlines.

    Jacques Francois and Jacques Francois Shadow (2012, Cyreal) were co-designed with Alexei Vanyashin. They are revivals of the Enschedé no. 811 type specimen (ca. 1760) by Jacques François Rosart (1714-1774), made for Enschedé Printing House. Free at Google Web Fonts.

    Typefaces from 2013: Vaccine (a slab serif family, ParaType). This was followed in 2014 by the humanist Vaccine Sans (2014, with the help of Alexandra Korolkova and Gayaneh Bagdasaryan).

    In 2015, he made Levnam (ParaType), a sans with wide proportions for small text.

    In 2016, Alexander Lubovenko and Manvel Shmavonyan co-designed the 30-style Latin / Cyrillic workhorse sans typeface family Mediator, which was followed in 2017 by Mediator Serif.

    In 2018, Alexandra Korolkova and Manvel Shmavonyan designed Fact at Paratype. Fact is based on Frutiger. The fact type system contains 48 upright styles with variations in width and weight and eight italics of normal width.

    Vast (2021, Paratype) is a 56-style sans family, with three variable fonts, by Manvel Shmavonyan and Alexander Lubovenko. Choices are from thin to black and regular to extra wide.

    FontShop link. Catalog. MyFonts link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Mariam Simonyan

    Armenian type designer who won an award at Granshan 2009 for her Armenian typeface Tpagrakan. [Google] [More]  ⦿

    Marieta Arzumanyan

    Armenian type designer. She won awards at Granshan 2016 for MAA Mary (Armenian category) and MAA Sergo (display typeface category). [Google] [More]  ⦿

    Mark Williamson

    Designer of a public domain Unicode font in 2005 called MPH 2B Damase. It can be found here. Created by Mark Williamson, it covers Armenian, Cherokee, Coptic (Bohairic subset), Cypriot Syllabary, Cyrillic (Russian and other Slavic languages), Deseret, Georgian (Asomtavruli and Nuskhuri but no Mkhedruli), Glagolitic, Gothic, Greek (including Coptic characters), Hebrew, Latin, Limbu, Linear B (partial coverage of ideograms and syllabary), Old Italic, Old Persian cuneiform, Osmanya, Phoenician, Shavian, Syloti Nagri (no conjuncts), Tai Le (no combining tone marks), Thaana, Tifinagh, Ugaritic, Vietnamese. See also here. The font is used by the popular Debian Linux software. Mark Williamson also designed a free fonts for Osmanya, Ugaritic and Shavian called Andagii (2003). His Penuturesu covers Linear B.

    Mark contributed to the GNU Freefont project, which used these ranges:

    • Hanunó?o (U+1720-U+173F)
    • Buginese (U+1A00-U+1A1F)
    • Tai Le (U+1950-U+197F)
    • Ugaritic (U+10380-U+1039F)
    • Old Persian (U+103A0-U+103DF)

    Dafont link. [Google] [More]  ⦿

    Mary MKhitaryan

    Yerevan, Armenia-based designer of an Armenian display typeface in 2017. [Google] [More]  ⦿

    Matthew Stephen Stuckwisch

    Spanish Lecturer and Language Lab Director at the University of Tennessee in Chattanooga, TN. During his studies in Auburn, AL, Matthew Stephen Stuckwisch (b. 1985) who was working on an extension of the Berling family of fonts for other scripts, including Homeric Greek (polytonic), Golden Age Spanish, Old Church Slavonic, Anglo-Saxon, Vietnamese, and Armenian. See here. He also made the wonderful high-ascendered lively serif family Coruna (2007) and the accompanying Coruna Fraktur (2007). [Google] [More]  ⦿

    Michael Everson
    [Evertype (was: Everson Typography)]

    [MyFonts] [More]  ⦿

    Miguel Sousa

    Miguel Sousa is a Portuguese graphic designer with a big interest in Typography and Typeface Design. After completing his five-year degree in Technology and Graphic Arts from the Instituto Politécnico de Tomar in 2002, he worked for the children's books publisher O Bichinho de Conto for one year, as a graphic designer, typographic designer, book designer, web designer and web developer. Before going to Reading he also worked in MBV Design as a graphic designer, web designer and web programmer.

    He graduated from the Master of Arts in Typeface Design programme at the University of Reading, where he developed text typeface named Calouste with extensive support for the Latin and Armenian scripts. Calouste (2005) won an award at TDC2 2006.

    In April 2006, he joined Adobe's type development department. He had a hand in these Gerard Unger fonts in 2006, custom produced for the University of Reading: RdgSwift-Bold, RdgSwift-BoldItalic, RdgSwift-Italic, RdgSwift-Regular, RdgVesta-Bold, RdgVesta-BoldItalic, RdgVesta-Italic, RdgVesta.

    In 2013, he created the beautiful typeface Gothic Round (Hamilton Wood Type): After Hamilton bought out Page, Wells and Morgans & Wilcox, they briefly offered the various cuts from their former competitors before standardizing. In settling on which version would best inform this new digitization, designer Miguel Sousa of Adobe looked at specimens from the Newberry Library in Chicago as well as visiting and printing at the WNY Book Arts Center and of course the Hamilton Wood Type Museum to get a full immersion into this font project. Ultimately it was settled upon to use exemplars from multiple cuts to create a more pleasing hybrid. The Upper case was primarily based on the Heber Wells version, while the lower case referenced the Wm. Page version. Overall some of the most jarring quirks found in various versions were left out in favor of a solid type. [Google] [MyFonts] [More]  ⦿

    Mihran Miran

    Yerevan, Armenia-based designer of a floral all caps Armenian alphabet (2018). [Google] [More]  ⦿

    Mike Arzoumanian
    [Arzo Electronics]

    [More]  ⦿

    Mirella Marie

    Melbourne, Australia-based graphic designer. Creator of the Armenian typeface Mirella Marie (2013). Behance link. [Google] [More]  ⦿

    Mitiya Masuda
    [Systema 81]

    [More]  ⦿

    Monotype: All languages

    Monotype sells fonts for the following languages: Amharic, Aksara Kaganga, Arabic, Armenian, Balinese, Burmese, Cambodian, Chinese, Coptic, Devanagari (Hindi/Marathi/Nepali), Farsi, Georgian, Glagolitic, Gujerathi, Gurmukhi (Punjabi), Hebrew, Japanese, Javanese, Jawi, Kannada, Korean, Laotian, Lontarak, Malayalam, Old Bulgarian, Oriya, Pushto, Sindhi, Sinhalese, Surat Pustaha, Syriac, Tamil, Telugu, Thai, Urdu, Vietnamese. [Google] [More]  ⦿

    Monotype: Armenian

    Armenian fonts by Monotype: Aramian, Monotype Aramian Upright, Monotype Aramian Inclined, Barz, Nork. [Google] [More]  ⦿


    Fonts by Ruben Tarumian: ArialAM, ArialAMBold, CourierAM, CourierAMBold. [Google] [More]  ⦿


    Armenian font links. [Google] [More]  ⦿

    Naujas Vytis
    [Eugenijus Paulauskas]

    Developer of a free family of Lithuanian didone fonts called Vytis (2005). These fonts are quite complete and cover Latin, Cyrillic and Armenian as well. Copyright rests with AKL: Atviras kodas Lietuvai, a Lithuanian Free Software Foundation. Earlier, Paulauskas made the brush typeface ForteU (1998, Klaipeda). [Google] [More]  ⦿

