TYPE DESIGN INFORMATION PAGE last updated on Sat Mar 28 00:41:05 EDT 2015






Cyrillic type design


10four design
[Matt Heximer]

10four design group was founded in 2002 by Sue Lepard and Matt Heximer in Vancouver. Matt Heximer and Sue both graduated from The Emily Carr Institute of Art and Design in 1994. Matt has held senior design and freelance positions in several Vancouver design firms.

Designer of ElDiabloRegular, TechnoOrganic (1996), Swashbuckler-Script (1996), BitchinCamero (1996) at Garagefonts. He also created Halqemeylem Serif (1997) for the Stolo Nation, based on Majoor's Scala. The fonts at 10four design include Adanac (free, clean sans), Bitchin' Camaro (scratchy writing font), Devicq (based on the handwriting of actress Paula Devicq), Downsize, El Diablo (gothic), Lonely Cowboy, Lonely Cowpoke (2010), Mia Pets (dingbats), Swashbuckler, Techno Organic.

In 2014, Heximer created Sonovovitch, a unicase display typeface inspired by the Russian Constructivist movement and Soviet Cold War era propaganda. Although a faux Russian font, Sonovovitch has language support for the true Cyrillic alphabet. [Google] [MyFonts] [More]  ⦿

[Alexei Vanyashin]

Russian graphic and web design studio in Moscow, run by Alexei Vanyashin, Fedor Balashov and Kate Semenova. Alexei Vanyashin studied typography at Stroganov University under Dmitry Kirsanov from 2002 until 2003. He graduated in graphic design from the Institute of Design in Moscow in 2008. In 2009-2010, he worked on the Florian Diploma project at the Type and Typography course at the British Higher School of Art and Design in Moscow under Ilya Ruderman. Florian is a 9-style angular (wedge serif) text family. Florian and Geo Text won First Prize at Granshan 2010 in the Cyrillic text typeface category. Alexei designed the curlified Bodonito Display (2009), Eurotesque, Wire (2009, monoline sans), and ModL (2009). Schmale Antiqua (2010) is a very thin Latin and Cyrillic didone typeface that revives a 19th century typeface widely used for setting book titles. Behance link.

Cofounder in 2011 of Cyreal, a Russian foundry. There, he designed faces such as Rationale (2011, with Olexa Volochay and VladimirPavlikov), Vidaloka (2011, a didone done with Olga Karpushina), Alike (2009, with Svetlana Sebyakina), and Adamina (2011, a text typeface for small print: free at OFL). I am not sure if Iceland (2011, Cyreal: free at Google Web Fonts) is also his.

Typefaces made in 2012: Junge (a delicate roman face, free at Google Web Fonts, which was inspired by the calligraphy of Günther Jung), Merge Pro Greek and Cyrillic (codesigned with Kosal Sen, Philatype), Jacques Francois and Jacques Francois Shadow (Cyreal: codesigned with Manvel Shmavonyan, they are revivals of Enschedé No. 811 by J.F. Rosart; free at Google Web Fonts).

Suisse International Condensed Cyrillic won an award at Modern Cyrillic 2014. [Google] [MyFonts] [More]  ⦿

1919 Type Foundry
[Scott Sullivan]

1919 Type Foundry presents the typographic work of Scott Sullivan, who is currently a graphic design major at Ohio University in Athens, Ohio, scheduled to graduate in 2009. About the name: The year 1919 was the year that the Bauhaus school opened in Weimar, Germany. It was roughly the year 1919 when Modernism and Constructivism were born in Germany and the U.S.S.R., respectively. All fonts are heavily based in geometry, therefore: Dosim OKT, Geovlad (2009, constructivist, based on the posters of Georgii and Vladimir Stenberg), 44X34X (2009, futuristic, free). The Triflig Paradigm is another project of his. There he is developing some fonts such as Moon Man, and one can download Gnashraw-Spaced (2009) and two of his FontStruct (pixel) fonts, pgdm001 and pgdm002 (2009). Designmoo link. [Google] [More]  ⦿

Neat archive, mostly consisting of Paul J. Lloyd fonts, plus about 300 Cyrillic truetype fonts. [Google] [More]  ⦿

22 Soft

Designers of Cyrillic fonts including New York Plain. [Google] [More]  ⦿


Creator of the free dot matrix font Teleindicadores 1 (2013). This font covers Latin, Greek and Cyrillic. [Google] [More]  ⦿

4th February
[Sergiy Tkachenko]

Sergiy Tkachenko (b. 1979, Khrystynivka, Cherkasy region, Ukraine) lives in Kremenchuk, Ukraine, and has been a prolific type designer since 2008. Sergiy graduated from Kremenchuk State Polytechnic University in computer systems and networks in 2007. Various other URLs: Microsoft link, Identifont, 4th February, Behance, Klingspor link, Revision Ru, Russian creators, CPLUV Fontspace, Twitter. Kernest link. Sergey Tkachenko's typefaces:

Abstract Fonts link. Dafont link. Creative Market link. Behance link. Hellofont link.

View Sergiy Tkachenko's fonts. [Google] [MyFonts] [More]  ⦿


Design site in Moscow. Creators of the geometric figure (Latin) stencil typeface Caribe Modular (2013), which was created as a project for the British Higher School of Art & Design. Intrnal Hybrid (2013) was also completed at the British Higher School of Art & Design in Moscow. Deriz (2013) is a high-contrast didone titling face. Intrnal Hybrid (2013) is a grungy techno Cyrillic typeface. Vintage and Coupage Font emulates various wood type and letterpress styles. [Google] [More]  ⦿

A. Grachev

Russian designer of the deco typeface Plein (1993, with A. Kustov). [Google] [More]  ⦿

A. Jorde

WT_Russisch truetype font. [Google] [More]  ⦿

A. Shchur

Russian designer of Rublenaya Shadow (1957). [Google] [More]  ⦿

A. Shishkin

Designer at Soft union of the Cyrillic fonts Half-Ustav (1994) and Evangelie (1994), with Nikita Vsesvetskii. [Google] [More]  ⦿

Abdullahal Mamun

Graphic designer in Dhaka, Bangladesh. Creator of an unnamed softly rounded Bangla font in 2013. He writes: In Bangla, Bidyasagar style font (Sutonny MJ) created by Bijoy is the only Bangla font that is almost perfect. Rest of the fonts has problems such as baseline alignment, x-height alignment, character gap and unfinished characters. If we analyze the logic of Bijoy, we see that other than Bidyasagar (Sutonny MJ), rest of the fonts does not work perfectly with Bijoy. All Bangla fonts are monospace fonts which does not use kerning. Creating kerning feature fonts which will run in Bijoy platform is technically impossible. It is because Bijoy using those Unicode glyphs conflicts with kerning code. With the problem in hand, I have attempted to design and create a finished, perfect curve font with perfect baseline and x-height alignment, which will run smoothly with Bijoy. [Google] [More]  ⦿

Abkhaz alphabet

Abkhaz is a Caucasian language with about 300,000 speakers in Georgia, Turkey and Russia. Literary Abkhaz is based on the Abzhui dialect which is spoken in the capital of Abkhazia, Sukhumi. Abkhaz has been written with the Latin, Georgian and Cyrillic alphabets. This page includes the Abkhaz fonts Abzia and Amra. [Google] [More]  ⦿

Absolut Foundry
[Gumpita Rahayu]

Gugum Gumpita Rahayu is a graphic designer based in Bandung, Indonesia, b. 1991. In 2013, he set up Absolut Foundry.

Creator of the rounded sans typeface Tracks Type (2013, free at Fontfabric). Yuma is a free tweetware alchemic typeface. It is based on navajo patterns. Kurve (2013) is a sans headline typeface. Biere (2013) is a modular display typeface. Mojave (2013) is an all caps sans typeface.

In 2013, he created Rocca, which is modeled after spurred wood type display styles from the Victorian era. Warenhuis de Vries is inspired by the signage on a 19th century colonial Dutch heritage building---the De Vries building, which today houses the OCBC NISP Bank---in Bandung, Indonesia. This font was renamed Oud Warenhuis (2013). Dutch colonial tropical architecture in Bandung led to the art deco typeface Bandoengsche (2013). Buy it here. Companion League (2013) is an octagonal Latin / Cyrillic signage typeface. Driekleur (2013) is pure Dutch colonial deco based on signage in a 1930s building (called De Driekleur) in Bandung built by Dutch architect A.F. Aalbers. March (2013) is a display family that includes beveled and inline styles.

Free typefaces from 2013 include Mohave (all caps sans) and Flagship Slab Rounded.

Typefaces made in 2014: Dealers, Metrisch (a wide tall x-height geometric sans family), Luzern (a neutral Swiss sans family---two free weights), Swarha Neue (an art deco sans named after the Swarha Islamic Building in Bandung made by Dutch architect Wolff Schoemaker from 1930 until 1935).

Dafont link. Behance link. Creative Market link. Old URL. [Google] [MyFonts] [More]  ⦿

[Roman Gornitsky]

St. Petersburg, Russia-based foundry. All fonts are by Roman Gornitsky (b. 1986, Leningrad).

Their fonts include Nowie Vremena (2011), Fun City (2010, an extensive family of typefaces designed for multi-layered use; each letter is designed on the same grid, so overlays can create great effects), The Stroke Sans (2010, a computer-generated nibbed pen family), Differentura (2010, grotesk), Krisis Sans (2008), Lawyer Gothic (2008), Littera Plain (2008), Littera Text (2008, an interpretation of the most popular sans family in Russia) and Proto Sans (2008, a 42-style constructivist family). Vremena (2009) and Vremena Grotesk (2009) each has 8 styles, and are their interpretation of Times and Arial, respectively.

In 2011, Gornitsky published a great art deco-meets avant garde family called Lineatura. Images of the various styles of Lineatura: i, ii, iii, iv, v, vi.

Typefaces from 2013: Twentytwelve (in styles Slab N, Sans R, Sans C, Serif C, Sans G, Sans : created at the Jan van Eyck academy in The Netherlands).

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

[Lyubov Kuznetsova]

Cyrillic font available from Paratype. Academy was designed circa 1910 at the Berthold type foundry (St.-Petersburg). It was based on Sorbonne (H. Berthold, Berlin, 1905), which represented the American Type Founders' reworking of Cheltenham of 1896 (designed in turn by Bertram G. Goodhue and Morris Fuller Benton) and Russian typefaces of the mid-18th century. Paratype: A low-contrast text typeface with historical flavour. The modern digital version was designed at Polygraphmash type design bureau in 1989 by Lyubov Kuznetsova. [Google] [More]  ⦿

Adrian Englert

Swiss type technology expert of Russian origin. At ATypI 2005 in Helsinki, he spoke on Church Slavonic. [Google] [More]  ⦿

Adrian Talbot
[Talbot Type]

[MyFonts] [More]  ⦿

Adrien Vasquez

Graduate of the University of Reading in 2011 who lives in Grenoble and Valence, France. His graduation typeface was Modern Seven (2011), a didone family for Latin and Cyrillic that comes with its own Modern Slab Serif. [Google] [More]  ⦿

AEnglish Dictionary

The Windows Cyrillic font ACyr. [Google] [More]  ⦿

Agafonov Stephan

Creative designer in Moscow who made a Cyrillic font called Origami (2013). This typeface was obtained by scanning cut and folded strips of paper, and has a hand-made dadaist appearance. I am not sure that it has been digitized. [Google] [More]  ⦿

Agfa Monotype: Cyrillic fonts

Monotype's Cyrillic fonts include these: ArialMT, Arial-BoldMT, Arial-BoldItalicMT, Arial-ItalicMT, ArialNarrow, ArialNarrow-Bold, ArialNarrow-BoldItalic, ArialNarrow-Italic, BookAntiqua, CenturySchoolbook, CourierNewPSMT, CourierNewPS-BoldMT, CourierNewPS-BoldItalicMT, CourierNewPS-ItalicMT, Courier, Courier, FranklinGothic-Book, FranklinGothic-BookItalic, FranklinGothic-Demi, FranklinGothic-DemiCond, FranklinGothic-DemiItalic, FranklinGothic-Heavy, FranklinGothic-HeavyItalic, FranklinGothic-Medium, FranklinGothic-MediumCond, FranklinGothic-MediumItalic, Helvetica-Black_cyr-Bold, Helvetica_cyr-BoldOblique, Helvetica_cyr-Bold, Helvetica_cyr-Oblique, TimesNRCyrMT, TimesNRCyrMT-Bold, TimesNRCyrMT-BoldInclined, TimesNewRomanPS-ItalicMT, Arial-Black, Impact, BookmanOldStyle, BookmanOldStyle-Bold, BookmanOldStyle-BoldItalic, BookmanOldStyle-Italic, Garamond, Garamond-Bold, Garamond-Italic, Haettenschweiler, Monotypecom. [Google] [More]  ⦿

Aggeliki Skandalelli

Aggeliki Skandalelli is an Athens-born art director and graphic designer. After studying graphic design at AKTO Applied Arts School in Athens, she did an internship at Saatchi&Saatchi /Athens and went on to take a position as junior art director at Fortune Advertising. In 2000 she joined DDB /Athens and in 2003 was promoted to art director. During her time at DDB, Aggeliki collected a Grand Effie for the Tellas Telephone Network campaign, two Ermis Gold awards for an Alpha Bank print campaign and a Knorr TV spot, an Ermis Grand for the Thalassitis wine print campaign and an Ermis Silver for the hair salon Nicolas print ads. Since 2006, Aggeliki has been a senior art director at J. Walter Thompson /Athens, working for major accounts, such as Vodafone, Smirnoff, Amstel, Minoan Shipping Lines and Eurobank. She has also been in charge of various freelance assignments, creating logos, print ads and brochures.

Designer at Parachute in Athens, Greece, of the Latin / Greek / Cyrillic signage typeface PF Scandal Pro (2007-2012).

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


Paul Rädle's great jump page for foreign fonts and phonetic fonts. [Google] [More]  ⦿


Anna (Akina 686) is the Russian designer of the spiky almost medieval faces Cactus (2011) and Cactus Cyrillic (2011). [Google] [More]  ⦿

Akira Kobayashi
[Sony Design]

[More]  ⦿

Akira Uchida

Akira Uchida (Hitachi, Ltd. and TypeBank Co, Ltd) developed a very useful free full Latin/Kanji/unicode "didone style" font called XANO-mincho-U32 (2003). Opentype included. A thing of beauty. Direct download. He also made another full (free) didone-style unicode font, Kandata (2004). Here you can download his Tsuitiku-Kana family from 2004 until 2005. [Google] [More]  ⦿


Russian archive with 1.5MB worth of Russian truetype fonts. [Google] [More]  ⦿


From Kirgizia, a 2MB font file with the standard Microsoft truetype collection. [Google] [More]  ⦿

Alan N. Po

[More]  ⦿


Free Kazak Times fonts for PC and Mac. [Google] [More]  ⦿

Albert Kapitonov

Russian type and graphic designer. Creator of PT Reforma-Grotesk (ParaType, 1999). This typeface is based on the letterforms of the Russian pre-revolutionary hand composition typefaces, Uzky Tonky Grotesk ("Condensed Thin Sans"), Poluzhirny Knizhny Grotesk ("Semibold Book Sans"), and Reforma, of H. Berthold and O. Lehmann foundries (St. Petersburg). An extra compressed sans serif, typical for display fonts of the end of 19th and early 20th centuries, it received the Galina Prize for the creative exploration of the Russian typographic tradition at the Kyrillitsa'99 international type design competition in Moscow.

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

Albert Kapr

German type designer, typographer, calligrapher, author and educator, b. Stuttgart (1918), d. 1995. He was art director at the Dresden type foundry VEB Typoart from 1964 until 1977. He founded and led the Institut für Buchgestaltung at the Hochschule für Grafik und Buchkunst at Leipzig from 1956 until 1978. Obituary by Harald Suess. Page at Klingspor. MyFonts page. Catalog of Albert Kapr's typefaces

He designed Faust-Antiqua (1958; this inspired Nick Curtis to design Kaprice NF (2010); in 1993, Steve Jackaman revived it as Faust RR), Leipzig (with Otto Erler in 1963: large x-height), Leipziger-Antiqua (1959, revived by Tim Ahrens in 2004 as JAF Lapture, also digitized--close to the original and under the original name--by Ralph Unger at URW in 2005; and shamelessly digitized by Linotype and sold as Hawkhurst without mentioning the Leipziger Antiqua source, in fact claiming that Hawkhurst is an original), Calendon-Antiqua (1965), Prillwitz-Antiqua (1971), and Magna Kyrillisch (1975). Circa 1975, he created Garamond Cyrillic at Typoart.

A specialist of blackletter, he was passionate about Gotische Bastarda. Author of Fraktur: Form und Geschichte der gebrochenen Schriften (1993, H. Schmidt, Mainz). Max Caflisch, Albert Kapr, Antonia Weiss and Hans Peter Willberg published F.H.Ernst Schneidler Schriftentwerfer, Lehrer, Kalligraph (SchumacherGebler a.o., München, 2002). Author of The art of lettering; The history, anatomy, and aesthetics of the roman letterforms (München, K.G. Saur, 1983, original edition in German by VEB Verlag: Dresden, 1971). [Google] [MyFonts] [More]  ⦿

Alec Julien
[Haiku Monkey]

[MyFonts] [More]  ⦿

Alejandro Torres

Genova, Italy-based designer of the bilined art deco typeface Metropolis (2013) that covers Latin, Greek and Cyrillic. Behance link. [Google] [More]  ⦿

Aleksandar Andrejic

During his studies in Belgrade, Serbia, Aleksandar Andrejic created Font Tech (2014, Latin and Cyrillic). [Google] [More]  ⦿

Aleksandar Nikov

Graphic and sound designer in Skopje, Macedonia. In 2014, he created the free squarish typeface Desonanz for Latin, Greek, Coptic and Cyrillic. [Google] [More]  ⦿

Aleksander Koltsov

Moscow-based designer of the Latin / Cyrillic text typeface Ringvaart (2012). [Google] [More]  ⦿

Aleksander Shevchuk

Art director in Moscow, b. 1985. His (mostly free) typefaces include the ultra fat art deco typeface Beyond Cyrillic (2009) and Eyelevation Pro (2009, for Eyelevation magazine (in Russian): free at dafont since 2012), Bifurk Asmod (2006, display face), FatC (2010, a rounded curly didone display face), Kodzini (2008, a great asian simulation face) and SheruPro (2009, another great (free) faux oriental face), AleksandraC (2010, +Vintage: free at Dafont), Beyond (2014).

Alternate URL. Dafont link. Behance link. [Google] [More]  ⦿

Aleksander Smolnikov

In 2014, Pavel Efremov, Danil Plyutenko and Aleksander Smolnikov (Saint Petersburg) codesigned the Praktik typeface during their studies at BHSAD in Moscow. [Google] [More]  ⦿

Aleksandr Savenkov

Novosibirsk, Siberia-based creator of the free pixelized typeface Upheaval Pro (2012), which is a Greek / Cyrillic extension of Upheaval by Brian Kent. In 2013, he created the pixelish typeface Dusty Pro for Latin, Greek, Cyrillic and Hebrew. It is an extension of Andreas Nylin's Dusty.

Symvola (2014) is a free typeface containing basic Latin and Greek characters. The design is inspired by the time machine's interface from Space Quest IV and puzzle panels from The Witness.

Behance link. [Google] [More]  ⦿

Aleksandr Sukiasov

Georgian designer (b. 1988, Georgia) who runs his own foundry in Tbilisi. MyFonts link. He created the Helvetica-like Lax family (2010).

In 2012, he created the free typeface Grammatika (or Grammatica) out of Helvetica and DIN. AS Naya (2012) is a minimalist condensed sans family. AS Nerd (2012) is a sign-painting brush script.

In 2013, the following typefaces could be bought at Graphic River: AS Scripty, AS Vardo (hairline sans), AS Negal, AS Vino, AS Neo Medium, AS Amplo (a wide all caps sans), AS Neo, AS Bordo Regular, and AS Grammatika.

Klingspor link. Behance link. Link to his studio. Graphic River link. [Google] [MyFonts] [More]  ⦿

Aleksandra Egorova

Russian type designer in St. Petersburg who made the faux oriental font Han Zi in 2008 at Paratype. [Google] [MyFonts] [More]  ⦿

Aleksandra Gundorova

Based in Saint Petersburg, Russia, Aleksandra Gundorova created an unnamed Latin alchemic typeface in 2013, and a frid-based constructivist typeface in 2014. Restoran (2012) is a very original symbol font: each glyph represents in iconic abstract form an item on a restaurant menu.

Behance link. [Google] [More]  ⦿

Aleksandra Korolkova

Graduate of Moscow University of Printing Arts in 2006 where she studied under Alexander Tarbeev. She teaches type design and typography there. In 2007, her book for Russian students on typography was published (English title: Alive Typography). She received many awards for her work and is a frequent speaker at type design conferences. In particular, she received the prestigious Prix Charles Peignot in 2013.

Designer of the beautiful Cyrillic serif family Leksa (a winner at Paratype K2009) and the accompanying Leksa Sans family from 2004 until 2007. This was followed by equally gorgeous families such as Fence (2009, an ultra-fat artistic beauty). Skoropix is an experimental pixel typeface done with FontStruct.

She also made Belladonna (2008, a stunning modern typeface for Latin and Cyrillic; a winner at Paratype K2009 and Grand Prize winner at Granshan 2011), Skoropix (with FontStruct), and the experimental typeface Cless (2009). She spoke about Cyrillic at ATypI 2008 in St. Petersburg. She received a TypeArt 05 award for the display family Fourty-nine face. Alternate URL.

At MyFonts, one can buy Gorodets [2009: a Russian decoration typeface based on traditional wood-painting style from the town Gorodets on the Volga river, Russia], Leksa and Leksa Sans], Blonde Fraktur (2010: written with a quill by Alexandra Korolkova and prepared in digital form by Alexandra Pushkova), Airy (2010, a curly script), Airy Pictures (2010, animal and plant dingbats), Bowman (2010: a blackboard children's script), PT Serif (2011, Paratype's superfamily of 38 fonts, codesigned with Vladimir Yefimov and Olga Umpeleva), PT Circe (2011, a geometric sans family with a neat Thin weight; Third Prize for Cyrillic text faces at Granshan 2011), and Cless (2010: ultra fat and counterless).

Together with Isabella Chaeva, she made PT Mono (2012, Google Web Fonts).

In 2012, Vasiliy Biryukov and Alexandra Korolkova codesigned the Christmas dingbat font Gingerbread House, together with a plump display face, Gingerbread.

In 2013, Vasily Biryukov and Alexandra Korolkova codesigned the soft roundish sans typeface Kiddy Kitty (link).

In 2014, she cooperated with Maria Selezenava on a revamped Journal Sans typeface at Paratype, called Journal Sans New (Latin and Cyrillic). This geometric sans in the style of Erbar Grotesk and Metro Sans is a major extension of the Journal Sans typeface (1940-1956, SPA, in metal form, and 1990s in digital form). Still in 2014, she codesigned Stem, a geometric large x-height Latin / Cyrillic sans serif with optical sizing, with Isabella Chaeva and Maria Selezeneva at Paratype.

In 2015, she and Alexander Lubovenko codesigned Circe Rounded, which is an extension of her earlier Circe typeface (2011), both published by Paratype. Still in 2015, Alexandra Korolkova and Alexander Lubovenko published Aphrosine at Paratype, a typeface based on pointed pen script and situated somewhere between handwriting and calligraphy. Many alternatives and smart OpenType features help Aphrosine look like real handwriting.

MyFonts interview. Kernest link. Klingspor link.

View Alexandra Korolkova's typefaces. [Google] [MyFonts] [More]  ⦿

Aleksandra Rybak

Vilnius, Lithuania-based creator of Neon font (2014, Cyrillic). [Google] [More]  ⦿

Aleksandra Slowik

Saint Petersburg, Russia-based designer of LAM (2015) and Larch Brush (2015). [Google] [More]  ⦿

Aleksei Archipov

Russian designer of the blurry Latin/Cyrillic font FD Median (2003). He calls himself the "Flying Dutchman". [Google] [More]  ⦿

Aleksei Kondakov

Russian creator of the ornamental caps typeface Fusion II. [Google] [More]  ⦿

Aleksey Grigoriev

Russian designer of the Cyrillic/Latin font PremudryCyr, based on an original by Tom Murphy. He also made Rublik (2001). [Google] [More]  ⦿

Aleksey Maslov

Russian codesigner (with Ivan Gladkikh and Alexandr Kalachëv) of Days and Days One (2009, a display sans face), and with Jovanny Lemonad of Metro (2009, constructivist) and Stalin One (2012, constructivist face, free at Google Web Fonts). Behance link. [Google] [More]  ⦿

Aleksey Nelubov

Graphic designer and photographer in Odessa, Ukraine. He created a number of great logotypes that could serve as dingbats for many applications, especially in vodka bars. [Google] [More]  ⦿

Alena Skarina

Designer in Toronto (b. 1986, Siberia) who has some nice botanical illustrations in her Erobotanica (2012), including some called Nepeta Lactone.

Behance link. [Google] [More]  ⦿

Alena Zhokina

Moscow-based designer of these Cyrillic typefaces in 2014: Cross Type, Art Type (all-caps ornamental typeface on the theme of breasts). [Google] [More]  ⦿

Alena Zhokina

Moscow-based designer of Cross Type (2014: an artsy display typeface). [Google] [More]  ⦿

Aleskey Popovcev

Graphic designer and typographer in Kharkov, Ukraine. Creator of the beautifil Latin/Cyrillic sans typeface Garnitura Nachalnaya (2014). Behance link. [Google] [More]  ⦿

Alex Color

Ukrainian designer of the OFL family OldSlavs (2011, Cyrillic). [Google] [More]  ⦿

Alex Dadaev

Saint Petersbug, Russia-based designer of a rounded monoline Latin titling font (2014). Behance link. [Google] [More]  ⦿

Alex Dscheremet

The Cyrillic font Saltan (2002) was designed by Alex Dscheremet. [Google] [More]  ⦿

Alex Galuzin

Pavlodar, Kazakhstan-based designer of the medieval calligraphic typeface Square Capitals (2014, Latin and Cyrillic), the uncial typeface Uncial (2015) and the Trajan typeface Capitalis Monumentalis (2015). [Google] [More]  ⦿

Alex Gart

Aka Alex Gorilla. Alex Gart (Chelyabinsk, Russia) created the commercial alchemic typeface The Elementarity (2013). It can be bought here. He also made Weather Icons (2013).

Behance link. Graphic River link for buying his typefaces. [Google] [More]  ⦿

Alex M. Davidov

Designer of some Kyrghyz typefaces such as Kyrghyz-AdverGothic, Kyrghyz-Antiqua, Kyrghyz-Avalon, Kyrghyz-Baltica, Kyrghyz-Bengaly, Kyrghyz-Century, Kyrghyz-FreeSet, Kyrghyz-Letterica, Kyrghyz-Times.

This old download link has further Kyrghyz fonts, including Kyrgyzfnt, MenchikMemo, MenchikOn, MenchikStyle, MenchikUno, MenchikText. [Google] [More]  ⦿

Alex Mihaylov

Born in Russia in 1995, Alex Mihaylov designed the octagonal typeface Reflectors (2013, FontStruct) and the hexagonal typeface Hexamatter (2013). One Smear (2013) simulates an oriental brush. [Google] [More]  ⦿

Alexander Alexandrowitsch Roth

Alexander Alexandrowitsch Roth was born in the Tajik Soviet Socialist Republic and immigrated to Germany in 1993. He is a Berlin-based graphic designer who holds a bachelor degree in Media Production from the Hochschule Ostwestfalen-Lippe University of Applied Scienes. Alexander is one of the founders of Ghostarmy---a conglomerate of several designer who are working among others for Erik Spiekermann, FSI FontShop International, FontShop Germany and the city of Wardenburg. In 2012, he graduated from TypeMedia at KABK in Den Haag. His graduation project was the high-contrast Uoma typeface which comes to life in large display sizes. [Google] [More]  ⦿

Alexander Arhipov

Russian type designer. His Colmena (2009, ParaType) was designedfor books for children. This font used to be called FD Harvey. Klingspor link. [Google] [MyFonts] [More]  ⦿

Alexander Garkavets

Another archive of Cyrillic and Armenian fonts managed by Alexander Garkavets of the Center of Eurasian Studies: ArTarGrqiNorGar, ArTarGrqiNorGarBold, ArTarGrqiNorGarItalic, ArTarumianMatenagirGar, ArTarumianMatenagirGarBold, ArTarumianMatenagirGarItalic, ArTarumianTimesGar, ArTarumianTimesGarBold, ArTarumianTimesGarItalic, ArialArmenGar, ArialArmenGarBold, ArialArmenGarItalic, ArmoldGar, SchoolBookAC-Bold, SchoolBookAC-BoldItalic, SchoolBookAC-Italic, SchoolBookAC-Regular, TimesUrumNewBold-Italic, TimesUrumNewBold, TimesUrumNewItalic, TimesUrumNewNormal, TmsRoman, TmsRomanBold, TmsRomanBoldItalic, TmsRomanItalic, VusillusOldFaceItalic, QypchaqDiacriticBold (Garkavets, 2000), BookmanUrum, ArialArmenGar. [Google] [More]  ⦿

Alexander Kaputsa

Russian creator of Psi Hoe Pate's Altern-8 (2012, a squarish typeface for Latin and Curillic created using FontStruct). [Google] [More]  ⦿

Alexander Kazantsev

Russian designer of the Cyrillic/Latin version of Allen R. Walden's font Terminator. Obsolete home page. [Google] [More]  ⦿

Alexander Kiselev

Illustrator in Petrozavodsk, Russia, who designed the hand-crafted Cyrillic poster typeface Heikko Script (2014). [Google] [More]  ⦿

Alexander Kokorin

Russian codesigner with Olga Chekina of Tsar Saltan, a display font which won an award at Paratype K2009. [Google] [More]  ⦿

Alexander Kuliev

Behance link. This graphic designer from Moscow made typographic compositions of Vladimir Yefimov's Cyrillization font called Mason (2010), which is based in turn on earlier work by Jonathan Barnbrook). [Google] [More]  ⦿

Alexander L. Romanov

Designer of Techno (1993) and RussianH (Bersearch). [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]  ⦿

Alexander Lubovenko

Russian graphic and type designer In 2015, he and Alexandra Korolkova codesigned Circe Rounded, which is an extension of the Circe typeface (2011), both published by Paratype. Circe is named for the circular nature of many of its glyphs.

In 2015, Alexandra Korolkova and Alexander Lubovenko published Aphrosine at Paratype, a typeface based on pointed pen script and situated somewhere between handwriting and calligraphy. Many alternatives and smart OpenType features help Aphrosine look like real handwriting. [Google] [MyFonts] [More]  ⦿

Alexander Minchuk

Russian designer of the Cyrillic/Latin version of Friedrich Poppl's font Laudatio. [Google] [More]  ⦿

Alexander Nedelev

[MyFonts] [More]  ⦿

Alexander Pro

Designer in Saratov, Rusia, who created a multilined caps typeface in 2012. [Google] [More]  ⦿

Alexander Ricachov

Saint Petersburg, Russia-based designer of Antiqua Cvadrato (2015), Capitalis Roman (2014, a calligraphic alphabet), Futurista (2015). [Google] [More]  ⦿

Alexander Rodchenko

Aleksandr Mikhailovich Rodtschenko (1891-1956), or Rodchenko, emerged in the 1920s as one of the most influential Russian constructivists. Their lettering is always austere and geometrical, and they influenced all visual arts. A typical Cyrillic family of faces was recreated by Tagir Safayev at ParaType in 1996-2002, called PT Rodchenko. Other reincarnations include the Latin&Cyrillic family Rodchenko Constructed ML and Rodchenko Grotesk ML (2010, Tom Wallace). At Gaslight, the Teco Sans and Teco Serif typefaces (2012) are also said to be influenced by Rodchenko. Also, check P22 Constructivist by Richard Kegler (1995).

MyFonts link.

A list of digital typefaces influenced by Rodchenko's constructivist alphabets. [Google] [MyFonts] [More]  ⦿

Alexander Samburov
[Lurex Design]

[More]  ⦿

Alexander Sapozhnikov

Russian designer of the Russsian Road Sign Font (2013), in which the Cyrillic part is based on standards GOST 10807-78 and GOST R 52290-2004. This font is used on Russian road signs. There is a Latin part, which is not standardized. Free download. [Google] [More]  ⦿

Alexander Sergeyevich Pushkin

Alexander Sergeyevich Pushkin (1799-1837) was a Russian author of the Romantic era who is considered to be the greatest Russian poet and the founder of modern Russian literature. His handwriting has been used in several digital fonts, such as Letter 1882 (1996, Paratype), Pushkin (1999; based on Pushkin's handwriting from 1875; free download here), and newPushkin (2009, free). [Google] [More]  ⦿

Alexander Sizenko

Russian creator of the free chess font Chess 7 (2008), the free pixel fonts LED Stadion 7 (2013), Dash Dot Square 7 (2013), Enhanced Dot Digital 7 (2013), Small Dot Digital 7 (2013), Modern Dot Digital 7 (2013), Square Dot Digital 7 (2013), Bold Dot Digital 7 (2013), Serif Dot Digital 7 (2013), Serif LED Board 7 (2013), Modern LED Board 7 (2013), Half Bold Pixel 7 (2013), Dash Pixel 7 (2013), Serif Pixel 7 (2013), Power Pixel 7 (2013), Enhanced LED Board 7 (2013), Thin Pixel 7 (2013), Smallest Pixel 7 (2013), Modern LCD 7 (2013), Advanced LED Board 7 (2012), Digital 7 (2008, LED face), Post Pixel 7 (2013), Triple Dot Digital 7 (2013), Dash Dot Square 7 (2013), Enhanced Dot Digital 7 (2013), Dash Digital 7 (2013), Light Pixel 7 (2013), High Pixel 7 (2013), Mini Pixel 7 (2012), Long Pixel 7 (2013), LED Counter 7 (2013), Digital Counter 7 (2013), LED Digital 7 (2013), LED Board 7 (2013), Light LED Board 7 (2013), Advanced LED Board 7 (2013), Printed Circuit Board 7 (2013), Brick LED 7 (2013), Rounded LED Board 7 (2013), Pixel Dingbats 7 (2013), Square Wood 7 (2013), Small Bold Pixel 7 (2013), Rounded Pixel 7 (2013), Line Pixel 7 (2013), Bold LED Board (2013), Narrow Rectangle 7 (2013), Dot Digital 7 (2013, +Advanced), Square Metal 7 (2012), Stencil Pixel 7, Computer Pixel 7 (2012), Small Pixel 7 (2012), LED Counter Plus 7 (2013), LED 7 Display (2012, +Light), Neon Pixel 7 (2012), Old Pixel 7 (2012), Square Stone 7 (2012), Square Pixel 7 (2012), Pixel Font 7 (2012, +Outline), Pixel LCD7 (2012), Advanced Pixel 7 (2012), Ice Pixel 7 (2012), Void Pixel 7 (2012), Dash Dot LCD 7 (2012), Dash Dot Square 7 (2013), Enhanced Dot Digital 7 (2013), Double Pixel 7 (2012), Advanced Pixel 7, Advanced Dot Digital 7 (2013), ZX Spectrum 7 (2012), Bubble Pixel 7, Cyrillic Pixel 7, Basic Square 7 (2013), Basic Sans Serif 7 (2013), Effective Way 7 (2013), Arrow 7 (2013), Abricos 7 (2013), Computer 7 (2013), Disco 7 (2013), Software Tester 7 (2013), Elegant Line 7 (2013), Soft Lines 7 (2013), Effective Way 7 (2013), and the free LED display font Digital-7 (2008).

Typefaces from 2014: Game Font 7, Square Sans Serif 7, High Sans Serif 7, Smooth Line 7, Bright Line 7, Double Line 7, Rounded Line 7, Rounded Sans Serif 7, Android 7, Arial Narrow 7, Bold Sans Serif 7, Light Sans Serif 7 (avant-garde sans), Modern Sans Serif 7, Software Kit 7 (dingbats), Advanced Sans Serif 7m Strong Line 7.

Typefaces from 2015: Roman Font VII, Game Sans Serif 7, Soft Sans Serif 7.

Fontspace link. See also here. Dafont link. Aka Chess 7 and as Style 7. [Google] [More]  ⦿

Alexander Swordman

Freelance designer in Minsk, Belarus, who created the muscular Cyrillic typeface Spectra in 2013. Geometric Sculpture (2013) is an angular straight-edged typeface for Latin and Cyrillic.