    Net Arménie

    Armenian font archive. Direct access. Included are: 1Arzo-Ani, 1Arzo-Ararat, ANAHID, ARAGATZ, ARMEN_-TT-Normal, Anguin-Regular, AprilArmenian, ArTarumianAfrickian, ArTarumianAnpuit, ArTarumianAnpuit, ArTarumianBakhum, ArTarumianBarak-Bold, ArTarumianErevan, ArTarumianGortsavar1-Bold, ArTarumianGovazd-Italic, ArTarumianGrig, ArTarumianGrqiNor, ArTarumianGrqiNor-Bold, ArTarumianGrqiNor-Bold-Italik, ArTarumianGrqiNor-Italic, ArTarumianHamagumar, ArTarumianHandes, ArTarumianHeghnar, ArTarumianIshxan, ArTarumianKamar, ArTarumianMHarvats, ArTarumianMatenagir, ArTarumianMatenagir-Bold, ArTarumianMatenagir-Bold-Italic, ArTarumianMatenagir-Italic, ArTarumianNorMatenagir, ArTarumianPastar, ArTarumianTimes-Bold-Italic, ArTarumianTimes-Bold, ArTarumianTimes-Italic, ArTarumianTimes, Dallak-Bold, Ararat, Arasan, Arax-Barab, Arax, Ardahan, Arial-Armenian, Arial-AM, Arial-AM-Bold, Arm-Times, ArmFixed, ArmModern, ArmNet-Courier, Arm-Scool, Arm-Scool-Bold, Arm-Scool-Bold-Italic, Arm-Scool-Italic, Armfrankenstein, Armmarigold, Armmatura, Armold, Armomega, Armumbrella, ArTarumianBarak, Courier-AM, Courier-AM-Bold, Dallak-Helv, Dallak-Title-Normal, Dallak-Helv, Dallak-Helv-Bold, Dallak-Time, Dallak-Time-Bold, Dallak-Time-Bold-Italic, Dallak-Time-Italic, Dallak-Title, Dallak-Title-Bold, HAYKNET-Bold-Italic, HAYKNET-Bold, HAYKNET-Italic, HAYKNET, HF-Barz-Normal, Hay-Helv, Hay-Helv-Bold, Hay-Times, Hay-Times-Bold, Hay-Times-Bold-Italic, Hay-Times-Italic, Hay-Title, Hay-Title-Bold, KAJAJ-NORMAL, Lucine-Italic, Lucine-Roman, MK-Goud-Armenian, MK-Ani-italic, MK-Helv-Armenian, MK-Helv-Armenian-Bold, MK-Times-Armenian, Maral-Regular, Masis, MasisNihar, MkCour, Mk_parzi, Mk_Parz, Nairi-Normal, Nork, Nork-New-Bold, Nork-New-Bold-Italic, Nork-New-Italic, Roupen, SHIRAZ-Normal, Sipan-Normal, Sovorakan-Italic, Tasagan-Italic, Times-Armenian, Times-Armenian, Arial-LatArm, Sassoun. [Google] [More]  ⦿

    Neue Frutiger
    [Akira Kobayashi]

    Neue Frutiger was developed by Akira Kobayashi and the Monotype (ex-Linotype) Design Team, in 2018. An outgrowth of Adrian Frutiger's successful Frutiger font, this wayfinding family was split by Monotype into several packages:

    In 2019, the Linotype team developed and released the single variable font Neue Frutiger Variable. [Google] [More]  ⦿

    Neue Helvetica World

    The Linotype Design team released Neue Helvetica World in 2017. It covers the pan-European area (extended Latin alphabet, Cyrillic and Greek) as well as Arabic, Hebrew, Armenian, Georgian, Thai and Vietnamese. Each font has about 1700 glyphs. Back in 1983, D. Stempel AG redesigned Miedinger's Helvetica typeface and created a digital version. Neue Helvetica World has six additional styles including Arabic, Georgian and a specially-designed Hebrew version. For pairing with languages further afield, Monotype / Linotype recommend these typefaces: Saral Devanagari (for devanagari), Tazugane Gothic or Yu Gothic (for Japanese), YD Gothic 100 or YD Gothic 700 (for Korean), M Ying Hei PRC or M Hei PRC (for Simplified Chinese), M Ying Hei HK or M Hei HK (for traditional Chinese). [Google] [More]  ⦿

    Nina Stössinger

    [More]  ⦿


    Norstandard is a new standard in the Armenian font encoding that works on both Mac and PC. A collection of Armenian truetype fonts using this standard can be had as part of a 75 USD package. By Windsor Productions, Pasadena, CA. [Google] [More]  ⦿


    A large free font family released under the Apache license at Google Web Fonts, and developed by Monotype's Steve Matteson and a team of type designers. Designed between 2012 and 2016, this typeface covers over 800 languages and 100 writing scripts. URL with details. Noto stands for no tofu, i.e., no white boxes that represent unknown characters. The fonts are property of Monotype, with the exception of Noto Khmer and Noto Lao, which belong to Danh Hong.

    Noto Sans and Noto Serif cover Afar, Abkhazian, Afrikaans, Asturian, Avaric, Aymara, Azerbaijani-AZERBAIJAN, Bashkir, Bambara, Belarusian, Bulgarian, Bislama, Bini, Breton, Bosnian, Buriat, Catalan, Chechen, Chamorro, Mari (Russia), Corsican, Czech, Church Slavic, Chuvash, Welsh, Danish, German, Modern Greek (1453-), English, Esperanto, Spanish, Estonian, Basque, Finnish, Fijian, Faroese, French, Fulah, Friulian, Western Frisian, Irish, Scottish Gaelic, Galician, Guarani, Manx, Hausa, Hawaiian, Hiri Motu, Croatian, Hungarian, Interlingua (International Auxiliary Language Association), Igbo, Indonesian, Interlingue, Inupiaq, Ido, Icelandic, Italian, Kara-Kalpak, Kikuyu, Kazakh, Kalaallisut, Kurdish-ARMENIA, Kumyk, Komi, Cornish, Kirghiz, Latin, Luxembourgish, Lezghian, Lingala, Lithuanian, Latvian, Malagasy, Marshallese, Maori, Macedonian, mo, Maltese, Norwegian Bokmål, Low German, Dutch, Norwegian Nynorsk, Norwegian, South Ndebele, Pedi, Nyanja, Occitan (post 1500), Oromo, Ossetian, Polish, Portuguese, Romansh, Romanian, Russian, Yakut, Scots, Northern Sami, Selkup, sh, Shuswap, Slovak, Slovenian, Samoan, Southern Sami, Lule Sami, Inari Sami, Skolt Sami, Somali, Albanian, Serbian, Swati, Southern Sotho, Swedish, Swahili (macrolanguage), Tajik, Turkmen, Tagalog, Tswana, Tonga (Tonga Islands), Turkish, Tsonga, Tatar, Twi, Tuvinian, Ukrainian, Uzbek, Venda, Vietnamese, Volapük, Votic, Walloon, wen, Wolof, Xhosa, Yapese, Yoruba, Zulu, Akan, Aragonese, ber-dz, Crimean Tatar, Kashubian, Ewe, Fanti, Filipino, Upper Sorbian, Haitian, Herero, Javanese, Kabyle, Kuanyama, Kanuri, Kurdish-TURKEY, Kwambi, Ganda, Limburgan, Mongolian-MONGOLIA, Malay (macrolanguage), Nauru, Ndonga, Navajo, pap-an, Papiamento-ARUBA, Quechua, Rundi, Kinyarwanda, Sardinian, Sango, Shona, Sundanese, Tahitian, Zhuang.

    Non-Latin scrips include Noto Armenian, Noto Georgian, Noto Carian, Noto Greek, Noto Devanagari, Noto Ethiopic, Noto Glagolitic, Noto Hebrew, Noto Sans Imperial Aramaic, Noto Sans Lisu, Noto Sans Lycian, Noto Sans Lydian, Noto Sans Old South Arabian, Noto Sans Osmanya, Noto Sans Phoenician, Noto Sans Shavian, Noto Sans Tamil, Noto Sans Thai, Noto Serif Thai, Noto Sans Kannada, Noto Sana Telugu, Noto Sans Malayalam, Noto Sans Cherokee, Noto Sans Orya (for Odia), Noto Sans Bengali.

    Other typefaces in the package include Arima, , and Tinos.

    At CTAN, one can find Noto with full TeX support.

    At Open Font Library, one can download Noto Nastaliq Urdu (2014), which covers Arabic, Farsi, Pashto and Urdu.

    The fonts, as of October 2016: Noto Sans, Noto Serif, Noto Color Emoji, Noto Emoji, Noto Kufi Arabic, Noto Mono, Noto Naskh Arabic, Noto Nastaliq Urdu, Noto Sans Armenian, Noto Sans Avestan, Noto Sans Balinese, Noto Sans Bamum, Noto Sans Batak, Noto Sans Bengali, Noto Sans Brahmi, Noto Sans Buginese, Noto Sans Buhid, Noto Sans CJK JP, Noto Sans CJK KR, Noto Sans CJK SC, Noto Sans CJK TC, Noto Sans Canadian Aboriginal, Noto Sans Carian, Noto Sans Cham, Noto Sans Cherokee, Noto Sans Coptic, Noto Sans Cuneiform, Noto Sans Cypriot, Noto Sans Deseret, Noto Sans Devanagari, Noto Sans Egyptian Hieroglyphs, Noto Sans Ethiopic, Noto Sans Georgian, Noto Sans Glagolitic, Noto Sans Gothic, Noto Sans Gujarati, Noto Sans Gurmukhi, Noto Sans Hanunoo, Noto Sans Hebrew, Noto Sans HK, Noto Sans Imperial Aramaic, Noto Sans Inscriptional Pahlavi, Noto Sans Inscriptional Parthian, Noto Sans Javanese, Noto Sans Kaithi, Noto Sans Kannada, Noto Sans Kayah Li, Noto Sans Kharoshthi, Noto Sans Khmer, Noto Sans Lao, Noto Sans Lepcha, Noto Sans Limbu, Noto Sans Linear B, Noto Sans Lisu, Noto Sans Lycian, Noto Sans Lydian, Noto Sans Malayalam, Noto Sans Mandaic, Noto Sans Meetei Mayek, Noto Sans Mongolian, Noto Sans Myanmar, Noto Sans NKo, Noto Sans New Tai Lue, Noto Sans Ogham, Noto Sans Ol Chiki, Noto Sans Old Italic, Noto Sans Old Persian, Noto Sans Old South Arabian, Noto Sans Old Turkic, Noto Sans Oriya, Noto Sans Osmanya, Noto Sans Phags Pa, Noto Sans Phoenician, Noto Sans Rejang, Noto Sans Runic, Noto Sans Samaritan, Noto Sans Saurashtra, Noto Sans Shavian, Noto Sans Sinhala, Noto Sans Sundanese, Noto Sans Syloti Nagri, Noto Sans Symbols, Noto Sans Syriac Eastern, Noto Sans Syriac Estrangela, Noto Sans Syriac Western, Noto Sans Tagalog, Noto Sans Tagbanwa, Noto Sans Tai Le, Noto Sans Tai Tham, Noto Sans Tai Viet, Noto Sans Tamil, Noto Sans Telugu, Noto Sans Thaana, Noto Sans Thai, Noto Sans Tibetan, Noto Sans Tifinagh, Noto Sans Ugaritic, Noto Sans Vai, Noto Sans Yi, Noto Serif Armenian, Noto Serif Bengali, Noto Serif Devanagari, Noto Serif Georgian, Noto Serif Gujarati, Noto Serif Kannada, Noto Serif Khmer, Noto Serif Lao, Noto Serif Malayalam, Noto Serif Tamil, Noto Serif Telugu, Noto Serif Thai. Late additions include Noto Sans and Serif for Chinese, Japanese and Korean, developed at Adobe.

    In 2015, Adam Twardoch placed the Noto fonts on Github under the name Toto Fonts. A question of licenses. Toto Han fonts, 123MB worth of them. P>In 2018, Monotype published a fork of Noto Sans Display, called Avrile Sans (free at Open Font Library). See also Avrile Sans Condensed (2015) and Avrile Serif (2018).

    Github repositories. Open Font Library link. CTAN link. [Google] [More]  ⦿

    Nvard Iskajyan

    Armenian designer of the Armenian font Ins Gor (ca. 2013), which won an award at Granshan 2014. [Google] [More]  ⦿



    Pablo Saratxaga

    Pablo Saratxaga's archive with about 20 display fonts, and fonts for Vietnamese, Armenian, Georgian, Thai, Indic and dingbats. Just the Armenian subarchive has these fonts, mostly by Ruben Tarumian, dated 1994: ArTarumianAfrickian, ArTarumianAnpuit, ArTarumianBakhum, ArTarumianBarak-Bold, ArTarumianBarak, ArTarumianErevan, ArTarumianGovazd-Italic, ArTarumianGrig, ArTarumianGrqiNor-Bold-Italik, ArTarumianGrqiNor-Bold, ArTarumianGrqiNor-Italic, ArTarumianGrqiNor, ArTarumianHamagumar, ArTarumianHandes, ArTarumianHeghnar, ArTarumianIshxan, ArTarumianKamar, ArTarumianMHarvats, ArTarumianMatenagir-Bold-Italic, ArTarumianMatenagir-Bold, ArTarumianMatenagir-Italic, ArTarumianMatenagir, ArTarumianNorMatenagir, ArTarumianPastar, ArmNet-Helvetica. [Google] [More]  ⦿

    Paul James Miller
    [PJM Homebrew Fonts]

    [More]  ⦿

    Paul Meurer

    Designer at MacCampus of various Armenian fonts such as Mesrop (2010) and Sajat Nova Armenian (2010). [Google] [More]  ⦿

    Phil Chastney
    [Amadeus Information Systems]

    [More]  ⦿

    Piotr Grochowski
    [Type Design]

    [More]  ⦿

    PJM Homebrew Fonts
    [Paul James Miller]

    Sheffield, UK-based electronics engineer who works on CAD systems both mechanical and electrobic. An ardent supporter of the open source paradigm, he works for the NHS. Designer of these free fonts:

    • Balgruf (2020). A decorative typeface, inspired by the Skyrim game.
    • Daniel Jaques (2019). He writes: This is a free decorative display font for signage and advertising.
    • Cadman (2017-2018). An informal sans typeface designed for people with dyslexia that started out from SIL's Andika but was altered to include all the tips for legibility from the book Reading Letters by Sofie Beier. An outgrowth of Cadman is Bainsley.
    • Kelvinch (2013-2016). Miller's first font. A free modified version of Gentium Book Basic. The Greek alphabet was ripped from Gentium Plus and then heavily modified. See also Kelvinch Italic.
    • Munson (2017). A semi-Clarendon in four styles. He writes: There was a typeface by a company called Stephenson Blake Co. in Sheffield. This typeface was made around 1815 and was called Consort. It was a bracketed slab serif face with ball terminals where appropriate. I have obtained scanned documents and typeface samples from that era which depict the Consort typeface and I have attempted to re-create the look and style of that typeface in a modern font. I have photographs of an incomplete set of the Consort typeface, I have filled in the gaps and some of the characters in the Consort typeface were not to my liking so I have designed Munson according to my own aesthetic preferences and with a great deal of artistic license. There is also much of Clarendon in Munson. The Clarendon typeface was first made by Robert Besley in London in 1845 and is particularly well known. Munson is an amalgamation of all these influences, a sort of hybrid between the Consort and Clarendon with some of my own influence thrown in for good measure.
    • Typey McTypeface (2015). An adaptation of Dieter Steffmann's Chelsea (1995). He writes: A good font for Arctic sailors.
    • Bainsley (2020-2021). A sans leaning towards a serif, with supoort for Greek, Cyrillic and Armenian. It is free but the download button at Localfonts does not work.
    • Wigner's Friend (2021). A single style slab serif.

    Fontsquirrel link. Devian Tart link. Localfonts link. Wordpress link. Fontsquirrel link. [Google] [More]  ⦿

    Pomegranate Fonts
    [Carolyn Puzzovio]

    Pomegranate fonts is a joint venture between Edik Ghabuzyyan (Yerevan, Armenia) and Carolyn Puzzovio (b. Yorkshire, UK), intended to produce a number of Armenian / Latin typefaces. Carolyn is a lecturer at the University of Lincoln, UK, and a practising graphic designer. At AtypI 2005 in Helsinki, she spoke on Mesrob & Yacob: The story of the Armenian alphabet. In 2007, she created an Armenian font, Lagoon, which was based on a Venetian model from 1810. She won an award for Armenian type design at Granshan 2008. Since then, she is a regular member of the Granshan competition jury. Part of her research has been to trace the forms of Armenian types cut by the renaissance and later punchcutters in Europe. Carolyn plans to design further OpenType typefaces which feature both Latin and Armenian glyphs and are inspired by historical models. At ATypI 2010 in Dublin, she spoke about Armenian typography.

    The font list at Pomegranate as of 2010: Lagoon, Davit, Avandakan, Brayford, Hayk, Kantegh, Khoragir, Vosdekar, Tigran. [Google] [MyFonts] [More]  ⦿

    Production First Software
    [John M. Fiscella]

    Production First Software offers edriginal, revival and historic designs and specializing in non-latin scripts including Armenian, Cyrillic, Greek, Hebrew, Thai, mathematical symbols and pi characters. It is run by John M. Fiscella in San Francisco since 1990, with most typefaces created immediately after that. John M. Fiscella designed the fonts for symbols and many of the alphabetic scripts for the unicode charts and all typefaces complky with unicode standards.