Behance link. [Google] [More]  ⦿

Alexander Tarbeev

[MyFonts] [More]  ⦿

Alexandr Dragin

Graphic designer and illustrator in Krasnodar, Russia. He created some experimental typefaces in 2009-2010. [Google] [More]  ⦿

Alexandr Kalachëv
[Intelligent Design]

[More]  ⦿

Alexandra Alexandrova

Type designer, b. 1989, Lviv, Ukraine. In 2014, with Lukyan Turetskyy at 2D Typo, she created Kalyna. This Latin and Ukrainian-Cyrillic font has asymmetrical serifs, characteristic for the Ukrainian style. It is based on Heorhiy Narbut's sketches, a well-known Ukrainian graphic artist from the early 20th century. Kalyna comes also with a set of ornaments. Still in 2014, she created the rune simulation typeface Norden (Latin and Cyrillic).

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

Alexandra Chudinova

Saint Petersburg-based designer of a few display typefaces in 2014, including Cat, Avi, Look, Holes, Cara, Ho, Minich, and SK. [Google] [More]  ⦿

Alexandra Dolgopolova

Illustrator in Togliatti, Russia. She created the Latin / Cyrillic typeface Archway (2011). [Google] [More]  ⦿

Alexandra Leopoldovna Gophmann

Russian designer of typefaces who collaborates with Ivan Zeifert and specializes in revivals, cyrillizations and beautiful digitizations, some of them done with Anatole Gophmann. There have been complaints about her practice of borrowing fonts from type designers without asking. One typophile writes: I have cracked open fonts she claims as hers, Bolero, Bickham and others, she has copied and pasted glyphs, copyright data, added Cyrillic and changed the copyright string. As an example, Angelica is a copy of Alejandro Paul's Miss Fajardose. Alejandro has drawn the numerals in his font in 2004 to accompany the letters found in an old catalog of alphabets. There is no other source of the numerals, and Angelica has them. Michael Clark writes: I initiated a battle with the illustrious Alexandra "Bitch" from Russia who has renamed Pouty (FontBureau) and copyrighted [it as] Bolero. She and her partner Anatoly shithead. Available on Fonts101.com for anyone who wants it free. The ass's site, Jagdesh, is in Pakistan and we cannot touch him. 260+ viewings and 140+ downloads. Let's see that is 1400$ I will never see! Others have complained as well about her practice of taking and extending fonts without permission. Anyway, her "fonts" are:

  • A: Adine_Kirnberg (2005, the Cyrillic version), Advokat Modern (2008), Afisha, Afisha Cap, Agatha-Modern, AlexandraScript, Amadeus, American Text C, American-Retro (2008), Ametist [based on Lorelei] (2008), AmpirDeco, Andantino-script (2008), Andantinoscript, Anfisa Grotesk (2008), Angelica, Annabelle, Antikvar (2008), Antikvar Shadow (2008), Antonella Script (2008), Antonella Script X (2008), Antract, Aquarelle, Ariadnascript, Ariston-Normal, Arkadia (2008), Arkhive, Arlekino, Art-Decoretta (2008), Art-Decorina (2008), Art-Metropol, Art-Nouveau Initial (2008), Art-Nouveau1895, Art-Nouveau1895-Contour, Art-Nouveau1900, Art-Nouveau1910, Art-Victorian (2008), ArtNouveau-Bistro, ArtNouveau-Cafe, Artemis Deco (2008), Artemon (2008, psychedelic), Arthur Gothic, Artist-Modern, Astoria Deco (2008), Atlas Deco A (2008), Atlas Deco B (2008), Auction, Augusta One, Augusta Two, AvalonMedium.
  • B: Ball-Point Pen, Bankir-Retro, Barocco Floral Initial (2008), Barocco Initial (2008), Baron Munchausen, Batik Deco (2008), Belukha, BelukhaCapital, BickhamScriptAltFour, BickhamScriptAltOne, BickhamScriptAltThree, BickhamScriptAltTwo, BickhamScriptOne, BickhamScriptThree, BickhamScriptTwo, Birusa (2008), Bodoni Initials (2008), Boleroscript, Bonapart-Modern, Briolin, Brokgauz&Efron, Brokgauz&Efron-Italic.
  • C: Caberne, Cafe Paris C, Calligraph-Medium, Campanella (2008), Capitol Deco (2008), Carmen, Carolina, Casanova (art nouveau) (2008), Cassandra, Castileo (2008), Certificate of Birth (2008), Chocogirl (2008), ClassicDecor (ornaments), Classica-One (2008), Classica-Two (2008), Cleopatra (2008), Conkordia (2008), Cordeballet, Corinthia, Corleone, CorleoneDue.
  • D: Dama Bubey (grunge) (2008), Debut (art deco in the style of Broadway) (2008), Decadance Cursiv (2007), Decor Initial (2009: decorative caps, a Cyrillic extension of a typeface by Pampa Type), Decor Line (2008), DeutschGothic (blackletter), Donaldina (2008).
  • E: Edisson (blackletter), Egipet-Bold, Ekaterina_Velikaya_One (2005), Ekaterina_Velikaya_Two (2005), English Rose (2008), EnglishScript, EseninscriptOne, EseninscriptTwo, Evgenia Deco (2008).
  • F: Fairy Tale (2008), Fantasia (2008), Fata Morgana, Favorit, Favorit Grotesk (2008), Flamingo (2008), Fortuna Gothic FlorishC (2009, blackletter).
  • G: Geisha (2006), Gertruda Victoriana (2008), Globus (2006), Gloriascript, Goudy Decor InitialC (2009, ornamental caps), Goudy Decor ShodwnC, Goudy OrnateC, Graceful Mazurka (2008).
  • H: HeatherScriptOne, HeatherScriptTwo, HeinrichText, Hogarth_script (2005).
  • I: Isabella-Decor, Italy-A (2008), Italy-B (2008), Izis One (monoline sans), Izis Two.
  • K: Kabriolet Decor (2009), Kamelia (2009, Victorian face), Kareta-A (2007), Kareta-B (2008), KarnacOne, KarnacTwo, Konkord-Retro, Konrad-Modern (2008), Konstrukto-Deco (2008) (2008), Kot Leopold (2008), Kumparsita.
  • L: Lastochka (2008), Le Grand, Leokadia Deco (2008), Lombardia, Lombardina One, Lombardina Two, Lombardina-Initial-One (2008), Lombardina-Initial-Two (2008), Lombardina-One-Roman (2008), Lombardina-Two (2008), Ludvig_van_Bethoveen (sic) (2005).
  • M: Majestic X-2, Majestic-, MajesticX, Malahit-Bold, Margaritascript, Marianna, MarkizdeSadscript, MartaDecor One and Two, MartaDecorTwo, Martina Script C, Masquerade (2008), Matilda, Matreshka, Maya (2008), Medieval English, Melange Nouveau (2008), Menuetscript, Metro Modern, Metro Retro B (2008), Metro Retro C (2008), Metro-Retro A (2008), ModernistNouveau, ModernistOne, ModernistThree, ModernistTwo, ModernoNouveau, ModernoOne, ModernoThree, ModernoTwo, Modestina (Victorian), Mon Amour Two (both jointly copyrighted with David Rakovsky) (2008), Mon Amoure One (2008), Monte-Carlo, Monte-Kristo, Monti-Decor A B, Moonlight, Moonstone, Moonstone Stars, Morpheus, Moulin Rouge (2008).
  • N: Nocturne (2005), Nostalgia (2008).
  • O: Old Comedy, OldBoutique, Olietta-script-BoldItalic (2008), Olietta-script-Lyrica-BoldItalic (2008), Olietta-script-Poesia-BoldItalic (2008), Orpheus, Ouverture Script (2004, calligraphic).
  • P: Parisian, Picaresque One, Picaresque-Two (2008), Pilotka (2008), Plimouth, Port-Arthur (2008), Poste Retro (2008), Postmodern One, Postmodern Two, Promenad Deco (2008), Prospect-Deco (2008), Pudelina (2008), Pudelinka (2008).
  • R: Red Sunset, Regina Kursiv (2008), Renaldo Modern, Rochester, RochesterLine, RockletterSimple, RockletterTransparent, Romantica Script, Romashka Deco (2008), Romashulka (2008), Rondo Ancient One (2008), Rondo Ancient Two (2008), Rondo Calligraphic (2008), Rondo Twin (2008), Rosa Marena, Rosalia (2008), RosamundaOne-Normal, RosamundaTwo, Rotterdam, Rubius, Rurintania (sic) (2005).
  • S: Samba DecorC (2006), San Remo, Sapphire C (2008), Scriptorama (a clone of Scriptina), Secession-Afisha, Sevilla Decor X, SevillaDecor, Sladkoeshka (2008), Stereovolna (2008), Stereovolna Black (2008), Stradivari Script (2008), Stradivari Script [the Latin part copyrighted by Grosse Pointe Group] (2008), Stravinski Deco (2008).
  • T: Taverna, Teddy Bear [Latin by House Industries] (2008), Telegraph, TelegraphLine, TelegraphShodwn, TelegraphSmall, Terpsichora (2008, psychedelic), Theater (2009, Victorian), Theater Afisha, Topaz, Trafaret Kit (2008), Trafaret Kit Hatched (2008), Trafaret Kit Transparent (stencil) (2008), Traktir-Modern, Traktir-Modern3-D, Traktir-ModernContour, Turandot.
  • V: Valentina (2008), Variete (2008), VenskiSadTwo-Medium, VenskisadOne-Medium, Vera Crouz, VeronaGothic (blackletter), VeronaGothicFlourishe (blackletter), Veronica-script-One (2008), Veronica-script-Two (2008), Victorian-Gothic-One (2007), Victorian-Gothic-Two (2008), Victoriana, Vizit (2010, engraved face).
  • W: Wolfgang Amadeus Mozart (2005), Wonderland (2008), Wonderland Star (2008).
  • Z: ZanerianTwo, [Google] [More]  ⦿

Alexandra Malysheva
[MF Studio]

[More]  ⦿

Alexandra Muravey

Artist and graphic designer in Moscow. In 2014, she created the Latin / Cyrillic display sans typeface Salut. In 2012, she created the Latin / Cyrillic display typeface Lotsman. Earlier, during her studies at the Higher Academic School of Graphic Design in 2010, she created an untitled Cyrillic alphabet. [Google] [More]  ⦿

Alexandra Pushkova

Digital type artist at ParaType. Among her contributions is the digital version of a blackletter alphabet (Blonde Fraktur, 2010) that was drawn with a quill by Alexandra Korolkova. [Google] [More]  ⦿

Alexei Chekulayev
[Double Alex Team]

[MyFonts] [More]  ⦿

Alexei Tsvetkov

Russian in Munich who designed the Mac font "Russian" in 1993. [Google] [More]  ⦿

Alexei Vanyashin

[MyFonts] [More]  ⦿

Alexej Kryukov

Developer of these free font families, quite exquisite and complete:

  • Old Standard TT (2008-2010): a high quality didone 2-style family, suitable for classical, biblical and medieval studies as well as for general-purpose typesetting in languages which use Greek or Cyrillic script, as well as Latin. Many math symbols are included. Old Standard is part of the Google open font directory of free web fonts, and was adapted for TeX use. He writes: Old Standard is supposed to reproduce the actual printing style of the early 20th century, reviving a specific type of Modern (classicist) style of serif typefaces, very commonly used in various editions of the late 19th and early 20th century, but almost completely abandoned later. It supports typesetting of Old and Middle English, Old Icelandic, Cyrillic (with historical characters, extensions for Old Slavonic and localised forms), Gothic transliterations, critical editions of Classical Greek and Latin, and many more.
  • Tempora LGC Unicode: Kryukov writes Tempora LGC Unicode was my first attempt to create a multilingual font supporting Latin, Greek (including polytonic characters) and Cyrillic scripts. This family is based on two well-known free typefaces similar to Adobe Times: Nimbus Roman No 9 L by URW (russified by Valek Filippov), and the Omega Serif family, developed by Yannis Charalambous. However, all basic components of the font, and especially its Greek and Cyrillic parts, have suffered serious modifications, so that currently Tempora LGC Unicode represents an independent typeface, quite different from its predecessors.
  • Theano Classical fonts: Theano Didot is a classicist face, with both its Roman and Greek parts implemented in Didot style. Theano Modern has Greek letters designed in the Porsonic style. It is based on Figgins Pica No. 3 / Small Pica No. 2, one of the most successful Porsonic Greek typefaces. Theano Old Style is a modernized "Old Style" Greek font with a large number of historic ligatures and alternate forms, modelled after some early 19th century types designed by Figgins' type foundry. It is accompanied by a Latin typeface based on some "Old Style" Roman fonts of the late 19th and early 20th century.
  • CM-LGC (2003): The CM-LGC package contains Type 1 fonts converted from METAFONT sources of the Computer Modern font families. The following encodings are supported: T1, T2A (Cyrillic), LGR (Greek) and TS1. This package includes also Unicode virtual fonts for use with Omega/Lambda. CM-LGC is the first Type 1 font package for LaTeX which supports all European scripts (LGC means Latin, Greek and Cyrillic). Alexej Kryukov used Textrace to create CM-LGC.

He contributed to the GNU Freefont project via FreeSerif Cyrillic, and some of the Greek symbols. He also provided valuable direction about Cyrillic and Greek typesetting.

Kernest link. Fontspace link. Another URL. [Google] [More]  ⦿


Russian graphic and type designer. His mostly experimental faces include Isopronto (2011, geometric), Vampire (2011), Blamed Neverland (2011, a connect-the-dots face), Lighter (techno), and Coffee (2011, ultra-condensed). [Google] [More]  ⦿

Alexey Bokov

Russian designer of TypeWriterNormal and EuroStyle. In 2010, he made the perforated plate font Performance (ParaType). FontShop link. [Google] [MyFonts] [More]  ⦿

Alexey Carlove

Alexey Carlove (Carlove Design) is the Dzerzhinsk, Russia-based creator of the tri-lined prismatic Latin / Cyrillic typeface Gorod Spotra (City of Sports), which is somehow related to the 2014 Winter Olympics in Sochi.

Behance link. [Google] [More]  ⦿

Alexey Dombrovskiy

Alexey Dombrovskiy was born in 1964 in Russia (Uzlovaya, Tula region). He graduated from the Tula Polytechnical Institute in 1986. He works in book design. He cooperates with various publishing houses and designs books for the Russian Academy of Sciences, the Russian Entomological Society, the Moscow State University, the Tula State University, and printed matter for the Bolshoi Theatre, the Moscow Kremlin Museums, the State Hermitage Museum. Author of some articles on the history of initials, a topic about which he spoke at ATypI 2008 in St. Petersburg. In that talk, he covered these phases of initial caps development in Russia:

  • Cyrillic printed initial caps by 15-17th centuries as the Civil prototype.
  • First slavic capitals as serif (1494).
  • Francisco Scorina's modernization of Cyrillic type and capital letters (1517-1525).
  • Gothic motives in Moscow floriated letters by Ivan Fyodorov and his followers (1564-1677).
  • Alternative Cyrillic typefaces at Moskovia's western remote area (17th cent.).
  • Sobornoye Ulozhenie by czar Alexey Mikhaylovich: Ltin style of capital letters in Russian corpus juris (1649).
  • The Civil type's initials in Peter the Great's editions (1708-1725).
[Google] [More]  ⦿

Alexey Frolov

Designer in St. Petersburg, Russia, b. 1992, aka Alexey Frukta. He made the free fonts Kankin (2012, a heavy display typeface for Latin and Cyrillic), Silverfake (2012), Tetra (2011. +Cyrillic), Pacifica (2011), Perforama (2010), Velvet Drop (2010) and Bardelin (2010), Sumkin (2010, a fat signage typeface for Latin and Cyrillic), SumkinfreetypeMRfrukta2010, TotShrift-BoldBold (2010), Bext (2010), the leaf-themed display typeface Kaori (2010, Latin and Cyrillic), Grandnover (2010), and the futuristic faces Kvadro (2009), Brava Novella (2010, heavy slab serif) and Kardon (2010), downloadable here.

Some of his fonts are commercial, including the beautiful fat display typeface Houston (2013).

Behance link. Klingspor link. Hellofont link. [Google] [More]  ⦿

Alexey Gunin

Russian type designer. In 1992, he and Alexey Chekulaev formed Double Alex. They codesigned Bastion Kontrast at Double Alex Font Studio, a family based on Helvetica, and a number of other typefaces. [Google] [More]  ⦿

Alexey Kustov
[Type Market]

[More]  ⦿

Alexey Lysogorov

Russian graphic designer. Does some corporate identity design. [Google] [More]  ⦿

Alexey Makarov

Type designer from Novosibirsk, Russia, b. 1985, Altay. He designed the ball terminal typeface Asheron in 2013. [Google] [MyFonts] [More]  ⦿

Alexey Persh

Digital artist in Tagil, Russia. He creates innovative geometric alphabets and has published great typographic posters. [Google] [More]  ⦿

Alexey Shevtsov

Designer at Type Market (Moscow) of the Cyrillic font family EuropeCond (1995). [Google] [More]  ⦿

Alexey Timokhovsky

Ukrainian type designer based in Kiev (b. 1983, Kiev). He has his own typefoundry in Kiev. In 2014, he designed the blackletter beer label typeface Grenadier for Latin and Cyrillic. Behance link. [Google] [MyFonts] [More]  ⦿

Alexey Zhurov

Industrial designer in Moscow. He created some funny and original stick figure dingbats called Lettrism (2009). Bones (2011) is a Cyrillic display face. Pseudo LCD (2011) is a hexagonal LCD face. Serpenta Serif (2011) is labyrinthine. [Google] [More]  ⦿

Alexy Velichkin

Alexey Velichkin (Moscow) created the rough Cyrillic army stencil font Ist Bridzh (2014). Behance link. [Google] [More]  ⦿

Alice Traum

Graphic designer and illustrator in Moscow who created some Latin typefaces in 2013.

Behance link. [Google] [More]  ⦿

Alina Smolina

During her studies at the British Higher School of Art in Moscow, Alina Smolina created a layered Cyrillic typeface called Colored (2013). Blow to Didot (2013) is a deconstructed didone typeface. Stick Wand (2013) is a Cyrillic stick font. [Google] [More]  ⦿

Alina Zoryna

Web designer in Minsk, Belarus, who created the Cyrillic painted typeface Yel (2013). [Google] [More]  ⦿

Alisa Vorobyova

Moscow-based designer of the Cyrillic display typeface Graphical (2013). Behance link. [Google] [More]  ⦿

All About Type's Journal

Russian language type news and blog site managed by the Jakovlev Type Foundry. Subpage on Russian fonts. [Google] [More]  ⦿

Almaty Telecom

KZArial is a Kazakhstan version of Monotype's Arial, generated by Andrey Karchin for the Izet Company. [Google] [More]  ⦿

[Juan-José Marcos García]

Juan-José Marcos García (b. Salamanca, Spain, 1963) is a professor of classics at the University of Plasencia in Spain. He has developed one of the most complete Unicode fonts named ALPHABETUM Unicode for linguistics and classical languages (classical&medieval Latin, ancient Greek, Etruscan, Oscan, Umbrian, Faliscan, Messapic, Picene, Iberic, Celtiberic, Gothic, Runic, Modern Greek, Cyrillic, Devanagari-based languages, Old&Middle English, Hebrew, Sanskrit, IPA, Ogham, Ugaritic, Old Persian, Old Church Slavonic, Brahmi, Glagolitic, Ogham, ancient Greek Avestan, Kharoshti, Old Norse, Old Icelandic, Old Danish and Old Nordic in general, Bengali, Hindi, Marathi, Phoenician, Cypriot, Linear B with plans for Glagolitic). This font has over 5000 glyphs, and contains most characters that concern classicists (rare symbols, signs for metrics, epigraphical symbols, "Saxon" typeface for Old English, etcetera). A demo font can be downloaded [see also Lucius Hartmann's place]. His Greek font Grammata (2002) is now called Ellenike.

He also created a package of fonts for Latin paleography (medieval handwriting on parchments): Capitalis Elegans, Capitalis Rustica, Capitalis Monumentalis, Antiqua Cursiva Romana, Nova Cursiva Romana (2014), Uncialis, Semiuncialis, Beneventana Minuscula, Visigothica Minuscula, Luxoviensis Minuscula, Insularis Minuscula, Insularis Majuscula, Carolingia Minuscula, Gothica Textura Quadrata, Gothica Textura Prescissa, Gothica Rotunda, Gothica Bastarda, Gothica Cursiva, Bastarda Anglicana (2014) and Humanistica Antiqua. PDF entitled Fonts For Latin Palaeography (2008-2014), in which Marcos gives an enjoyable historic overview.

Alphabetum is not Marcos's only excursion into type design. In 2011, he created two simulation fonts called Sefarad and Al Andalus which imitate Hebrew and Arabic calligraphy, respectively.

Cyrillic OCS (2012) is a pair of Latin fonts that emulate Old Church Slavonic (old Cyrillic).

In 2013, he created Cuneus, a cuneiform simulation typeface.

Paleographic fonts for Greek (2014) has ten fonts designed by Marcos: Angular Uncial, Biblical Uncial, Coptic Uncial, Papyrus Uncial, Round Uncial, Slavonic Uncial, Sloping Uncial, Minuscule IX, Minuscule XI and Minuscule XV. These fonts are representative of the main styles of Greek handwriting used during the Classical World and Middle Ages on papyrus and parchments. There is also a short manual of Greek Paleography (71 pages) which explains the development of Greek handwriting from the fourth century B.C. to the invention of printing with movable type in the middle of the fifteenth A.D. He wrote a text book entitled History of Greek Typography: From the Invention of Printing to the Digital Age (in Spanish). See also here and here. [Google] [More]  ⦿

Alya Boldovskaya

Moscow-based type and graphic designer who was born in 1991 in Ardatov. Creator of Alya Hand (2010, a curly typeface based on her handwriting, which was done with Konstantin Boldovskiy of the Russian foundry Konst.ru. [Google] [MyFonts] [More]  ⦿

Alya Kuznetsova

Moscow-based designer of the Cyrillic display typeface Kanitel (2014). [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]  ⦿

[Maxim Avdeev]

Maxim Avdeev (aka Amazingmax) is the Kazan, Russia-based creator (b. 1997) of some futuristic/game fonts in 2009: AmazXakep, AmazDooMLeft, AmazDooMLeft2, AmazDooMLeftOutline, AmazDooMRight, AmazDooMRight2, AmazDooMRightOutline, AmazS.T.A.L.K.E.R.Italic, AmazS.T.A.L.K.E.R.v.2.0. In 2010, he made the AmazGoda family of comic book faces.

In 2011, he added AmazHand_First, AmazHand_First_Alt, AmazHand_First_Alt_X, AmazHand_First_Hard, AmazHand_First_Smooth.

Fonts from 2012: Amaz Mega Grunge. [Google] [More]  ⦿


Russian fonts designed after historical examples. Free downloads. The list: Arkhive, Belukha1, BrokgauzItalic, Brokgauz, Edisson, Elzevir, Figured, Gloria, Heading (2004, by Anatole), Imperial, Italiano, Karmen, Medieval, Redinger, RomanaScr, Round-Italic, Saksonia, ScriptEnglishItalic, ScriptThinPen, Tcheconin41, Tchekhonin2, Venecia (2004, by Anatole), Washington (2004, by Anatole), Zecession, AAlbionicTitulNrSh, Flomast (handwriting), flomaster-Bold (handwriting), Flomaster (handwriting). [Google] [More]  ⦿

AMS fonts

AMS Euler (a calligraphic font, designed by Herman Zapf), AMS Cyrillic, AMS Computer Modern, AMS extra math symbols (msam, msbm). In metafont and type 1 formats. [Google] [More]  ⦿

Amy Dittman

Saint Cloud, MN-based designer of a fat 3d poster typeface in 2014, during her studies at St. Cloud State University. It was inspired by Macklemore & Ryan Lewis's song "Gold" featuring the chorus to the song. [Google] [More]  ⦿

An An
[Anik Ya]

Anik Ya (An An) is the graphic designer in Saint Petersburg, Russia, who created the design culture typeface Rasoir (2014), named after the Miu Miu Rasoir sunglasses. She also created the experimental typeface Kaiv (2014), which is named after sunglasses by Paul Smith. [Google] [More]  ⦿

Ana Nikolova

Veliko Turnovo, Bulgaria-based designer of the Latin and/or Cyrillic display typefaces Edoardo (2013, a school project font) and Puncho (2013). [Google] [More]  ⦿

Anastacia Novik

Moscow-based student who created the Latin/Cyrillic renaissance antiqua typeface family Orlando (2012). [Google] [More]  ⦿

Anastasia Allakhverdova

Prolific art director in Moscow. Her work includes the fashion mag Latin/Cyrillic typeface Cadre (2014), the prismatic custom typeface Icon Face (2014, done for a make-up school) and a few other fashion industry fonts. Behance link. [Google] [More]  ⦿

Anastasia Babalyan

Russian designer at TypeMarket of AllegroScript (1995), Palladium (1994-1995), SonetSerif (1996, based on Stone Serif from 1987), Anastasia Script (1996, based on Shelley Script (Matthew Carter, 1972), and Oliver New (1995, TypeMarket, based on Antique Olive by Roger Excoffon, Olive, 1962-1968). ParaType link. [Google] [More]  ⦿

Anastasia Belozerova

Russian graphic designer. She made the neon-sign based Cyrillic typeface Provoloka (2009). [Google] [More]  ⦿

Anastasia Kernozhitskaya

Kiev, Ukraine-based designer of the stitching font Ukraine (2014) and the blocky typeface Loft (2014). All fonts are for Cyrillic. [Google] [More]  ⦿

Anastasia Larina

Russian poet who designed the handwriting fonts 47 (2008) and Denistina (2007). Aka X-tina and as Christina-S. Dafont link, where the designer is called Chrissette. [Google] [More]  ⦿

Anastasia Lila

Illustrator and graphic designer in Saint Petersburg, Russia. Creator of the girlish Latin / Cyrillic script typeface Lila Paris (2015). Creative Market link. [Google] [More]  ⦿

Anastasia Malinovskaya

Creator of the great Cyrillic poster font Author (2014). Anastasia is based in Samara, Russia. [Google] [More]  ⦿

Anastasia Ovsyannikova

Moscow-based designer of the experimental Latin / Cyrillic typefaces Grungedidot (2013), Multilayer Font (2013), and Modular Font (2013). [Google] [More]  ⦿

Anastasia Yakovleva

Saint Petersburg-based creator of Milan (2012) and Kidot (2013). She writes: Kidot font was created as a corporate font for KIDSTUDIO. It was born from professional passion to design & typography. A child of bauhaus and modernism. Honest & pure. Created by Anastasia Yakovleva & Marco Innocenti. [Google] [More]  ⦿

Anastasija Davydchik

Russian type designer who received a TypeArt 05 award for the display family EZZ. [Google] [More]  ⦿

Anastasiya Anisovich

Borisov, Belarus-based designer of the Latin/Cyrillic typeface Motion (2014). [Google] [More]  ⦿

Anastasiya Shtern

During her graphic design studies at BHSAD in Moscow, Anastasiya Shtern designed the Latin display typeface Modul (2013) and the mechanical ornamental caps typeface for Cyrillic called Reconstruction (2013). [Google] [More]  ⦿


[More]  ⦿

Anatole Type Foundry
[Elena Albertoni]

Elena Albertoni (Anatole Type Foundry, est. 2005) is an Italian type designer (b. 1979, Bergamo) who studied at ESAD Amiens and the Ecole Estienne in Paris, before taking a position as type designer at FontFabrik in Berlin, where she still lives. She cofounded Anatole Type Foundry with Pascal Duez.

At the Rencontres de Lure 2005, she spoke about OpenType and Latin characters.

Her script typeface Dolce (2005) won an award at the TDC2 2005 type competition. She created Dyna (connected feminine script). Review of Dolce & Dyna.

Other faces include Kigara, Scritta (connected calligraphic script), Dolce (2005, connected script), Helene (squarish face), Valora, Schneider, Gregoria (a Gregorian chant font that won an award at TDC2 2007), Deja Rip and Deja Web (2010, eight-style sans family of great utility, codesigned with Fred Bordfeld; Cyrillic included).

Acuta (2010) is an all-purpose type family.

Scritta Nuova (2011) is a rhythmic upright connected script, which evokes retro calligraphic styles taught in Italian schools around the 1950s.

In 2012, she published the plump and curvy script typeface Molle at Google Web Fonts.

Nouvelle Vague (2011) is a connected display script along the lines of Mistral.

Spinnaker (2011) is a sans design based on French and UK lettering found on posters for travel by ship.

In 2011, Elena cofounded LetterinBerlin, a studio dedicated to handmade and digital design, with a special focus on lettering and type-design.

Alternate URL. MyFonts link. Behance link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Anatoliy Kudryavtsev

Also written Anatolij Kudrjavcev. Russian type designer who developed the extensive Cyrillic sans family PT Parangon from 1996 until 2002. Paratype states: This type family belonges to Neogrotesque subclass of closed Sans Serif. Letterforms of lower case is based on the tradition of 1710 Civil type and some modern Italic types. For Parangon Poluustav and Parangon Ustav, he received two awards at TypeArt 05. [Google] [MyFonts] [More]  ⦿

Anatoliy Vasilyevich Shchukin

Russian type designer, b. 1906, Moscow, d. 1994, Moscow. He was also a graphic artist. He designed type at VNII Polygraphmash and participated in the following typeface projects: Latinskaya (later Literaturnaya), New Standard, Journal Sans, Lazurski. Faces include Latinshkash (1936), Akademicheskash (1941), Journal Sans (1940-1956, a popular geometric sans family based on Erbar-Grotesk (1929, Ludwig&Mayer, by Jakob Erbar), and on Metro (1929, Mergenthaler Linotype, by William A. Dwiggins), Schkolnash (1962), Ladoga (1968; digitization by Viktor Kharyk, 2005-2006). Paratype link. [Google] [More]  ⦿

Anatoly Shchukin

Russian type designer and project manager in 1940 at Polygraphmash during the design of the extensive Cyrillic/Latin didone family "New Standard", based on the text typefaces of the late 19th and early 20th centuries of the Obyknovennaya ("common") group. The digital version was developed at ParaGraph in 1996 by Vladimir Yefimov. ParaType explains: Initially designed for a collection of works by Lenin, this typeface was widely used in Soviet Union for technical and scientific books, both for text and display. He designed Paratype Journal Sans (1994, Latin letters) and Paratype Journal Sans Cyrillic. He is also credited with Ladoga (1968, Polygraphmash; digitized and extended by Viktor Kharyk in 2010 at ParaType), Rukopisnaya Korobkovoy (1953, calligraphic), and Rukopisnaya Zhihareva (1953, calligraphic). FontShop link. [Google] [More]  ⦿

Anatoly Vyalikh

Graphic designer and illustrator in Moscow. Creator of a colorful type poster (2009) for a children's book based on Futura. From it he derived a painted-look version of Futura (2009). Home page. Another URL. Another typeface. [Google] [More]  ⦿

Anatomy of a typeface

Russian type glossary and links. [Google] [More]  ⦿

Anatomy of fonts

A Russian language page with visual illustrations of font terminology. [Google] [More]  ⦿

Andre Varvarin

Russian creator of an experimental font obtained by combining several fonts made by students at the British Higher School of Art and Design in Moscow. [Google] [More]  ⦿

André Gürtler

Born in 1936 in Basel, Switzerland's André managed the design office at Deberny&Peignot in the late fifties and early sixties. He taught production letter design at the Künstgewerberschule in Basel from 1965 onwards. He started Team 77 with Christian Mengelt and Erich Gschwind in order to make a correct grotesk improving over past grotesks, including Helvetica.

Gürtler's typefaces:

  • Basilia (1978, Haassche Schriftgiesserei). This didone typeface family is available from URW and Linotype who has the date 2004 for its latest digital version.
  • The slab serif Egyptian 505 (1966, VGC). First Prize in the 1966 VGC National Type Face Design Competition, developed in cooperation with his students. This became Egyptian 505 at Bitstream and Linotype.
  • Media (1976, Bobst Graphic, with Chr. Mengelt and Erich Gschwind).
  • Signa (1978, Bobst Graphic).
  • LinoLetter (1978). A slab serif codesigned with Reinhard Haus. The digital version at Linotype is dated 1992. Adobe also sells this typeface.
  • ITC Avant Garde Gothic (1971-1977). With Edward Benguiat, Tom Carnase, Christian Mengelt and Erich Gschwind. ITC Avant Garde Gothic is a font family based on the logo font used in the Avant Garde magazine. Herb Lubalin designed the logo and its companion headline typeface. Lubalin and Tom Carnase, a partner in Lubalin's design firm, worked together to make a full typeface. The condensed fonts were drawn by Ed Benguiat in 1974, and the obliques were designed by André Gürtler, Erich Gschwind and Christian Mengelt in 1977.
  • Alpin Gothic (Compugraphic).
  • Cyrillic Gothic (Compugraphic).
  • Haas Unica (1980, Haas). Hrant Papazian writes: Unica is amazing. The only grot I like - although some people don't think it's a grot - which would explain my attraction! It avoids both the sterility of Univers and the... well, idiocy, of Helvetica. [...] art of it is Gurtler's mystique. Another is the amazing "rationalization" exercise Team 77 carried out in making it (elaborated just as amazingly in a small publication I have a copy of). I guess the main reason I can cling to is that it's not "naive". Most old grots (like Akzidenz) are like backwards villagers to me, and new grots (like FF Bau) are urbanites pretending to be villagers. In comparison, Unica is like an urbanite who has had to move in with his villager in-laws, but has decided to make the best of it. On the other hand, I suspect this is exactly why some people think Unica is not in fact a grot - it's a geo in grot's clothing. Stephen Coles writes: Scangraphics Digital Type Collection (which included Haas Unica) was purchased by Elsner + Flake in 2003, to which they added font-specific Euro and @ symbols in 2004. The revamped typeface was set to be sold by Scangraphic and its distributors, but Linotype is currently preventing the release, citing trademark violations. Although similarities to other typefaces often occur between foundries, it is rare that one finds typefaces that have been shelved indefinitely due to such resemblances. In truth, the real problem lies within a dispute over who owns the name Haas Unica, rather than any resemblance infringment. Haas Unica is commercially unavailable thanks to Linotype and Scangraphic. Linotype especially stands to lose a lot of Helvetica money if it ever appears. Michael Hernan digitized Unica Deux in 2006. PDF of Unica. The Ministry of Type calls it the ultimate archetypal sans serif face.

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

André Harabara

Brazilian creator the rhythmic and flowing hand-printed HarabaraHand (2009), and of the organic techno sans typeface familiess Harabara and HarabaraNeo (2009) and Harabara Mais (2013) for Latin and Cyrillic. In 2015 he made AliciOne.