    List of typefaces: BernalPF, Blck2LineGothicPF Logo, Blck3LineGothicPF Logo, Blck4LineGothicPF Logo, CourPF, CourPF Bold, CourPF BoldOblique, CourPF Oblique, EdwardianMansePFTitling, EriePF, EuroPF-Bold, EuroPF-BoldOblique, FiftiesPopPF, GrandVictorianPFTitling, HlvPF Bold, HlvPF BoldOblique, HlvPF Medium, HlvPF Oblique, ItalianatePF, ItalianateMulticolor1PF, ItalianateMulticolor2PF, ItalianateMulticolor3PF, ItalianateSansPF, LafayettePF, LosPFBold, MisionPFAntique, MisionPFBold, MisionPFBook, MisionPFBookMetal, MisionPFLight, MisionPFTitling, PalouPFTitling, PiazzaPFScript, RadioPF, RadioCityPF, SymbolPF Bold, SymbolPF BoldItalic, SymbolPF Italic, TexMexPF, TmsPF Bold, TmsPF BoldItalic, TmsPF Cursive, TmsPF Italic, TmsPF Rom +, TmsMathPF Cursive, TmsHebWidePF Rom, UnvPF Bold, UnvPF BoldOblique, UnvPF Oblique, UnvPF Medium, UviewPF Bold, UviewPF BoldOblique, UviewPF Oblique, UviewPF Medium, ZenonPFTitling. [Google] [MyFonts] [More]  ⦿

    [Ben Jones]

    Ben Jones (b. 1980, Buckinhamshire, UK) was a student of typography and graphic communication in Reading (2000-2004). He got his Masters in Typeface Design from the University of Reading in 2011. MyFonts link for Protimient.

    His typefaces:

    • Billingsley (2005, Protimient: a script based mainly on a writing specimen of the penman Martin Billingsley, originally published in 1618).
    • Buxus (2005, T26: a shaded display family).
    • Cale (2004).
    • Caligne (2004), Caligne Sans (2004).
    • Clarence (2007) is a sturdy 2-style serif family.
    • Eksja (2009) is a humanist slab serif family which to me feels a lot like a sans family---the slabs added as an afterthought.
    • Emrys (2011) is his graduation typeface at Reading: Emrys is a modulated sans typeface for scripts including Latin, Greek, Armenian, Arabic and Cyrillic. Emrys won Third Prize at Granshan 2011. Emrys morphed into Amrys, which was published in 2019 by Monotype.
    • Gilibert (2005, T-26, a decorative didone face).
    • Greenwood (2006, Protimient: a monospaced, cursive typewriter script, based on a typewritten letter from a Mr J. G. Greenwood Esq. to a branch of the National Westminster bank in Oxfordshire, Great Britain, dated 6th June 1904).
    • Joanna Nova (2015, Monotype). A great 18-font update of Gill's original slab serif, Joanna. There is coverage now of Greek and Cyrillic.
    • Lightbox (2004, Protimient). A legible monoline sans family. See also the different later design Lightbox 21 (2021: an 18-style rather pure geometric sans family that runs the range from hairline to very black).
    • ModernModern (2004, Protimient: a squarish didone).
    • Nosta (2006, a nice modern text family).
    • NotanuthaSerif1 (2005, text face; see also here).
    • Pasquinade (2005, blackletter).
    • Stobart (2006) is a script font based on the characters written in a letter by Henry Stobart, dated 1899. It is an Opentype handwriting typeface with 1200 glyphs with heavy character substitution.
    • Travis (2005, Protimient: a legible sans family).

    View Ben Jones's typefaces. [Google] [MyFonts] [More]  ⦿

    Raffi Kojian

    [More]  ⦿

    Roberto Teixeira
    [Di Barros]

    [MyFonts] [More]  ⦿

    Ruben Malayan

    Armenian type designer. [Google] [More]  ⦿

    Ruben Tarumian

    Ruben Tarumian, aka Ruben Hakobyan (b. 1963, Yerevan), is an Armenian architect and font designer, and son of architect Khachatur Hakobyan. In 1985 he graduated from the Faculty of Architecture and Construction of Yerevan Polytechnical Institute. He started designing typefaces in 1986. In 1989 he created one of the first computer fonts in Armenia, for Xerox Ventura Publishers. Since 2006 he is the chairman of NGO "Association of Type Designers".

    His typefaces include ArTarumianAnpuit (Rage Italic extension, I guess), ArTarumianBakhum, ArTarumianBarak (really BernhardFashionBT), ArTarumianErevan, ArTarumianGovazdItalic, ArTarumianGrig, ArTarumianHamagumar, ArTarumianKamar, ArTarumianPastar, ArTarumianAfrickian, ArTarumianAnpuit, ArTarumianGrqiNor, ArTarumianGrqiNorBold, ArTarumianGrqiNorBoldItalik, ArTarumianGrqiNorItalic, ArTarumianHeghnar, ArTarumianMHarvats, ArTarumian Ishkhan (for Latin and Cyrillic), ArTarumianMatenagir, ArTarumianMatenagirBold, ArTarumianMatenagirBoldItalic, ArTarumianMatenagirItalic, ArTarumianNorMatenagir. These fonts from 1994-1995 are Armenian generalizations of Latin fonts. Arian was created in 2007.

    In 2019, he published ArTarumianKhachatur (a fantastic architectural drafting or blueprint font) and ArTarumianVard (a lapidary or stone-carving font).

    Typefaces from 2020: Ar Tarumian Behrens Initialen (a revival of the art nouveau typeface Behrens Initialen by Peter Behrens; for latin, Cyrillic and Armenian), ArTarumianGrigNor (a comic book font). [Google] [MyFonts] [More]  ⦿

    Saint Mesrob Mashtots

    Armenian cleric (361-440) who devised the 38-character Armenian alphabet in 405 AD. It is a phonetic alphabet that was adopted in 406 AD by an edict of the Armenian King. Mashtots used various scripts as models, including Greek, Syriac, and Aramaic. Most letters have remained unchanged since then. [Google] [More]  ⦿

    Sam Stepanyan

    Sam Stepanyan created a set of Armenian sans serif glyphs visually compatible with Helvetica or Arial. He contributed the Armenian range (U+0530-U+058F) to the GNU Freefont project. [Google] [More]  ⦿

    Samvel Nazaryan

    Yerevan, Armenia-based designer of the well-integrated Latin / Cyrillic / Armenian typeface family AYB (2017). Behance link. [Google] [More]  ⦿

    Sebastian Kempgen

    [More]  ⦿

    Serguei Dachian

    Developer in 1999 of an Armenian font package for TEX and Armenian metafonts. Co-developers: A. Dalalyan and V. Hakobian. The "artmr" metafont family was converted from the TrueType font family "ArTarumianTimes" made by Ruben Hakobian. The sans serif "arssr" metafont family was converted from the PostScript font "Sassoun", which was originally created and released as "Sassoun" (1994) by Raffi Kojian. Yet another source. [Google] [More]  ⦿

    Serguei Dachian
    [Armenian metafont]

    [More]  ⦿

    Sevag B. Martouni

    [More]  ⦿

    Shogh Zakaryan

    Armenian graphic designer. In 2019, he designed the Armenian typeface ZSHA. [Google] [More]  ⦿

    Siranish Hovsepyan

    Yerevan, Armenia-based designer of an Armenian typeface (2013). [Google] [More]  ⦿

    Southern Software Inc. (SSi)

    In the late 1990s, SSi used to sell foreign fonts for Arabic, Urdu, Greek, Hebrew, Armenian, Baltic, Burmese, Cherokee, Cyrillic, Cree, Simplified Chinese, Ethiopian, Inuktitut, Gaelic, IPA, Japanese, Korean, Laotian, Mayan. Farsi, Punjabi, Sanskrit, Syriac, South Arabian, Tamil, Thai, Tibetan, Turkish, Ugaritic, and Vietnamese. Plus musical dingbats. Of course, they did not make a single of these fonts themselves. [Google] [More]  ⦿

    Stepan Roh
    [DejaVu Fonts]

    [More]  ⦿

    Steve White
    [GNU Freefont (or: Free UCS Outline Fonts)]

    [More]  ⦿

    Studio Sun (or: Sun Brand Co)
    [Cahya Sofyan]

    During her studies in Bandung, Indonesia, Bali-based Cahya Sogyan (b. 1994) created the free rounded sans typeface Synthesia (2014), the free sans typeface New Dawn (2015), and the free techno / futuristic typeface Cosmonaut (2015), with accompanying drop caps.

    In 2016, she co-founded Spencer and Sons with Gilang Purnama Jaya. In 2017, she started Studio Sun in Denpasar, Bali.

    In 2016, Cahyan published June of Fortune, the free hipster typeface family Soda Popp and writes: The new typeface called Soda Popp is inspired by pop-culture, vaporwave music, and seapunk that emerged in the early 2010s among Internet communities. It is characterized by a nostalgic fascination with retro cultural aesthetics, typically of the 1980s, 1990s, and early-mid 2000s.

    Typefaces from 2017 at Spencer and Sons: S&S Nickson (a copperplate display font including eight font styles and seven dingbat fonts).

    In 2018, she published the retro auto racing font Intensa, the extended sans typeface Matrice, and the free flared poster typeface Florent.