Dafont link. Klingspor link. Font Squirrel link. Carbonmade link. [Google] [More]  ⦿

Andreas Johansson

[More]  ⦿

Andreas Prilop
[Multilingual Macintosh Resources: Cyrillic]

[More]  ⦿

Andreas Stötzner
[SIAS (or: Signographical Institute Andreas Stötzner)]

[MyFonts] [More]  ⦿

Andrei Izotov

Andrei Izotov (Moscow State University) is the creator of the old Slavonic typeface Church AI (1995), which can be found here. [Google] [More]  ⦿

Andrei Nesterov

Russian designer of the beautiful Open Font Library uncial Cyrillic typeface Ostromirovo (2008), which is based on Ostromirovo evangeliye [Ostromir Gospel] (1056-1057). Other faces there include Rus Sans Pokrytie (2009, based on Luxi Sans; withdrawn in 2010) and Rus Sans 3 (2010). [Google] [More]  ⦿

Andrei Zhitkov

Russian type designer. Agfa/Monotype designer of the Cyrillic fonts Bodoni Poster Cyrillic, Nevsky (Western style), Pskov (octagonal font), Tatlin (in the style of early Russian constructivism). [Google] [MyFonts] [More]  ⦿

Andrej Derbenev

Moscow-based designer of a geometric experimental Cyrillic typeface in 2012. More magnificent, often geometric, Cyrillic typefaces followed in 2014. [Google] [More]  ⦿

Andrew Belousov

Russian creator of a nail-themed all caps Cyrillic typeface in 2012. [Google] [More]  ⦿

Andrew Morev

Moscow-based motion graphics designer. He created the comic book style typeface Fence Font (2009). Home page. Another URL. [Google] [More]  ⦿

Andrew Nesterenko

Zaporizhzhya, Ukraine-based graphic designer. He made an untitled Peignotian typeface for Latin and Cyrillic in 2014. Behance link. [Google] [More]  ⦿

Andrew Shalanskiy

Kiev, Ukraine-based designer of the artistic hand-crafted Cyrillic typeface Afinskaya (2015). [Google] [More]  ⦿

Andrew Sigurow

Moscow-based designer of Probe 10px (2014, Open Font Library), a free pixel typeface, and Omnibus Serif (2015, also free). Behance link. [Google] [More]  ⦿

Andrey Andreev

Designer at ATRI, Graphic bureau Az-Zet of the Cyrillic/Latin font AZ NewsPaperC (1990-1995), which is similar to News Gothic by Morris Fuller Benton, ATF, 1908. [Google] [More]  ⦿

Andrey Belogonov

Russian designer of Nerpa (2014, with Yana Kutyina), Kalimantan (2012-2013: an award-winning calligraphic typeface designed together with Yana Kutyina---it is unclear if this was a joint project or if Yana did this by herself), POWERVIEW (2010, with Yana Kutyina), a scanbat font with players like Bush, Castro, Gorbachev, Osama Bin-Laden, and Reagan. Vataga (2008, Paratype, with Yana Kutyina) is a really funny dingbat face. Other typefaces: Astera, Cliche, Fast Fingers, Brusque (2008, Paratype: a brutalist face). Brusque was originally named Rouble and under this name it was awarded a first degree diploma of the Typefaces nomination at the Graphite Graphic Design Festival, 1999, and a diploma at the ATypI International Type Design Contest Bukva:raz!, 2001. Behance link. [Google] [MyFonts] [More]  ⦿

Andrey Belonogov

Russian designer (b. 1975, Moscow) who won an award at Bukvaraz 2001 for Handmade (hand sign font), and for Rouble, a minimalist Latin/Cyrillic font made in 1999-2001. He received a TypeArt 05 award for the dingbat family Astra. Other typefaces include Lenta, Moloko and Svoboda. He graduated from Moscow State University of Art (named after S. Stroganov in 2001). The astronomical signs font Astera was published by Paratype in 2008. Other Paratype fonts by him include Brusque (2008, renamed Rouble), Cliche (2008, stencil face), FastFingers (2008, remake of Handmade), Powerview (2010, with Yana Kutyina), Chetwerg (2014, which won an award at Modern Cyrillic 2014), and Vataga (2008, a human faces dingbat font co-designed with Yana Kutyina). [Google] [MyFonts] [More]  ⦿

Andrey Chernevich

Russian designer in St. Petersburg, aka Mister Chek, b. 1983. Dafont carries his free demos. He sells his typefaces here: Horizons, Trueper (tattoo face), Black Queen (metal band face), King Arthur (blackletter).

He created the free faces MCF Revolution Ink (2012, a Treefrog-style handwriting all-caps face), MCF Zelfis (2011, a tattoo font), MCF Bad Manners WW (2009, blackletter), MCF Star Worms (2012, blackletter / tattoo face), and MCF Funera (2010).

More recent fonts include G Style, Amega Star, Pobeda, Brather Script, MCF Iraida Script.

Dafont link. Devian Tart link. Abstract Fonts link. [Google] [More]  ⦿

Andrey Davydov

Moscow-based creator of Mary Poppins (2011), a legible text family for Latin and Cyrillic. [Google] [More]  ⦿

Andrey Drobitko

Artist and founder and CEO of Kula Tech who is based in Moscow. In 2010, he created the abstract typeface Tot Kexit. [Google] [More]  ⦿

Andrey Kochetov

Russian designer of the rounded Latin / Cyrillic sans typeface family Inglobal (2014), together with Denis Davydov and Evgeny Yurtaev. This typeface was either commissioned for Inglobal, or was based on its logo. In any case, it can be freely downloaded at Dafont. [Google] [More]  ⦿

Andrey Kryukov

Moscow-based graphic and type designer (1923-1997). Designer of ParaType Magistral (1997, digitized by Dmitry Kirsanov), a geometric display sans based on the artwork of Kryukov (1923-1997). Also available at URW. Both Latin and Cyrillic versions exist.

During 20 years starting from the early 60s, Andrey Kryukov headed the Studio of Applied Graphics at Moscow Artists' Union. He worked as a designer for large Russian companies and organizations like Vneshtorgizdat, Trade Chamber, Muzyka Publishing and Melodia. [Google] [MyFonts] [More]  ⦿

Andrey Kudryavtsev
[Andrey Kudryavtsev Type Foundry (or: AKTF)]

[MyFonts] [More]  ⦿

Andrey Kudryavtsev Type Foundry (or: AKTF)
[Andrey Kudryavtsev]

Foundry in Irkutsk in Siberia.

Andrey Kudryavtsev designed Spacexplorer (2012), Necromant (2012), Flexy Sans (2011), Otrada (2011, signage script), Micronica (2008), a font shaped like old TV screens, Karlson (2009), Imperator (2010, a Trajan face), Alter (2010), Sommelier (2011), Alebarda (2009), Rubicon (2009) and Flexy Sans (2009).

Typefaces made in 2012 include the macho slightly flared Antey (Latin and Cyrillic) and the strong display sans typeface Tambov.

In 2013, AKTF published Softipen Script. In 2014, he created Qwincey FY (a high-contrast slightly flared almost Peignotian sans family, published by FontYou), Warren Narrow and Achille II Cyr FY (together with the Fontyou team of Alisa Nowak and Gregori Vincens).

Typefaces from 2015: Crisper.

Behance link. Creative Market link. Myfonts link. Klingspor link.

View the typefaces made by AKTF. [Google] [MyFonts] [More]  ⦿

Andrey Makarov

Russian type designer. He created the free monospaced Anka Coder family in 2010, which was developed for printing of source code. The fonts cover Latin and Cyrillic, among other things. The font names: AnkaCoder-C75-b, AnkaCoder-C75-bi, AnkaCoder-C75-i, AnkaCoder-C75-r, AnkaCoder-C87-b, AnkaCoder-C87-bi, AnkaCoder-C87-i, AnkaCoder-C87-r, AnkaCoder-b, AnkaCoder-bi, AnkaCoder-i, AnkaCoder-r. [Google] [More]  ⦿

Andrey Melman

Designer of the Cyrillic font Dollar (2002, after a Latin original by S. Deken), which can be found here. [Google] [More]  ⦿

Andrey Mel'man

Russian designer of the Cyrillic/Latin version of Ray Larabie's fonts Monofonto and Neuropol, and of Newland Black (after Rudolf Koch's Neuland, 1923). He also made OCR B (a Cyrillic version) and Dollar. [Google] [More]  ⦿

Andrey Shmaliy

Graphic designer in Saint Petersburg, Russia, who created the 3d Cartoon Font in 2013. [Google] [More]  ⦿

Andrey V. Panov
[CM Unicode]

[More]  ⦿

Andrey V. Panov
[Computer Modern Unicode fonts]

[More]  ⦿

Andrij Shevchenko
[Andrij Type]

[MyFonts] [More]  ⦿

Andrij Type
[Andrij Shevchenko]

Andrij Shevchenko (b. 1973) (aka Andrij Che) is the Berdyansk-based Ukrainian designer of the following typefaces, somne of which can also be had from MyFonts. Behance link.

In 2012, he started Ukrainian Type.

  • Agarsky (2006, a bold casual script face) which used to be called Agara until Berthold complained about the possible confusion with Agora.
  • Zion Train (2007, an experimental sans in 20 styles).
  • Andrij Script. See here.
  • Andrij Hand (a Cyrillic handwriting font, 2002-2006; see discussion).
  • Strudel (2002, informal handprinting).
  • ALS Agrus (2005-2006, a script face, Art Lebedev Studio).
  • Machinegun (2005, octagonal military look).
  • Magela (2003, a Cyrillic sans).
  • Hajdamaka (2004, a bouncy Latin/Cyrillic script).
  • Also check out his lettering (not fonts) in Kozaku (2005, a flowing Cyrillic script), XLibna (2005, another Cyrillic script) and here (2005).
  • The semi-serifed Oksana (2007, 6 styles), Oksana Sans (2007, +Condensed), Oksana Text (2008), Oksana Cyrillic (2007), Oksana Greek (2007), and Oksana Text Swash (2008). This was followed by Oksana Text Narrow (2011), Oksana Sans (+Wide) and Oksana Sans Compressed (2011), which have hairline weights.
  • Osnova Pro (2010): a sans family that covers Cyrillic, Greek and Latin.
  • Ababa (2002, Cyrillic lettering).
  • Turbota (2010) is a rounded Latin / Cyrillic type family that was was developed as part of an identity system for Turbota, a center for disabled children in the Ukraine.
  • Arsenal (2011). A free typeface that won a national Ukrainian type competition called the Mystetsky Arsenal contest.
  • Seaside (2011) is a Peignotian face.
  • Bandera Pro (2011) is a useful workhorse square serif type family that covers Latin, Greek and Cyrillic. Accompanied by Bandera Text (2014) and Bandera Display (2014).
  • Arsenal (2012) is a workhorse sans family for Latin and Cyrillic. It won the Mystetsky Arsenal contest, and is free.

    Zion Train Pro (2012, +Stencil): Originally ZionTrain was built as a (probably first in Cyrillic!) navigation typeface for the Kharkiv identity project and Kharkiv subway and airport navigation systems. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. The project was used in Kharkiv promotion at homeland and abroad, but was rejected by the new government. As a corporate typeface it was used for a few cultural projects. Now it is equipped with Slavic Cyrillic and Monotonic Greek.

Additional URL.

MyFonts interview.

Showcase of Andrij Shevchenko's typefaces at MyFonts. [Google] [MyFonts] [More]  ⦿

Andriy Konstantynov
[Mint Type (was: PDesign 6.0)]

[MyFonts] [More]  ⦿

Andryushkin Artem

Russian co-designer with Jovanny Lemonad of Flow (2010, a free pair of Latin hand-printed typefaces). [Google] [More]  ⦿

Andrzej Wartkowsky

St. Petersburg (Russia)-based designer of Lemur Light (2007) and Berta Drug (2008). Dafont link. Another URL. [Google] [More]  ⦿

Angella 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. [Google] [More]  ⦿

Ani Petrova

Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov's typefoundry. She completed her Bachelor's degree at The National Academy of Art in Sofia. In 2014 she obtained a Master's degree in type design.

Fontfabric type foundry published the free typeface family Uni Sans Free in 2014: four font weights (with heavy and thin included) set in caps from the best seller font family Uni Sans. Uni Sans Free is designed by Svetoslav Simov (head of Fontfabric), Ani Petrova (Cyrillic alphabet) and Vasil Stanev (font development).

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.

Together with Asen Petrov, she designed the extensive hand-crafted typeface family PH (2014, Fontfabric). This typeface family is accompanied by a nice set of hand-drawn icons such as PH Icons Food and PH Icons Goodies. [Google] [MyFonts] [More]  ⦿

Ania Leonova

Illustrator who studied at the British Higher School of Art and Design in Moscow in 2012. She created several beautiful lettering posters. [Google] [More]  ⦿

Anik Ya
[An An]

[More]  ⦿

Ann Zemlyankina

Graphic designer and food stylist in Moscow. Creator of an avant-garde Latin / Cyrillic typeface (2014). [Google] [More]  ⦿

Anna Alekhina

Moscow-based designer of the artsy typeface Kandinskiy (2013), the octagonal Cyrillic typeface Type Bolt (2013), and the multilayered geometric font Structura (2013). [Google] [More]  ⦿

Anna Arbatova

Graphic designer in Moscow. Creator of an unnamed artistic Latin script typeface in 2013. [Google] [More]  ⦿

Anna Chaykovskaya

Anna Chaykovskaya was born in Severodvinsk in 1961. An art-critique, journalism, teacher. Since 2001 Anna Chaykovskaya is an assistant editor-in-chief of the "Kuitpohod" magazine in Moscow. At ATypI 2008 in St. Petersburg, she spoke about the end of the era of wood type. [Google] [More]  ⦿

Anna Chebakova

Designer of the playful typeface Redrum (2014), and of the experimental typefaces Muscari (2014), Eat (2014), Milk (2014), Forest Fish (2014) and Polychrome (2014). Anna is based in Saint Petersburg, Russia. [Google] [More]  ⦿

Anna Churkina

Yekaterinburg, Russia-based designer of the free Latin / Cyrillic sans typefaces AC Line (2013) and AC Boucle (2015). [Google] [More]  ⦿

Anna Grosh

Anna Grosh was born in Krasnoyarsk City, Siberia and now resides in San Francisco, California. She earned a Bachelor degree in Architecture from the Krasnoyarsk State Academy of Architecture and Construction, and completed a Masters in Interior Design at the Open Social Academy of Design in Moscow. She is in the process of getting her second masters in graphic design at the Academy of Art University. She specializes in typographic design, illustration and graphic design. In 2010, she embarked on an ornamental typeface. She is working on an ornamental caps typeface.

Old Behance link. [Google] [More]  ⦿

Anna Ilich

Novi Sad, Serbia-based designer of an untitled Latin / Cyrillic avant garde typeface in 2014. [Google] [More]  ⦿

Anna Kirisyuk

FontStructor who made the elegant bilined caps typeface Anakiri (2012). During her graphic design studies at BHSAD in Moscow in 2013, she made a great silhouette icon set.

Behance link. [Google] [More]  ⦿

Anna Kuptsova

Student at the British Higher School of Art and Design in Moscow. Behance link.

Creator of Bradbury Disgrace (2012, grungy) and Outer Space Crime (2012). [Google] [More]  ⦿

Anna Lyubimova

This Moscovite designed Band Regular and Band Rounded, a pair of angular faces for Latin and Cyrillic. [Google] [More]  ⦿

Anna Morgan

During her university studies in Moscow, Anna Morgan created the Latin / Cyrillic typeface New Gothic (2014). [Google] [More]  ⦿

Anna Personne

During her studies at ECV in Bordeaux, Anna Personne created the ornamental Cyrillic caps typeface Cyrillique (2014). [Google] [More]  ⦿

Anna Po

Moscow-based designer of a typographic John Lennon poster in 2013. [Google] [More]  ⦿

Anna Raven

Type designer in Moscow. At WDC Fonts, she created the Venetian serif typeface Stiana (2013, with Eugen Sudak), based on models by Nicolas Jensen and William Morris. Stiana covers Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

Anna Ryagskih

Saint-Petersburg, Russia-based teacher at Saint Petersburg University Of Technology And Design. Creator of elaborate hand-drawm ornamental caps (2013). Behance link. [Google] [More]  ⦿

Anna Seslavinskaya

During her studies at NHSAD in Moscow, Anna Seslavinskaya created the hexagonal display typeface Sanity (2013, free) and the oriental simulation typeface Sangha (2014, free). Both cover Latin and Cyrillic. Behance link. [Google] [More]  ⦿

Anna Shmeleva

Anna Shmeleva is a freelance journalistic author. She has worked with a number of local and professional periodicals in Russia on machine translation of texts, speech recognition, artifical intelligence, computer graphics and type design. Together with Vladimir Yefimov, she is the author of a series of books entitled Great typefaces, volumes 1 and 2. At ATypI 2008 in St. Petersburg, she spoke about Script faces and graphology. She is associated with ParaType. [Google] [More]  ⦿

Anna Stadnik

Moscovite who created a brush / comic book style Cyrillic typeface in 2012. [Google] [More]  ⦿

Anna Vasilieva

Moscow-based designer of the round brush typeface Boom Boom Type (2012). She also made Pur Type (2012) and Freelove (2012, designed on a circle grid). [Google] [More]  ⦿

Anna Xenz

Saint Petersburg, Russia-based designer of the colorful typographic identity of the Metropolis Film Festival (2014). [Google] [More]  ⦿

Anton Antonyuk

Moscow-based designer of a modular monoline typeface in 2012. In 2013, at the British Higher School of Art and Design in Moscow, he created the paperclip typeface Stepan, the shaky typeface Artquake, the display typeface Duchess, and Sketch Font (alphadings). [Google] [More]  ⦿

Anton Bisiajew

Designer at Graphic bureau Az-Zet of the Cyrillic/Latin font AZGaramondC (1990-1995). Anton published Dikovina and DikovinaBildchen at Type Market in Moscow in 1995. [Google] [More]  ⦿

Anton Drachuk

[More]  ⦿

Anton Geroev

Russian designer of Kuzma, a typeface that won an award at Paratype K2009. [Google] [More]  ⦿

Anton Izorkin

[More]  ⦿

Anton Kharitonov

Art director in Kazan, Russia, who created the electronic circuit font Circuit TYZ (23014). [Google] [More]  ⦿

Anton Krylov

Russian designer in the South Ural. Creator of the Western font families IFC Wild Rodeo (2010), Rio Grande (2010), IFC Railroad (2010), I.F.C.LOSBANDITOS-Bold (2010, Tuscan), IFC Hotrod Type (2011, nuts and bolts face), IFC Hardball (2011), IFC Boothill (2012, Western face), and IFC Insane Rodeo (2010). IFC stands for Inked Font Customs. [Google] [More]  ⦿

Anton Kudin

Anton Kudin (Abstrukt) is the Russian co-designer with Jovanny Lemonad of Hardpixel (2010, free). He also made Bicubik (2010). All his fonts are for both Latin and Cyrillic. Fontspace link. [Google] [More]  ⦿

Anton Selleshiy

Anton Selleshiy (Lviv, Ukraine) created the broken bones font Krukevichu Shrift in 2015. [Google] [More]  ⦿

Anton Shelko

Moscow-based designer (with Denis Mas) of the decorative Cyrillic caps typeface Entertaining Mechanics (2014). [Google] [More]  ⦿

Anton Shlyonkin

Russian type designer who has his own typefoundry. His typefaces include the free blackboard bold French Forge (2013). [Google] [MyFonts] [More]  ⦿

Anton Sokolov

St. Petersburg-based graphic designer who made the experimental typeface Can You Read Music (2010), in which letters are replaced by music notes. [Google] [More]  ⦿

Anton Terekhov

Designer at FontStruct in 2008 and 2009 of Birka (pixel), Skipper (octagonal), Skipper Stencil (military), Skipper-Modern, Skipper-Slab, Skipper Cap, Skipper Tight, Peteroque (baroque pixel face), Technocrat Cargo (octagonal stencil), Technocrat (octagonal), Retrograde Pix (pixel face), Retrograde Lux (severe octagonal), abstruct, admiral (dot matrix face), glagol, glagol_script_1, marx_1, Admiral (dot matrix), Glagol Rock (constructivist), Retrograde (octagonal/mecahnical), Technocrat (octagonal), WPA Gothic Cyrillic (another poster font), WPA-Gothic-Deco-Cyrillic. Many fonts have Cyrillic letters and/or Cyrillic influences. He made the heavy mechanical slab serif headline typeface Colonial (2010) and the pixelized typeface Skippix (2011, +Mono). Peteroque (2009-2010) are decorated pixel capitals. [Google] [More]  ⦿

Anton Zinoviev
[TopTeam Co]

[More]  ⦿

Antony Zonne

Russian designer of the Victorian typeface Chelyabinsk Trucker (2009, copyright RockSquare). [Google] [More]  ⦿


Medium-sized archive. Includes many Cyrillic truetype fonts. [Google] [More]  ⦿

Anya Pro

Anya Pro (Moscow) created the circle-based monoline Latin sans typeface Monocle (2012). [Google] [More]  ⦿

[Konstantin Golovchenko]

Ukrainian typefoundry founded in 2012 by Viktor Kharyk and Konstantin Golovchenko in Odessa. In 2014, they published the Latin / Cyrillic typefaces Caslon 1821 (Italian typeface by Viktor Kharyk and Konstantin Golovchenko), 2 Quadro (octagonal) and Surf Serif Pro (sharp-edged and modular; original from 2013 by Viktor Kharyk).

Caslon 1821 revives a typeface of Caslon & Livermore, 1821. It covers Latin, Cyrillic and Hebrew. [Google] [MyFonts] [More]  ⦿

Apostrophic Laboratory
[Fredrick M. Nader]

One of the most dynamic foundries from 2000 until 2003. The "Lab" was run by Apostrophe (Fredrick Nader) and was based in Toronto. It has produced well over 1000 original free fonts, in all formats (type 1, truetype, and opentype, PC and Mac), and nearly all fonts have full character sets. Many have character sets for extended European languages and Cyrillic as well. It was for a few years the only active producer of multiple master fonts. Download site at Typoasis. Original URL, now being reworked. Highlights:

  • Miltown (from the Matrix movie).
  • Fluoxetine (old typewriter).
  • Desyrel (handwriting, Dana Rice).
  • PicaHole-1890Morse font.
  • Ritalin has almost 500 glyphs, and is a family designed for Latin, Greek, Turkish, eastern European, Cyrillic and Baltic.
  • The 3-axis multiple master ImpossibleMM (of Mission Impossible fame).
  • Carbolith Trips (letters from cuneiforms).
  • Diehl Deco (revival of 1940 lettering by Wooster Bard Field; with Marley Diehl).
  • Textan (with Rich Parks or Richard D. Parker; inspired by the Chinese Tangram).
  • Poultrygeist (horror comic font).
  • Hard Talk (an R-rated font by Slovenian Marjan Bozic).
  • Independant (with Phynette; a faithful revival of a 1930s font by Collette and Dufour for Maison Plantin in Belgium---a fantastic Art Deco font family).
  • Metrolox ("Enemy of the State" font, with Karen Clemens; a Unicode font with 567 glyphs for over 20 Latin-based languages and some math symbols).
  • Komikaze, Komikazba, Komikahuna and Komikazoom (comic book fonts: 1280 glyphs for Latin, Greek, Cyrillic, Baltic, Turkish, East-European, with dingbats and Braille).
  • Republika (a 300-font techno family; read about it here).
  • ChizzlerMM (3-axis multiple master, a reworked version of Graham Meade's Chizzler).
  • Street (a 87-font family by Graham Meade).
  • Amerika (fantastic Armenian-look font series, with support for Greek, Cyrillic/Russian, Baltic, Turkish and Central European).
  • The dingbats Eyecicles and Texticles, both with Graham Meade.
  • Insula (2001, a Celtic/uncial font with Cybapee).
  • Komika (2001, 50 comic book fonts designed with Vigilante).
  • Labrit (a great Fraktur font, with Graham Meade).
  • Frigate (a Roman-kana font by Melinda Windsor).
  • Scriptina (an unbelievable calligraphic font by Apostrophe, 2000-2001). In 2010, CheapProFonts published an extension, Scriptina Pro.
  • Freebooter Script (an equally unbelievable calligraphic font by Graham Meade, 2001).
  • Choda (a display font like none you have seen before; Apostrophe and Meade, 2001).
  • Endor (with Meade, a Gothic font; 2001).
The list of designers and their fonts:
  • Apostrophe [dead link]: Day Roman (2002, the first digitization of Fr. Guyot's "Two Line Double Pica Roman", designed in the early 1600s), Bombardier (2002), Propaganda (2002), PropagandaCyrillic (2002), PropagandaGreek (2002), Contra (2003), Ergonome (2002), Ergonomix (2002, techno dingbats), Alfabetix (2002), SoMM (2002, a multiple master font), Templo (2001, a pixelish font), Zoloft, Miltown, Witches Brew, Celexa, Labrat, Effexor, Fluoxetine, Tralfamadore, Halcion, RxMM, Paxil, Valium, Fight This, Ritalin, Xanax, Maskalin, PicaHole, ImposMM, MiltownII, Carbolith, Komikaze, Komikazoom, Komikahuna, Diogenes, Komikazba, MistressScript, Sledge, Mary Jane, Republika, StarBat, Merkin, Erectlorite, Halter, Estrogen, Steinem (based on Dalton Maag's British Steel typeface), Lab Mix, Mary Jane II, Amerika, Masque, Konfuciuz, Mastodon, Broad, Amerika Sans, Scriptina, Karnivore, Cholo, Sedillo and Reprobate (all three based on Mike Sedillo's handwriting, 2001), Templo (screen font family, 2001).
  • Marjan Bozic and Apostrophe: Hard Talk.
  • Karen Clemens and Apostrophe [dead link]: Wellbutrin, Metrolox, Jagz.
  • CybaPee and Apostrophe [dead link]: Cyclin, Lady Ice, Insula.
  • CybaPee [dead link], Graham Meade and Apostrophe: Yellowswamp, Lady Ice revisited.
  • Steve Deffeyes: Loopy.
  • Marley Diehl and Apostrophe: Diehl Deco.
  • Fleisch and Apostrophe: Colwell, Hadley.
  • Steve Graham: Hypnosis.
  • Frank Guillemette and Apostrophe: Ankora.
  • Jeri Ingalls and Apostrophe: Paxil.
  • Neumat Ick and Apostrophe: Icklips, Powderfinger.
  • Keya Kirkpatrick: Extasy
  • Keya Kirkpatrick and Apostrophe: Kimono.
  • Jeff Lan: Healthy Alternative, Haven Code.
  • Su Lucas and Apostrophe: Barbarello.
  • Brigido Maderal and Apostrophe: Lab Bats.
  • Graham Meade: Quastic Kaps (8-weight family, 2003), Quixotte (2002), Mechanihan (2002), Kameleon (2002), Lady Ice Extra (2002), Gizmo (2002), Zillah Modern (2002), Wazoo (2002), JamesEightEleven (2002), Equine (2001), Street Corner (2001), Freebooter Script, Street (31 font sans and slab serif), Bipolar Control, Lane, Street, Street Slab, 2nd Street, Kronika, Thong, Whackadoo Upper, Charrington, Lady Copra, Zebra, Extra Meade Pack, Control Freak, Dekon, Asenine, Heidorn Hill (a Fraktur font), Castorgate, Troglodyte.
  • Graham Meade and Apostrophe: Moondog (2001), Choda, Futurex, Duralith, Epyval, BooterMM, Pamelor, Sabril, Erinal, Karisma, Whackadoo, Bicicles, Drummon, Primary Elector, Youthanasia, Grunja, Prussian Brew, ChizMM, Luciferus, Labtop, Gilgongo, Labrit, Kandide, Brassiere (which became the commercial typeface Ipscus in 2009), Eskargot, Endor, Labag.
  • Graham Meade and Rich Parks: Luteous, Luteous II.
  • Link Olsson and Apostrophe: Librium, Severina, Poultrygeist, Extrano, Komikandy.
  • Rich Parks and Apostrophe: Textan, Glaukous, Textan Round, TexSquareMM, TexRoundMM.
  • Alejandro Paul and Apostrophe: Fontcop, Usenet, Cayetano, Elektora.
  • Evelyne Pichler: Sindrome.
  • Evelyne Pichler and Apostrophe: 1910 Vienna.
  • Phynette and Apostrophe: Independant.
  • Peter Ramsey and Apostrophe: Distro, Futurex Distro (2001).
  • Dana Rice and Apostrophe: Desyrel, Lilly.
  • Wayne Sharpe: Ovulution I and II.
  • Jessica Slater: Wiggles.
  • Jessica Slater and Apostrophe: McKloud.
  • Derek Vogelpohl: Phosphorus, Florence sans, Plasmatica, Covington, Avondale, Phosphorus II.
  • Melinda Windsor: Plastic, Frigate.
  • Robby Woodard: Ashby (2001).
  • WolfBainX and Apostrophe: Tribal, Komika.
  • Yol: Traceroute.
Font Squirrel link. Dafont link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

Arabia Ware Benelux

Vendor of Mac and PC fonts for several languages and from a variety of companies. Only commercial stuff for Japanese, Chinese, Russian, Arabic, Hebrew, Persian, Urdu, Tamazight, Turkish, Greek, Indic, Thai, Eastern European, and Korean. [Google] [More]  ⦿

Area Download

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


Victor Kalashnikov's Greek, Hebrew and Old Church Slavonic truetype font archive. Contains a few goodies such as the dingbats called FaithOrnaments (Proclaim Communications, 1994) and OldChurchSlavonic (Monotype). In all, about 100 Greek, Old Church Slavonic and Hebrew fonts. Among the Hebrew fonts, we find Moses Judaika, Pecan Sonc, and Gideon Medium. [Google] [More]  ⦿

Arev Fonts
[Stephen Schrenk]

Motivated by mathematical applications, the "Arev" set of fonts adds Greek, Cyrillic, Latin-A, and some Latin-B, and Symbol characters (music and math, mainly) to Bitstream's Vera fonts. Stephen Schrenk (whose nom de plume is Tavmjong Bah) created the Arev Sans font. The text accompanying the Arev Sans package is: The package arev provides virtual fonts and LaTeX packages for using Arev Sans. Arev Sans is a derivative of Bitstream Vera Sans created by Tavmjong Bah by adding support for Greek and Cyrillic characters. Bah also added a few variant letters that are more appropriate for mathematics. The primary purpose for using Arev Sans in LaTeX is presentations, particularly when using a computer projector. Arev Sans is quite readable for presentations, with large x-height, "open letters," wide spacing, and thick stems. The style is very similar to the SliTeX font lcmss, but heavier. Stephen Hartke converted Arev Sans to Type 1 format, and created the virtual fonts and packages for using Arev Sans in LaTeX. [Google] [More]  ⦿


Five standard Cyrillic truetype fonts. [Google] [More]  ⦿

Ari Rafaeli

[MyFonts] [More]  ⦿

Arial Unicode MS

Microsoft link for licensing. The font Arial Unicode MS is a full Unicode font, containing all of the approximately 40,000 alphabetical characters, ideographic characters, and symbols defined in the Unicode 2.1 standard. Arial was designed by Robin Nicholas and Patricia Saunders in 1982 for Agfa Monotype and was released as TrueType font in 1990. From 1993 to 1999, it was extended as Arial Unicode MS (with its first release as a TrueType font in 1998) by the following members of Monotype Typography's Monotype Type Drawing Office, under contract to Microsoft: Brian Allen, Evert Bloemsma, Jelle Bosma, Joshua Hadley, Wallace Ho, Kamal Mansour, Steve Matteson, and Thomas Rickner.

There is no italic version---only a regular and bold exist. Arial Unicode MS is normally distributed with Microsoft Office, but it is also bundled with Mac OS X v10.5 and later. It may also be purchased separately (as Arial Unicode) from Ascender Corporation (now absorbed by Monotype), who licenses the font from Microsoft.

Regarding the difference with ordinary Arial, we read this technical explanation on Wikipedia: When rendered with the same engine and without making adjustments for the different font metrics, the glyphs that appear in both Arial and Arial Unicode MS appear to be slightly wider, and thus rounder, in Arial Unicode MS. Horizontal text may also appear to have more inter-line spacing in Arial Unicode MS. This is due to larger bounding boxes (Arial Unicode MS needs more room for some of its extended glyphs) and the limitations of renderers, not changes in the glyph shapes. The lack of kerning pairs in Arial Unicode MS may also affect inter-glyph spacing in some renderers (for example the Adobe Flash Player). Arial Unicode MS also includes Hebrew glyphs different from the Hebrew glyphs found in Arial. They are based on the shapes of the Hebrew glyphs in Tahoma, but are adjusted to the weight, proportions and style of Arial. [Google] [More]  ⦿


Designer of the Cyrillic font Champignon Script (2004), which can be found here. [Google] [More]  ⦿


Russian creator of the (free) calligraphic script fonts Allegretto script One and Two (2004). [Google] [More]  ⦿

Arkady M

Russian designer of Propisi7 (2004, a connected Cyrillic school script). [Google] [More]  ⦿

Arkady Matryoshkin

Kirov, Russia-based creator of the free Latin / Cyrillic slab serif typeface Alkonaut (2014). Behance link. [Google] [More]  ⦿

Armine Chilingaryan

Graduate of the Academic Art College in Moscow, who now works as a designer in Moscow. Creator of the amoebic experimental Cyrillic typeface Clara (2013). [Google] [More]  ⦿

Arsenal Company

The old pages were shareware: Arsenal Font Collections Volumes 1 through 7 (25MB in total). With the new page, I have no idea any longer how to download. They say that all their truetype fonts support European Number, estimated symbol, Spain, France, Italy, UK currency symbols and seventeen European languages: English, Albanian, Breton, Dutch, Danish, Irish, Icelandic, Spanish, Italian, Catalan, German, Norwegian, Portuguese, French, Finnish, Swedish, as well as Speech-Romance. The font families: Lanset, Simpler, Technocrat, Triangler, Algidus, Campus, ReportSans, Broker, Frudger, LineaSans, Plakat, Dodger, Calyx, Glade, Kena, Lugger, Bento, Vizora, Writ, Noter, Meccano, Runder, Simpler 3D, Harder 3D. Many of the fonts in the Arsenal collection were designed by W. Chufarofsky, and some jointly by W. Chufarofsky and I. Slutsker, ca. 1998. List of 1206 fonts that I compiled for the historic record. [Google] [More]  ⦿

Art City
[Daniel Bak]

Artcity is a digital type foundry and lettering studio based in Legionowa, Poland. Artcity specializes in designing fonts for comic books and books for children. The principal, Daniel Bak, is the Warsaw, Poland-based designer of the free monoline signage typeface Sweet Melody (2012). In 2014, Sweet Melody became a commercial typeface. He also designed the comic book typefaces Wormtongue, Fatality, Uzurpator (2014) and Angry Ronin (2014), the hand-printed typeface Danny, the techno typeface Technikolor (2014), the poster typeface Jeffs Garage, the Latin/Cyrillic children's book font family Zira (2014), and the Latin / Cyrillic / Greek children's book typeface Cornelius (2014).

Dafont link. Creative Market link. Behance link. [Google] [MyFonts] [More]  ⦿

Art Lebedev
[Artemius Lebedev]

Art Lebedev is Artemis Lebedev's design studio in Moscow. It has a subsection on Russian typography. Designers of nice script faces such as ALS Agrus and ALD Dulsinea (by Vera Evstafieva). He also made the Latin/Cyrillic sans family ALS Ekibastuz (2007, art director Roma Voroneschkin).