    Typefaces from 2019: Alathena (a decorative Victorian and Arts & Crafts typeface family), Rustob Club (a variable font), Tropiline, Matahari Sans (a large family that includes Matahari Sans Mono).

    Typefaces from 2020: Rachee (a 6-style renaissance text font), Klose Slab (an ultra-fat variable font), Gulfs Display (a 6-width ultra bold cartoon font family), Gliker (an extraordinary comic book font family; a new take on the Hobo typeface), Radiate Sans (40 styles), Balgin (a large display family that celebrates the 1990s), Brice Pop (a sixties display style; with Syarif Hafidh).

    Typefaces from 2021: Bethari (a 6-style art deco typeface, including a blackboard bold outline style).

    Typefaces from 2022: Fragmatika (a 9-style a geometric sans serif typeface with support for Latin, Cyrillic, Greek, Arabic, Armenian, Georgian, Hebrew and Thai). [Google] [MyFonts] [More]  ⦿


    Sun-ExtA and Sun-ExtB are two full free Unicode fonts, covering everything under the sun. Inside, we find information that these fonts were made by Beijing ZhongYi Electronics Co. [Google] [More]  ⦿

    Susanna Nadaryan

    Armenian type designer. [Google] [More]  ⦿

    Svetlana Petrosyan

    At American University of Armenia in Yerevan, Armenia, Svetlana Petrosyan designed the Harry Potter font 1997 Potteric (2015). [Google] [More]  ⦿

    Systema 81
    [Mitiya Masuda]

    Systema 21 is a free Unicode sans font for European languages, Japanese, Armenian and Cyrillic, made on the basis of Konatu by Mitiya Musuda for the M+ Project. [Google] [More]  ⦿

    Syuzi Grigoryan

    Armenian type designer. Her typeface SGH Sepftar won an award at Granshan 2017. [Google] [More]  ⦿

    Syuzi Hakobyan

    Armenian type designer. She won an award at Granshan 2016 for SHK An (Armenian category). [Google] [More]  ⦿

    Tania Andriasian

    Sydney, Australia-based designer of the deco typeface Hye Horizon (2015) that takes clues from Armenian. [Google] [More]  ⦿

    Tatevik Aghababyan

    [More]  ⦿

    [Tatevik Aghababyan]

    Tatevik Aghababyan is an Armenian designer who lives and works in Frankfurt, where she is the main person at the studio Tatssachen. She designed these typefaces: Fedra Sans Armenian (with Peter Bilak; Third Prize at Granshan 2010 for Armenian text types), Elien (an experiental modular family), Glueziffer (2010; a Treefrog-style scratchy hand family), Arpi (2007; sans Armenian unicode face). Elien (2009, 26plus) is a monospace typeface inspired by bike chains and dot matrix ideas. [Google] [More]  ⦿

    The Mashtots Project

    Run by Hagop Gulludjian, this project/site offers free Armenian fonts for Mac, PC and UNIX: 23 typefaces by Ruben Tarumian (Anpuit, Bakhum, Barak, Erevan, Africkian, Govazd, Grig, Grqi Nor, Hamagumar, Harvats, heghnar, Nor Matenagir, Ishxan, Kamar, Matenagir, Pastar), Pavel Dallakian's fonts (Dallak Times and Helvetica), ArmNetCourier, ArmHelvetica, Sovorakan by A.&P.Topouzkhanian, converted by A. Asatoo, Arackel Ketchian's fonts (Hay Times and Helvetica), Mkrtich Karapetian's fonts (Ani, Courier, GoudyArm, Helv and Barz), Times Armenian and Arial Armenian by Monotype. Direct access. [Google] [More]  ⦿

    The MicroFoundry
    [Hrant H. Papazian]

    From the Center for Digital Innovation at UCLA, Hrant Papazian designs and works with type, and is a specialist of Armenian. He has even done multiple master fonts for Armenian. Born in 1968 in Beirut, Hrant specializes in Armenian fonts and legibility issues in general. Designer of Linotype Maral. Founder of The Microfoundry, where he practices type design for Latin, Arabic, Cyrillic, Hebrew, Armenian and Georgian. The company is located in Glendale, CA. Latin typefaces: Harrier, TMF Daam (with sub-version Domination, Brutaal and Cristaal, all useful as dungeon typefaces), TMF Paphos, TMF Patria (serif). Armernian fonts: Linotype Maral, TMF Arasan (see here for a download), TMF Roupen. Georgian: TMF Akhalkalak. Other fonts: Brutaal, Cristaal, Trajic NotRoman (unpublished, a destructured version of Trajan, submitted to and rejected by Emigre), and DominationAvailable. In 2004, he joined Ultra Pixel Fonts, where he made the pixel typeface Mana. An entertaining speaker and all-round type boulevardier, he will be remembered for many of his insightful and entertaining quotes. He invented the word Helvomita, and once replied this to a poster: I will now Fartura in your general direction. Bio at MyFonts.com. Bio at Linotype. Bio at ATypI. Interview by Daidala. He won an award at Granshan 2008. Speaker at ATypI 2009 in Mexico City. FontShop link. Speaker at ATypI 2010 in Dublin. [Google] [MyFonts] [More]  ⦿

    Thomas T. Pedersen
    [Transliteration of Non-Roman Alphabets]

    [More]  ⦿

    Tigran Artenyan

    Yerevan, Armenia-based designer of a squarish outlined Armenian typeface in 2016. [Google] [More]  ⦿

    [Tzu-yuan "Erik" Yin]

    Erik Yin (b. 1988) lives in Kaohsiung City, Taiwan. Creator of the gridded rhombic typeface Prism (2013) and the sans headline typeface ERKN (2013). ERKN covers Latin, Greek, Cyrillic, Hebrew, Armenian and Georgian. In 2014, he created the Latin typeface Coward. In 2015, he created the free thin sans typeface Jonah.

    In 2018, he addded the calligraphic oriental emulation font Goalthink and the modular typeface CubeFarm Latin (to accompany his Chinese font CubeFarm).

    Typefaces from 2019: Typori (a rounded sans).

    Dafont link. Behance link. Home page. [Google] [More]  ⦿

    Tomas Kindahl

    Aka Rursus, this Swedish viking calls himself a nerd and a cyber vagabond---exactly my kind of guy! Designer of the slab typewriter font for Latin and Cyrillic called Rursus Compact Mono (2007-2010), an Open Font Library font that covers everything under the sun: Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, IPA Extensions, Spacing Modifier Letters, Combining Diacritical Marks, Greek and Coptic, Cyrillic, Cyrillic Supplement, Armenian, Arabic, Runic, Phonetic Extensions, Phonetic Extensions Supplement, Latin Extended Additional, Greek Extended, General Punctuation, Superscripts and Subscripts, Currency Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Optical Character Recognition, Enclosed Alphanumerics, Geometric Shapes, Miscellaneous Symbols, Miscellaneous Mathematical Symbols-A, Latin Extended-C, Lycian, Carian, Old Italic, Gothic, Phoenician. [Google] [More]  ⦿

    Transliteration of Non-Roman Alphabets
    [Thomas T. Pedersen]

    From Copenhagen and Estonia, Thomas T. Pedersen's page on non-Roman alphabets. He specializes in all kinds of Cyrillic alphabets, such as Abaza, Abkhaz, Adyghe, Altay, Arabic, Armenian, Avar, Azerbaijani, Bashkir, Belarusian (Belorussian), Bulgarian, Buryat, Chechen, Chukchi, Chuvash, Crimean Tatar, Dargwa (Dargin), Dungan, Erzya Mordvin (Mordva), Eskimo - Yupik, Even, Evenki, Gagauz, Georgian, Greek, Hindi, Marathi, Nepali, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Khakass, Khanty, Kirghiz, Komi (Komi Zyryan), Komi-Permyak, Koryak, Kumyk, Lakh, Lezgian (Lezgin), Macedonian, Mansi, Mari: Hill Mari, Meadow Mari, Moksha Mordvin (Mordva), Moldovan (Moldavian), Nanai, Nenets, Nivkh, Nogay (Noghay), Ossetian (Ossetic), Ottoman Turkish, Russian, Rusyn (Lemko&Vojvodinian), Selkup, Serbian, Tabasaran, Tajik, Talysh, Tatar, Turkmen, Tuvinian, Udmurt, Ukrainian, Uzbek, Yakut, Yiddish. [Google] [More]  ⦿

    Type Design
    [Piotr Grochowski]

    Type Design is the web home of Polish designer Piotr Grochowski, aka Groszak. His typefaces:

    • At FontStruct, where he is no longer active, he made several LED typefaces in 2013: Digital Display, Real 7 seg, 7 Seggggg, 7 Seg Hardness, 16 Segment, Calcula Improved, Verdana and Arial (sic). He also made tens of pixel typefaces such as 12 seg, 4x4 Pixel, 5x5 Pixel, 3x4 Pixel, and Helvetica (sic).
    • The decorative font Apostle Fix (2013).
    • DMCA Sans Serif (2020). Monospaced, similar to and metric-compatible with Microsoft Consolas. Its 3309 glyphs include Latin, mathematics, Greek, Cyrillic, Hebrew, Armenian, Thai and Arabic.
    • Custom Font ttf (2020). Custom Font is a set of two bitmap font designs (6-12 and 8-16). Version 3.0 contains 2823 characters.
    • Riglos Mono (2020: a monospaced font based on Riglos), TD bitmaps (2020), Kikos (2020: a pixel font), Fifaks (2008-2020: a 20,000+ glyph bitmap font set based on Fairfax).