View the typefaces designed by Art Lebedev Studio. [Google] [MyFonts] [More]  ⦿

Art of Sun

Russian designer of the beautiful hand-crafted poster typeface Crafty Caps (2015) that emulates watercolor. [Google] [More]  ⦿


Small Russian shareware font archive. [Google] [More]  ⦿

Artem Kaluzhniy

Kazakhstan designer of the beautiful Cyrillic/Latin font Moonchild. Home page. [Google] [More]  ⦿

Artem Moiseev

St. Petersburg-based Russian designer of Reflex, a typeface that marries old ustav influences with modern scripts, SirSerif, Line Font (pixelish), Taliman (angular), Griffit, Malevich (totally experimental), Zavitok Font (upright script), and Face (script). Alternate URL. Behance link. [Google] [More]  ⦿

Artem Yakovlev

Russian designer of Artcity (2014), a military stencil typeface that won an award at Modern Cyrillic 2014. [Google] [More]  ⦿

Artemius Lebedev
[Art Lebedev]

[MyFonts] [More]  ⦿

Artemy Perevertin

Designer located in Moscow. Behance link. Creator of the free alchemic typeface Indi Bonga (2012). [Google] [More]  ⦿

Artyom Utkin

Russian designer of Solution, a type family that won an award at Paratype K2009. His Metrofont Regular (2012) won an award at New Cyrillic 2012. [Google] [More]  ⦿

[Ari Rafaeli]

ARTypes is based in Chicago, and is run by Ari Rafaeli. UK-based pre-press production specialist who has made type 1 font revivals in 2006-2007, listed below. I am confused as this outfit seems to have grown out of Angus R. Shamal's ARS Type in Amsterdam. Who is who and what is what? List of typefaces categorized by revival type:

  • Hermann Eidenbenz: Graphique (1946) now called Graphique AR, a shadow face.
  • Jan van Krimpen (Enschedé) revivals: Romulus Kapitalen (1931), Romulus Open (1936), Curwen Initials (Van Krimpen did these in 1925 for The Curwen Press at Plaistow, London), and Open Kapitalen (1928).
  • Jacques-François Rosart: Rosart811, a decorative initial typeface that is a digital version of the 2-line great primer letters cut by J. F. Rosart for Izaak&Johannes Enschedé in 1759 (Enschedé no. 811).
  • Stephenson Blake revivals: Borders, Parisian Ronde.
  • Rudolf Koch (Klingspor) revivals: Holla, Koch-Antiqua-Kursiv Zierbuchstaben, Maximilian-Antiqua, Neuland 24pt.
  • Bernard Naudin (Deberny&Peignot) revival: Le Champlevé.
  • W. F. Kemper (Ludwig&Mayer) revival: Colonia. P.H. Raedisch: Lutetia Open (2007) is based on the 48-pt Lutetia capitals engraved by P. H. Raedisch under the direction of Jan van Krimpen for Enschedé in 1928.
  • Richard Austin: Fry's Ornamented (2007) is a revival of Ornamented No. 2 which was cut by Richard Austin for Dr. Edmund Fry in 1796. Stephenson, Blake&Co. acquired the type in 1905, and in 1948 they issued fonts in 30-pt (the size of the original design), 36-, 48- and 60-pt.
  • Max Caflisch (Bauer) revival: Columna.
  • Elisabeth Friedlaender (Bauer) revivals: Elisabeth-Antiqua, Elisabeth-Kursiv (and swash letters). Linotype Friedlaender borders.
  • Herbert Thannhaeuser (Typoart) revival: Erler-Versalien.
  • O. Menhart (Grafotechna) revivals: Manuscript Grazhdanka (cyrillic), Figural, Figural Italic (and swash letters). Also, Grafotechna ornaments (maybe not by Menhart).
  • Hiero Rhode (Johannes Wagner) revival: Hiero-Rhode-Antiqua (2007).
  • F. H. E. Schneidler (Bauer) revival: Legende.
  • Herbert Post revival: Post-Antiqua swash letters.
  • Georg Trump (Weber) revivals: Trump swash letters, Trump-Gravur (called Gravur AR now). The outline caps typeface Forum I-AR is derived from the Forum I type designed by Georg Trump (1948, C. E. Weber). Signum AR-A and Signum AR-B (2011) are based on Trump's Signum (1955, C.E. Weber). Palomba AR (2011) is based on Trump's angular calligraphic typeface Palomba (1954-1955, C.E. Weber). Amati AR (2011) is based on a Georg Trump design from 1953.
  • Hermann Zapf revival: Stempel astrological signs.
  • F.H. Ernst Schneidler: Zentenar Initialen is based on the initials designed by Prof. F. H. E. Schneidler, ca. 1937, for his Zentenar-Fraktur types.
  • Isaac Moore: Old Face Open (Fry's Shaded) is a decorative Baskerville which was probably cut by Isaac Moore for Fry ca. 1788. A revival was issued in eight sizes by Stephenson Blake in 1928.
  • Border units and ornaments: Amsterdam Apollo borders, Gracia dashes, Primula ornaments, Bauer Bernhard Curves, Weiß-Schmuck, Curwen Press Flowers, Klingspor Cocktail-Schmuck, Nebiolo fregi di contorno, Attika borders, English (swelled) rules, Künstler-Linien, an-Schmuck, Primavera-Schmuck.
  • Freie Initialen are derived from initials made for the Stempel Garamond series. The type was issued in 1928 in three sizes (36, 48, and 60 pt); the AR version follows the 60-pt design.
  • Initiales Grecques, based on Firmin Didot's design, ca. 1800.
  • Emil A. Neukomm revivals: Bravo AR (2007; originally 1945).
  • Ernst Bentele revivals: Bentele-Unziale (2007).
  • Joseph Gillé: Initiales ombrées (2007) is based on Gillé's original all caps typeface from 1828.
  • Maria-Ballé-Initials (2007), after an original font from Bauersche Giesserei.
  • Raffia Initials (1952, Henk Krijger): revived by ARTypes in 2008 as Raffia.
  • Ornaments 1 AR (2010): from designs from 18th and 19th century typefounders that were ancestors of the Stephenson Blake foundry.
  • Ornaments 2 AR (2010): Ornaments 2 contains designs for the Fanfare Press by Berthold Wolpe (1939) and for the Kynoch Press by Tirzah Garwood (ca. 1927).
  • Ornaments 3 AR (2010): based on designs by Bernard Naudin for Deberny et Peignot, c. 1924; and ornaments based on designs by Oldrich Menhart, Karel Svolinsky and Jaroslav Slab for the state printing office of Czechoslovakia and Grafotechna.
  • Ornaments 4 AR (2010): based on the Amsterdam Apollo and Gracia ornaments and the Amsterdam Crous-Vidal dashes (designed by Crous-Vidal).
  • Ornaments 5 AR (2010): based on the Amsterdam Primula ornaments designed by Imre Reiner, 1949.
  • Ornaments 6 AR (2010): based on designs for the Curwen Press by Edward Bawden and Percy Smith.
  • Yü Bing-nan revival: Freundschafts-Antiqua AR (2010). Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed in 1962 by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960.
  • Sans Serif Inline (2011). Based on the 36-point design of the Amsterdam Nobel Inline capitals (1931).
  • Hildegard Korger revivals: Typoskript AR (2010) is based on a metal type which was produced in 1968 by VEB Typoart, Dresden, from a design of the German calligrapher and lettering artist Hildegard Korger.
  • Hans Kühne revival: Kuehne-Antiqua AR (2010) revives a Basque typeface by Hans Kühne.
  • The Troyer AR ornaments (2010) are based on the first series of ornaments designed for American Type Founders by Johannes Troyer in 1953.
  • The Happy Christmas font (2011) is a snowflake font that is based on designs by Amsterdam and Haas, c. 1950. December Ornaments (2011) contains the 36 Amsterdam designs which were originally issued in 24 and 36 point.
  • Walter Diethelm: Diethelm AR (2011) revives Walter Diethelm's Diethelm Antiqua (1948-1951, Haas).
  • Walter Brudi revivals: Pan AR (2010, based on a 1957 font by Brudi).
  • Hermecito (2013) is a 46-style type system based on an angular serif. It covers Cyrillic, Latin, Greek and several other scripts. Besides being eminently readable, it also has extensive coverage of mathematical and phonetic symbols. Renzo (2013) is along the same lines but with sharpened serifs.
  • Spiral (2014) is a revival of a typeface called Spiral designed by Joseph Blumenthal and cut bu Louis Hoell in 1930. In 1936, Monotype reissued that type as Emerson 320.
MyFonts link.

View the typefaces made by Ari Rafaeli / ARTypes. [Google] [MyFonts] [More]  ⦿

Ascender Corporation

Elk Grove Village, IL-based company established in 2004, which specializes in font development, licensing and IP protection. It rose from the ashes of a major fire at Agfa/Monotype at the end of 2003. Its founders are Steve Matteson (type designer, formerly with Agfa/Monotype), Thomas Rickner (of Microsoft fame, where he hinted many Microsoft families), Ira Mirochnick (founder and President of Monotype Typography Inc in 1989 (where he was until 2000) and a Senior Vice President and director of Agfa Monotype Corporation (2000-2003), a self-proclaimed expert in font licensing issues and IP protection), and Bill Davis (most recently the Vice President of Marketing for Agfa Monotype). Also included in this group are Josh Hadley, Brian Kraimer, Jim Ford (since 2005), and Jeff Finger (as Chief Research Scientist, since 2006). On December 8, 2010, Ascender was acquired by Monotype for 10.2 million dollars.

Their typefaces include Endurance (2004, Steve Matteson, an "industrial strength" Grotesk designed to compete with Helvetica and Arial; it supports Greek, Cyrillic and East European languages).

In April 2005, Ascender announced that it would start selling the Microsoft font collection, which is possibly their most popular collection to date. They also started selling and licensing IBM's Heisei family of Japanese fonts in April 2005: Heisei Kaku Gothic, Heisei Maru Gothic and Heisei Mincho. Also in 2005, they started distributing Y&Y's Lucida family.

In October 2005, Ascender announced the development of Convection, a font used for Xbox 360 video games. Their South Asian fonts cover Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil and Telugu, and include Ascender Uni, Ascender UniDuo and Arial Unicode for general use across all Indic languages, and, in particular, the Microsoft fonts Vrinda (Bengali), Mangal (Devanagari), Shruti (Gujarati), Raavi (Gurmukhi), Tunga (Kannada), Kartika (Malayalam), Latha (Tamil) and Gautami (Telugu). Khmer SBBIC (2011) is a Khmer font at Open Font Library.

It does more type trading and licensing than type creation, although Steve Matteson has contributed fairly well to their new typefaces. Their brand value took a hit when they started selling scrapbook, handwriting and wedding fonts under the name FontMarketplace.com.

Recent contributions: Crestwood (2006, a house face, possibly by Steve Matteson) is an updated version of an elegant semi-formal script typeface originally released by the Ludlow Type Foundry in 1937.

In 2009, they started a subpage called GoudyFonts.Com to sell their Goudy revivals.

In 2010, they announced a new collection of OpenType fonts created specifically for use in Microsoft Office 2010: Comic Sans 2010 (including new italic and bold italic fonts), Trebuchet 2010 (including new black&black italic fonts), Impact 2010, Pokerface 2010, Rebekah 2010 and Rebus Script 2010. Ligatures in Comic Sans?

New releases.

View Ascender's typefaces. [Google] [MyFonts] [More]  ⦿

[Sergey Komarov]

Russian outfit, credited with the Latin/Cyrillic sans serif faces GOST-2.304-81typeA and GOST-2.304-81typeB (1996 and 2000). Check also here for GOST 26.00885 and Symbol 26.00885, also semi-technical drawing faces, possibly derived from CAD applications. Designer: Sergey Komarov (Ukraine). This site has GOST-forDrawing, GOST-2.304-81typeA, GOST-typeA, GOST-2.304-81typeB, GOST_type_B. See also here. [Google] [More]  ⦿

Asen Petrov

Type Designer from Dimitrovgrad, Bulgaria, b. 1974. Together with Ani Petrova, he designed the extensive hand-crafted typeface family PH (2014, Fontfabric). This typeface family is accompanied by a nice set of hand-drawn icons such as PH Icons Food and PH Icons Goodies. In 2015, he made free punch card /dot matrix typeface Perfograma for Latin and Cyrillic, which was inspired by the IBM Haravrd computer. [Google] [MyFonts] [More]  ⦿

Asen Tiberiy Baramov
[No Comment Group]

[MyFonts] [More]  ⦿

Ashley&Holmes Sofia

Designers of the free Bulgarian Cyrillic typeface AshleyCapitaliSofia. [Google] [More]  ⦿

Astigmatic One Eye
[Brian J. Bonislawsky]

Astigmatic One Eye (AOE) has lots of nice original fonts by Brian J. Bonislawsky (b. 1973, Pittsburgh, PA). Many are free, others are not. AOE joined Font Brothers Inc in 2006. Brian Bonislawsky currently lives in Las Vegas, NV.

Fontsquirrel link. Dafont link. Fontspace link.

A partial list of the AOE fonts made in 2011: Engagement (2011, a free brush script at Google Web Fonts), Fascinate (2011, an art deco typeface at Google Web Fonts; +Inline), Original Surfer (2011, a free Google Web Font inspired by a vintage advertisement for the "California Cliffs Caravan Park"), Smokum (2011, a Western / Italian face), Yellowtail (2011, signage face), Redressed (2011), Special Elite (2011, free typewriter face), Aclonica (2011).

Typefaces from 2008 or before: Horseplay AOE (2008, Western style), Cake and Sodomy AOE (2008), Good Eatin AOE (2008), Paradiso AOE (2008, inspired by logotype of the Paris Resort and Casino in Las Vegas), Montelago AOE (2007, a script inspired by the logotype of the Mirage Resort and Casino in Las Vegas), Jack Chain AOE (2007), Henhouse (2007), Schnitzle (2007), Luxurian AOE (2007, inspired by the logo of the Luxor Hotel&Casino in Las Vegas), Digital Disco AOE (2007), Mighty Tuxedo AOE (2007), Makeshift AOE (2007), Clarity AOE (2007, slab serif headline), Red Pigtails AOE (2007), Run Tron 1983 (2002), Eyeliner AOE (2006, Tekton-like), Mother Hen (2007), Gloversville (2007, comic book style), Mighty Tuxedo AOE (2007, condensed sans), Quick Handle AOE (2007), Surfing Bird (2007), Hydrogen (2004), Hardliner (2004, fifties diner style), Big Ruckus (2004), SS Antique No. 5 (2004), Europa Twin (2003), EuroMachina (2003, techno), Lord Rat (2003), Love Anxiety (2003), BuzzSaw (2003), Skullbearer (2003, skull dingbats), Beatnick Blue (2002), Geisha Boy (2002), Mardi Party (2002), Midcrime (2002), Ocovilla (2002), Ruthless (2002), Saltie Doggie (2002), Whiskers (2002), Royal Gothic, Family, Eggit, Jericho, Wild Monkeys (2002), 5FingeredGothSW, AlienArgonautAOE, AlphaMackAOE, AmphibiPrint, AngiomaAOE, AntiChristSuperstar, AntiChristSuperstarSW, AstigmaSolid, BigLimboAOE, BigLimbodOutAOE, BoneRollAOE, BoneRollAOEBold, BoundAOE, BrailleAOE, BulletBallsAOE, ButterflyChromosome, ButterflyChromosomeAOE, ButtonButton, ButtonButtonAOE, CType, CTypeAOE, CelticLionAOE-Bold, CelticLionAOE-BoldItalic, CelticLionAOE-Italic, CelticLionAOE, CharailleAOE, ChickenScratch, ChickenScratchAOE, ClunkerAOE, ClunkerAOE-Bold, CropBats, CropBatsAOE, CropBatsIIAOE, DarkNightAOE, DeadGrit, DeliveryMatrixAOE, DetourAOE, DigitalDiscoAOE, DigitalDiscoAOEOblique, DingleBerries, DoggyPrintAOE, DraxLumaAOE, DungeonKeeperII, DungeonKeeperIIBold, DungeonKeeperIIItalic, EggItAOE, EggitAOE-Italic, EggitOutlineAOE, ElectricHermes, ElectricHermesAOE, ElectricHermesAOECharge, FearAOE, FilthAOE, FishyPrintAOEOne, FishyPrintOneAOE, FishyPrintTwoAOE, FutharkAOE, FutharkAOEInline, FutharkAOEInline, GateKeeperAOE, Ghoulish Fright AOE (2006), GlagoliticAOE (1999, grungy glagolitic), GorgonCocoonAOE, Gotik, GreyAlienSW, HAL9000AOE, HAL9000AOEBold, HAL9000AOEBoldItalic, HAL9000AOEItalic, HandageAOE, HandageAOEBold, HauntAOE, HybridLCDAOE, IDSupernovaSW, IslanderAOE, JokerWildAOE, KillMeCraig, KillMeCraigAOE, Kinderfeld, KittyPrint, KittyPrintAOE, Kornucopia, KornucopiaAOE, LinusFace, LinusFaceAOE, LinusPlayAOE, LinusPlaySW, Lochen, LovesickAOE, Manson, MasterPlan, Mervale Script (2012: a brushy script based on the 1940's Fawcett Publications Mary Marvel comic), Microbe, MooCowSW, MotherlodeLoadedAOE-Italic, MotherlodeLoadedAOE, MotherlodeStrippedAOE-Italic, MotherlodeStrippedAOE, MysterioSWTrial, NightmareAOE, OrnaMental, Pantera, PapaManoAOE, PenicillinAOE, PixelGantryAOE, PixelGantryAOEBold, PixelGantryAOEBoldItalic, PixelGantryAOEHeavy, PixelGantryAOEHeavyItalic, PixelGantryAOEItalic, PixelGantryHiliteAOE, PixelGantryHiliteAOEItalic, PoppyAOE, PoseidonAOE, Prick, QuiltedAOE, QuiltedAOEBlack, QuiltedTrial, RippleCrumb, RippleCrumbUltraCon, ROCKY, ROCKYAOE, RustedMachineSW, SSExpAntiqueAOE, Schizm, Schrill, SchrillAOE, SchrillAOEOblique, Scrawn, ScrawnAOE, ScrawnCyrAOE, ScrawnKOI8AOE, ScrewedAOE, ScrewedAOEOblique, ScrewedSW, SeaweedFireAOE, SenthAOE, ShampooSW, ShottyTransferTrial, SkinnerAOE, SlurCrumb, SpatCrumb, SpikeCrumbGeiger, SpikeCrumbSwizzle, SpikeCrumbSwollen, SteelcapRubbingTrial, StruckSW, StrutterAOE, SunspotsAOE, SurferComicTrial, TRANSHUMANALPHABET10, TRANSHUMANKATAKANA20, TannarinAOE, TannarinAOEOblique, TibetanBeefgardenAOE, TibetanBeefgardenAOE, TouristTrapAOE, TransponderAOE, TransponderGridAOE, UglyStickAOE, VanguardIIIAOE-Bold, VanguardIIIAOE-BoldOblique, VanguardIIIAOE-Oblique, VanguardIIIAOE, Ventilate, VentilateAOE, Y2KPopMuzikAOE, Y2KPopMuzikOutlineAOE, YoungItchAOE, ZeichensSW, ZenoPotionAOE, Zombie. Second list: BeatnikBlueAOE, BeatnikBlueFillAOE, GeishaBoyAOE, MardiPartyAOE, MindCrimeAOE, OcovillaAOE, PolynesianTouristAOE, RuthlessAOE, SaltyDoggieAOE, SpruceAOE, WhiskersAOE-Oblique, WhiskersAOE, WhiskersAltCapsAOE-Oblique, WhiskersAltCapsAOE (2002), Habitual, Automatic (techno), Bitrux, Filth, Cake&Sodomy, Gulag, Bad Comp, Detour, Alien Argonaut, Dark Night, GateKeeper, Gargamel Smurf, Invocation, Neuntotter, Geisha Boy, Saratoga Slim, Gobe, Stingwire, Lavatype, Tapehead, Islander, Clunker, Digelectric, Gargamel, Krulo-Tag, Krelesanta, SurferComic, Bound, Culture Vulture, Intruder, Cavalier, Anoxia, Synchrounous (IBM logo style lettering), Luna, Data Error, Lunokhod, Jericho. There are many techno and gothic fonts. Kill Me Craig is the first 26 death scene dingbat font (scenes by Craig Dowsett). KittyPrint takes the LinusFace font concept to more realistic cat head dingbats. Krelesanta (not free) is a funky font inspired by the band Kreamy Electric Santa. The free ButtonButton is useful for making buttons. Lovesick AOE is a scrawly, lovelorn typeface, i's dotted with hearts. Strutter AOE is based on the KISS logo. Senth AOR is a runic font. Charaille is one of the many dot matrix fonts. Cavalero is inspired by the logotype of the Chevy Cavalier.

At Bitstream in 2001, AOE published Cavalero, Stingwire and Tannarin. And in 2002, he published the comic book font Big Limbo, Euro Machina BT and Islander there. Bio at Bitstream.

In 2005, Bonislawsky and Sandler realeased 500 fonts, via Bitstream and MyFonts, under the label Breaking The Norm.

In 2006, Astigmatic published their typewriter collection, which includes Military Document, Bank Statement, State Evidence Small Caps, State Evidence, Urgent telegram, Library Report, Overdrawn Account, Customs Paperwork, Incoming Fax and Office Memorandum.

From the bio and various pieces of information, one is led to believe that Brian was born in Poland, and now lives in Miami, but that may be wrong.

In 2010, he placed a free font at the Google Directory, Syncopate. Along the same lines, we find the derived square serif typeface Stint Ultra Condensed (2011, Google Web Fonts) and Stint Ultra Expanded (2012).

In 2011, several other faces followed there, like Ultra (fat didone), Maiden Orange, Special Elite, Just Another Hand, Crushed, Luckiest Guy (comic book face), Aclonica, Redressed, Montezuma (a curly connected upright script), Devonshire (brush script), Fondamento (calligraphic lettering), Yellowatil (connected retro script), Righteous (free at Google Web Fonts: inspired by the all capitals letterforms from the deco posters of Hungarian artist Robert Berény for Modiano), Ribeye and Ribeye Marrow> (cartoon and/or tattoo style lettering---free at Google Web Fonts), Spicy Rice (2011, free festive display typeface at Google Web Fonts).

Contributions in 2012: Marcellus (2012, Trajan, flared roman), Eagle Lake (a free calligraphic font at Google Web Fonts), Uncial Antiqua, Jim Nightshade (2012, free at Google web fonts), Dynalight (2012, a retro script inspired by a vintage luggage tag for the Southern Pacific 4449 Daylight steam locomotive), Yesteryear (a retro script loosely based on the title screen from the 1942 film The Palm Beach Story), Parisienne (Google Web Fonts: casual connected script based on a 1960s ad for bras), Shojumaru (Google Web Fonts: an oriental simulation typeface inspired by a poster for the Marlon Brando movie Sayonara), Berkshire Swash (Google Web Fonts), Audiowide (Google Web Fonts), Romanesco (Google Web Fonts: a narrow calligraphic style), Galindo (Google Web Fonts), Oregano (Google Web Fonts: based on cartoon style lettering of calligrapher and logo designer Rand Holub. This style of hand lettering adorned many retro brochures and advertisements of the late 40's through the 1960's), Peralta (Google Web Fonts: an Egyptian comic book face), Eagle Lake (Google Web Fonts: calligraphic), McLaren (Google Web Fonts: comic book style alphabet), Freckle Face, Hanalei Fill, Hanalei [Polynesian bamboo or tiki lettering], Purple Purse, Margarine, Risque, Clicker Script [image], Stalemate [a gracious script, by Jim Lyles for AOE], Mouse Memoirs, Quintessential [Google Web Fonts: chancery hand], Bigelow Rules, Englebert [Google Web Fonts: from the title screen of the 1930's film titled Der blue Engel, starring Marlene Dietrich], Sacramento [Google Web Fonts: connected script].

Typefaces from 2013: Freckle Face (grunge), Grand Hotel, Purple Purse (Purple Purse draws its inspiration from a vintage Ivory Soap ad from the 1950's. Somewhat of a cross between Bodoni and Pixie, this font finds that it never truly takes itself seriously).

Stiggy & Sands is the American typefoundry of Brian Bonislawsky and Jim Lyles, est. 2013. Their first commercial typefaces, all jointly designed, are Luckiest Guy Pro (a fat comic book font based on vintage 1950s ads) and Marcellus Pro (a flared roman inscriptional typeface with both upper and lower case, originally published in 2012 by Astigmatic).

Typefaces from 2014: Franken Jr AOE Pro (inspired by the title screen from the 1966 Hanna Barbera cartoon Frankenstein Jr), Good Eatin Pro AOE (inspired by the title screen from the 1942 Warner Bros. cartoon Dog Tired), Ghostkid AOE Pro (comic letter style).

View Astigmatic's typeface library. View the typefaces made by Brian Bonislawsky. [Google] [MyFonts] [More]  ⦿

Astra TPI

Russian font archive. [Google] [More]  ⦿

Astronaut Design
[Slava Kirilenko]

Astronaut Design is located in Almaty, Kazakhstan. It is run by Slava (Vyacheslav) Kirilenko. A graduate of Kazakh National Pedagogical University Abai, Vyacheslav has worked as a graphic designer for Forty Studio, Why Smart Branding Agency, and USP Advertising Agency. In 2013, he won an award in the Granshan competition. He also designs typefaces at the Brownfox typefoundry run by Gayaneh Bagdasaryan.

His typefaces from 2012 include the free rounded sans family Static (Fontfabric), 1204 Grotesque, Neue Standart Grotesk, the free font Archive (a rounded sans headline typeface that is also also at Fontfabric: both Latin and Cyrillic), Svalbard Chrome, Cosmographia (sans headline face), Geometria (done with Gayaneh Bagdasaryan), Terminal Regular (like Courier), and Weimar.

Institut (2013, Brownfox) is an industrial-strength sans typeface designed by Vyacheslav Kirilenko and Gayaneh Bagdasaryan.

Typefaces from 2014: Formular (with Gayaneh Bagdasaryan at Brownfox: a Swiss sans family for Latin and Cyrillic; includes a Mono style), Gerbera (with Gayaneh Bagdasaryan at Brownfox).

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

Asya Alexandrova

Talented Russian illustrator in Saint Petersburg. Flickr page. She made some nice ornamental caps alphabet [perhaps not a font] and drew interesting typographic posters such as Logoman (2011). [Google] [More]  ⦿

Asya Alexandrova

Drawing artist and illustrator from St. Petersburg, Russia. Flickr page. She created some beautiful illustrated caps in 2009. Also of interest is her Logoman ink on paper drawing (2010). [Google] [More]  ⦿

Asya Sucholutsky

Canadian art student, b. 1989. Designer of the constructivist fonts Truth and Real Truth (2009), both named after Pravda. Fonts2u link. [Google] [More]  ⦿


Russian type foundry. Their Cyrillic/Latin fonts include: AZ HighWay (Leonid Silkin, 1990-1995, based on Broadway by Morris Fuller Benton, ATF, 1928), AZ LatinWide (1990-1995, by Kirill Tchouvashew, based on Stephenson Blake's Wide Latin), AZ LifeSigns (1990-1995, Serge Agronsky: astrological symbols), AZ McLeud (1990-1995, by Victor Kuchmin, based on American Uncial by Victor Hammer, 1943), AZ NewsPaper (1990-1995, by Andrey Andreev, based on News Gothic by Morris Fuller Benton, ATF, 1908), AZ ParagonNord (1990-1995, by Serge Agronsky, based on Elizavetinskaya, Lehmann type foundry (St. Petersburg, 1904-1907), which in turn was based on Russian metal faces of the mid-18th century), AZ Poligon (1990-1995, by Leonid Silkin: a kitchen tile font). [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]  ⦿

Aya Sukhorukova

Moscow-based designer. While studying at the British Higher School of Art and Design in Moscow, she created an ink spot typeface (2012). [Google] [More]  ⦿


Designer from Osh, Kyrgyzstan, who made the fun ransom note typeface Puchakhon (2011), Puchakhon Hypnosis (2011, + dingbats), the texture typeface Puchakhon Rain (2011), the sketch typeface Pucha Dawn (2011), the halftone texture typeface Puchakhon Magnifier3 (2011), and the dusty texture typeface Pucha Smoke Telegraph (2011). Aka Fine Line Progressive Decorating Band. [Google] [More]  ⦿

Babis Touglis

Babis Touglis studied graphic design at the National Design School (TEI) /Athens and graduated in 1995. Before opening his own studio, he worked for the national newspaper BHMA and the advertising agency Karamella. In 2007 he founded the Odd Company studio with three other designers. He has collected several national and international awards including 7 EVGE Awards and 2 Ermis Awards. He participated with his works in several art exhibitions for Amnesty International and the ED Awards. Babis specializes in web design which is one of the reasons he designed several pixel fonts.

In 2006-2007, he published PF Uniform Pro (Parachute), a monospace pixel font that covers Cyrillic, Latin and Greek. Other typefaces developed for Parachute include PF Pixel Script, PF Basic and PF Alfa Pix. Klingspor link. [Google] [More]  ⦿

Babushke Studio
[Marija Juza]

Babushke is a design cooperative in Zagreb that includes Marija Juza [a gradutae of School of Applied Arts and Design, Zagreb, the Faculty of Architecture, Zagreb and the School of Design, Zagreb], who is the codesigner with Nikola Djurek of Balkan (2012, Typonine), a sans / stencil type system for Latin and Cyrillic that was awarded by TDC in 2012.

Babushke created Herbert (2012), which is based on Herbert Bayer's early Bauhaus sketches. It is a low contrast 3-style typeface whose function is to properly align text in blocks.

TDC mentions that Marija lives in Zabok, Croatia.

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

Bakoma fonts
[Basil K. Malyshev]

The Bakoma fonts were made by Basil Malyshev, author of Bakoma TeX. BaKoMa TeX uses fonts in ATM compatible PostScript Type 1 format These fonts was produced by automatical conversion from Knuth's Computer Modern MetaFont codes. The conversion technology was designed by Basil K. Malyshev in 1994-1995. Later, the technology was improved to handle hint replacement, and the collection was extended by additional fonts. Some of Bakoma TeX is commercial now, but the fonts are still free. They are originally in type 1, but subsequent truetype and opentype versions have been developed too. Here is a grouped listing:

  • Roman (+italic, +bold, +slanted): cmb10, cmbx10, cmbx12, cmbx5, cmbx6, cmbx7, cmbx8, cmbx9, cmbxsl10, cmbxti10, cmcsc10, cmcsc8, cmcsc9, cmr10, cmr12, cmr17, cmr5, cmr6, cmr7, cmr8, cmr9, cmsl10, cmsl12, cmsl8, cmsl9, cmti10, cmti12, cmti7, cmti8, cmti9.
  • Typewriter: cmcitt10, cmtt10, cmtt12, cmtt8, cmtt9, cmvtt10, cmsltt10, cmitt10, cmtcsc10.
  • Sans: cmss10, cmss12, cmss17, cmss8, cmss9, cmssbx10, cmssdc10, cmssi10, cmssi12, cmssi17, cmssi8, cmssi9, cmssq8, cmssqi8.
  • Computer Modern Exotic: cmdunh10, cmff10, cmfi10, cmfib8, cminch, cmu10, cmtcsc10, cmtex10, cmtex8, cmtex9.
  • Math fonts: cmbsy10, cmbsy5, cmbsy6, cmbsy7, cmbsy8, cmbsy9, cmex10, cmex7, cmex8, cmex9, cmmi10, cmmi12, cmmi5, cmmi6, cmmi7, cmmi8, cmmi9, cmmib10, cmmib5, cmmib6, cmmib7, cmmib8, cmmib9, cmsy10, cmsy5, cmsy6, cmsy7, cmsy8, cmsy9.
  • LaTex fonts: circle10, circlew10, lasy10, lasy5, lasy6, lasy7, lasy8, lasy9, lasyb10, line10, linew10, LCMSS8, LCMSSB8, LCMSSI8.
  • Metafont logo fonts: logo10, logo8, logo9, logobf10, logosl10.
  • AMS fonts 2.1, Euler font family: euex10, euex7, euex8, euex9, eufb10, eufb5, eufb6, eufb7, eufb8, eufb9, eufm10, eufm5, eufm6, eufm7, eufm8, eufm9, eurb10, eurb5, eurb6, eurb7, eurb8, eurb9, eurm10, eurm5, eurm6, eurm7, eurm8, eurm9, eusb10, eusb5, eusb6, eusb7, eusb8, eusb9, eusm10, eusm5, eusm6, eusm7, eusm8, eusm9.
  • AMS fonts 2.2: msam10, msam5, msam6, msam7, msam8, msam9, msbm10, msbm5, msbm6, msbm7, msbm8, msbm9.
  • LamsTeX Commutative Diagram Drawing Fonts, dated 1997: lams1, lams2, lams3, lams4, lams5.
  • Computer Modern Cyrillic Fonts, with the Cyrillic extension due to N. Glonty and A. Samarin in Institute for High Energy Physics (IHEP) in 1990: cmcb10, cmcbx10, cmcbx12, cmcbx5, cmcbx6, cmcbx7, cmcbx8, cmcbx9, cmcbxsl10, cmcbxti10, cmccsc10, cmccsc8, cmccsc9, cmcinch72, cmcitt10, cmcsc10, cmcsc8, cmcsc9, cmcsl10, cmcsl12, cmcsl8, cmcsl9, cmcsltt10, cmcss10, cmcss12, cmcss17, cmcss8, cmcss9, cmcssbx10, cmcssdc10, cmcssi10, cmcssi12, cmcssi17, cmcssi8, cmcssi9, cmcssq8, cmcssqi8, cmcti10, cmcti12, cmcti7, cmcti8, cmcti9, cmctt10, cmctt12, cmctt8, cmctt9, cmcu10, cmcyr10, cmcyr12, cmcyr17, cmcyr5, cmcyr6, cmcyr7, cmcyr8, cmcyr9.
Related links: message by Sebastian Rahtz). Mirror. Polish mirror. TTF versions. Alternate URL. Another URL. Yet another URL. Yet another URL. 1500 non-free fonts have been developed as well. [Google] [More]  ⦿

BaKoMa TeX

Free software by Basyl K. Malyshev: BaKoMa TeX is a complete TeX system for Microsoft Windows 95/98/NT/2000. It supports type 1, type 3, truetype, OpenType, and TeX PK formats, and enables PostScript in TeX. The system includes about *1500* typefaces in PostScript Type 1 and Type 3 font format including the following fonts: CM (including LaTeX and Logo fonts + vf for T1 with CX, AMS Fonts (Euler, Math Symbols), EC/TC, LH (T2A), Concrete (Math, ECC), Malvern, CMCyr + vf for T2A/LCY, Scripting fonts, CMPica, Punk, Stmaryrd, Wasy, Rsfs, YHMath, BlackBoard (bbm, doublestroke), Lams, Astro Symbols (cmastro, astrosym, moonphase), Barcodes (barcodes, wlean, wlc*), Logical (loggates, milstd), timing, MusiXTeX, Chess/CChess, Go, Backgammon, Dingbats/NiceFrame. PDF output supported. Direct access to the fonts. [Google] [More]  ⦿

Balsa Milunovic

As a graphic design student in Podgorica, Montenegro, Balsa designed the Cyrillic typeface Prvjenac (2012). [Google] [More]  ⦿

Banzai Tokyo
[Sergey Epifanov]

Experimental foundry in Toulouse. Run by Sergey Epifanov (b. 1978, Kostroma, Russia), a graphic designer and an illustrator, it sells fonts like Banzai Moloko (2009) via MyFonts.

In 2013, Banzai Tokyo published the icon font Web Hosting Hub Glyphs Essentials.

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

Barmee.com (was: Czcionki.com, or: Barme Fonts)
[Bartek Nowak]

Original fonts by Polishman Bartek Nowak (aka Barme, b. 1973) made in 2000-2001: BukwaNormal (Cyrillic), Nokian (pixel font), Passja, Xar, BarmeReczny, Elementarz (orthographic writing for kids) [see also here], Gotyk-Poszarpany (Fraktur, revamped in 2014 as Gotyk Nr 7), Afarat Ibn Blady (Arabic simulation face), Hieroglify, Kobajashi, Kwadryga, Magda (Basque), Maszyna (old typewriter), MaszynaAEG, Nerwus (scribbly, sketchy), Pascal, SecesjaPL (curly font: a revival of Herman Ihlenburg's ultra-Victorian typeface Nymphic, 1889), Zakret, RecycleIt, Sandwich, Keiser Sousa, Manifest.

Alternate URL.

Font list (with repetitions): 4Mini, BarmeReczny, Elementarz, Fiesta, GotykPoszarpany, GrubaBerta, Hieroglify, KeiserSousa, Kobajashi, Kwadryga, Magda, Manifest-Niski, Manifest, MaszynaAEG, MiniMasa, MiniSet, MiniSter, Nerwus, Nokian, Nokian2, Opeln2001-Prosty, Opeln2001, Opeln2001Szeroki, Pascal, Passja, Premiership, RecycleIt, Sandwich, SecesjaPL, Szablon, Wabene, Xar, Zakret, MiniForma, MiniStrzalki, Miniline, Minitot, Ulisson, Astalamet (2002), Gosford (2002), Volan (2002), Establo, QuatronFat, Infantyl (2002), Quatron (2002), YnduFat (2002), YnduOut (2002).

URL not accessible to my browser (Mac+Firefox).

This site carried these fonts in May 2008: 4Mini, Afarat-ibn-Blady, Astalamet, AstalametPure, BarmeReczny, Cyree, DorBlue, ElementarzDwa, Erton, Establo, EstabloFat, Fiesta, Gosford, GotykPoszarpany, GrubaBerta, Hieroglify, HongKong (oriental simulation), Infantyl, InfantylFat, InfantylItalic, InfantylOut, Jiczyn, KeiserSousa, Kobajashi, Komix, Kwadryga, Lola, Magda, Manifest-Niski, Manifest, MaszynaAEG, MaszynaRoyalDark, MaszynaRoyalLight, MiniBet, MiniForma2, MiniJasc, MiniKongo, MiniLine2, MiniMasa, MiniQuan, MiniQuanMniejszy, MiniSet2, MiniSter, MiniStrzalki, MiniTot, Nerwus, Nokian, Nokian2, Opeln2001-Prosty, Opeln2001, Opeln2001Szeroki-Metro, Opeln2001Szeroki, Pascal, Paskowy, Passja, Quatron, QuatronFat, RecycleIt, Sandwich, SecesjaPL, Sloneczko, Szablon, Tabun, TechnicznaPomoc-Italic, TechnicznaPomoc, TechnicznaPomocRound, Ulisson, Vaderiii, Volan, Wabene, Xar.