    In addition, Piotr developed a font renderer called TD Renderer. [Google] [More]  ⦿

    [Sevag B. Martouni]

    Type blog by Sevag B. Martouni. [Google] [More]  ⦿

    Tzu-yuan "Erik" Yin

    [More]  ⦿

    Umbreon 126

    Tamagotchi, or Umbreon 126, made several fonts with the aid of FontStruct in 2012 and 2013. These include pixel typefaces (FS Rebellion, FS Rept, FS Comic Mono, FS Flower Shop, FS 126 Serif), but also truly large workhorse typefaces. For example, FS 126 Sans (a pixel sans face) has 4871 characters and covers Nko, Lisu, Armenian, Tai Le, Ogham, Thaana, Georgian, Coptic, Kayah Li, Tifinagh, Samaritan, and Lao. The 3114 glyph pixel typeface FS Semioriginal covers Hiragana, Katakana, Arabic, Armenian, Hebrew, Bopomofo, Georgian, Greek, and Cyrillic. The 2000+ glyph pixel typeface FS Unoriginal covers Hiragana, Katakana, Arabic, Armenian, Hebrew, Bopomofo and Tifinagh. Other typefaces include FS Fat Piano, FS Typ Stencil (piano key face), FS Frakletter (blackletter) and FS Stupid Me (white on black typeface). [Google] [More]  ⦿

    UNESCO Kazakhstan

    Type 1 and truetype fonts for Armenian by Ruben Tarumian: ArialArmenGarBold, ArialArmenGarItalic, ArialArmenGar, ArmoldGar, ArTarGrqiNorGarBold, ArTarGrqiNorGarItalic, ArTarGrqiNorGar, ArTarumianMatenagirGarBold, ArTarumianMatenagirGarItalic, ArTarumianMatenagirGar, ArTarumianTimesGarBold, ArTarumianTimesGarItalic, ArTarumianTimesGar. And the Cyrillic fonts by Garkavets (2000): BookmanUrumBold, BookmanUrumItalic, BookmanUrum. Plus QypchakDiacriticBoldItalic (has characters and ligatures, used in "Codex Cumanicus" and Qypchaq written monuments XIII-XIV centuries, also made by Garkavets, 2000), QypchakDiacriticBold, QypchakDiacriticItalic, QypchakDiacritic. From ParaGraph, the Cyrillic fonts SchoolBookAC-Regular, SchoolBookAC-Italic, SchoolBookAC-Bold, SchoolBookAC-BoldItalic. From Garkavets, the Cyrillic fonts TimesUrumNewBold, TimesUrumNewBold-Italic, TimesUrumNewItalic, TimesUrumNewNormal. By Ralph Hancock, the Greek font VusillusOldFaceItalic. And finally, from Adobe, the Turkish fonts TmsRoman, TmsRomanBold, TmsRomanBoldItalic, TmsRomanItalic. Direct access. [Google] [More]  ⦿

    Unicode Fonts for Ancient Scripts
    [George Douros]

    This is a fantastic source of free high-quality fonts for scripts of the greater Aegean vicinity, Egyptian Hieroglyphs, Meroitic, Sumero-Akkadian Cuneiform, Musical Symbols and all Symbol Blocks in the Unicode Standard. George Douros is their Greek font designer. His free fonts come with this exemplary footnote: In lieu of a licence: Fonts in this site are offered free for any use; they may be opened, edited, modified, regenerated, posted, packaged and redistributed. Many of his fonts contributed to important section in the GNU Freefont project. Here is the list:

    • Abidos (2018). An attempt to catalogue about 8000 Egyptian hieroglyps. His Nilus font (2018) catalogues the Gardiner hieroglyphs.
    • Aegean (2007-2012). Covers Basic Latin, Greek and Coptic, Greek Extended, some Punctuation and other Symbols, Linear B Syllabary, Linear B Ideograms, Aegean Numbers, Ancient Greek Numbers, Ancient Symbols, Phaistos Disc, Lycian, Carian, Old Italic, Ugaritic, Old Persian, Cypriot Syllabary, Phoenician, Lydian, Archaic Greek Musical Notation. Other things in it: Linear A, Cretan Hieroglyphs, Cypro-Minoan, Ancient Greek Alphabets, Phrygian, Old Italic Alphabets (Cumaean, Archaic Etruscan, Neo Etruscan, Ancient Latin, Lugano, Faliscan, Marsiliana, Messapic, Middle Adriatic South Picene, North Picene, Oscan, Umbrian), the Arkalochori Axe and Anatolian Hieroglyphs.
    • Aegyptus (2007-2020) and Gardiner. Over 7000 hieroglyphs. In addition, we have Basic Latin, Greek and Coptic, Egyptian Transliteration characters, some punctuation and other symbols.
    • Akkadian (2007). Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Ugaritic, Cuneiform, Cuneiform Numbers and Punctuation.
    • Alexander (2007, text typeface built around the Greek letters originally designed by Alexander Wilson in 1744; compare with Wilson Greek (1996, Matthew Carter) and Junicode (2006, Peter S. Baker)). The Latin and Cyrillic parts are based on Garamond.
    • Alfios. Lowercase upright Greek were designed in 1805 by Firmin Didot (1764-1836) and cut by Walfard and Vibert. The typeface, together with a complete printing house, was donated in 1821 to the new Greek state by Didot's son, Ambroise Firmin Didot (1790-1876). Lowercase italic Greek were designed in 1802 by Richard Porson (1757-1808) and cut by Richard Austin. They were first used by Cambridge University Press in 1810. Capitals, Latin and Cyrillic, as well as the complete bold weights, have been designed in an attempt to create a well-balanced font. The font covers the Windows Glyph List, Greek Extended, various typographic extras and some Open Type features (Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures); it is available in regular, italic, bold and bold italic.
    • Anaktoria. Douros: Grecs du roi was designed by Claude Garamond (1480-1561) between 1541 and 1544, commissioned by king Francis I of France, for the exclusive use by the Imprimerie Nationale in Paris. Greek in Akaktoria is based on a modern version of Grecs du roi prepared by Mindaugas Strockis in 2001. Lowercase Latin stems from the titles in the 1623 First Folio Edition of Shakespeare. Scott Mann & Peter Guither prepared a modern version for The Illinois Shakespeare Festival in 1995. Cyrillic has been designed to match the above Greek and Latin.
    • Analecta (2007, Byzantine style). An ecclesiastic scripts font, in Byzantine uncial style, covering Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Coptic, typographica varia, Specials, Gothic and Deseret.
    • Anatolian
    • Aroania: In 1927, Victor Julius Scholderer (1880-1971), on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. Aroania is a modern recast of Victor Scholderer's New Hellenic font, on the basis of Verdana.
    • Asea (2020, Latin-Greek-Cyrillic). A modern font based on Firmin Didot's Greek type.
    • Assyrian.
    • Atavyros. Douros writes: Robert Granjon (1513-1589) produced his Parangonne Greque typeface (garmond size) at the instigation of Christophe Plantin as a counterpart to Garamond's Grec du roi, in Antwerp Holland, between 1560--1565. It was used in Plantin's multilingual Bible of 1572. Versions of Granjon's type were used for the 1692 edition of Diogenes Laertius and for the Greek-Dutch edition of the New Testament in 1698, both published by Henric Wetstenium in Amsterdam. A digital revival was prepared by Ralph P. Hancock for his Vusillus font in 1999. Latin and Cyrillic are based on a Goudy typeface.
    • Avdira. Douros: Upright is based on the lowercase Greek letters in the typeface used by Demetrios Damilas for the edition of Isocrates, published in Milan in 1493. A digital revival was prepared by Ralph P. Hancock for his Milan (Mediolanum) font in 2000. Italic Greek were designed in 1802 by Richard Porson (1757-1808) and cut by Richard Austin. They were first used by Cambridge University Press in 1810.
    • Maya. Maya covers the glyphs in J. Eric S. Thompson's A Catalog of Maya Hieroglyphs (1962, University of Oklahoma Press).
    • MusicalSymbols (2007) or Musica (2013). Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Byzantine Musical Symbols, (Western) Musical Symbols, Archaic Greek Musical Notation. There is also the Greek musical notation font EE Music (2018) for Hellenic ecclesiastic music.
    • UnicodeSymbols (2007, in the Computer Modern style) and UniDings (2013). It has every imaginable symbol: Basic Latin, Latin-1 Supplement, Latin Extended-A, IPA Extensions, Greek, Cyrillic, Cyrillic Supplementary, General Punctuation, Superscripts and Subscripts, Combining Diacritical Marks for Symbols, Letterlike Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Control Pictures, Optical Character Recognition, Box Drawing, Block Elements, Geometric Shapes, Miscellaneous Symbols, Dingbats, Miscellaneous Mathematical Symbols-A, Supplemental Arrows-A, Supplemental Arrows-B, Miscellaneous Mathematical Symbols-B, Supplemental Mathematical Operators, Miscellaneous Symbols and Arrows, CJK Symbols and Punctuation, Yijing Hexagram Symbols, Vertical Forms, Combining Half Marks, CJK Compatibility Forms, Specials, Tai Xuan Jing Symbols, Counting Rod Numerals, Mathematical Alphanumeric Symbols, Mahjong Tile Symbols, Domino Tile Symbols.
    • Symbola (2013) is an unbelievably rich font. It contains Basic Latin, IPA Extensions, Spacing Modifier Letters, Combining Diacritical Marks, Greek and Coptic, Cyrillic, Cyrillic Supplement, General Punctuation, Superscripts and Subscripts, Currency Symbols, Combining Diacritical Marks for Symbols, Letterlike Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Control Pictures, Optical Character Recognition, Box Drawing, Block Elements, Geometric Shapes, Miscellaneous Symbols, Dingbats, Miscellaneous Mathematical Symbols-A, Supplemental Arrows-A, Braille Patterns, Supplemental Arrows-B, Miscellaneous Mathematical Symbols-B, Supplemental Mathematical Operators, Miscellaneous Symbols and Arrows, Supplemental Punctuation, Yijing Hexagram Symbols, Combining Half Marks, Specials, Byzantine Musical Symbols, Musical Symbols, Ancient Greek Musical Notation, Tai Xuan Jing Symbols, Counting Rod Numerals, Mathematical Alphanumeric Symbols, Mahjong Tiles, Domino Tiles, Playing Cards, Miscellaneous Symbols And Pictographs, Emoticons, Ornamental Dingbats, Transport And Map Symbols, Alchemical Symbols, Geometric Shapes Extended, Supplemental Arrows, and Symbols of occasional mathematical interest. It is one of a hanful fonts that dares to have a glyph that shows the middle finger. Github link for free download. see also Symbola Goomoji (2013).
    • Unidings. Various glyphs and icons.

    Since George permits redistribution, I am offering his work for download here. [Google] [More]  ⦿

    URW Nimbus Sans Global

    Between 2005 and 2020, URW developed first URW Nimbus Sans---their take on max Miedinger's Helvetica---and later URW Nimbus Sans Global that covers all major scripts: Latin, Greek, Cyrillic, Hebrew, Arabic (+Pashtu, +Urdu), Chinese, Japanese, Korean, and Armenian. Each of the seven styles has 65,000 glyphs and costs 2320 Euros (about 2500 dollars) per style. [Google] [More]  ⦿

    Vahagn Minassian

    Graphic designer in Yerevan, Armenia, who created the Latin / Armenian sans typeface AVM Vahagn in 2020. [Google] [More]  ⦿

    Vahagn Minasyan

    Armenian type designer. His typeface Avm Vahagn won an award at Granshan 2017. [Google] [More]  ⦿

    Vahan Tonelyan

    Yerevan, Armenia-based designer of Porsche Armenian (2016). [Google] [More]  ⦿

    Vardan Shahbazyan

    Art director in Yerevan, Armenia, who created an experimental Armenian alphabet in 2017. [Google] [More]  ⦿

    Vardan Zakaryan

    Armenian designer of the VAZ Tatevik typeface, which won an award at Granshan 2014. [Google] [More]  ⦿

    Varduhi Harutyunyan

    Yerevan, Armenia-based designer of the cutting knife typeface Hrat (2018) and the outlined typeface Yerkatagir (2018). [Google] [More]  ⦿

    Vasil Stanev
    [VSF (or: Vasil Stanev Foundry)]

    [MyFonts] [More]  ⦿

    Veronika Hovhannisyan

    Yerevan, Armenia-based designer of a calligraphic display typeface for Latin in 2015. [Google] [More]  ⦿

    Viktor Kharyk

    Ukrainian designer, b. Kiev, 1957. Graduate of the Senior College for Print and Design in Kiev in 1982. Viktor became art director at Sphera in Kiev. Main type designer at Düsseldorf-based company Unique GmbH since 1998. In 2012, he cofounded Apostrof with Konstantin Golovchenko. He designs Armenian, Greek, Georgian, Devanagari, Hebrew, Cyrillic and Arabic fonts, and is particularly interested in revivals of ancient, forgotten, or historically important typefaces and writing systems. His work:

    • At Elsner and Flake, he published EF Bilibin (2004, uncial), EF Abetka (2004), EF Gandalf (2004, uncial), Bilbo (2004-2008, an uncial family), Kiev EF (2002), Lanzug EF (2002, letters as zippers), Rose Deco EF (2001), EF Elf (2002, imitating Tolkien's writing), EF Deco Uni (2001-2004), EF Deco Akt Light (2001-2004), EF Fairy Tale (2003-2008, caps face), EF Varbure (2004, an experimental family), Rose Garden EF (2001, initial caps ornamented with roses; the text is uncial), and Viktors Raven EF (a spectacular caps font with letters made out of a raven).
    • At MasterFont: Abetka MF (1999, with Alexeev), Kiev MF (1976-2003), and Netta MF (1999, text family). These fonts have Latin and Hebrew components.
    • At Paratype, he published Uni Opt (2007, Op Art letters based on free brush technique similar to experimental lettering of the early decades of the 20th century; for instance to Graficheskaya Azbuka (Graphic ABC) by Peter Miturich and works by Victor Vasareli), Joker (1978, a subtractive font---since 2000, also in Cyrillic, Latin, Hebrew, Greek, Georgian, Armenian and Arabic), Blooming Meadow (2007, flowery ornaments), Bogdan Rejestrowy and Bogdan Siczowy (2006, based on Ukrainian Skoropis (fast handwriting) of the 16th and 17th centuries, and named after Ukrainian Getman Bogdan Khmelnitsky. The character set contains Cyrillic, Old Slavonic, Glagolitic, Latin and Greek alphabets), Lidia (2006, a lined engraving typeface based on a 1967 font by Iraida Chepil for Polygraphmash).
    • At 2D Typo: Florentin 2D (2011, angular family), New Hotinok 2D (2010, with Henadij Zarechnijuk).
    • Other work: Simeon 2D (2011, 2D Typo), some fonts at Face Typesetting (1970s), Getto (1970s), White Raven (2002), Handwritten Poluustav Ioan Cyrillic (1999-2001), Letopis (1983), New Zelek (1980s), UniAkt (2001, based on Unifont, an erotic caps face, done with Natalia Makievska).
    • Free fonts at Google Web Fonts, published via Cyreal: Iceberg (2012, octagonal).
    • Cyrillizations by Viktor Kharyk: Data 70 (1976; original from 1970 by R. Newman), ITC American Typewriter, Bullion Shadow (1984; of the shadow font Bullion Shadow (1978; original from 1970 by Face Photosetting), Calypso (1984; of Excoffon's 1958 original), Lazybones (1980s; of a 1972 Letraset font with the same name), Glagolitic (1983, Elvira Slysh, digitized in 2003), Augustea (1947, Allessandro Butti), Stencil (after a 1938 typeface by R.H. Middleton called Stencil), Columna (1980s; after Max Caflisch's original from 1955), Sistina (1951, Hermann Zapf), Weiss Kapitale (1935, Emil Rudolf Weiss), Vivaldi (1965, Friedrich Peter), ITC Tiffany (1974, Ed Benguiat, digitized in 1995), ITC Bookman Herb Lubalin (1974, digitized in 1980s), Berthold Cyrillic Helvetica Cyrillic (1980), Churchward Galaxy (1970s, J. Churchward, digitized in 1980s), Olive Bold Condensed (1980s, original of Roger Excoffon in 1962-1966), Motter Ombra (1980, original by O. Motter in 1975), Sinaloa (1981, original by Odermatt and Tissi in 1972), Serif Gothic (1990, original by Herb Lubalin and Tony DiSpigna in 1974), Dynamo (1980s, original of K. Sommer in 1930), EF Gimli and EF Gloin (2004-2010, mediaeval typefaces done at Elsner&Flake together with Marina Belotserkovskaja).
    • Other typefaces: Lili (multilined), Rutenia (by Henadij Zarechjuk and Viktor Kharyk, as part of Vasyl Chebanyk's Ukrainian Alphabet project).