In 2011, he established the commercial foundry GRIN3.

Dafont link. Klingspor link. Fontspace link. GRIN3 link. Old free font URL.

Showcase of Bartek Nowak's commercial fonts. [Google] [MyFonts] [More]  ⦿

Bartek Nowak
[Barmee.com (was: Czcionki.com, or: Barme Fonts)]

[MyFonts] [More]  ⦿


Bashkirian letters on top of the wncyr (Cyrillic metafont from Washington University), developed by Joerg Knappen. These letters are also sufficent for the writing of mongolian in Cyrillic. [Google] [More]  ⦿


Free Cyrillic fonts by Vladimir G. Ardashov (LIC Ltd, 1993): ATimes, Pragmatica, School. And an original family, Bashkort. [Google] [More]  ⦿

Basil K. Malyshev
[Bakoma fonts]

[More]  ⦿

Basil Solomykov

Developer of the free metafont-format didone Latin / Cyrillic typeface Obyknovennaya Novaya (2011, in Emglish: ordinary new face). This typeface was widely used in the USSR for scientific and technical publications, as well as textbooks. [Google] [More]  ⦿

Bayer Corp

A collection of fonts from Bayer Corp (1995): AlbertusExtraBoldW1, AlbertusMediumW1, AntiqueOliveW1, AntiqueOliveW1Bold, AntiqueOliveW1Italic, AvantGardeBook, AvantGardeBookOblique, AvantGardeDemi, AvantGardeDemiOblique, Bookman, BookmanDemi, BookmanDemiItalic, BookmanItalic, CGOmegaW1, CGOmegaW1Bold, CGOmegaW1BoldItalic, CGOmegaW1Italic, CGTimesW1, CGTimesW1Bold, CGTimesW1BoldItalic, CGTimesW1Italic, CenturySchlbkBold, CenturySchlbkBoldItalic, CenturySchlbkItalic, CenturySchlbkRoman, ClarendonCondensedW1Bold, CoronetW1Italic, GaramondW1Antiqua, GaramondW1Halbfett, GaramondW1Kursiv, GaramondW1KursivHalbfett, Helvetica-Narrow, Helvetica-NarrowBold, Helvetica-NarrowBoldItalic, Helvetica-NarrowItalic, Helvetica, HelveticaBlack, HelveticaBlackOblique, HelveticaBold, HelveticaBoldItalic, HelveticaItalic, HelveticaLight, HelveticaLightOblique, LetterGothicW1, LetterGothicW1Bold, LetterGothicW1Italic, MarigoldW1, PalatinoBold, PalatinoBoldItalic, PalatinoItalic, PalatinoRoman, UniversCondensedW1Bold, UniversCondensedW1BoldItalic, UniversCondensedW1Medium, UniversCondensedW1MediumItalic, UniversW1Bold, UniversW1BoldItalic, UniversW1Medium, UniversW1MediumItalic, ZapfChanceryMediumItalic, ZapfDingbats. See also here. Further fonts are here. Bayer's Courier families for Greek, East-European, Cyrillic, Turkish and Latin. Type 1 collection. All these fonts are in fact part of an old Lexmark printer package. [Google] [More]  ⦿

Bazhen D. Yurchenko

Bazhen Yurchenko is the Kharkov, Ukraine-based designer of BenCat, Grunge, Flowerchild, BenHardLife, BenKrush and BenPioneer (1997). His fonts are here. Encient German Gothic is a blackletter font to which he added a Cyrillic in 1995-1999. Here, you will find the free Cyrillic truetype fonts Ben-Cat-Bold, Ben-Hard-Life-Bold, Ben-Krush, Ben-Pioneer-Bold. [Google] [More]  ⦿

BC Fonts

A 1999 series of mathematical and Cyrillic fonts that used to be on the web, but is no longer easy to discover: BCCYR, BCSYMA, BCSYMB, BCSYMX, BCCYRBold, BCSYMABold, BCSYMBBold, BCSYMXBold. The fonts are needed for old math typesetting software such as EXP. [Google] [More]  ⦿


Cyrillic and dingbat fonts in the "rar" files: AGBenguiatCyrBook, AGBenguiatCyrBoldBold, AGLetterica-BoldOblique, AGLetterica-Oblique, AGLetterica-Roman, AGOpus-Bold, AGOpus-BoldOblique, AGOpus-Oblique, AGOpus-Roman, AGSouvenirCyrRoman, AGSouvenirCyrBold, AGSouvenirCyrBoldItalic, AGSouvenirCyrItalic, AmbassadoreType-Italic, AmbassadoreType, Arbat-Bold, Arbat, Chance, Decorations, FUNFACE, DecorCTT, ErikaC, GlasnostBold, GlasnostLightFWF, GlastenBold, GlastenNormal, PaladinPCRusMedium, GothicRusMedium, GothicRusMedium, JakobCTT-Regular, JakobCTT-Bold, JakobExtraCTT-Regular, MilestonesTT, Zbats-PS-, MonotypeSorts, NTHarmonica-Bold, NTHarmonica-Black-Normal, NTHarmonica-Normal, Optimal, Ornament, OrnamentTT, Ornament_TM, Penta-Light, RUBICKNormal, TimesNRCyrMT, TimesNRCyrMT-Bold, TimesNRCyrMT-Inclined, ZapfDingbatsITCbyBT-Regular, ABCTypeWriterRussian, Webdings, Wingdings-Regular, Wingdings2, Wingdings3, Herold. [Google] [More]  ⦿

Ben Jones

[MyFonts] [More]  ⦿

Bepa Fonts
[Danilo Segan]

Danilo Segan added Cyrillic glyphs to Bitstream's Vera sans family, and created the Bepa family. Alternate URL. Apparently, they are now outdated, having been replaced by the DejaVu Sans and Serif families. He maintains the Cyrillic glyph set in DejaVu. The URW-CYR family contains cleaned-up and fixed Serbian glyphs---these are now outdated, since Valek Filipov has merged (and first improved) them back into upstream URW-CYR fonts available here. Danilo Segan also created Nova and Nova Light (2003-2004), an art deco Cyrillic unicase family. [Google] [More]  ⦿

[Dmitry Akindinov]

Bersearch is a distributor of Cyrillic typefaces. RussianH has four weights, and was made in Moscow by Russian typographers Dmitry Akindinov and Alex Romanov. Free demo fonts. [Google] [More]  ⦿


Russian page with scans of several Russian ornamental and display alphabets. [Google] [More]  ⦿

[Charles Bigelow]

Bigelow&Holmes was founded by Charles Bigelow and Kris Holmes. Charles Bigelow (b. 1945, Detroit) is a type designer and teacher, who runs his own studio, Bigelow&Holmes. Bigelow was a colleague of Danolad Knuth at stanford University when Knuth developed his Computer Modern typeface family for TeX. In mid-2006, Bigelow accepted the Melbert B. Cary Distinguished Professorship at Rochester Institute of Technology's School of Print Media. Typefaces designed by Bigelow:

  • The Lucida family (1985) is used in several scientific publications such as Scientific American. Its iorigins go back to Computer Modern. I find it more appropriate for screens than paper, but that is just a personal view. The Lucida family contains LucidaConsole (1993), LucidaSansTypewriter (1991), LucidaFax, LucidaCalligraphy, LucidaBright, Lucida Blackletter (1991, a bastarda) and Lucida Handwriting. It has been recently expanded to comply with the Unicode Standard, and includes non-Latin scripts such as Cyrillic, Greek, Arabic and Hebrew. Charles Bigelow created the font families Lucida Math (with Kris Holmes, 1993), Lucida Sans (with Kris Holmes, 1985), Lucida Typewriter Sans (with Kris Holmes, 1985) and Lucida Serif (with Kris Holmes, 1993). The paper by Charles Bigelow and Kris Holmes, The design of a Unicode font (Electronic Publishing, 1993, pp.289-305), explains the design issues such as letter heights, readability studies, and typeface designs for readers versus non-readers of the various scripts.
  • Syntax Phonetic.
  • Leviathan (1979).
  • Apple Chicago (1991), Apple Geneva (1991).
  • Microsoft Wingdings (1992).
Ascender link. Wikipedia link. FontShop link. Klingspor link. Font Squirrel link. Ascender link. [Google] [MyFonts] [More]  ⦿

Bill Tavolga

Desitgner of four free truetype Cyrillic fonts. [Google] [More]  ⦿

Bitstream Cyberbit

From Bitstream's web page: "Bitstream Cyberbit is our award-winning international font. Based on one of our most popular and readable type designs (Dutch 801 BT [note: Bitstream's version of Times and Times New Roman]), it includes all the typographic characters for most of the world's major languages. Cyberbit is now available! The product release includes the roman weight of Dutch 801 BT, a "serif" font. (A serif font has small finishing strokes at the end of the main stems, arms, and tails of characters, while a sanserif font does not.) The font is in TrueType format for Windows 95 and Windows NT. Future releases will provide support for "sanserif" typefaces, other platforms, other font formats, and even more languages. Bitstream Cyberbit is a work in progress. Bitstream is now distributing the roman weight of Cyberbit, free of charge, over the Internet! Remember, this release is in TrueType format for Windows 95 and Windows NT". --- Well, Bitstream no longer offers the font. It is still out there however. Try here, here, here, or here. Has these unicode ranges: Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, Spacing Modifier Letters, Greek, Cyrillic, Hebrew Extended (A and B blocks combined), Thai, Latin Extended Additional, General Punctuation, Currency Symbols, Letterlike Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Box Drawing, Block Elements, Geometric Shapes, Miscellaneous Dingbats, Alphabetic Presentation Forms, Combining Diacritical Marks, Enclosed Alphanumerics, Arabic, Arabic Presentation Forms-A and -B, CJK (Chinese, Japanese, Korean) Symbols and Punctuation, Hiragana, Katakana, Bopomofo, Hangul Compatibility Jamo, Enclosed CJK Letters and Months, CJK Compatibility, Hangul, CJK Unified Ideographs, CJK Compatibility Ideographs, CJK Compatibility Forms, Small Form Variants, and Halfwidth and Fullwidth Forms. [Google] [More]  ⦿

Bitstream: Cyrillic fonts

Cyrillic fonts at Bitstream include BankGothicRUSSMedium, Dutch801CyrillicBT-Roman, Swiss721BT-Roman, Swiss721BT-Italic, Swiss721BT-Bold, Swiss721BT-BoldItalic, Dutch801BT-Roman, Dutch801BT-Italic, Dutch801BT-Bold, Dutch801BT-BoldItalic, BaskervilleBT-Roman, BaskervilleBT-Italic, BaskervilleBT-Bold, BaskervilleBT-BoldItalic, CenturySchoolbookBT-Roman, CenturySchoolbookBT-Italic, CenturySchoolbookBT-Bold, CenturySchoolbookBT-BoldItalic, PosterBodoniBT-Roman, ZurichBT-Roman, ZurichBT-Italic, ZurichBT-Bold, ZurichBT-BoldItalic, ZurichWin95BT-Black, FuturaBlackBT-Regular, Courier10PitchBT-Roman, Courier10PitchBT-Bold, Monospace821BT-Roman, Monospace821BT-Bold, AdLibBT-Regular, OzHandicraftBT-Roman, ChiantiBT-Roman, ChiantiBT-Italic, ChiantiBT-Bold, ChiantiBT-BoldItalic. [Google] [More]  ⦿

Black Fox Foundry
[Ivan Kostynyk]

Ivan Kostynyk (Black Fox Foundry) is a graphic designer, aka Ivan K or Ivan Kay, who lives in Toronto, and studied graphic design at Ontario College of Art and Design, or OCAD. His type designs are both free and icommercial, can be found at Practice Foundry and Ten Dollar Fonts. He also created a few commercial typefaces.

Creator of Egypt 22 (2011, a free heavy slab serif, which includes smilies), Lloyd Serif (2010), a refined piano key typeface. It covers Latin, Ukrainian and Russian, and was inspired by Bill Loyd and by the Ogaki typeface.

In 2010, he set up his own foundry. At it, he published the soft monoline sans typeface Soft2911 (2011).

In 2012, he created a geometric sans based on Futura for Chun+Ivan Design, called Anchor2. Pontus is a free geometric sans typeface available from Practice Foundry. In 2014, he published the oriental simulation typeface Takoshi (Ten Dollar Fonts: Takoshi is a finely crafted modern interpretation of 15-17th century Cyrillic writings. Takoshi also features influence from Japanese/Chinese calligraphic writing. Takoshi has a balanced contrast of thick and thin and sharp triangular shapes).

Chun+Ivan Design is located in Toronto and is run by Chun Hu, Ivan Kostynyk and Philip Wu.

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

Blanca Berning

Graduate of the University of Reading in 2011 who was born in Germany. Her graduation typeface was Clint (2011), a text family for Latin, Greek and Cyrillic. Clint suffers from a multiple personality disease, with asymmetric serifs, a strange axis, some timid ball terminals, and other exogenetic details. [Google] [More]  ⦿

Blazej Ostoja Lniski

Blazej Ostoja Lniski (b. 1974, Czersk, Poland) specializes in painting and lithography. From 1994 until 1999, he studied at the Warsaw Academy of Fine Arts. Currently, he is the Dean of the Faculty of Graphic Arts at he Warsaw Academy of Fine Arts. Creator of Merlo (2014, inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa), Cervo (2014, a simple almost heartless sans that was inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa that appeared from 1960 until 1973 in Poland), Toppo (2014, a letterpress emulation family inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa), Pekora and Pekora Slab (2014: inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa (Poland) between May 1960 and December 1973), Rospi Clean (2014: inspired by the weekly Tygodnik Ilustrowany from 1933), Rospo Wood (2014: a worn letterpress typeface inspired by the weekly Tygodnik Ilustrowany (1933)), Lupo (2014), Kapra (2014) and Bobbin and Bobbin Cyrillic (2014, letterpress style), which were inspired by You And Me Monthly published by the (Polish) National Magazines Publisher RSW Prasa which was active from 1960 until 1973. Kapra is beautiful---it has some of the masculinity of Impact and the naïveté of wood type. Other typefaces by him in 2014 include Skuul (a desperate cold war font inspired by a Letraset font from 2981), Blezja (inspired by a metal tin dated 1907, Potsdam), Greta (a roman typeface based on a prayer book from 1888), and Kleks (grunge typeface inspired by vernacular typegraphy in Potsdam).

You Work For Them link. Creative Market link. Behance link. [Google] [MyFonts] [More]  ⦿


Designers of Blits (2007), a rather severe condensed sans. Has cyrillics as well. [Google] [More]  ⦿

Bmeluyek Mschupztpch

Russian designer of the Latin/Cyrillic font Ocean (2002). He works at Portfolio.kg. [Google] [More]  ⦿

Bo Kibza

Stained glass windows inspired the design of the Latin / Cyrillic display typeface Khin (2013) by graphic design student Bo Kibza (Moscow, Russia). [Google] [More]  ⦿

Bodlek Nemshnbo

Russian designer of the Cyrillic font OCR B. [Google] [More]  ⦿

Bogdana Pashkevich

Illustrator in Vilnius, Lithuania, who designed the fat rounded Cyrillic stencil typeface Slon (2014). [Google] [More]  ⦿

Bohdan Hdal

Ukrainian illustrator, photojournalust and web designer in Kiev who created a fun readable Cyrillic script face, Veles (2011, free).

In 2012, he published the wonderful (!!!) free informal typeface Kotyhoroshko (Latin and Cyrillic).

Behance link. [Google] [More]  ⦿


Huge (1000+ truetype files) Cyrillic font archive. [Google] [More]  ⦿


Five standard Cyrillic truetype fonts. [Google] [More]  ⦿

Bolt Cutter Design (or: Mahoney Fine Arts)

Creators in 2008 of a series of detailed free fonts: Eutemia (connected calligraphic script), Deborah Extra Ornaments, Prozac Buzz (grungy and neurotic), Phat Grunge Bold, Metal Macabre (scary), Kremlin-Advisor-Display-Kaps-Bold, Kremlin-Samovar-Extra-Bold, Kremlin-Samovar, KremlinAlexander-Bold, KremlinBolshevik-Bold, KremlinDuma-Bold, KremlinEmpire, KremlinGeorgianI3D, KremlinGrandDuke, KremlinKiev, KremlinOrthodoxChurch, KremlinStarets (all Cyrillic simulation faces), Deborah Fancy Dress (saloon font), Deborah (1880s style).

Full list, at the end of 2008: AngstRidden (angst-ridden handwriting, dated 2002 under the label Mahoney Fine Arts), Bolt-Cutter-Light, Bolt-Cutter-Nasty, Bolt-Cutter, CSAR-Italic, CSARVESTMENT (illuminated caps), Bloody Irish Bastard or Congeal (2001), Deborah (Western), DeborahCondensed, DeborahExtrasOrnaments, DeborahFancyDress, Dominatrix, EutemiaI-Italic, EutemiaII-BoldItalic, EutemiaIII-BoldItalic, EutemiaOrnaments, GeneticEngine, GideonPlexus, KREMLINMINISTRY-DemiBoldItalic, Kremlin-Advisor-Display-Kaps-Bold, Kremlin-Samovar-Extra-Bold, Kremlin-Samovar, Kremlin-Soviet-Italic, Kremlin-Tsaritsa-Italic, Kremlin, KremlinAdviser, KremlinAlexander-Bold, KremlinBolshevik-Bold, KremlinComrade, KremlinCzar, KremlinDuma-Bold, KremlinEmperor-Bold, KremlinEmpire, KremlinGeorgianI3D, KremlinGrandDuke, KremlinImperial, KremlinKiev, KremlinKommisar, KremlinKourier-II, KremlinKourierII-Bold, KremlinMenshevik-Bold, KremlinMenshevik-BoldItalic, KremlinMinister-Black, KremlinMinister-Bold, KremlinMinister, KremlinMinisterBlack3D-Bold, KremlinOrthodoxChurch, KremlinPravda-Italic, KremlinPravda, KremlinPremier, KremlinStarets, KremlinSynod, MarquisDeSade, MarquisDeSadeAlternates, MarquisDeSadeOrnaments, Kremlin Chairman, Metal-Macabre, NewSymbolFont, ODINS-SPEAR-HOLLOW (2002, runes), ODINS-SPEAR (runic), OurSacredRights-Bold, PhatGrunge-Bold, Precious, StarmanCrusader, TEK-HED-AGGRESIVE (the TEK (techno) series is from 2003), tEK-HED-ANGRY, TEK-HED-BOLIMIC, TEK-HED-LAZY, TekHedRegular, ThorsHammerCarved (2008, chiseled look), csar, csarparadedress. Fonts from 2009: Vlad tepes II (creepy).

Fonts from 2010: Sarcophagus.

Fonts from 2012: Baris Cerin (a bastardized Garamond caps face).

Fonts from 2013: Precious (connected formal script).

Fontspace link. Dafont link. [Google] [More]  ⦿

Bonnie Clas

Bonnie Clas has completed her B.F.A. and M.F.A. at Savannah College of Art and Design as a major in Graphic Design with a minor in Drawing. She has been developing her career by taking positions as a designer, illustrator, and letterer for SpotCo, Rodrigo Corral Design, and Hsu+Associates in Manhattan. She lives in New York City. Creator of TWD Sans (2011, semi-blackletter), Mecano Neue (2011), Kule Script (calligraphic, for a clothing brand), Kule Slab (2011, didone), Lady Chatterly (curly fashion mag face), Lacie (curly typeface for Latin and Cyrillic), Methodenstreit (2011, arts and crafts face), Habana (2011, Lost Type), Feverish (2011, experimental), Burlesque (art deco). She also did the lettering for tens of projects. [Google] [More]  ⦿

Boris Brodsky

Russian creator of Titling (1986). [Google] [More]  ⦿

Boris Kuznetsov

Lyubertsy, Russia-based graphic designer. Creator of the free font Polkadog (2009), designed in memory of his dog Artur. Behance link. [Google] [More]  ⦿

Boris Popov

Russian designer of the experimental font PT Duetto (2001-2002, Paratype).

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


Designer of the Cyrillic font Choc Borissov (1996, after Choc), which can be found here. [Google] [More]  ⦿

[Mateusz Machalski]

Borutta is the creative studio of Warsaw-based designer Mateusz Machalski. He is the creator of the blackletter-inspired typeface Raus (2012), which also could pass for a Cyrillic simulation font. It was possibly made with Pawel Wypych. He also made Kebab (2012, a fat caps face), Duce (2012, art deco: withdrawn from MyFonts after Charles Borges complained that it was a rip-off of his own Gloria), Fikus (2012), Woodie (2012, a condensed rough wood type face), Polon (2012), Aurora (2012, a German expressionist poster face), Musli (monoline connected script), HWDP (2012, poster font), Wieczorek Script (2012, hand-printed), Hamlet (2012, a sword and dagger typeface, renamed to Prince), Caryca (2012, Cyrillic simulation, done with Pawel Wypych), Bezerro (2012, poster face), Bitmach (2012, pixel face), Meat Script (2012, a caps only market signage brush script), Krac (2012, a tall poster font), Hermes (2012: Ten Dollar Fonts), Berg (2012, a roughened blackletter face), Buldog (2012), Dudu (2012, tall condensed face).

In 2012, Polish designer Wojciech Freudenreich and Mateusz Machalski combined forces to design the techno typeface SYN.

Machalski likes old wood types, which inspired him in 2012 to publish a wood type collection of weathered display faces: Condom, Hype, Whore, Banger, Buka. Elo (2012) and Duce (2012) are fat weathered wood types.

Typefaces made in 2013: Wood Type Collection 2 (which includes Brie, Kaszti, Mader, Modi, Rena, Roast, Ursus), Zigfrid (headline face), Salute (letterpress style), Benito (a letterpress or geometric wood typeface), Bojo (heavy wood style poster face), Picadilly (heavily inktrapped open counter sans family), GIT (a manly headline sans), Lito (an eroded poster typeface), Haine (vernacular caps), Aneba (organic sans family), Vitali (sans), Korpo Serif (slab serif), Korpo Sans (elliptical family; +Greek, +Cyrillic).

Typefaces from 2014: Adagio Slab, Adagio Serif, Adagio Sans (a superfamily not to be confused with the 2006 typeface Adagio Pro by Profonts), Adagio Sans Script, Adagio Serif Script, Adagio Slab Script, Tupperware Pro.

Typefaces from 2015: Corpo Serif, Corpo Sans, Zigfrid, Picadilly (a great ink-trapped sans typeface family with an erect g).

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

Botio Nikoltchev

[MyFonts] [More]  ⦿

Brama Computing
[L. Jake Jacobson]

Brama Computing has two Cyrillic fonts for Slavists: "Constantin" and "Methodius" in TrueType and Type One formats. Designed by L. Jake Jacobson in 1994 at the University of Pittsburgh. [Google] [More]  ⦿

BRAMA Computing and Software

Links on Ukrainian fonts for UNIX (BDF format), Windows and Mac. Alternate URL. [Google] [More]  ⦿


A Cyrillic font archive [Google] [More]  ⦿

Brian J. Bonislawsky
[Astigmatic One Eye]

[MyFonts] [More]  ⦿

Brian Jongseong Park

Seoul-based designer who is working on the serif faces Naxia (2007, Greek) and Dobong (2006). He created Dobong (2006), which covers Latin, Greek, Cyrillic and Hangul. [Google] [More]  ⦿

Brian Wofford

Born in 1951 in Kyrgyzstan, but now located in the boring safety of midwest Florida, Brian Wofford created the gothic/metal typeface TransMutation in 2009. [Google] [More]  ⦿

[John Hudson]

Academic publisher in Leiden, The Netherlands. In 1989, DecoType produced the first ever computer-typeset Persian and English dictionary for them. In 2009, Brill has resumed its 325 year old tradition of Arabo-Dutch typography by adapting Tasmeem for its Arabic texts. In 2008, Brill commissioned John Hudson to make a text face. Hudson's PDF explains how Brill had been working mostly with Baskerville, so the new Brill typeface is also transitional, but narrower, resulting in savings of paper. Greek and Cyrillic are covered by Brill as well.

In 2012, Brill was made available for free download for non-commercial use. While Brill is an original design by John Hudson, the blackletter range of characters was made by Karsten Lücke. Gerry Leonidas and Maxim Zhukov were consulted for Greek and Cyrillic, respectively. The fonts follow Unicode and contain nearly all symbols people in the humanities may ever need. [Google] [More]  ⦿

British Higher School of Art and Design, Moscow

18-month program in Russian type design, also called Type and Typography. Teachers: Vladimir Yefimov (type history), Tagir Safayev (personal experience), Vladimir Krichevsky (type&typography), Alexander Tarbeev (type technologies), Eugeny Dobrovinsky (calligraphy&typography), Yury Gordon (personal experience), Valery Golyzhenkov (modern typography), Vera Evstaf'eva (calligraphy), Ilya Ruderman (modern typography; coordinator of the program), Denis Serikov (FontLab course), Alexey Shevzov (type copyrighting, type as a business), Yury Yarmola (FontLab, future type technologies), Andy Clymer (modern production technologies). The class of 2010 got together and made a free font, Amperisk [PDF file], which is a composite of 11 fonts made by them during their studies. [Google] [More]  ⦿

British Library

Publishers of the free font Reader Sans, which covers Cyrillic, Greek, Latin, Hebrew and Slavonic. The copyright says Bitstream. [Google] [More]  ⦿

[Gayaneh Bagdasaryan]

Brownfox is independent type foundry based in Moscow, and managed by Gayaneh Bagdasaryan. They specialize in the design and production of Latin and Cyrillic fonts for print and for screen. They are the organizers of the first Russian international type conference Serebro Nabora. Their first typefaces in 2012, all posted at Google Web Fonts, include Simonetta (readable angular typeface: see here), Sevillana (curly upright script by Olga Umpeleva), Geometria (a geometric sans by Vyacheslav Kirilenko and Gayaneh Bagdasaryan), and Henny Penny (a playful decorative typeface, also by Olga Umpeleva).

In 2013, we also find Super Disco (an art disco layered typeface family by Gayaneh Bagdasaryan). Institut (2013) is an industrial-strength sans typeface designed by Vyacheslav Kirilenko with participation of Gayaneh Bagdasaryan.

In 2013-2014, Gayaneh Bagdasaryan and Dmitry Rastvortsev created the Latin / Cyrillic sans typeface family Brutal Type (Brownfox) that is genetically linked to DIN.

Typefaces from 2014: Gerbera (a sans face codesigned with Vyacheslav Kirilenko), Formular (by Vyacheslav Kirilenko and Gayaneh Bagdasaryan: a Swiss sans family for Latin and Cyrillic), Activist (a minimalist all caps typeface commissioned by the Anticorruption Foundation).

Behance link. Fontspace link. [Google] [MyFonts] [More]  ⦿


Cyrillic fonts: BukviDecorative, BukviRoman, BukviSchool. [Google] [More]  ⦿

Bulgarian Academy

About 60 Cyrillic fonts at this Bulgarian FTP site. The majority are fonts by DemaSoft (1993), like the Lozen, EngineCyr, FreeStyleCyr_Bold, GermanCondensedX_Bold, and Iskar_Bold families. Also here are great families (HebarB, Journal, Karina), and nice individual fonts such as the Courier-like Maritsa, the display font FuturaEG_HH, and the artsy font Izhi. Great site. [Google] [More]  ⦿

Bulgarian font archive

[More]  ⦿

Bulgarian--Russian Cyrillic Fonts for MS-Windows
[Ilya Talev]

Ilya Talev's free original Bulgarian Cyrillic fonts: BookvarBold, BookvarItalic, BookvarNormal, Bulgarian-Ariel, Bulgarian-Courier, Bulgarian-DutchRomanItalic, Bulgarian-DutchRoman, Bulgarian-GaramondItalic, Bulgarian-Garamond, Bulgarian-Italic, Bulgarian-Kursiv, Palatia-Regular, Bulgarian-Roman, Bulgarian-RomanItalic, Bulgarian-Times, Bulgarian-TimesItalic, TimokBold, TimokBoldItalic, TimokItalic, TimokPlain. The fonts with names that start with Bulgarian are due to Talev, and were made in 1995. An older page of his also had Church, NewsPrint Fonts, Garamond, Courier, Roman, Stamp (kinda arty), Times, Tribune, Zora, fonts that were shareware from Galt Technology, accompanied by the notice The fonts are in Unicode ttf format and are suitable for MS-Word 97 and the new MS-Word 2000 for Windows NT, 95/98. [Google] [More]  ⦿

Burim Loshaj
[Loshaj Foundry]

[MyFonts] [More]  ⦿

burodestruct (or: Typedifferent.com)
[Lorenz Lopetz Gianfreda]

Lorenz Lopetz Gianfreda's foundry in Bern, Switzerland, est. 1994, called Burodestruct and Typedifferent.com.

Free fonts include(d) the gorgeous GalaQuadra (by Angela Pestalozzi, 1999), Eject Katakana (1998), Dippex (1995, grunge font), Ticket (1995), Rocket 70 (1996), Ratterbit (1995, pixel font), Plakatbau (1995), Lodel Fizler (1996), Flossy (1995), Faxer (1995), Console Remix (1998), Cravt (1998, by "Katrin"), Stereotype (1998, by M. Brunner), Brockelmann (1995, free), Kristallo (1997, very original display face) and Billiet (1996).

Other fonts: Acidboyz (1998), Alustar (1999), BD Asciimax (1999, ascii art font), BD Billding, Bdr_mono (1999), Brick (1996, like Kalendar), Cluster (1996), Console (1997), Doomed (1998), Eject (1998), Electrobazar (1995), Elside (1995), Globus (1996), Fazer (1996), Lofi (1997), Medled (1995), Paccer (1995), Solaris (1998), Spicyfruits_brush_rmx (1998, a nice high-contrast face), Spicyfruits_rmx, Wurst (free, by Heiwid, 2000), Relaunch (2000), Relaunch Katakana (2000, free), Rainbow (2000), DeLaFrance (2000, free, by Heiwid), Electronic Plastic (2000), Colonius (2001), Cash (2001), Cashbox (2001), Bilding (2001), Meter (2001), Mustang (2001), Bankwell (2001), BD Alm (2001), Balduin (2001), Tatami (2001, oriental look font), Hexades (2001, free), Nippori (2002, techno), Jura (2002), Bonbon (2002, free), Band (2002, free), Navyseals (2002, kitchen tile font), Ritmic (2002), BDR Mono (1999, OCR-like font), Mann (2003, ultra fat stencil), Aroma (2003), Zenith (2003), Nebraska (2003), BD Equipment (2004), BD El Autobus (2004), BD Unexpected (2004), BD Wakarimasu (2004, free kana face), BD Bernebeats (2004, futuristic), BD Deckard (2004), BD Spinner (2004), BD Victoria (2004), BD Designer (2004), BD Kalinka (2005, a curly ultra-fat display face), BD Equipment (2004), BD El Autobus (2004), BD Unexpected (2004), BD Varicolor (2005, stencil), BD Chantilly (2005), BD Memory (2005), BD Emerald (2005, beveled), BD Kalinka (2005, Cyrillic simulation), BD Extrwurst (2005), BD Aquatico (2005), BD Mandarin (2005), BD Polo (2005), BD Beans (2005), BD Tiny (2005, pixel face), BD Times New Digital (2006), BD Panzer (2006), BD Jupiter, BD Jupiter Stencil (2006), BD Pipe (2006), BDR Mono 2006 (2006), BD Fimo Outline (2007, free, by Nathalie Birkle), BD Bermuda (2007, experimental and geometric), BD Smoker (2007, psychedelic), BD Radiogram (2007), BD Mother (2007, exaggerated black Egyptian), BD Fimo Regular (2007, free), BD Demon (2007), BD Reithalle (2007, free), BD Halfpipe (2007, free), BD Broadband (2008, free; not to be confused with the much older fonts BroadbandICG or FLOP Design's Broadband), BD Viewmaster and BD Viewmaster Neon (2008), BD Electrobazaar (2008), BD Motra (2008, stencil), BD Virtual (2008), BD Spacy 125 (2008), BD AsciiMax, BD ElAutobus (2004), BD Equipment (2004), BD Ramen (2003), BD Retrocentric (2009), BDR A3MIK (2009, virile Latin and Cyrillic slab), BD HitBit (2009), BD Unicorse (2010, unicase and techno), BD Telegraph (2011), BD Schablone (2012, stencil face), BD Pankow (2013, stencil), BD Algebra (2014), BD Hiragana Kuro (2014), BD Qualle (2014, a fat poster typeface).

Alternate URL. Dafont link. Behance link.

View the Typedifferent typeface library. [Google] [MyFonts] [More]  ⦿

Byzantine Catholics in Slovakia
[David Pancza]

The following fonts can be downloaded at this Slovak site of the Byzantine catholic church in Slovakia: the music fonts Juhasevic (2006, David Pancza), Lviv (2006, David Pancza), Lvov (2006, David Pancza), Manjava (2006, David Pancza), and the Olsavica family (also 2006, David Pancza). Also: S407 (David Pancza), Izitsa StarosloviencinaA (1995, old Slavonic), bwgrkl (1994, Michael S. Bushell), pismotest, znamC (David Pancza). [Google] [More]  ⦿


Free source code for transforming C code into PostScript format, by Dmitri Shtilman and Dmitri Makarov. Includes free Russian KOI-code fonts. [Google] [More]  ⦿

[Christopher Diehm]

Christopher Diehm (Cade) (b. 1985) is the Australian/Russian designer of the Latin handwriting font Arthritical (2003). Alternate URL. He lives in Northern Queensland. [Google] [More]  ⦿


Russian calligraphic blog. Russian type and calligraphy glossary and links. [Google] [More]  ⦿

Calmius Software
[Vladislav V. Dorosh]

Calmius Software is a Russian company at which Vladislav V. Dorosh designed the Cyrillic font family Irmologion in 1996. This includes Evangelie-Ucs, Feofan-Ucs, Indycton-ieUcs, IndyctonUcs, Irmologion-Caps-Ucs-SpacedOut, Irmologion-Caps-Ucs, Irmologion-Caps-ieUcs-SpacedOut, Irmologion-Caps-ieUcs, Irmologion-Caps-kUcs-SpacedOut, Irmologion-Caps-kUcs, Irmologion-Ucs-SpacedOut, Irmologion-Ucs, Irmologion-ieUcs-SpacedOut, Irmologion-ieUcs, Irmologion-kUcs-SpacedOut, Irmologion-kUcs, Pochaevsk-Caps-Ucs-SpacedOut, Pochaevsk-Caps-Ucs, Pochaevsk-Caps-ieUcs-SpacedOut, Pochaevsk-Caps-ieUcs, Pochaevsk-Caps-kUcs-SpacedOut, Pochaevsk-Caps-kUcs, Pochaevsk-Ucs-SpacedOut, Pochaevsk-Ucs, Pochaevsk-ieUcs-SpacedOut, Pochaevsk-ieUcs, Pochaevsk-kUcs-SpacedOut, Pochaevsk-kUcs, Psaltyr-Ucs-SpacedOut, Psaltyr-Ucs, Psaltyr-ieUcs-SpacedOut, Psaltyr-ieUcs, Psaltyr-kUcs-SpacedOut, Psaltyr-kUcs, Render-Script, Slavjanic-Ucs-SpacedOut, Slavjanic-Ucs, Slavjanic-ieUcs-SpacedOut, Slavjanic-ieUcs, Slavjanic-kUcs-SpacedOut, Slavjanic-kUcs, Triodion-Caps-Ucs-SpacedOut, Triodion-Caps-Ucs, Triodion-Caps-ieUcs-SpacedOut, Triodion-Caps-ieUcs, Triodion-Caps-kUcs-SpacedOut, Triodion-Caps-kUcs, Triodion-Ucs-SpacedOut, Triodion-Ucs, Triodion-ieUcs-SpacedOut, Triodion-ieUcs, Triodion-kUcs-SpacedOut, Triodion-kUcs, VertogradUcs, Zlatoust-Ucs-SpacedOut, Zlatoust-Ucs, Zlatoust-ieUcs-SpacedOut, Zlatoust-ieUcs, Zlatoust-kUcs-SpacedOut, Zlatoust-kUcs. Pochaevsk was made after an original by Nikita Simmons. See also here. Here we find some Old Slavonic fonts made in 2008 by Dorosh: Wilno-Ostrog.ttf, Wilno-Ostrog_2.ttf, WilnoCapsUcs.