    At TypeArt 01, he won first prize with Varbur Grotesque (1999-2001, with Natalia Makeyeva), third prize with Joker (1970-2000), and honorable mention with Abetka. At TypeArt 05, he received awards for UniOpt (2002, Kafkaeqsue Op Art display style) and Blooming Meadow (dingbats). In 2009, his 2006 digitization of Anatoly Shchukin's 1968 typeface Ladoga (+Text, +Display, +Ladoga Armenian) won an award at Paratype K2009.

    In 2016, Henadij Zarechnjuk and Viktor Kharyk designed Dnipro for Apostrof. The Cyrillic version of this font follows Ukrainian decorative traditions, initiated by Georgy Narbut and Mark Kirnarsky in the 1920s and continued until the 1980s. The Latin part has an uncial character.

    Typefaces made in 2018: Algor, Zluka (with Henadij Zarechnjuk; named after The Act Zluka, or Ukraine's Unification Act of 1919), XX Sans, Yurch (developed by Henadij Zarechnjuk and Viktor Kharyk by samples of calligraphic lettering by Ukrainian book designer Volodymyr Yurchyshyn), Chebano (based on the calligraphy of Ukrainian artist Vasyl Chebanyk), Zahar Berkut (developed by Henadij Zarechnjuk and Viktor Kharyk following the lettering by Ukrainian artist Georgiy Yakutovich),

    Typefaces from 2020: Homenko (by Viktor Kharyk, Henadij Zarechnjuk and Konstantin Golovchenko: an update and extension of Vasyl Homenko's metal Ukrainian typeface from 1963-1967), Bethencourt (an uncial typeface co-designed with Vsevolod Buravchenko).

    A special project published in 2020: 1812 (by Viktor Kharyk and Konstantin Golovchenko). This is a 14-style revival and further development of the typeface 1812 by Lehmann Type Foundry (St. Petersburg). It was created for the centenary of the French invasion of Russia, known in Russia as the Patriotic War of 1812 along the lines of decorative engraved inscriptions and ornamented typefaces of that time, presumably by the artist Alexandre Benois. It was used mainly for the decoration of luxurious elegant publications. Later, in 1917, this typeface was used on the Russian Provisional Government banknotes. In the Soviet period of time '1812' appeared to be one of the few typefaces included in the first Soviet type standard OST 1337. It was produced for manual typesetting until the early 1990s. This typeface could be seen on Soviet letterheads, forms, posters and even air tickets.

    At ATypI 2005 in Helsinki he spoke about Ukrainian fonts. At ATypI 2007 in Brighton, his talk is entitled Old Slavic alphabets and new fonts. At ATypI 2009 in Mexico City, he spoke (well, was supposed to speak) on Old Roman Styles and Cyrillic. Speaker at ATypI 2013 in Amsterdam, where he explains the development and multilingual extensions of Ladoga.

    MyFonts page. Victor's friends: a Ukrainian/Russian news blog. FontShop link. Author of Non-Latin Fonts Cyrillic and Other (2004, Düsseldorf).

    Klingspor link. [Google] [MyFonts] [More]  ⦿

    VSF (or: Vasil Stanev Foundry)
    [Vasil Stanev]

    Typographer and type designer in Sofia, Bulgaria, b. 1982, Sofia, who worked mostly for Svetoslav Simov's type foundry, Fontfabric, before setting up his own shop, VSF (Vasil Stanev Foundry).

    In 2010, he made the ornamental all caps Cyrillic typeface Orthodox. In 2011, he created the ornamental caps typeface Floralis (which was finished by Svetoslav Simov) and the experimental typeface Negativ.

    In 2012, he made Times New Roman Sans Serif.

    Nexa Rust is a set of 83 weathered letterpress emulation fonts that evolved from Nexa and Nexa Slab. This was a project by Radomir Tinkov, Ani Petrova, Svetoslav Simov and Vasil Stanev.

    In 2016 and 2017, he designed the mythological typefaces Bugazoo Letterbat and Etymonster, respectively.

    Typefaces from 2017: Combax (rounded sans), Tengwar Sindarin Latin and Cyrillic, Hel Grotesk Gothiq Cyr (a cyrillization of Kevin Yuen Kit Lo's Hel Grotesk), Celtic Cyr, Jardin Ornatis (decorated caps).

    Typefaces from 2018: Crona, Etymonster (a letterbat font), Mistnake (Halloween dingbats), Ergam, Cloch, Ufont (an aliens font), Needlephabet, Ornatis (a floriated caps alphabet for Latin, Cyrillic, Armenian and Hebrew).

    Typefaces from 2019: TDR (a heavy octagonal / mechanical typeface), Talljob, Moxic, Allebagra, Beejuice, Beltenebros, Pepo The Clown, Plump Fiction, Spartechno.

    Typefaces from 2020: Coque (a tall extra compressed font family). [Google] [MyFonts] [More]  ⦿

    Yana Crystal

    Yerevan, Armenia-based designer of an Armenian alphabet in 2016. [Google] [More]  ⦿

    Yannis Haralambous

    Metafont/TEX font and font software developer, specializing in non-Latin fonts and their integration in TEX. Ran Atelier Fluxus Virus in Lille, France. Codeveloper of the Omega typesetting system which includes the Omega Font Family (type 1). Since 2001, professor of Computer Science at the École Nationale Supérieure des Telecommunications de Bretagne in Brest. He is the author of the 1000+-page text Fontes et codages (O'Reilly, 2004), which was translated by P. Scott Horne with the English title Fonts & encodings. From Unicode to Advanced Typography and Everything in Between (2007, O'Reilly). See also here. Also author of Keeping Greek Typography Alive, an article presented at the 1st International Conference on Typography and Visual Communication held in Thessaloniki in June 2002.

    Yannis Haralambous and John Plaice are the authors of Omega typesetting system, which is an extension of TeX. Its first release, aims primarily at improving TeX's multilingual abilities. In Omega all characters and pointers into data-structures are 16-bit wide, instead of 8-bit, thereby eliminating many of the trivial limitations of TeX. Omega also allows multiple input and output character sets, and uses programmable filters to translate from one encoding to another, to perform contextual analysis, etc. Internally, Omega uses the universal 16-bit Unicode standard character set, based on ISO-10646. These improvements not only make it a lot easier for TeX users to cope with multiple or complex languages, like Arabic, Indic, Khmer, Chinese, Japanese or Korean, in one document, but will also form the basis for future developments in other areas, such as native color support and hypertext features. ... Fonts for UT1 (omlgc family) and UT2 (omah family) are under development: these fonts are in PostScript format and visually close to Times and Helvetica font families.

    Author of From Unicode to Typography, a Case Study the Greek Script, an informatice article written in 1999.

    Active participant in the GNU Freefont project. With John Plaice, he contributed to these Unicode ranges:

    • Latin Extended-B (U+0180-U+024F)
    • IPA Extensions (U+0250-U+02AF)
    • Greek (U+0370-U+03FF)
    • Armenian (U+0530-U+058F)
    • Hebrew (U+0590-U+05FF)
    • Arabic (U+0600-U+06FF)
    • Currency Symbols (U+20A0-U+20CF)
    • Arabic Presentation Forms-A (U+FB50-U+FDFF)
    • Arabic Presentation Forms-B (U+FE70-U+FEFF)
    He also added glyphs for Sinhala (U+0D80-U+0DFF). In 1999, Yannis Haralambous and Virach Sornlertlamvanich made a set of glyphs covering the Thai national standard Nf3, in both upright and slanted shape. Range: Thai (U+0E00-U+0E7F). These too are in the GNU Freefont family. [Google] [More]  ⦿

    Zepyur Izyan

    Yerevan, Armenia-based designer of the free handcrafted Armenian typeface Dzeragir (2016). Behance link. [Google] [More]  ⦿