Here we find these fonts by Dorosh: Irmologion-Caps-Ucs-SpacedOut, Irmologion-Caps-Ucs, Irmologion-Caps-ieUcs-SpacedOut, Irmologion-Caps-ieUcs, Irmologion-Caps-kUcs-SpacedOut, Irmologion-Caps-kUcs, Irmologion-Ucs-SpacedOut, Irmologion-Ucs, Irmologion-ieUcs-SpacedOut, Irmologion-ieUcs, Irmologion-kUcs-SpacedOut, Irmologion-kUcs, Pochaevsk-Caps-Ucs-SpacedOut, Pochaevsk-Caps-Ucs, Pochaevsk-Caps-ieUcs-SpacedOut, Pochaevsk-Caps-ieUcs, Pochaevsk-Caps-kUcs-SpacedOut, Pochaevsk-Caps-kUcs, Pochaevsk-Ucs-SpacedOut, Pochaevsk-Ucs, Pochaevsk-ieUcs-SpacedOut, Pochaevsk-ieUcs, Pochaevsk-kUcs-SpacedOut, Pochaevsk-kUcs. [Google] [More]  ⦿

Camille Moisset

Designer of the free font KM Standard TT (2014, OFL) during a course at ERG in Brussels. This typeface is based on Alexey Kryukov's Old Standard TT (2006-2008). It is a bold didone family for Latin, Cyrillic and Greek with small stencil cuts in the Latin section. [Google] [More]  ⦿


About 30 Cyrillic truetype fonts, including Caslon (Soft, 1992), Cooper (tilde, AG Fonts, 1992), KabelCTT-Medium (Dmitry Komissarov, 1994), Kladez (Soft, 1992), Mysl (ParaGraph, 1990), Newjournal (Soft, 1992), Pragmatica (Soft, 1992), Rubic (A.Kustov, 1993). [Google] [More]  ⦿

Canonical Design
[Dalton Maag]

Design team that is related to Ubuntu. In 2010, they cooperated with the type design team of Dalton Maag to bring us free fonts for Ubuntu (called Ubuntu). Download the fonts: Ubuntu-Bold, Ubuntu-BoldItalic, Ubuntu-Italic, Ubuntu-Regular. Google Directory link for Ubuntu Mono (2010: free) and for Ubuntu Condensed. Announcement pages. The initial package contains Latin A+B Ext, Greek Polytonic and Cyrillic Extended, but lots of extensions are expected over the next few years.

Andrew Fitzsimon of Canonical Ltd created the font used in the logo of Ubuntu called Ubuntu-Title in 2005.

The package description reads: The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag. Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. Ralf Herrmann likes the font family but recalls that other typographers find Ubuntu too close to DTL Prokyon.

Dalton Maa's Fontspace link. [Google] [More]  ⦿

Captcha Code

Free Latin and Cyrillic captcha-inspired font made in 2011 by one hundred Russian designers: Andrey Konstantinov, Daniel Chernoguz, Ivan Pashenko, Dmitriy Zagidullin, Roman Ershov, Anatoliy Gromov, Ruslan Lobachev, Alexey Kondakov, Artem Moiseev, Olga Tjukova, Dmitry Akva, Maxim Deyev, Evgeniy Ivanov, Andrey Taranenko, Boris Grigorjev, Ivan Sharenkov, Artem Mazurchak, Andrey Kolpakov, Konstantin Kakovkin, Ivan Lyanguzov, Daria Uskova, Konstantin Golovchenko, Yulya Leonova, Artem Kazakov, Vasilev Eugeny, Alexey Rud, Protey Temen, Vladimir Lev, Alexey Krylov, Mikhail Simakov, Andrew Arbenin, Petr Mukhin, Lubov Fedorova, Aleksandr Kirillov, Dmitriy Knyazev, Shashi Martynova, David Fedulov, Alexey Murashko, Maria Raschypkina, Vasilij Podtynnikov, Ashot Palanjyan, Aleksandr Korovin, Mikhail Rozov, Anna Hodorkovskaya Aleksandra Titova, Konstantin Groznov, Siarhei Stashkevich, Ksenika Dobrovitskaya, Aleksandr Dolgiy, Ksenia Nunis, Andrey Ilyaskin, Kostsei Koulematon, Semen Krymov, Fiodor Sumkin, Andrew Petrushenko, Nina Holmanskih, Oleg Zhuravlev, Igor Evgrafov, Artem Kolbich, George Konyaev, Maria Ivanova, Vladislav Zhukovets, Loma Sukin, Dmitrij Lukyanenko, Sergey Shvetsov, Aleksandr Solomennikiv, Vladimir Nemchenko, Dmitry Rastvortsev, Vladimir Sedykh, Peter Zharnov, Egor Myznik, Valeriy Uryukov, Egor Akhmetzyanov, Kirill Martianov, Anton Shilinets, Pavel Voloshin, Artem Oberland, Lily Kavlyuk, Oleg Azletskiy, Yana Kutyina & Andrey Belonogov, Stepan Litvinov, Pyotr Bushuev, Egor Deev, Katerina Plas'ka, Nikita Shekhovtsov, Dima Tkach, Alexander Vershinin, Tatyana Shilyaeva, Ivan Kireyev, Vitaliy Zhestkov, Maxim Petov, Marina Butchman, Eugenia Pestova, Alexandr Anisimov, Anatoly Karasov, Gleb Androsov, Vitaly Kuzmin, Sergey Barkov, Sergey Afonkin.

Free download. [Google] [More]  ⦿

Carmelo Lupins

Designer of the free font "Greek Garamond". The page also archives some fonts by others, such as Academiury-ITV, CopticNormal, CopticNormal_II, Cyrillic-Regular, Greek-garamond-1.1, Greek-garamond, Greek, Linear-B, Masis, Ultima-Runes----ALL-CAPS, gothic-1. [Google] [More]  ⦿

Carnegie-Mellon University

Four Cyrillic fonts, and the phonetic series SILDoulosIPA-Regular, SILManuscriptIPA-Regular, SILSophiaIPA-Regular. [Google] [More]  ⦿

Carrois Type Design
[Ralph du Carrois]

Carrois Type Design (Berlin, Germany) started up officially ca. 2010, although Ralph du Carrois has been designing typefaces since ca. 2002. This dynamic company in Germany has three art directors, Jenny du Carrois, Anja Meiners and Botjo Nikoltchev. All three also design typefaces, as well as Adam Twardoch, Andreas Eigendorf and Ralph du Carrois himself. The company specializes in custom type.

Typefaces (a *very* incomplete list, with apologies, but I can't tell from the web site who made what...):

About Ralph du Carrois, b. 1975: He graduated at the Staatliche Hochschule für Gestaltung Karlsruhe in 2004 with his first typeface family PTL Maurea. Since 2000 he has worked for different companies or agencies. In 2003 he founded the studio seite4 in Berlin with its main focus on type design and corporate identity design. [Google] [More]  ⦿


Polish designer (b. 1988) of the Slavonic alphabet font gagolica (2005). [Google] [More]  ⦿

Caslon 540

The staff of ATF created Caslon 540 at ATF in 1902. This design can be traced back to William Caslon I in 1725.

Digital versions of Caslon 540 exist at Bitstream, Linotype, Paratype, Adobe (both as Caslon 540 and Caslon Three), Elsner & Flake, and Letraset (Caslon 540 Italic with Swashes, by Freeda Sack). See also OPTI Caslon Five (Castcraft), Caslon Elegant (Softmaker), Dutch 771 (Bitstream).

For the Cyrillic extension, highly recommended, see Caslon 540 (2002) by I.M. Slutsker and M. Shmavonyan at Paratype.

View and compare some digital versions of Caslon 540. [Google] [More]  ⦿

Castle Type
[Jason Castle]

Designs by Jason Castle from San Rafael, CA, who graduated from Dominican University of California. He does custom font design and sells commercial faces through MyFonts and FontShop. Blog. These include:

  • A: AfrikaBorders, Afrika Motifs, Agency Open (M. F. Benton, 1934, revival Jason Castle), Agency Gothic Inline, Ampersands, Azbuka (2005, a heavy slab serif).
  • B: Brasileiro (2007, an art deco face).
  • Carisma (2007, a clean geometric sans), Carlos (art deco inspired by Elektra), Castle Fleurons, Chinoise (2008, based on hand lettering that is reminiscent of a style of ancient Chinese square-cut ideograms), Cloister Black, Copperplate Script.
  • D: Deko Initials (1993, discontinued in 2007; based on NADA0 drawn in 1972 by Marcia Loeb), Dionisio (2008, didone).
  • E: Eden (Bold, Light; originally designed by Robert H. Middleton in 1934).
  • F: Fat Freddie, Futura CT and Futura CT Inline (2007, based on Futura ND, but discontinued after only a few weeks).
  • G: Goudy Lombardy (Lombardic), GoudyStout, Goudy Text, Goudy Trajan (1994-2010, free; +alternates).
  • H: Handsome (2002, nice finger dingbats, aka fists).
  • J: Jensen Arabique (left field art deco, based on work of Gustav Jensen, 1933).
  • K: Koloss (art deco).
  • L: Latin CT (2008,, 6 styles), Latin Wide, Laureat, Lise Informal (2008, hand-printed), Lombardy.
  • M: Maximilian CS (Rudolf Koch, 1917), Metropolis Bold and Shaded (based on the 1932 Stempel cut as designed by W. Schwerdtner), Minotaur (2008, an original monoline design based on an Oscan votive inscription from the second century BC; looks like simulated Greek).
  • N: Norberto (2009, an all-caps Bodoni; +Stencil).
  • O: Ogun (2008, inspired by an Egyptian-style Russian block alphabet and useful for athletic lettering; formerly named Azbuka).
  • P: Plantain (2002, a digital version of Plantin Adweight, a 1913 typeface by F. H. Pierpont), Plantain Stencil (2009), Progreso (2010, a condensed, unicase, serif gothic type design inspired by the hand-lettering on Russian posters from the 1920s).
  • R: Radiant, Radiant Extra Condensed CT (both Radiants are revivals of Roger Middleton's typeface by that name, 1940), Ransahoff (2002, ultra condensed didone), Rudolf (1992, based on Rudolf Koch's German expressionist work such as Neuland).
  • S: Samira (2008, art nouveau style), Shango (1993, based on Schneidler Initials by F.H.E. Schneidler (1936), and including a digital version of Schneidler Cyrillic (1992); extended in 2007 to Shango Gothic and in 2008 to a 3-d shadow version, Shango Chiseled, and in 2009 to Shango Sans), Sculptura (2005, an all caps typeface based on Diethelm's Sculptura from 1957), Sencia (2008, based on Spanish art deco stock certificate lettering from 1941), Sonrisa (2009, art deco family---Sonrisa Thin is free), Standard CT (a neo-grotesque family).
  • Tambor (Light, Black, Inline, Adornado) (1992) (note: Jason claims that it was remotely based on Rudolf, which in turn was based on calligraphy of Rudolf Koch), Trio (an art deco sansserif), Trooper Roman (discontinued).
  • V: Vincenzo (2008, a slabby didone), Warrior (2009, a 3d font based on Ogun; +Shaded).
  • X: Xavier (art deco family based on Ashley Crawford by Ashley Havinden, 1930, revival by Jason Castle in 1992).
  • Z: Zagora, Zamenhof (2011: an all caps poster face with constructivist ancestry, named after the inventor of Esperanto), Zuboni Stencil (2009, Latin and Cyrillic, constructivist).

Klingspor link. Behance link.

View Jason Castle's typefaces. [Google] [MyFonts] [More]  ⦿

[Christian "Cinga" Thalmann]

Catharsis is located in Leiden, The Netherlands. Before that, Christian Thalmann's page Cinga.ch was run out of Switzerland, when he was a student at ETH Zürich. It had free typefaces such as the great Arabic simulation typeface Catharsis Bedouin (2004), CatharsisCircular, CatharsisRequiem (a unicase pair), CatharsisRequiemBold, CatharsisCargo, Cirnaja Bookhand and Cirnaja Calligraphy (made for his artificial language, Obrenje), Catharsis Macchiato (2005), CatharsisEspresso (2005).

As Catharsis, the commercial foundry, he published Octant in 2013: Octant is an original steampunk display typeface drawing inspiration from Victorian-age steel and brass engineering, as well as from blackletter typography. Gryffensee (2013, in styles called Eins, Zwei and Drei) is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. It also covers Cyrillic.

Backstein (2013), baked brick, took its inspiration from the broken antiqua lettering in Berlin's old subway stations.

Volantene Script (2013) is a (free) uncial display typeface inspired by the penmanship of Lady Talisa Maegyr-Stark as seen on HBO's Game of Thrones. Numina (2013, Glamour and Glory substyles) is an extensive condensed fashion-oriented typeface family related to Skyline and Corvinus.

Maestrale (2013) adds calligraphic and flamboyant extenders to a decorative text typeface for a dramatic effect. Choose between Maestrale Manual (swashy) and Manuale Text.

Blumenkind (2013) is inspired by an instance of metal-strip lettering found on the Bürgermeister Kornmesser Siedlung residential building complex in Berlin from the 1960s.

Brillinace (2013) is a glamorous contemporary display blackletter combining the rich tapestry of Textura with a hint of the airy lightness of Spencerian script. Let's say that it is a light-hearted Textura.

1001 fonts link. Yet another URL. Fontspace link. Behance link. Klingspor link. Dafont link. [Google] [MyFonts] [More]  ⦿

Catherine Sergeeva

Derelict (2013) is a hexagonal grid-based typeface created by Catherine Sergeeva, Ruslan Simashev and Alexey Mendelson as a training project for British Higher School of Art and Design in Moscow. Catherine also designed Fox Ear (2013). [Google] [More]  ⦿

Central Machine

Latin/Cyrillic fonts from ParaGraph: FranklinGothicBookC, FranklinGothicBookC-Italic, FranklinGothicMediumC, FranklinGothicMediumC-Italic, FranklinGothicDemiC, FranklinGothicDemiC-Italic, FranklinGothicHeavyC, FranklinGothicHeavyC-Italic, MagistralBlackC, MagistralC-Bold, MagistralC, PetersburgCTT-Regular, PetersburgCTT-Italic, PetersburgCTT-Bold, PetersburgCTT-BoldItalic. [Google] [More]  ⦿


American designer at FontStruct in 2008 of Lucid (monospaced 5x7 LCD font for Latin, Cyrillic, Greek and katakana: white on black), Absinthe (pixel face), Faith (condensed, unicase), Neuerburg (blackletter influences: from the logo for "Haus Neuerburg Zigaretten" designed by Prof. O.H.W. Hadank, 1925), Conform (pixel face), Minim (Textura blackletter). [Google] [More]  ⦿

Character webzone
[Sergey Vladimirovich Kuznetsov]

This site is devoted to Russian characters: the history of the written language, paleography, Cyrillic characters, Glagolitic characters, photos of manuscripts, fonts made in Russia, miniatures, dropped characters, vignettes. Even though in Cyrillic, this is a superb site to look at! By Sergey Vladimirovich Kuznetsov. [Google] [More]  ⦿

Charis SIL

Charis SIL (1997-2006) is similar to Bitstream Charter, one of the first fonts designed specifically for laser printers. It is highly readable and holds up well in less-than-ideal reproduction environments. It also has a full set of styles---regular, italic, bold, bold italic. Charis is a serif, proportionally-spaced font optimized for readability in long printed documents. Above all, it is a free four-weight Unicode-based font for all European and Slavic languages. Phonetic symbols are also covered. Contributors include Walt Agee, Miriam Martin, Annie Olsen, Victor Gaultney, Lorna Priest, Alan Ward, Bob Hallissy, Martin Hosken, Sharon Correll, Jon Coblentz, and Jonathan Kew. Typedia link. [Google] [More]  ⦿

Charis Tsevis

Charis Tsevis was born in Athens in 1967. He studied Graphic Design and Advertising (Diploma) at the Deutsche Hohere Lehrastalt fur Graphic Design, Athens, Greece, and Visual Design (Master) at the Scuola Politecnica di Design, Milan, Italy. He is the Vice Head at the Graphic Design department of AKTO College of Art and Design / Middlesex University (in Athens), where he teaches editorial design and typography. He runs Tsevis Visual Design, his own studio in Athens, and collaborates with 'Parachute Type and Image Corporation' designing typefaces. He runs a type blog site. Charis is a regular columnist at RAM, the leading computer publication in Greece. He is also a regular columnist in +Design, an authority design Greek magazine covering aesthetics and design issues. Charis studied Graphic Design at the Deutsche Höhere Lehranstalt für Grafik und Werbung, Athens. He received his Master Degree in Visual Design from the Scuola Politecnica di Design, Milan, Italy. He worked for MBStudio in Milan and later for Apogevmatini, a national historic Greek newspaper. Since 1997 Charis runs his own design firm Tsevis Visual Design.

He has been designing fonts for several years, while experimenting with his students. PF Libera (2001-2006, handwriting) was his first and most successful design. Other typefaces include PFBeatnick, PFAmateur (2002), PFRadikale, PFBerkeley Blue, PFMacsimile. All were published at Parachute. Most of his typefaces cover Latin, Greek and Cyrillic.

Klingspor link. [Google] [More]  ⦿

Charles Bigelow

[MyFonts] [More]  ⦿


An on-line compariso of the main Windows fonts for Cyrillic: Arial, Arial Black, Arial Narrow, Arial Unicode MS, Book Antiqua, Bookman Old Style, Calibri, Cambria, Candara, Century, Century Gothic, Comic Sans MS, Consolas, Constantia, Corbel, Courier New, Franklin Gothic Medium, Garamond, Georgia, Impact, Lucida Console, Lucida Sans Unicode, Microsoft Sans Serif, Mistral, Monotype Corsiva, Palatino Linotype, Segoe Print, Segoe Script, Segoe UI, Sylfaen, Tahoma, Times New Roman, Trebuchet MS, Verdana. [Google] [More]  ⦿


Russian archive with about 150 Cyrillic, Latin and mixed TrueType fonts. [Google] [More]  ⦿

Cho Na Mei

Aka Cho nami. Hong Kong-based designer of the silhouette font Dancer (2014). She also does Chinese lettering and calligraphy. [Google] [More]  ⦿

Christian "Cinga" Thalmann

[MyFonts] [More]  ⦿

Christian Mengelt

Christian Mengelt (b. 1938, St. Gallen, Switzerland) is a graphic designer, type designer, and teacher. He studied graphic design under Armin Hofmann and Emil Ruder at the School of Design, Basel. In 1964, he set up his own graphic design studio together with different partners, and has cooperated with various design and advertising agencies, such as GGK Basel, Switzerland, and Mendell&Oberer Munich, Germany. With Karl Gerstner and Günter Gerhard Lange, he was briefly involved in the Gerstner program at H. Berthold AG. Early type designs include Univers Compugraphic (1972, Compugraphic) and Cyrillic Gothic (1974, Compugraphic), both realized in cooperation with André Gürtler. From 1972 until 2001, he taught graphic and type design at the Basel School of Design, which he headed from 1986-2001. With André Gürtler and Erich Gschwind, he formed Team 77 in Basel and became deeply involved in most aspects of letterform design and application, which led to these type designs:

  • 1976: Media (Bobst Graphic, Autologic).
  • 1977: Avant Garde Gothic Oblique (ITC).
  • 1978: Signa (Bobst Graphic, Autologic).
  • 1980: Haas Unica (Haas Typefoundry, Linotype, Autologic).
  • After a long hiatus, with the help of the Linotype staff, he created Sinova in 2011, a versatile humanist sans type family in ten styles, which has broad language support.
  • Mengelt Basel Antiqua (2014, Linotype). A relaxing Venetian text typeface family based on the Basel book typefaces from the 16th century. Linotype, its publisher, writes: The first edition of the anatomy atlas De humani corporis fabrica came out nearly 500 hundred years ago. It was published in 1543 in Basel by Andreas Vesalius. The work was published in multiple volumes and is extraordinary not only for its content and design, but also its typography. It excites philologists and typographers to this day. De humani corporis fabrica was printed in the workshop of Johannes Oporinus, who was considered one of the major printers and publishers in Basel in his time. He used one of the Venetian Antiqua-inspired fonts for the typesetting. This is a genre of fonts which was much loved by the Basel printers. The printer Johann Amerbach brought it to Switzerland from Italy a few centuries earlier. [Note: Is this a misprint?] The American philologist Daniel H. Garrison provided the initiative for Mengelt to explore the Basel Antiqua fonts from the 16th century. He is working on a re-edition of the De humani corporis fabrica and is looking for a fitting print font which has historical references, but the technical characteristics of a modern font. Mengelt takes on the challenge and designs his Mengelt Basel Antiqua font on the basis of the original Basel prints.

Typedia link. MyFonts link. Linotype link. Behance link. Interview by Linotype. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Christian Munk

Danish designer (b. 1991), aka CMunk, who used FontStruct to create most of his typefaces. Dafont link.

In 2008 he designed Flag Semaphore (+Smooth, Peace), Articulate, Font from NATO (military slab serif), Glockenwerk (pixel clock font), Glockenwerk Uhrzeit, Flags-and-NATO (dingbats), Font from NATO alpha, Tall, Flying-Circus (Western showtime typeface to imitate the Monty Python titling font), LCD-display, Simple (stencil font with 700 glyphs), TMNT, Tetris, sharp-pixels, Raster, Quad (nice stencil face), Inverted, Propaganda (Cyrillic font simulation), Empty Monospace, Pride, Stadium, Rounded, Dear God (script pixel face), Celtic Style.

In 2009, he added 7x12 Pixel Mono, @bcde, Abstract Letter Patterns, Music, Texture, Diagonal, Gothic, Illusio, Unispace (typewriter type), Narrow Serif, Delta, Alien Double (great!), Donut, Flags-and-NATO, Simple-Fraktur-Initial, Simple-Fraktur, Texture, Friendly Serif, (+Soft), Invisible, Sharp, Heavy Diacritics, Concentrium, Continuous Digital Display, Elves, Pixies, Space Movie (+Ligatures), Flag Semaphore (+Smooth, +Peace), Articulate, BBT Biline Twist, Biline Twist, Empty Monospace, Unfix, Infix, Pride, Tyre Stencil (like tire threads---nifty...), and Overlap.

FontStructions from 2010: Even (gridded), Brilliance, Slalom Vision, Quirky Serif, 7x12PixelMono, Ball Terminator, Gearbox, Prefix, Upside Down, Way Too Small (a minimalist pixel face), Butterfly, Ribbon Gymnastics, 2D Barcode, Horizon Stencil, Biline Twist, Quirky Serif, Blocktur, Symmetricus (alien writing?).

FontStructions in 2011: 12 dice, Monotwist (tall, monospaced), Squarific (fat octagonal), Swirl (curly), Sweet (Victorian), Easter Eggs, 50 Fifty (experimental, geometric), Squarific (+Stencilious), Spiralix (spiral-themed for Latin and Cyrillic), Bloccus, Feet (monospaced).

Creations from 2012: Düpbøl (German expressionist face), Slice, Blocktur, Alien Double, 7:12 serif (pixel face), Blick, Dry Heat (Isolates and Initials, Medials, Finals: an Arabic simulation family), FF9 Coin Slots, FF8 Untalic, FF7 w1de, FF6 Lean Mean, FF5 Bamana, FF4 Circulation, FF3 3times7, FF3 Runization, FF1 Glitchy, Squared, Puzzlish, Steep, Digitalis (octagonal), 50 Fifty (artsy and geometric), Monotwist, Infix. FF stands for Forgotten Fonts.

Typefaces made in 2013: Ribbons And Banners, Digital Rome (pixel face), Censorship, Interlock, Bouma, Glaedelig Script, Hand XL Smooth, Vascomat, Spitzschtruct (emulation of Suetterlin), Neonic, Fish Scales, 7:12 Serif, Analogly, Squarific Fraktastic, Metro Sans (pixelish).

Typefaces from 2014: Word Games, Shadows, Yuuroppuna pixel, Spines, Numbers, Tal Dansk, Zahlen Deutsch, Insular Typewriter, Nudge Nudge (dot matrix), 7:12 Serif (monospaced pixel font), Jovian, Squarafic Fraktastic, Computer Says No, Runic, Fluorescent (neon tube typeface). [Google] [More]  ⦿

Christian Schwartz
[Commercial Type (Was: Schwartzco)]

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Christoph Singer
[Multilingual Unicode TrueType Fonts on the Internet]

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Christoph Singer

Web page on the russification of Windows and related Slavic language font links. Christoph Singer who used to be based in Tübingen, Germany, created these (free) fonts: an old Russian lettering font Old Cyrillic, Metropol 95, Kirillica Nova Unicode (1998), Kirillica Wincyr (Old Church Slavonic), as well as the old Cyrillic fonts XSerif Trediakovskij, Xserif Old Russian, and XSerif Unicode. Singer's page on Unicode-compliant fonts. [Google] [More]  ⦿

Christopher Diehm

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Christopher P. Cacho

Designer and lettering artist in Austin, TX, who created the warm display typeface Mainsail CPC (2012), and the masculaine rounded octagonal slab serif typeface Batten CPC (2013). In 2014, he made Scrimshaw CPC (Latin, kana and Cyrillic), Siren CPC, and Batten Sans CPC.

Behance link. Creative Market link. [Google] [More]  ⦿

Christos Chiotis

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Chuck Masterson

Cincinnati, OH-based student who designed Cyril (2005, serif). [Google] [More]  ⦿

Church Slavonic Resources

Many links and downloads of Church Slavonic fonts. Included are

  • CyrillicOld (VNLabs, 1992).
  • Evangeljie (1995).
  • The Irmologion family (Vladislav V. Dorosh, Calmius Software, 1996).
  • Izhitsa (ParaGraph, 1992).
  • Kirillica Wincyr.
  • Kirilttf (by Tanya Laleva and Miguel Angel Durán Pascual, Filología Eslava, Universidad Complutense, Madrid, 1994).
  • Kliment-8.aug.1997 (Kiril Ribarov, 1997).
  • Lavra (1995), Novgorod (1995).
  • Old Church Slavonic Cyr (with and without Latin characters, either by Monotype or modified based on a Monotype font).
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[Mareev Ju]

Archive with Cyrillic fonts: Antiqua, Antiqua-Bold, ArialCyrMT, Baltica, Baltica-Bold, Baltica-Italic, Jikharev, JournalSans-Bold, JournalSans-Italic, JournalSans, Journal, Journal-Bold, Antiqua-BoldItalic, Antiqua-Italic, Antiqua, Antiqua-Bold, Pragmatica, Pragmatica-BoldItalic, Pragmatica-BoldItalic, Pragmatica-Italic, Pragmatica-Bold, Pragmatica, Tahoma-Bold, WLCHB, WLCHBI, WLCHI, WLCH, TimesET-BoldItalic, TimesET-Bold, TimesET-Italic, TimesET, TimesNRCyrMT, TimesNRCyrMT-Bold, TimesNRCyrMT-BoldInclined, TimesNRCyrMT-Inclined, TimesNRCyrMT, TimesNRCyrMT-Bold, TimesNRCyrMT-BoldInclined, TimesET, TimesET, TimesET-Bold, TimesET-BoldItalic, TimesET-Italic, TimesDL, TimesDL-Bold, TimesDL-Bold-Italic, TimesDL-Italic. The Times ET series is due to Mareev Ju. This page has Baltica, Baltica-Bold, Baltica-Italic, BalticaBold, Baltica, Baltica-Bold, Baltica-Italic, Baltica-BoldItalic, Baltica-Bold, Baltica-Italic, BalticaItalic, Decor, Decor-Bold, Decor-Italic, Decor, TimesET, TimesET, TimesET-Bold, TimesET-BoldItalic, TimesET-Italic, TimesET-BoldItalic, TimesET-Italic, TimesET-Bold, TimesET-Italic, TimesET-BoldItalic. [Google] [More]  ⦿


Cyrillic fonts: Antiqua-Italic-Chuv-CNP, Arabskiy-Chu-CNP, Arial-Cyr-BoldIt-Chuv, Arial-Cyr-Chuv-CNP, Arial-Cyr-Chuv, Astron-Chu-CNP, Balt-Chv, Bernhard_chu, Czar-Bold-Italic-Cuv-CNP, Czar-Italic-Chu-CNP, Czar, Gazetnaja3-Chu-CNP, Izhitsa-Chu-CNP, Jikharev-Chv-CNPI, Journal-ChCNP, Journal-Italic-Chuv-CNP, Korinna-Bold-Chu-CNP, Peterburg-Chuv-Bold, Peterburg-Chuv-Italic, Pragmatica-BoldChvFVI, PragmaticaChvFVI, TimesET-Chuvash-Bold-Italic, TimesET-Chuvash-Bold, TimesET-Chuvash-Italic, TimesET-Chuvash, Xenia-Bold-Chu-CNP. [Google] [More]  ⦿

cica (ftp)

Font archive at Swedish University Network SUNET, mirrored from cica. Has a Bengali font, a Telugu font, a Tamil font, a Tarot font, Sanskrit font and several Cyrillic fonts. [Google] [More]  ⦿

CICA March 1996

Small Cyrillic font archive. [Google] [More]  ⦿


This site devoted to Cyrillic type and typography has many Cyrillic fonts. The "cir" series listed below, as well as the NK and most other series were designed in 2006-2007. The list:

  • Evangelie-Ucs
  • Feofan-Ucs
  • Irmologion-Caps-Ucs-SpacedOut, Irmologion-Caps-Ucs, Irmologion-Caps-ieUcs-SpacedOut, Irmologion-Caps-ieUcs, Irmologion-Caps-kUcs-SpacedOut, Irmologion-Caps-kUcs, Irmologion-Ucs-SpacedOut, Irmologion-Ucs, Irmologion-ieUcs-SpacedOut, Irmologion-ieUcs, Irmologion-kUcs-SpacedOut, Irmologion-kUcs
  • Lugomir-E, Lugomir
  • Pochaevsk-Caps-Ucs-SpacedOut, Pochaevsk-Caps-Ucs, Pochaevsk-Caps-ieUcs-SpacedOut, Pochaevsk-Caps-ieUcs, Pochaevsk-Caps-kUcs-SpacedOut, Pochaevsk-Caps-kUcs, Pochaevsk-Ucs-SpacedOut, Pochaevsk-Ucs, Pochaevsk-ieUcs-SpacedOut, Pochaevsk-ieUcs, Pochaevsk-kUcs-SpacedOut, Pochaevsk-kUcs
  • Psaltyr-Ucs-SpacedOut, Psaltyr-Ucs, Psaltyr-ieUcs-SpacedOut, Psaltyr-ieUcs, Psaltyr-kUcs-SpacedOut, Psaltyr-kUcs
  • RUSIJA-01, RUSIJA-02
  • SBibSlav
  • Slavjanic-Ucs-SpacedOut, Slavjanic-Ucs, Slavjanic-ieUcs-SpacedOut, Slavjanic-ieUcs, Slavjanic-kUcs-SpacedOut, Slavjanic-kUcs
  • StaroUspenskaya-Caps-Ucs-SpacedOut, StaroUspenskaya-Caps-Ucs, StaroUspenskaya-Caps-ieUcs-SpacedOut, StaroUspenskaya-Caps-ieUcs, StaroUspenskaya-Caps-kUcs-SpacedOut, StaroUspenskaya-Caps-kUcs, StaroUspenskaya-Ucs-SpacedOut, StaroUspenskaya-Ucs, StaroUspenskaya-ieUcs-SpacedOut, StaroUspenskaya-ieUcs, StaroUspenskaya-kUcs-SpacedOut, StaroUspenskaya-kUcs
  • Triodion-Caps-Ucs-SpacedOut, Triodion-Caps-Ucs, Triodion-Caps-ieUcs-SpacedOut, Triodion-Caps-ieUcs, Triodion-Caps-kUcs-SpacedOut, Triodion-Caps-kUcs, Triodion-Ucs-SpacedOut, Triodion-Ucs, Triodion-ieUcs-SpacedOut, Triodion-ieUcs, Triodion-kUcs-SpacedOut, Triodion-kUcs
  • Vertograd-Ucs
  • Zlatoust-Ucs-SpacedOut, Zlatoust-Ucs, Zlatoust-ieUcs-SpacedOut, Zlatoust-ieUcs, Zlatoust-kUcs-SpacedOut, Zlatoust-kUcs
  • cirEVROSTILE-Crn, cirEVROSTILE-CrnEkst, cirEVROSTILE-CrnEkstKos, cirEVROSTILE-CrnKond, cirEVROSTILE-CrnKondKos, cirEVROSTILE-CrnKos, cirEVROSTILE-Deb, cirEVROSTILE-DebKos, cirEVROSTILE-Med, cirEVROSTILE-MedEkst, cirEVROSTILE-MedEkstKos, cirEVROSTILE-MedKond, cirEVROSTILE-MedKondKos, cirEVROSTILE-MedKos, cirEVROSTILEe-Crn, cirEVROSTILEe-CrnEkst, cirEVROSTILEe-CrnEkstKos, cirEVROSTILEe-CrnKond, cirEVROSTILEe-CrnKondKos, cirEVROSTILEe-CrnKos, cirEVROSTILEe-Deb, cirEVROSTILEe-DebKos, cirEVROSTILEe-Med, cirEVROSTILEe-MedEkst, cirEVROSTILEe-MedEkstKos, cirEVROSTILEe-MedKond, cirEVROSTILEe-MedKondKos, cirEVROSTILEe-MedKos
  • cirHELVn-Crn-E, cirHELVn-Crn, cirHELVn-CrnEkst-E, cirHELVn-CrnEkst, cirHELVn-CrnEkstKos-E, cirHELVn-CrnEkstKos, cirHELVn-CrnKond-E, cirHELVn-CrnKond, cirHELVn-CrnKondKos-E, cirHELVn-CrnKondKos, cirHELVn-CrnKurziv-E, cirHELVn-CrnKurziv, cirHELVn-DebEkst-E, cirHELVn-DebEkst, cirHELVn-DebEkstKos-E, cirHELVn-DebEkstKos, cirHELVn-DebKond-E, cirHELVn-DebKond, cirHELVn-DebKondKos-E, cirHELVn-DebKondKos, cirHELVn-DebKurziv-E, cirHELVn-DebKurziv, cirHELVn-DebOkvir-E, cirHELVn-DebOkvir, cirHELVn-Debeo-E, cirHELVn-Debeo, cirHELVn-MedEkst-E, cirHELVn-MedEkst, cirHELVn-MedEkstKos-E, cirHELVn-MedEkstKos, cirHELVn-MedKond-E, cirHELVn-MedKond, cirHELVn-MedKondKos-E, cirHELVn-MedKondKos, cirHELVn-MedKurziv-E, cirHELVn-MedKurziv, cirHELVn-Medijum-E, cirHELVn-Medijum, cirHELVn-StandEkst-E, cirHELVn-StandEkst, cirHELVn-StandEkstKos-E, cirHELVn-StandEkstKos, cirHELVn-StandKond-E, cirHELVn-StandKond, cirHELVn-StandKondKos-E, cirHELVn-StandKondKos, cirHELVn-StandKurziv-E, cirHELVn-StandKurziv, cirHELVn-Standard-E, cirHELVn-Standard, cirHELVn-SvetEkst-E, cirHELVn-SvetEkst, cirHELVn-SvetEkstKos-E, cirHELVn-SvetEkstKos, cirHELVn-SvetKond-E, cirHELVn-SvetKond, cirHELVn-SvetKondKos-E, cirHELVn-SvetKondKos, cirHELVn-SvetKurziv-E, cirHELVn-SvetKurziv, cirHELVn-Svetli-E, cirHELVn-Svetli, cirHELVn-TezEkst-E, cirHELVn-TezEkst, cirHELVn-TezEkstKos-E, cirHELVn-TezEkstKos, cirHELVn-TezKond-E, cirHELVn-TezKond, cirHELVn-TezKondKos-E, cirHELVn-TezKondKos, cirHELVn-TezKurziv-E, cirHELVn-TezKurziv, cirHELVn-Tezak-E, cirHELVn-Tezak, cirHELVn-Tnk-E, cirHELVn-Tnk, cirHELVn-TnkEkst-E, cirHELVn-TnkEkst, cirHELVn-TnkEkstKos-E, cirHELVn-TnkEkstKos, cirHELVn-TnkKond-E, cirHELVn-TnkKond, cirHELVn-TnkKondKos-E, cirHELVn-TnkKondKos, cirHELVn-TnkKurziv-E, cirHELVn-TnkKurziv, cirHELVn-VrloCrnKond-E, cirHELVn-VrloCrnKond, cirHELVn-VrloCrnKondKos-E, cirHELVn-VrloCrnKondKos, cirHELVn-Vtnk-E, cirHELVn-Vtnk, cirHELVn-VtnkEkst-E, cirHELVn-VtnkEkst, cirHELVn-VtnkEkstKos-E, cirHELVn-VtnkEkstKos, cirHELVn-VtnkKond-E, cirHELVn-VtnkKond, cirHELVn-VtnkKondKos-E, cirHELVn-VtnkKondKos, cirHELVn-VtnkKurziv-E, cirHELVn-VtnkKurziv
  • cirJUNTD-S-CrnKond, cirJUNTD-S-DebKond, cirJUNTD-S-DebPKond, cirJUNTD-S-MedKond, cirJUNTD-S-MedPKond, cirJUNTD-S-PDebKond, cirJUNTD-S-PDebPKond, cirJUNTD-S-ShabKond, cirJUNTD-S-SvetKond, cirJUNTD-S-SvetPKond, cirJUNTD-S-VSvetKond, cirJUNTD-S-VSvetPKond, cirJUNTD-Se-CrnKond, cirJUNTD-Se-DebKond, cirJUNTD-Se-DebPKond, cirJUNTD-Se-MedKond, cirJUNTD-Se-MedPKond, cirJUNTD-Se-PDebKond, cirJUNTD-Se-PDebPKond, cirJUNTD-Se-ShabKond, cirJUNTD-Se-SvetKond, cirJUNTD-Se-SvetPKond, cirJUNTD-Se-VSvetKond, cirJUNTD-Se-VSvetPKond
  • cirKVITm-01-Crn-E, cirKVITm-01-Crn, cirKVITm-01-CrnKurziv-E, cirKVITm-01-CrnKurziv, cirKVITm-01-Deb-E, cirKVITm-01-Deb, cirKVITm-01-DebKurziv-E, cirKVITm-01-DebKurziv, cirKVITm-01-Kniga-E, cirKVITm-01-Kniga, cirKVITm-01-KnigaKurz-E, cirKVITm-01-KnigaKurz, cirKVITm-01-MedKurziv-E, cirKVITm-01-MedKurziv, cirKVITm-01-Medijum-E, cirKVITm-01-Medijum, cirKVITm-01-Standard-E, cirKVITm-01-Standard, cirKVITm-01-StdKurziv-E, cirKVITm-01-StdKurziv, cirKVITm-01-SvetKurz-E, cirKVITm-01-SvetKurziv, cirKVITm-01-Svetli-E, cirKVITm-01-Svetli, cirKVITm-01-Tnk-E, cirKVITm-01-Tnk, cirKVITm-01-TnkKurziv-E, cirKVITm-01-TnkKurziv, cirKVITm-01-VDeb-E, cirKVITm-01-VDeb, cirKVITm-01-VDebKurziv-E, cirKVITm-01-VDebKurziv, cirKVITm-01-VSvetKurz-E, cirKVITm-01-VSvetKurziv, cirKVITm-01-VSvetli-E, cirKVITm-01-VSvetli, cirKVITm-02-Crn-E, cirKVITm-02-Crn, cirKVITm-02-CrnKurziv-E, cirKVITm-02-CrnKurziv, cirKVITm-02-Deb-E, cirKVITm-02-Deb, cirKVITm-02-DebKurziv-E, cirKVITm-02-DebKurziv, cirKVITm-02-Kniga-E, cirKVITm-02-Kniga, cirKVITm-02-KnigaKurz-E, cirKVITm-02-KnigaKurz, cirKVITm-02-MedKurziv-E, cirKVITm-02-MedKurziv, cirKVITm-02-Medijum-E, cirKVITm-02-Medijum, cirKVITm-02-Standard-E, cirKVITm-02-Standard, cirKVITm-02-StdKurziv-E, cirKVITm-02-StdKurziv, cirKVITm-02-SvetKurz-E, cirKVITm-02-SvetKurziv, cirKVITm-02-Svetli-E, cirKVITm-02-Svetli, cirKVITm-02-Tnk-E, cirKVITm-02-Tnk, cirKVITm-02-TnkKurziv-E, cirKVITm-02-TnkKurziv, cirKVITm-02-VDeb-E, cirKVITm-02-VDeb, cirKVITm-02-VDebKurziv-E, cirKVITm-02-VDebKurziv, cirKVITm-02-VSvetKurz-E, cirKVITm-02-VSvetKurziv, cirKVITm-02-VSvetli-E, cirKVITm-02-VSvetli, cirKVITv-01-Crn-E, cirKVITv-01-Crn, cirKVITv-01-CrnKurziv-E, cirKVITv-01-CrnKurziv, cirKVITv-01-Deb-E, cirKVITv-01-Deb, cirKVITv-01-DebKurziv-E, cirKVITv-01-DebKurziv, cirKVITv-01-Kniga-E, cirKVITv-01-Kniga, cirKVITv-01-KnigaKurz-E, cirKVITv-01-KnigaKurz, cirKVITv-01-MedKurziv-E, cirKVITv-01-MedKurziv, cirKVITv-01-Medijum-E, cirKVITv-01-Medijum, cirKVITv-01-Standard-E, cirKVITv-01-Standard, cirKVITv-01-StdKurziv-E, cirKVITv-01-StdKurziv, cirKVITv-01-SvetKurz-E, cirKVITv-01-SvetKurziv, cirKVITv-01-Svetli-E, cirKVITv-01-Svetli, cirKVITv-01-Tnk-E, cirKVITv-01-Tnk, cirKVITv-01-TnkKurziv-E, cirKVITv-01-TnkKurziv, cirKVITv-01-VDeb-E, cirKVITv-01-VDeb, cirKVITv-01-VDebKurziv-E, cirKVITv-01-VDebKurziv, cirKVITv-01-VSvetKurz-E, cirKVITv-01-VSvetKurziv, cirKVITv-01-VSvetli-E, cirKVITv-01-VSvetli, cirKVITv-02-Crn-E, cirKVITv-02-Crn, cirKVITv-02-CrnKurziv-E, cirKVITv-02-CrnKurziv, cirKVITv-02-Deb-E, cirKVITv-02-Deb, cirKVITv-02-DebKurziv-E, cirKVITv-02-DebKurziv, cirKVITv-02-Kniga-E, cirKVITv-02-Kniga, cirKVITv-02-KnigaKurz-E, cirKVITv-02-KnigaKurz, cirKVITv-02-MedKurziv-E, cirKVITv-02-MedKurziv, cirKVITv-02-Medijum-E, cirKVITv-02-Medijum, cirKVITv-02-Standard-E, cirKVITv-02-Standard, cirKVITv-02-StdKurziv-E, cirKVITv-02-StdKurziv, cirKVITv-02-SvetKurz-E, cirKVITv-02-SvetKurziv, cirKVITv-02-Svetli-E, cirKVITv-02-Svetli, cirKVITv-02-Tnk-E, cirKVITv-02-Tnk, cirKVITv-02-TnkKurziv-E, cirKVITv-02-TnkKurziv, cirKVITv-02-VDeb-E, cirKVITv-02-VDeb, cirKVITv-02-VDebKurziv-E, cirKVITv-02-VDebKurziv, cirKVITv-02-VSvetKurz-E, cirKVITv-02-VSvetKurziv, cirKVITv-02-VSvetli-E, cirKVITv-02-VSvetli
  • cirMETA-Crn-Eksp, cirMETA-Crn-br1, cirMETA-Crn-br2, cirMETA-CrnKurziv-Eksp, cirMETA-CrnKurziv-br1, cirMETA-CrnKurziv-br2, cirMETA-CrnKurzivVM-Eksp, cirMETA-CrnKurzivVM-br1, cirMETA-CrnKurzivVM-br2, cirMETA-CrnVM-Eksp, cirMETA-CrnVM-br1, cirMETA-CrnVM-br2, cirMETA-MedKurziv-Eksp, cirMETA-MedKurziv-br1, cirMETA-MedKurziv-br2, cirMETA-MedKurzivVK-Eksp, cirMETA-MedKurzivVK-br1, cirMETA-MedKurzivVK-br2, cirMETA-Medijum-Eksp, cirMETA-Medijum-br1, cirMETA-Medijum-br2, cirMETA-MedijumVM-Eksp, cirMETA-MedijumVM-br1, cirMETA-MedijumVM-br2, cirMETA-Standard-Eksp, cirMETA-Standard-br1, cirMETA-Standard-br2, cirMETA-StandardVM-Eksp, cirMETA-StandardVM-br1, cirMETA-StandardVM-br2, cirMETA-StdKurziv-Eksp, cirMETA-StdKurziv-br1, cirMETA-StdKurziv-br2, cirMETA-StdKurzivVM-Eksp, cirMETA-StdKurzivVM-br1, cirMETA-StdKurzivVM-br2
  • cirMRD-CrnKond-E, cirMRD-CrnKond, cirMRD-CrnKondKurz-E, cirMRD-CrnKondKurz, cirMRD-DebKond-E, cirMRD-DebKond, cirMRD-DebKondKurz-E, cirMRD-DebKondKurz, cirMRD-StdKond-E, cirMRD-StdKond, cirMRD-StdKondKurz-E, cirMRD-StdKondKurz, cirMRD-SvetKond-E, cirMRD-SvetKond, cirMRD-SvetKondKurz-E, cirMRD-SvetKondKurz
  • cirTNORcrn, cirTNORcrnE, cirTNORcrnKurziv, cirTNORcrnKurzivE, cirTNORkurziv, cirTNORkurzivE, cirTNORnorm, cirTNORnormE, cirTNORsvetli, cirTNORsvetliE, cirTNORsvetliKurziv, cirTNORsvetliKurzivE
  • cirWNK-D-Crn-E, cirWNK-D-Crn, cirWNK-D-CrnKurziv-E, cirWNK-D-CrnKurziv, cirWNK-D-MedKurziv-E, cirWNK-D-MedKurziv, cirWNK-D-Medijum-E, cirWNK-D-Medijum, cirWNK-D-StandKurziv-E, cirWNK-D-StandKurziv, cirWNK-D-Standard-E, cirWNK-D-Standard, cirWNK-D-SvetKurziv-E, cirWNK-D-SvetKurziv, cirWNK-D-Svetli-E, cirWNK-D-Svetli, cirWNK-P-Crn-E, cirWNK-P-Crn, cirWNK-P-CrnKurziv-E, cirWNK-P-CrnKurziv, cirWNK-P-MedKurziv-E, cirWNK-P-MedKurziv, cirWNK-P-Medijum-E, cirWNK-P-Medijum, cirWNK-P-Standard-E, cirWNK-P-Standard, cirWNK-P-StdKurziv-E, cirWNK-P-StdKurziv, cirWNK-P-SvetKurziv-E, cirWNK-P-SvetKurziv, cirWNK-P-Svetli-E, cirWNK-P-Svetli, cirWNK-S-Crn-E, cirWNK-S-Crn, cirWNK-S-CrnKurziv-E, cirWNK-S-CrnKurziv, cirWNK-S-MedKurziv-E, cirWNK-S-MedKurziv, cirWNK-S-Medijum-E, cirWNK-S-Medijum, cirWNK-S-Standard-E, cirWNK-S-Standard, cirWNK-S-StdKurziv-E, cirWNK-S-StdKurziv, cirWNK-S-SvetKurziv-E, cirWNK-S-SvetKurziv, cirWNK-S-Svetli-E, cirWNK-S-Svetli, cirWNK-T-Crn-E, cirWNK-T-Crn, cirWNK-T-CrnKurziv-E, cirWNK-T-CrnKurziv, cirWNK-T-MedKurziv-E, cirWNK-T-MedKurziv, cirWNK-T-Medijum-E, cirWNK-T-Medijum, cirWNK-T-Standard-E, cirWNK-T-Standard, cirWNK-T-StdKurziv-E, cirWNK-T-StdKurziv, cirWNK-T-SvetKurz-E, cirWNK-T-SvetKurz, cirWNK-T-Svetli-E, cirWNK-T-Svetli
  • cirWTNbroj-Crn, cirWTNbroj-CrnKurziv, cirWTNbroj-Deb, cirWTNbroj-DebKurziv, cirWTNbroj-Kniga, cirWTNbroj-KnigaKurziv, cirWTNbroj-MedKurziv, cirWTNbroj-Medijum, cirWTNbroj-PoluDeb, cirWTNbroj-PoluDebKurziv, cirWTNbroj-SvetKurziv, cirWTNbroj-Svetli, cirWTNind-NegKrug-01-E, cirWTNind-NegKrug-01, cirWTNind-NegKrug-02-E, cirWTNind-NegKrug-02, cirWTNind-NegKrug-Deb-E, cirWTNind-NegKrug-Deb, cirWTNind-NegKrug-Med-E, cirWTNind-NegKrug-Med, cirWTNind-NegKvad-01-E, cirWTNind-NegKvad-01, cirWTNind-NegKvad-02-E, cirWTNind-NegKvad-02, cirWTNind-NegKvad-Deb-E, cirWTNind-NegKvad-Deb, cirWTNind-NegKvad-Med-E, cirWTNind-NegKvad-Med, cirWTNind-PozKrug-01-E, cirWTNind-PozKrug-01, cirWTNind-PozKrug-02-E, cirWTNind-PozKrug-02, cirWTNind-PozKrug-Deb-E, cirWTNind-PozKrug-Deb, cirWTNind-PozKrug-Med-E, cirWTNind-PozKrug-Med, cirWTNind-PozKvad-01-E, cirWTNind-PozKvad-01, cirWTNind-PozKvad-02-E, cirWTNind-PozKvad-02, cirWTNind-PozKvad-Deb-E, cirWTNind-PozKvad-Deb, cirWTNind-PozKvad-Med-E, cirWTNind-PozKvad-Med, cirWTNslo-Crn-E, cirWTNslo-Crn, cirWTNslo-CrnKond-E, cirWTNslo-CrnKond, cirWTNslo-CrnKurziv-E, cirWTNslo-CrnKurziv, cirWTNslo-Deb-E, cirWTNslo-Deb, cirWTNslo-DebKond-E, cirWTNslo-DebKond, cirWTNslo-DebKurziv-E, cirWTNslo-DebKurziv, cirWTNslo-Kniga-E, cirWTNslo-Kniga, cirWTNslo-KnigaKond-E, cirWTNslo-KnigaKond, cirWTNslo-KnigaKurziv-E, cirWTNslo-KnigaKurziv, cirWTNslo-MedKond-E, cirWTNslo-MedKond, cirWTNslo-MedKurziv-E, cirWTNslo-MedKurziv, cirWTNslo-Medijum-E, cirWTNslo-Medijum, cirWTNslo-PoluDeb-E, cirWTNslo-PoluDeb, cirWTNslo-PoluDebKond-E, cirWTNslo-PoluDebKond, cirWTNslo-PoluDebKurz-E, cirWTNslo-PoluDebKurziv, cirWTNslo-Svetli-E, cirWTNslo-Svetli, cirWTNslo-SvetliKond-E, cirWTNslo-SvetliKond, cirWTNslo-SvetliKurziv-E, cirWTNslo-SvetliKurziv, cirWTNslo-VM-Crn-E, cirWTNslo-VM-Crn, cirWTNslo-VM-CrnKurziv-E, cirWTNslo-VM-CrnKurziv, cirWTNslo-VM-Deb-E, cirWTNslo-VM-Deb, cirWTNslo-VM-DebKurz-E, cirWTNslo-VM-DebKurziv, cirWTNslo-VM-Kniga-E, cirWTNslo-VM-Kniga, cirWTNslo-VM-KnigaKurz-E, cirWTNslo-VM-KnigaKurziv, cirWTNslo-VM-MedKurz-E, cirWTNslo-VM-MedKurziv, cirWTNslo-VM-Medijum-E, cirWTNslo-VM-Medijum, cirWTNslo-VM-PoluDeb-E, cirWTNslo-VM-PoluDeb, cirWTNslo-VM-PoluDebKurz-E, cirWTNslo-VM-PoluDebKurz, cirWTNslo-VM-SvetKurziv-E, cirWTNslo-VM-SvetKurziv, cirWTNslo-VM-Svetli-E, cirWTNslo-VM-Svetli
  • cirZAPFINO-Dodatak, cirZAPFINO-Dva, cirZAPFINO-Tri
  • Other fonts at the site: ATLANTIDA, Azbuka03_D, Azbuka04, Azbuka05_D, Azbuka06, BAS-CELIK_K, BAS-CELIK_N, BAS_CELIK, BLAGIVEST_5_UKRAS, BLAGO, BLAGOVEST, BLAGOVEST_2, BLAGOVEST_3, BLAGOVEST_4, BLAGOVEST_4s, BLAGOVEST_5, BLAGOVEST_5s, BLAGOVEST_6, BRRR, Blagovest_1, Brock-Script_D, Nikola-Kovanovic-Cirilica-Pisana-Nova_D, DVOJNICE, FRULA, GORAN, GORAN_C, IVAN, Izvestija, JAGODINA, JAGODINA_PRAZNA, JAGODINA_PRAZNA_KOSA, KARTE, KOPNO, KURZIV_CRNI_D, KURZIV_D, Kovanovic-Cirilica-Polupisana, Kovanovic-Cirilica-Stampana, LITOS_S, LUSA, LithosC-Light, LithosD, MAJA, MORAVA, Miroslav, MiroslavCrn, MiroslavljevoJevandjelje, MiroslavljevoOriginal, MonahCifre, MonahKurentLevi, MonahKurentSrednji, MonahVerzalLevi, MonahVerzalSrednji, NAOPAK, NIKOLA, NIKOLA_L, the NK series (over 100 fonts), NK_01d_Pisana, NK_02_Dekorativni_D, NK_03, NK_04_Politika, NK_05-Italic_D, NK_GRCKA, NK_IRMOLIGION, NK_KOMBI_BROJEVI_1, NK_KOMBI_BROJEVI_2, NK_Monotype-Corsiva, NK_SLAVJANICA, NK_VITEZ, NK_Zlatoust_IE, NOCNA-PATROLA, NOCNA-STRAZA, NOTE, Naum, PETRICIC, PI01, PI02, PI03, PI04, PI05, PI06, PISTALJKA, PRAVOSLAV, PRST, PRST_S, PSALTIR, Penta-Light, Pisar-Cifre, Pisar-Ligature, PisarKurentLevi, PisarKurentSrednji, PisarVerzalLevi, PisarVerzalSrednji, the RADE series, the RALE series, the SLOBA series, SPOMENAR2, SPOMENAR3, SPOMENAR4, SPOMENAR5, SPOMENAR6, SPOMENAR7, SPOMENAR8, SRP, the SRPSKA_KNIGA series, SRP_E, STRAZAR, SVETI_SAVA, SVETI_SAVA1, SVETI_SAVA2, SVETI_SAVA3, SVETI_SAVA4, SVETI_SAVA5, SVETI_SAVA6, SVETI_SAVA7, SVIRALA, SavaPro-Black, SavaPro-Bold, SavaPro-Light, SavaPro-Medium, SavaPro-Regular, SavaPro-Semibold, Stencil, TEKILA, the TESLA series, TRAG, TRUBA, TipikStudenica, VAZDUH, VA_KO_VO, VIZANTUM, VIZANT_U, VODA, the VUK series, ZABAVNIK, ZEDJ, ZIVA. Most of these are again by Nikola Kovanovic.
  • The Garamond family: GMOND-PodNaslov-Crn, GMOND-PodNaslov-CrnKurz, GMOND-PodNaslov-Med, GMOND-PodNaslov-MedKurz, GMOND-PodNaslov-PCrn, GMOND-PodNaslov-PCrnKurz, GMOND-PodNaslov-Std, GMOND-PodNaslov-StdKurz, GMOND-PodNaslovS-CrnKurz, GMOND-PodNaslovS-MedKurz, GMOND-PodNaslovS-PCrnKurz, GMOND-PodNaslovS-StdKurz, GMOND-PodNaslovVM-Crn, GMOND-PodNaslovVM-CrnKurz, GMOND-PodNaslovVM-Med, GMOND-PodNaslovVM-MedKurz, GMOND-PodNaslovVM-PCrn, GMOND-PodNaslovVM-PCrnKurz, GMOND-PodNaslovVM-Std, GMOND-PodNaslovVM-StdKurz, GMOND-Prikaz-Crn, GMOND-Prikaz-CrnKurz, GMOND-Prikaz-Med, GMOND-Prikaz-MedKurz, GMOND-Prikaz-PCrn, GMOND-Prikaz-PCrnKurz, GMOND-Prikaz-Std, GMOND-Prikaz-StdKurz, GMOND-Prikaz-SvetKurz, GMOND-Prikaz-Svetli, GMOND-PrikazS-CrnKurz, GMOND-PrikazS-MedKurz, GMOND-PrikazS-PCrnKurz, GMOND-PrikazS-StdKurz, GMOND-PrikazS-SvetKurz, GMOND-PrikazVM-Crn, GMOND-PrikazVM-CrnKurz, GMOND-PrikazVM-Med, GMOND-PrikazVM-MedKurz, GMOND-PrikazVM-PCrn, GMOND-PrikazVM-PCrnKurz, GMOND-PrikazVM-Std, GMOND-PrikazVM-StdKurz, GMOND-PrikazVM-SvetKurz, GMOND-PrikazVM-Svetli, GMOND-Regular-Crn, GMOND-Regular-CrnKurz, GMOND-Regular-Med, GMOND-Regular-MedKurz, GMOND-Regular-PCrn, GMOND-Regular-PCrnKurz, GMOND-Regular-Std, GMOND-Regular-StdKurz, GMOND-RegularS-CrnKurz, GMOND-RegularS-MedKurz, GMOND-RegularS-PCrnKurz, GMOND-RegularS-StdKurz, GMOND-RegularVM-Crn, GMOND-RegularVM-CrnKurz, GMOND-RegularVM-Med, GMOND-RegularVM-MedKurz, GMOND-RegularVM-PCrn, GMOND-RegularVM-PCrnKurz, GMOND-RegularVM-Std, GMOND-RegularVM-StdKurz, GMOND-Sitan-Crn, GMOND-Sitan-CrnKurz, GMOND-Sitan-Med, GMOND-Sitan-MedKurz, GMOND-Sitan-PCrn, GMOND-Sitan-PCrnKurz, GMOND-Sitan-Std, GMOND-Sitan-StdKurz, GMOND-SitanS-CrnKurz, GMOND-SitanS-MedKurz, GMOND-SitanS-PCrnKurz, GMOND-SitanS-StdKurz, GMOND-SitanVM-Crn, GMOND-SitanVM-CrnKurz, GMOND-SitanVM-Med, GMOND-SitanVM-MedKurz, GMOND-SitanVM-PCrn, GMOND-SitanVM-PCrnKurz, GMOND-SitanVM-Std, GMOND-SitanVM-StdKurz, GMONDe-PodNaslov-Crn, GMONDe-PodNaslov-CrnKurz, GMONDe-PodNaslov-Med, GMONDe-PodNaslov-MedKurz, GMONDe-PodNaslov-PCrn, GMONDe-PodNaslov-PCrnKurz, GMONDe-PodNaslov-Std, GMONDe-PodNaslov-StdKurz, GMONDe-PodNaslovS-CrnKurz, GMONDe-PodNaslovS-MedKurz, GMONDe-PodNaslovS-PCrnKurz, GMONDe-PodNaslovS-StdKurz, GMONDe-PodNaslovVM-Crn, GMONDe-PodNaslovVM-CrnKurz, GMONDe-PodNaslovVM-Med, GMONDe-PodNaslovVM-MedKurz, GMONDe-PodNaslovVM-PCrn, GMONDe-PodNaslovVM-PCrnKurz, GMONDe-PodNaslovVM-Std, GMONDe-PodNaslovVM-StdKurz, GMONDe-Prikaz-Crn, GMONDe-Prikaz-CrnKurz, GMONDe-Prikaz-Med, GMONDe-Prikaz-MedKurz, GMONDe-Prikaz-PCrn, GMONDe-Prikaz-PCrnKurz, GMONDe-Prikaz-Std, GMONDe-Prikaz-StdKurz, GMONDe-Prikaz-SvetKurz, GMONDe-Prikaz-Svetli, GMONDe-PrikazS-CrnKurz, GMONDe-PrikazS-MedKurz, GMONDe-PrikazS-PCrnKurz, GMONDe-PrikazS-StdKurz, GMONDe-PrikazS-SvetKurz, GMONDe-PrikazVM-Crn, GMONDe-PrikazVM-CrnKurz, GMONDe-PrikazVM-Med, GMONDe-PrikazVM-MedKurz, GMONDe-PrikazVM-PCrn, GMONDe-PrikazVM-PCrnKurz, GMONDe-PrikazVM-Std, GMONDe-PrikazVM-StdKurz, GMONDe-PrikazVM-SvetKurz, GMONDe-PrikazVM-Svetli, GMONDe-Regular-Crn, GMONDe-Regular-CrnKurz, GMONDe-Regular-Med, GMONDe-Regular-MedKurz, GMONDe-Regular-PCrn, GMONDe-Regular-PCrnKurz, GMONDe-Regular-Std, GMONDe-Regular-StdKurz, GMONDe-RegularS-CrnKurz, GMONDe-RegularS-MedKurz, GMONDe-RegularS-PCrnKurz, GMONDe-RegularS-StdKurz, GMONDe-RegularVM-Crn, GMONDe-RegularVM-CrnKurz, GMONDe-RegularVM-Med, GMONDe-RegularVM-MedKurz, GMONDe-RegularVM-PCrn, GMONDe-RegularVM-PCrnKurz, GMONDe-RegularVM-Std, GMONDe-RegularVM-StdKurz, GMONDe-Sitan-Crn, GMONDe-Sitan-CrnKurz, GMONDe-Sitan-Med, GMONDe-Sitan-MedKurz, GMONDe-Sitan-PCrn, GMONDe-Sitan-PCrnKurz, GMONDe-Sitan-Std, GMONDe-Sitan-StdKurz, GMONDe-SitanS-CrnKurz, GMONDe-SitanS-MedKurz, GMONDe-SitanS-PCrnKurz, GMONDe-SitanS-StdKurz, GMONDe-SitanVM-Crn, GMONDe-SitanVM-CrnKurz, GMONDe-SitanVM-Med, GMONDe-SitanVM-MedKurz, GMONDe-SitanVM-PCrn, GMONDe-SitanVM-PCrnKurz, GMONDe-SitanVM-Std, GMONDe-SitanVM-StdKurz
  • Vezbanka_1.0, Vezbanka_1.1, Vezbanka_1.2, Vezbanka_1.3, Vezbanka_1.4, Vezbanka_1.5, Vezbanka_1.6, Vezbanka_1.7, Vezbanka_1.8, Vezbanka_1.9, Vezbanka_2.0, Vezbanka_2.1, Vezbanka_2.2, Vezbanka_2.3, Vezbanka_2.4, Vezbanka_2.5, Vezbanka_2.6, Vezbanka_2.7, Vezbanka_2.8, Vezbanka_2.9, Vezbanka_3.0, Vezbanka_3.1, Vezbanka_3.2, Vezbanka_3.3, Vezbanka_3.4, Vezbanka_3.5, Vezbanka_3.6, Vezbanka_3.7, Vezbanka_3.8, Vezbanka_4.0, Vezbanka_4.1, Vezbanka_4.2, Vezbanka_4.3, Vezbanka_4.4, Vezbanka_4.5, Vezbanka_4.6, Vezbanka_4.7, Vezbanka_4.8, Vezbanka_5.0, Vezbanka_5.1, Vezbanka_5.2, Vezbanka_5.3, Vezbanka_5.4, Vezbanka_5.5, Vezbanka_5.6, Vezbanka_5.7, Vezbanka_5.8, Vezbanka_6.0, Vezbanka_Hrana
  • The Bodoni family: nkBODcirCrn, nkBODcirCrnE, nkBODcirCrnEkond, nkBODcirCrnEkurziv, nkBODcirCrnKond, nkBODcirCrnKurziv, nkBODcirKniga, nkBODcirKnigaE, nkBODcirKnigaEkurziv, nkBODcirKnigaKurziv, nkBODcirNorm, nkBODcirNormE, nkBODcirNormEkurziv, nkBODcirNormKurziv, nkBODcirPoster, nkBODcirPosterE, nkBODcirPosterEkomp, nkBODcirPosterEkurziv, nkBODcirPosterKomp, nkBODcirPosterKurziv, nkBODcirPosterUCEkomp, nkBODcirPosterUCkomp, nkBODcirPosterUEkomp, nkBODcirPosterUkomp.
[Google] [More]  ⦿

Cirilica na Internetu

Cyrillic jump page with fonts and links to font sites. [Google] [More]  ⦿


Ranko Tomic's Serbian page: "Cyrillic alphabet on computers and internet, free Cyrillic fonts and programs." [Google] [More]  ⦿


Russian type technology site with articles. [Google] [More]  ⦿

Claus Eggers Sørensen

Also known by insiders as El Pato Loco Atomico. Danish type designer (b. 1973, Kulby, Vestsjalland, Denmark) who obtained his BDes from The Gerrit Rietveld Academie in Amsterdam, and his MA in typeface design from The University of Reading (2009), based on his type family Markant, which was specifically designed for newspapers and cares about ink traps, wide open bowls, inflection points and other special features. It supports Greek and Cyrillic as well.

He says: I created a new design again taking inspiration from the early sketches of Dwiggins' Experimental No. 223. I was able to use the very open aperture design of the e in this experiment. The a again explored a inflexion points within the counters, and this was too integrated in the design. Finally lightly rounded wedge shaped base serifs were chosen.

In 2011, Claus placed Playfair Display with Google Web Fonts. He explains: Playfair Display is a transitional design. From the time of enlightenment in the late 18th century, the broad nib quills were replaced by pointed steel pens. This influenced typographical letterforms to become increasingly detached from the written ones. Developments in printing technology, ink and paper making, made it possible to print letterforms of high contrast and fine hairlines. This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the printer and typeface designer John Baskerville's designs, the punchcutter William Martin's typeface for the Boydell Shakespeare (sic) edition, and from the Scotch Roman designs that followed thereafter. As the name indicates, Playfair Display is well suited for titling and headlines. It was followed in 2012 by Playfair Display SC. Free download at CTAN.

In 2014, Claus designed Inknut Antiqua, a free angular text typeface family for low resolution screens, designed to evoke Venetian incunabula and humanist manuscripts, but with the quirks and idiosyncrasies of the kinds of typefaces you find in this artisanal tradition.

Claus lives in Amsterdam. Google Font Directory link. Speaker at ATypI 2011 in Reykjavik on the topic of typography for touch-screen devices.

Klingspor link. [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]  ⦿


Cyrillic, Latvian and English fonts: the Rim family (Times, Souvenir, etc.) by AG Fonts. The PragmaticaLatvian family by ParaGraph JV.&E. Gailis&Y. Ivanov. BaltHelvetica by AG Baltia. The Peterburg family by Atech Software. Dead link. [Google] [More]  ⦿

CM Unicode
[Andrey V. Panov]

Free font package from 2009 by Andrey Panov, specially adapted for TeX. CM Unicode (or: Computer Modern Unicode) is an OpenType and Type 1 unicode version of Knuth's Computer Modern font family. The OIpenType fonts include CMUBright-Bold, CMUSerif-BoldItalic, CMUSerif-BoldSlanted, CMUBright-Oblique, CMUBright-Roman, CMUBright-SemiBoldOblique, CMUBright-SemiBold, CMUTypewriter-Light, CMUTypewriter-LightOblique, CMUSerif-Bold, CMUBright-BoldOblique, CMUClassicalSerif-Italic, CMUTypewriter-Italic, CMUConcrete-BoldItalic, CMUConcrete-Bold, CMUConcrete-Roman, CMUConcrete-Italic, CMUSerif-BoldNonextended, CMUSerif-Roman, CMUSansSerif-Oblique, CMUSerif-RomanSlanted, CMUSansSerif-BoldOblique, CMUSansSerif, CMUSansSerif-DemiCondensed, CMUTypewriter-Oblique, CMUSansSerif-Bold, CMUTypewriter-Bold, CMUSerif-Italic, CMUTypewriter-Regular, CMUTypewriter-BoldItalic, CMUSerif-UprightItalic, CMUTypewriterVariable-Italic, CMUTypewriterVariable.

Alternate download site [Google] [More]  ⦿

[Nana Glonti]

Cyrillic (meta)fonts created by Nana Glonti and Alexander Samarin at the Institute for High Energy Physics, Protvino, USSR. In 1993 Basil K. Malyshev from IHEP released Type 1 outlines of these fonts under the title `Paradissa font collection'. You can download these computer-modern-fonts-with-cyrillic-extensions here. [Google] [More]  ⦿


Based on the Cyrillic (meta)fonts created by Nana Glonti and Alexander Samarin at the Institute for High Energy Physics, Protvino, USSR. cmcyralt is Russian fonts in alternative encoding: the first half of code table (0-127) coincides with standard ASCII, and Cyrillic characters are located in second part of the table (128-255). Developed by Alexander Harin. [Google] [More]  ⦿

CM-Super font package
[Vladimir Volovich]

CM Super is a huge type 1 family of fonts released under the GNU license by Vladimir Volovich in October 2001. For the cognoscenti: The CM-Super package contains Type 1 fonts converted from METAFONT fonts and covers entire EC/TC and LH fonts (Computer Modern font families). All European and Cyrillic writings are covered. Each Type 1 font program contains ALL glyphs from the following standard LaTeX font encodings: T1, TS1, T2A, T2B, T2C, X2, and also Adobe StandardEncoding (585 glyphs per non-SC font and 468 glyphs per SC font), and could be reencoded to any of these encodings using standard dvips or pdftex facilities (the corresponding support files are also included). Fonts were created using TeXtrace (based on AutoTrace and Ghostscript), t1utils and a bunch of Perl scripts, and were optimized and hinted using FontLab 3.1. The set of UniqueID values was registered at Adobe. Each font shape comes in 14 font sizes ranging from 5pt to 35.83pt (or 11 font sizes for typewriter fonts ranging from 8pt to 35.83pt). The developers offer this overview:

The list of provided font shapes is included below: rm, Modern Roman sl, Modern Slanted ti, Modern Italic cc, Modern Caps and Small Caps ui, Modern Unslanted Italic sc, Modern Slanted Caps and Small Caps ci, Modern Classical Serif Italic bx, Modern Bold Extended bl, Modern Bold Extended Slanted bi, Modern Bold Extended Italic xc, Modern Bold Extended Caps and Small Caps oc, Modern Bold Extended Slanted Caps and Small Caps rb, Modern Roman Bold bm, Modern Roman Bold Variant ss, Modern Sans Serif si, Modern Sans Serif Slanted sx, Modern Sans Serif Bold Extended so, Modern Sans Serif Bold Extended Slanted tt, Modern Typewriter st, Modern Typewriter Slanted it, Modern Typewriter Italic tc, Modern Typewriter Caps and Small Caps vt, Modern Variable Width Typewriter vi, Modern Variable Width Typewriter Italic dh, Modern Dunhill Roman fb, Modern Fibonacci Medium fs, Modern Fibonacci Slanted ff, Modern Funny Roman fi, Modern Funny Italic Each font shape comes in 14 font sizes ranging from 5pt to 35.83pt (or 11 font sizes for typewriter fonts ranging from 8pt to 35.83pt). Also, the following 13 one-sized font shapes are included, Computer Modern SliTeX Sans Serif Quotation sfli8, Modern SliTeX Sans Serif Quotation Inclined sflb8, Modern SliTeX Sans Serif Quotation Bold sflo8, Modern SliTeX Sans Serif Quotation Bold Oblique sfltt8, Modern LaTeX Typewriter isflq8, Modern SliTeX Sans Serif Quotation Invisible isfli8, Modern SliTeX Sans Serif Quotation Inclined Invisible isflb8, Modern SliTeX Sans Serif Quotation Bold Invisible isflo8, Modern SliTeX Sans Serif Quotation Bold Oblique Invisible isfltt8, Modern LaTeX Typewriter Invisible sfsq8, Modern Sans Serif Quotation sfqi8, Modern Sans Serif Quotation Inclined sfssdc10, Modern Sans Serif Demi Condensed Also, the following 14 fonts from Computer Modern Concrete family are included (font file names correspond to the scheme used in EC Concrete fonts), .. sform10, Modern Concrete Roman sfosl5 .. sfosl10, Modern Concrete Slanted sfoti10, Modern Concrete Italic sfocc10, Modern Concrete Caps and Small Caps Also, the following 19 fonts from Computer Modern Bright family are included (font file names correspond to the scheme used in European Computer Modern Bright fonts), Computer Modern Bright Roman sfbmo{8,9,10,17}, Modern Bright Oblique sfbsr{8,9,10,17}, Modern Bright Semibold sfbso{8,9,10,17}, Modern Bright Semibold Oblique sfbbx10, Modern Bright Bold Extended sfbtl10, Modern Typewriter Light sfbto10. Modern Typewriter Light Oblique Fonts were created using TeXtrace (based on AutoTrace and Ghostscript), t1utils and a bunch of Perl scripts, and were optimized and hinted using FontLab 3.1. The set of UniqueID values was registered at Adobe. We use AGL compliant glyph names when possible (there are some glyphs which are neither present in AGL nor in Unicode). It should also be noted that the fonts use precise (non-integer) glyph widths which better match the TFM widths than just rounding to the nearest integer. These widths are generated using the best approximation (based on continued fractions) with the denominator not exceeding 107 to fit in 1 byte in CharString. Apparently, such subtle technique was used first in BSR/Y&Y CM fonts. I'd like to thank Peter Szabo for TeXtrace, Martin Weber for AutoTrace, and FontLab Ltd. for providing a copy of FontLab. It should be noted that while creating these fonts we intentionally and on principle used only automatic methods which do not require font designers talents. The aim was to use TOTALLY automatic conversion of METAFONT fonts to Type 1 format, automatic optimization and hinting, with the best achievable quality of final Type 1 fonts, to be able to re-generate the fonts if necessary (e.g., when a new version of original METAFONT fonts will be released). Undoubtedly, there are fields for improvement of this approach, which we will use in future versions of the fonts, but even now the fonts seem to look and print quite good (we hope :-). It appears that careless approach to FontLab's optimization and auto-hinting facilities could lead to loss of quality of the original font (some glyph shapes could be broken), so we used the most precise optimization, and hope that optimized and hinted fonts are indeed better than original traced fonts (also, they are significantly smaller in size). So far, we did not find any bugs in optimized fonts. There are 434 Type 1 outline fonts (*.pfb) in the CM-Super font set, and they cover 2536 TeX fonts!

Read about the package in CM-Super: Automatic creation of efficient Type 1 fonts from METAFONT fonts (Vladimir Volovich, TUGBoat, 24(1):75-78, 2003). The font names: ISFLB8, ISFLI8, ISFLO8, ISFLQ8, ISFLTT8, SFBBX10, SFBI0500, SFBI0600, SFBI0700, SFBI0800, SFBI0900, SFBI1000, SFBI1095, SFBI1200, SFBI1440, SFBI1728, SFBI2074, SFBI2488, SFBI2986, SFBI3583, SFBL0500, SFBL0600, SFBL0700, SFBL0800, SFBL0900, SFBL1000, SFBL1095, SFBL1200, SFBL1440, SFBL1728, SFBL2074, SFBL2488, SFBL2986, SFBL3583, SFBM0500, SFBM0700, SFBM0900, SFBM1000, SFBM1095, SFBM1200, SFBM1440, SFBM1728, SFBM2074, SFBM2488, SFBM2986, SFBM3583, SFBMO10, SFBMO17, SFBMO8, SFBMO9, SFBMR10, SFBMR17, SFBMR8, SFBMR9, SFBSO10, SFBSO17, SFBSO8, SFBSO9, SFBSR10, SFBSR17, SFBSR8, SFBSR9, SFBTL10, SFBTO10, SFBX0500, SFBX0600, SFBX0700, SFBX0800, SFBX0900, SFBX1000, SFBX1095, SFBX1200, SFBX1440, SFBX1728, SFBX2074, SFBX2488, SFBX2986, SFBX3583, SFCC0500, SFCC0600, SFCC0700, SFCC0800, SFCC0900, SFCC1000, SFCC1095, SFCC1200, SFCC1440, SFCC1728, SFCC2074, SFCC2488, SFCC2986, SFCC3583, SFCI0500, SFCI0600, SFCI0700, SFCI0800, SFCI0900, SFCI1000, SFCI1095, SFCI1200, SFCI1440, SFCI1728, SFCI2074, SFCI2488, SFCI2986, SFCI3583, SFDH0500, SFDH0600, SFDH0700, SFDH0800, SFDH0900, SFDH1000, SFDH1095, SFDH1200, SFDH1440, SFDH1728, SFDH2074, SFDH2488, SFDH2986, SFDH3583, SFFB0500, SFFB0600, SFFB0700, SFFB0800, SFFB0900, SFFB1000, SFFB1095, SFFB1200, SFFB1440, SFFB1728, SFFB2074, SFFF0900, SFFF1000, SFFF1095, SFFF1200, SFFF1440, SFFF2488, SFFI0900, SFFI1000, SFFI1095, SFFI1200, SFFI1440, SFFI1728, SFFI2074, SFFS0500, SFFS0600, SFFS0700, SFFS0800, SFFS0900, SFFS1000, SFFS1095, SFFS1200, SFFS1440, SFFS1728, SFFS2074, SFIT0800, SFIT0900, SFIT1000, SFIT1095, SFIT1200, SFIT1440, SFIT1728, SFIT2074, SFIT2488, SFLB8, SFLI8, SFLO8, SFLQ8, SFLTT8, SFOC0500, SFOC0600, SFOC0700, SFOC0800, SFOC0900, SFOC1000, SFOC1095, SFOC1200, SFOC1440, SFOC1728, SFOC2074, SFOC2488, SFOC2986, SFOC3583, SFOCC10, SFORM10, SFORM5, SFORM6, SFORM7, SFORM8, SFORM9, SFOSL10, SFOSL5, SFOSL6, SFOSL7, SFOSL8, SFOSL9, SFOTI10, SFQI8, SFRB0500, SFRB0600, SFRB0700, SFRB0800, SFRB0900, SFRB1000, SFRB1095, SFRB1200, SFRB1440, SFRB1728, SFRB2074, SFRB2488, SFRB2986, SFRB3583, SFRM0500, SFRM0600, SFRM0700, SFRM0800, SFRM0900, SFRM1000, SFRM1095, SFRM1200, SFRM1440, SFRM1728, SFRM2074, SFRM2488, SFRM2986, SFRM3583, SFSC0500, SFSC0600, SFSC0700, SFSC0800, SFSC0900, SFSC1000, SFSC1095, SFSC1200, SFSC1440, SFSC1728, SFSC2074, SFSC2488, SFSC2986, SFSC3583, SFSI0500, SFSI0600, SFSI0700, SFSI0800, SFSI0900, SFSI1000, SFSI1095, SFSI1200, SFSI1440, SFSI1728, SFSI2074, SFSI2488, SFSI2986, SFSI3583, SFSL0500, SFSL0600, SFSL0700, SFSL0800, SFSL0900, SFSL1000, SFSL1095, SFSL1200, SFSL1440, SFSL1728, SFSL2074, SFSL2488, SFSL2986, SFSL3583, SFSO0500, SFSO0600, SFSO0700, SFSO0800, SFSO0900, SFSO1000, SFSO1095, SFSO1200, SFSO1440, SFSO1728, SFSO2074, SFSO2488, SFSO2986, SFSO3583, SFSQ8, SFSS0500, SFSS0600, SFSS0700, SFSS0800, SFSS0900, SFSS1000, SFSS1095, SFSS1200, SFSS1440, SFSS1728, SFSS2074, SFSS2488, SFSS2986, SFSS3583, SFSSDC10, SFST0800, SFST0900, SFST1000, SFST1095, SFST1200, SFST1440, SFST1728, SFST2074, SFST2488, SFST2986, SFST3583, SFSX0500, SFSX0600, SFSX0700, SFSX0800, SFSX0900, SFSX1000, SFSX1095, SFSX1200, SFSX1440, SFSX1728, SFSX2074, SFSX2488, SFSX2986, SFSX3583, SFTC0800, SFTC0900, SFTC1000, SFTC1095, SFTC1200, SFTC1440, SFTC1728, SFTC2074, SFTC2488, SFTC2986, SFTC3583, SFTI0500, SFTI0600, SFTI0700, SFTI0800, SFTI0900, SFTI1000, SFTI1095, SFTI1200, SFTI1440, SFTI1728, SFTI2074, SFTI2488, SFTI2986, SFTI3583, SFTT0800, SFTT0900, SFTT1000, SFTT1095, SFTT1200, SFTT1440, SFTT1728, SFTT2074, SFTT2488, SFTT2986, SFTT3583, SFUI0500, SFUI0600, SFUI0700, SFUI0800, SFUI0900, SFUI1000, SFUI1095, SFUI1200, SFUI1440, SFUI1728, SFUI2074, SFUI2488, SFUI2986, SFUI3583, SFVI0800, SFVI0900, SFVI1000, SFVI1095, SFVI1200, SFVI1440, SFVI1728, SFVI2074, SFVI2488, SFVI2986, SFVI3583, SFVT0800, SFVT0900, SFVT1000, SFVT1095, SFVT1200, SFVT1440, SFVT1728, SFVT2074, SFVT2488, SFVT2986, SFVT3583, SFXC0500, SFXC0600, SFXC0700, SFXC0800, SFXC0900, SFXC1000, SFXC1095, SFXC1200, SFXC1440, SFXC1728, SFXC2074, SFXC2488, SFXC2986, SFXC358. [Google] [More]  ⦿

Colin Banks

Born in Ruislip, Middlesex, in 1932, Colin Banks has been involved in graphic design, corporate identity and typography since 1958 through the London-based partnership Banks&Miles (1958-1998), with John Miles.

Author of London's handwriting (London Transport Museum, 1994) about the development of Edward Johnston's Underground Railway Block-Letter. CV. He died in March 2002 in Blackheath. Obituary by James Alexander.

Banks&Miles had offices in London, Amsterdam, Hamburg and Bruxelles. Their clients included the British Council (it is unclear if he helped design British Council Sans at Agfa Monotype in 2002: a major controversy erupted in the UK when it was learned that the British Council had paid 50k pounds for British Council Sans), English National Opera, the European Parliament Election campaigns, producing corporate identities for the Post Office, Royal Mail, British Telecom, the Institute of Mechanical Engineers, Fondation Roi Baudouin, City and Guilds, Commission for Racial Equality, United Nations University, and major publications etc for UNHCR Geneva. He was consultant to London Transport for over thirty years, then Mott Macdonald engineers and Oxford University Press.

The Royal Mail font is called Post Office Double Line, and was designed by Colin Banks in the 1970s.

The British Council Sans family (2002, Agfa Monotype) is now available for free download here. Included is support for Arabic (Boutros British Council Arabic), Khazak, Greek, Cyrillic, and Azerbaijani.

Other typefaces with Colin Banks's name on it include New Johnston (1979, after Edward Johnston's typeface for the London subway) and the sharp-serifed Gill Facia (Monotype: based on letters drawn by Eric Gill in 1906 for use by the stationers, W. H. Smith) [Google] [MyFonts] [More]  ⦿

Commercial Type (Was: Schwartzco)
[Christian Schwartz]

Foundry, est. 2009 or 2010 by Paul Barnes (London and New York) and Christian Schwartz (New York). Their own blurb: Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Schwartz and Barnes, their staff, and outside collaborators, and also represents the two when they work together on typedesign projects. Following the redesign of The Guardian, as part of the team headed by Mark Porter, Schwartz and Barnes were awarded the Black Pencil from the D&AD. The team were also nominated for the Design Museum's Designer of the Year prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper. Klingspor link.

In house type designers in 2010: Paul Barnes, Christian Schwartz, Berton Haasebe, and Abi Huynh.

  • Austin (+Cyrillic): Designed for British style magazine Harper's&Queen, Austin is a loose revival of the typefaces of Richard Austin of the late 18th century for the publisher John Bell. Working as a trade engraver Austin cut the first British modern and later the iconoclastic Scotch Roman. Narrow without being overtly condensed, Austin is a modern with the styling and sheen of New York in the 1970s. Designed by Paul Barnes and Ilya Ruderman from 2007 until 2009. Has a Cyrillic.
  • Giorgio (+Sans): Giorgio and its matching sans were designed for Chris Martinez at T, the New York Times Style Magazine, bringing runway proportions to the page in contrasting ways. Designed by Christian Schwartz, 2008-2009.
  • Graphik: The dominant trend of the mid twentieth century simple sans serifs still reverberates in visual culture. Graphik proves that it is still possible to create something refreshing inspired by this era. Taking cues from the less-known anonymous grotesques and geometric sans serifs, Graphik is perfectly suited for graphic and publication design. Originally designed for the Schwartz's own corporate identity, it was later finished for Condé Nast Portfolio and then expanded for Wallpaper and later T, the New York Times Style Magazine. Designed by Christian Schwartz in 2009.
  • Guardian (Egyptian Headline, Sans Headline, Egyptian Text, Agate Sans): What happens when you try to make a new sans serif by chopping the slabs off of an Egyptian? That was the original inspiration behind this modern classic designed for Mark Porter and the Guardian newspaper. Comprised of several interrelated families: Sans and Egyptian for headlines; a Text Egyptian; and an Agate Sans, every possible typographic need of a daily paper is fulfilled. Serious news headlines, expressive features, readable text, tiny financial listings, info graphics, and everything in between can be capably handled with ease. Designed by Paul Barnes and Christian Schwartz, 2009.
  • Lyon Text: Begun as Kai Bernau's degree project on the Type + Media course at the Royal Academy of Art (KABK) in The Hague, Bernau extensively revised the typeface in time for its debut in the New York Times Magazine in 2009. Like many of the great seriffed typefaces it draws intelligently from the work of Robert Granjon, the master of the Renaissance, while having a contemporary feel. Its elegant looks, are matched with an intelligent, anonymous nature, making it excellent for magazines, book and newspapers. Designed by Kai Bernau, 2009.
  • Neue Haas Grotesk (2011).
  • Stag (+Sans, Dot, Stencil, Sans Round): Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional display variants that are probably best described as special effects. Designed by Christian Schwartz, Berton Hasebe and Ross Milne, 2008, 2009.
  • Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). A revival of Dick Dooijes's Mercator.
  • VF Didot (2013) is a custom Didot by Paul Barnes and Christian Schwartz for Vanity Fair, as requested by its design director, Chris Dixon. Based on work of Molé Le Jeune, a punchcutter used by the Didot family in the early part of the 19th century, VFDidot has 7 optical sizes and up to 5 weights in each size, plus small caps and even a stencil style.
  • Zizou or Clouseau (2011). A reworking (from memory) of Antique Olive (1960, Roger Excoffon). This was published at the end of 2013 as Duplicate (2013, with Miguel Reyes). In three styles, Slab, Sans and Ionic. Commercial Type writes: Christian Schwartz wanted to see what the result would be if he tried to draw Antique Olive from memory. He was curious whether this could be a route to something that felt contemporary and original, or if the result would be a pale imitation of the original. Most of all, he wanted to see what he would remember correctly and what he would get wrong, and what relationship this would create between the inspiration and the result. Though it shares some structural similarities with Antique Olive and a handful of details, like the shape of the lowercase a, Duplicate Sans is not a revival, but rather a thoroughly contemporary homage to Excoffon. Duplicate Sans was finally finished at the request of Florian Bachleda for his 2011 redesign of Fast Company. Bachleda wanted a slab companion for the sans, so Schwartz decided to take the most direct route: he simply added slabs to the sans in a straightforward manner, doing as little as he could to alter the proportions, contrast, and stylistic details in the process. The bracketed serifs and ball terminals that define the Clarendon genre (also known as Ionic) first emerged in Britain in the middle of the 19th century. While combining these structures with a contemporary interpretation of a mid-20th century French sans serif seems counterintutive, the final result feels suprisingly natural. The romans are a collaboration between Christian Schwartz and Miguel Reyes, but the italic is fully Reyes's creation, departing from the sloped romans seen in Duplicate Sans and Slab with a true cursive. Mark Porter and Simon Esterson were the first to use the family, in their 2013 redesign of the Neue Züricher Zeitung am Sonntag. Beecause the Ionic genre has ll ong been a common choice for text in newspapers, Duplicate Ionic is a natural choice for long texts.
  • Kommissar (2014, Schwartzco). A condensed sans family with little contrast that was inspired by 1920s type styles like Vertikal and Paul Renner's Plak.

    The crew in 2012 includes Paul Barnes (Principal), Christian Schwartz (Principal), Vincent Chan (type designer), Berton Hasebe (type designer) and Mark Record (font technician). Miguel Reyes joined in 2013.

    View Christian Schwartz's typefaces. [Google] [MyFonts] [More]  ⦿

  • Compuart

    Russian page about initial caps in Cyrillic, with images of examples from the XVIth century. [Google] [More]  ⦿

    Computec International

    Four Cyrillic Helvetica and Cyrillic Times truetype fonts. [Google] [More]  ⦿

    Computer Aided Learning programs for Actuarial Maths&Statistics

    The r16fzip file has these fonts: From Monotype, BookAntiqua, BritannicBold, CenturySchoolbook, CenturySchoolbook-Bold, CenturySchoolbook-BoldItalic, CenturySchoolbook-Italic. Other fonts: Fences (Microsoft, 1992), OPAC92-Special (a phonetic font, The British Library, 1993), OPAC92-Cyrillic (The British Library, 1993), SvobodaFWF (a Latin/Cyrillic font by Casady&Greene, 1991). [Google] [More]  ⦿

    Computer Modern Unicode fonts
    [Andrey V. Panov]

    Andrey V. Panov developed Computer Modern Unicode fonts in 2003-2007 by conversions from metafont sources using textrace and fontforge (former pfaedit). He wanted to create free good quality fonts for use in X applications that support many languages. Currently the fonts contain glyphs from Latin1 (Metafont ec, tc), Cyrillic (la, rx) and Greek (cbgreek) code sets. There are 33 fonts in the family: CMUClassicalSerif-Italic, CMUSansSerif-Bold, CMUSansSerif-BoldOblique, CMUSansSerif-Demi-Condensed, CMUSansSerif-Oblique, CMUSansSerif, CMUSerif-Bold-Nonextended, CMUSerif-Bold-Slanted, CMUSerif-Bold, CMUSerif-BoldItalic, CMUSerif-Italic, CMUSerif-Roman-Slanted, CMUSerif-Roman, CMUSerif-Unslanted-Italic, CMUTypewriter-Bold, CMUTypewriter-BoldItalic, CMUTypewriter-Italic, CMUTypewriter-Oblique, CMUTypewriter-Regular, CMUTypewriterVariable-Italic, CMUTypewriterVariable. The fonts come in type 1, OpenType and SFD, the universal spline format used by FontForge. The CMU Bright subfamily was added some time later in 2007.

    Istok Web (2011) was published at the Google Font Directory.

    In 2008, he made Heuristica (or Evristika), a serif family that extends Adobe's Utopia. Download site.

    Free download. Direct download.

    Alternate URL. Kernest link. Klingspor link. [Google] [More]  ⦿

    Connary Fagen

    Art director, designer and consultant based in Salt Lake City, UT. He created the commercial Latin / Cyrillic geometric sans font family Venti CF in 2014---Venti can be purchased here. His second typeface is the geometric / techno typeface Filter CF (2014).

    In 2015, he created Visby CF (geometric sans), Visby Round CF, Quincy CF (a warm serif text face).

    Behance link. Creative Market link. [Google] [More]  ⦿

    Constantin I. Spektorov

    Russian type designer. This site has several old Slavonic fonts made by him, ca. 2008: Bukvica UCS has caps that were used in the Moscow "Pechatny Dvor" (Printing Yard) in the 1st half of the 17th century. Grebnev UCS (2009, with Nikita Simmons) is based on the Tushka font by an unknown author. This font was modified by the printing establishment of the Preobrazhensky Bogadelenny Don at beginning of the 20th century, which was founded by Luka Arefyevich Grebnev. Still in 2009, Constantin I. Spektorov created Ostromirov UCS [based on Ostromirov XCS&AC by Nikita Simmons, which in turn was based on the letters of "Ostromirovo Evangelie" (Ostromir's Gospel) of 1056-57] and Pechatny Dvor UCS [based on Fedorovsk XCS&AC by Nikita Simmons, which in turn were based on the Russian pre-Nikon church books of the Moscow Pechatny Dvor (printing court), 1st half of the XVII century]. [Google] [More]  ⦿

    Context Ltd
    [Stefan Peev]

    Stefan Peev (Context Ltd, Bulgaria) released the free Latin / Cyrillic sans typeface Selena, the free transitional text typeface Sibila, and the sans typeface Bretan in 2014 via the Open Font Library. Tipotype (2014, free at Open Font Library) is a roman type serif font family inspired by the well known fonts like Free Serif, Tex Gyre Termes and Omega Serif. Besides Latin and Cyrillic, Tipotype also includes the "Bulgarian" letterform model, which has been proposed by a group of Bulgarian designers in the 1960s. In 2015, he published the sans typefaces Libra Sans (based on Liberation Sans) and Coval. [Google] [More]  ⦿

    Contrast Type Foundry
    [Lisa Rasskazova]

    Maria Doreuli (Moscow) and Krista Radoeva (London) combine forces in Cyrillicsly, a site that deals with Cyrillic type and asks basic questions about it. Maria and Krista met while studying type design in The Hague. During their studies, they had many discussions about the peculiar differences between Russian and Bulgarian Cyrillics, which lead to further investigation of this topic.

    Contrast Type Foundry (London) is a joint venture of Maria Doreuli, Krista Radoeva nad Lisa Rasskazova (Moscow).

    In 2014, Maria Doreuli, Krista Radoeva, and Elizaveta Rasskazova codesigned Sputnik Display for Sputnik News. This organic sans typeface family covers Latin, and various brands of Cyrillic, including the ones used in Uzbekistan, Tajikistan, Abkhazia and Mongolia.

    Behance link for Lisa Rasskazova. [Google] [More]  ⦿

    Cool webmasters

    An archive with 33 Cyrillic fonts. [Google] [More]  ⦿

    [Hiroya Sato]

    Fonts by Hiroya Sato. The two free fonts here are cossamoji (dingbats of figures dancing like cossacks), Elena (kana and kanji, handscripted) and hetarosia (handwritten Cyrillic font). Alternate URL. [Google] [More]  ⦿

    Courier New KOI

    Cyrillic/Roman/Greek/East-European version of Courier. In truetype. [Google] [More]  ⦿

    Craig Kroeger

    [More]  ⦿


    Cyrillic font collection in BDF format. [Google] [More]  ⦿

    Crystian Cruz

    [More]  ⦿

    CSS Tips and tricks

    Examples of CSS font styles for Cyrillic font choices. Latin sub-page. [Google] [More]  ⦿


    Russian typefoundry, est. 2015. [Google] [MyFonts] [More]  ⦿

    Cuttlefish Fonts
    [Jason Pagura]

    Cuttlefish Fonts offers free original fonts by Cupertino, CA-based graphic designer Jason Pagura, such as Rutaban (2001), Bernur (1996, sans), Gemelli (handwriting), Gohan (fat finger comic book lettering, updated into ShinGohanSix in 2007), Bolonewt (2003), Antherton Cloister (2003, insect antenna influences! Discussed here) and Rutager (2001). He was working on Palormak (2006, futuristic).

    From 2006 until 2010, he published Agamemnon, a large and warm transitional slab serif typeface with wood type influences that covers Latin, Cherokee, Cyrillic and Greek.

    Later typefaces include Cartmeign and Posterony (2007, anthroposophic).

    Dafont link. 1001fonts link. [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, codesigned 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]  ⦿

    Cyril Mikhailov

    Based in Kaliningrad, Russia, Cyril Mikhailov created the free sans typeface Schist (2014, Latin & Cyrillic). Behance link. [Google] [More]  ⦿


    Two Cyrillic fonts. [Google] [More]  ⦿

    Cyrillic ATM

    ATM for Russians, complete with tons of Cyrillic fonts from Adobe. [Google] [More]  ⦿

    Cyrillic Fest 2008

    Annual typography and calligraphy festival, which took place from 24-25 May 2008 in Kharkiv (Ukraine). This year it included type seminars, a presentation by Vitalij Mitchenko, type games and exhibition of typefaces and calligraphy from Ukraine, Russia, Belarus and Bulgaria. Photo reports: 1, 2, 3, 4. Report in the Ukrainian newspaper Novynar. [Google] [More]  ⦿

    Cyrillic font specs

    Specs for Cyrillic fonts at Adobe. [Google] [More]  ⦿

    Cyrillic fonts

    Cyrillic font archive. [Google] [More]  ⦿

    Cyrillic Fonts Plus

    Belarussian site. Arial, Courier and Times in Cyrillic versions. They have the Cyrillic vowels (a,o,u,e,y,ja,jo,ju,je,i) with accents, the Belarussian Latin "u short" and the letter "Jat" added on. [Google] [More]  ⦿

    Cyrillic FontStruct fonts

    There are tens of fonts. These include

    [Google] [More]  ⦿

    Cyrillic ForWWW TrueType fonts

    Standard Cyrillic TrueType font package. [Google] [More]  ⦿


    Cyrillic truetype font archive: CyrBScript, CyrBook-Italic, CyrBook-Regular, CyrCourier-Bold, CyrCourier-BoldItalic, CyrCourier-Italic, CyrCourier, CyrHeadLine, CyrHelv-Bold, CyrHelv-BoldItalic, CyrSans-Bold, CyrSans-BoldItalic, CyrSans-Italic, CyrSans-Regular, CyrScriptWS, CyrTimes-Bold, CyrTimes-BoldItalic, CyrTimes-Italic, CyrTimes-Regular, CyrTimes, Cyr_Garam-Bold-Italic, Cyr_Garam-Bold, Cyr_Garam-Italic, Cyr_Garam-Regular, Cyrillic, CyrillicBold-Italic, CyrillicBold, CyrillicNormal-Italic. [Google] [More]  ⦿


    Lots of free fonts can be downloaded here. This includes Ilya Talev's Bulgarian truetype font series, as well as Gavin Helf's ER font series. [Google] [More]  ⦿


    FTP source of code for using Cyrillic-T1 fonts in Latex, by Daniel Taupin. [Google] [More]  ⦿

    [Dmitry Yu. Bolkhovityanov]

    Free PCF typefaces for Cyrillic. CYR-RFX started as a collection of Cyrillic fonts for X-Window ("CYR-RFX" stands for "CYRillic Raster Fonts for X"). Now it includes several Cyrillic encodings and two Latin ones (both with Euro sign). These fonts are modified (mainly with Cyrillics added) versions of standard X-Window fonts. Cyrillic and Euro glyphs in all of these fonts, and linedrawing glyphs in 75dpi fonts, as well as CYR-RFX distribution and "CYR-RFX" logo are copyright by Dmitry Bolkhovityanov. [Google] [More]  ⦿

    D. Green

    Designer of Danger Cyr, a Cyrillic stencil typeface (2004). [Google] [More]  ⦿

    D. Gulinoff

    Designer at Type Market (Moscow) of the Cyrillic font family OfficeTypeSans (1995) and of Unicum Condensed (1998, based on Univers). [Google] [More]  ⦿

    D. Paul Alecsandri
    [Every Witch Way]

    [More]  ⦿

    D. Tamir

    Designer of these Mongolian-Cyrillic fonts in 1993: DTAdverGothicBold, DTAntiqua, DTAntiquaBold, DTAntiquaItalic, DTBaltic, DTBalticBold, DTBalticItalic, DTFreeset, DTFreesetBold, DTFuturaEugeniaBold, DTFuturis, DTFuturisBold, DTInform, DTJournalSans, DTJournalSansBold, DTJournalSansBoldItalic, DTJournalSansItalic, DTSchoolbook, DTSchoolbookBold, DTSchoolbookBoldItalic, DTSchoolbookItalic, DTTimesType, DTTimesTypeBold, DTTimesTypeBoldItalic, DTTimesTypeItalic, DTZhikharevItalic. These can be found here. [Google] [More]  ⦿


    Russian pixel font archive. It has 04b03, 04b03b, 04b08, 7LineDigital, Abstract, AcknowledgeTT-BRK-, AddWBitmap09, Alien-ABC, Arcadepix, BMnecoA29, BMtubeA10, Baby-blocks, Bangalore, BitBold, BitBox, BitDotted, BitDustTwo, BitLow, BitMicro01, BitNanov33, Borgnine, C&CRedAlert[LAN], CWebLarge, CWebSmall, Digitalix, Ernest, GraphicPixel, H5Bitjun, Handy00, Large9Normal, LeviWindowsExtraLight, M04_FATAL-FURY-BLACK, M04_FATAL-FURY, M39_SQUAREFUTURE, MeganSerif, MizuFontAlphabet-Regular, PEPgenius10, PFEastaSeven, PFEastaSevenCondensed, PFRondaSeven-Bold, PFRondaSeven, PFTempestaFive-Bold, PFTempestaFive, PFTempestaFiveCompressed-Bold, PFTempestaFiveCompressed, PFTempestaFiveCondensed-Bold, PFTempestaFiveCondensed, PFTempestaFiveExtended-Bold, PFTempestaFiveExtended, PFTempestaSeven-Bold, PFTempestaSeven, PFTempestaSevenCompressed-Bold, PFTempestaSevenCompressed, PFTempestaSevenCondensed-Bold, PFTempestaSevenCondensed, PFTempestaSevenExtended-Bold, PFTempestaSevenExtended, Paskowy, PixelSix01, PixelSix02, PixelSix14, PixelYourLife, Pixelade, Pixelation, Pixelicious, Redensek, SFPixelate-Bold, SFPixelate-BoldOblique, SFPixelate-Oblique, SFPixelate, SFPixelateShaded-Bold, SFPixelateShaded-BoldOblique, SFPixelateShaded-Oblique, SFPixelateShaded, Silkscreen-Bold, Silkscreen-Expanded, Silkscreen-ExpandedBold, Silkscreen, SkrewdUpSoulz, SmallBars, Spaidersimbol, Superpointrounded, Superpointsquare, Technicality, Technicality1, Uni0553, Uni0554, Uni0563, Uni0564, V5ProphitCell, V5ProphitDot, V5ProphitFading, VentouseOfThePoulp, Victor'sPixelFont, VisitorTT1BRK, VisitorTT2BRK, Volter(Goldfish)-Regular, dymsmall, microN56, rtscreenloft8-Bold, rtscreenloft8, snapix. [Google] [More]  ⦿


    Russian blackletter font archive. [Google] [More]  ⦿


    Russian creator of FontStruct fonts in 2009: the Paradigma Block family (dot matrix), the Paradigma family (squarish), Morgenstern Cyr (cyrillic pixel face), Kenaz Cyr (Cyrillic), Offer (Latin and Cyrillic), Old Gamer Cyr (pixelish game font), 8PixNew. [Google] [More]  ⦿

    Daily Type
    [Ilya Ruderman]

    Daily Type is a creative project run by four Russian type designers. Regularly updated page with many new type designs and ideas. Based on a concept of Yury Ostromentsky & Dasha Yarzhambek, the site features designs by Yury Gordon, Yury Ostromentsky, Dasha Yarzhambek, Dmitry Jakovlev and Ilya Ruderman, and was launched in 2005. Daily Type is a creative project run by several Russian type designers. Day by day, they create original typefaces and post their results along with routine. [Google] [More]  ⦿

    Daisuke Suzuki
    [VL Gothic]

    [More]  ⦿

    Dalton Maag
    [Canonical Design]

    [More]  ⦿


    Cyrillic font archive links. [Google] [More]  ⦿

    Daniel Bak
    [Art City]

    [MyFonts] [More]  ⦿

    Daniel Djambov

    Small Bulgarian archive: Bulgarian-Ariel, Bulgarian-Courier, Bulgarian-DutchRoman, Bulgarian-Garamond, Bulgarian-GaramondItalic, Bulgarian-Italic, Bulgarian-Kursiv, Bulgarian-Roman, Bulgarian-RomanItalic, Bulgarian-Times, Bulgarian-TimesItalic, ComicSansMS-Bold, ComicSansMS, Hebar, HebarBold, HebarBoldItalic, HebarItalic, HebarNormal, Palatia-Regular, TimokBold, TimokBoldItalic, TimokItalic, TimokPlain. All fonts have Latin and Cyrillic character sets. The fonts starting with "Bulgarian" were generated by Ilya Talev. [Google] [More]  ⦿

    Daniel Johnson

    Designer at the Open Font Library of Triad Postnaya (2013, an old Church Slavonic typeface and its Latin simulation twin), Stanislav Caps (2013), Pacaya (2013, a medium-weight sans), Jura (2011, in the style of Eurostile), Didact Gothic (2010, a simple and readable sans i in the form most often used in elementary classrooms), Judson (2010, designed for African literacy), Megrim (2010, a monoline drawing table sans), Aguardiente (2010, heavy sans), Deka (2010, a monospace font designed for very small display sizes), Rahel (2009, Hebrew), Sacco-Vanzetti (2009, sans), Travelogue (2008), Grana Padano (2010), Pfennig (2010, an extensive humanist sans family) and Jura (2009, sans family with support for Burmese, Cyrillic and Greek).

    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.

    Triod Postnaja (2010) 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.

    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)

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

    Daniel Pouzeot

    Graphic designer from Pavlodar, Kazakhstan. He created the octagonal typeface Furore (2009), as well as Trajan Pro Cyrillic (2009). He cyrillicized Yanone Kaffeesatz in 2009. [Google] [More]  ⦿

    Daniel Ralph

    London-based illustrator and graphic designer. Creator of Fred Fredburger (2011), the Cartoon Network type family, which covers Latin, Greek, Cyrillic, Arabic and Hebrew. [Google] [More]  ⦿

    Daniel Shurovich Chirkov

    Dan Chirkov updated the FreeSerif font with the missing Cyrillic glyphs needed to conform to Unicode 3.2. The effort is part of the Slavjanskij package for Mac OS X. Bukvica (2003) is a free truetype font with over a thousand glyphs, adapted from a 1999 URW+ font. [Google] [More]  ⦿

    Daniel Tagiroff

    Kirov, Russia-based designer of an experimental typeface in 2013. [Google] [More]  ⦿

    Danil Plyutenko

    In 2014, Pavel Efremov, Danil Plyutenko and Aleksander Smolnikov (Saint Petersburg) codesigned the Praktik typeface during their studies at BHSAD in Moscow. [Google] [More]  ⦿

    Danil Roudenko

    Moscow-based designer of Sketch Style ABC (2015). His company is called Grey Coast Media. [Google] [More]  ⦿

    Danilo Segan
    [Bepa Fonts]

    [More]  ⦿

    Danko Sipka

    Creator of a pair of matched fonts for Cyrillic and Glagolitic called Old Church Slavonic. [Google] [More]  ⦿

    Danya Orlovsky

    Or danila Orlovsky. Student at the Stroganov Moscow State Academy of Applied and Industrial Arts, 2006-2012. Danya (Danila) is the Moscow-based designer of the constructivist version of Didot called Circus Didot (2010, Paratype).

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


    Daria (Saint Petersburg, Russia) created the school project font Aronautic (sic) in 2013. It is hand-drawn and inspired by vintage aeronautics. [Google] [More]  ⦿

    Daria K

    Located in Moscow, this graphic designer created a modular Cyrillic typeface in 2012. Her company is called Dashetcky. [Google] [More]  ⦿

    Daria Kalenchuk

    Student in Moscow, who created Neowood (2012) and Aliens' Alphabet (2012). [Google] [More]  ⦿

    Daria Kalitskaya

    Moscow-based student designer of an untitled modular experimental Latin typeface in 2014. [Google] [More]  ⦿

    Daria Karachenteva

    During her studies in 2012 in Moscow, Daria Karachenteva designed the army stencil typeface Ne Prislontsja and the hand-printed Net Istinyi. All fonts are for Cyrillic only. [Google] [More]  ⦿

    Daria Sheeborsee

    Minsk, Belarus-based designer of a Cyrillic brush school project typeface (2015). [Google] [More]  ⦿

    Darien Valentine

    [More]  ⦿

    Dariia Protsiuk

    Rivne, Ukraine-based designer of the Cyrillic 3d poster typeface Ponti (2015). [Google] [More]  ⦿

    Darija Basta

    Serbian designer who made the hand-drawn Latin and Cyrillic typeface family Mexico (2012). [Google] [More]  ⦿

    Darko Zubrinic

    Darko Zubrinic from the Faculty of Electrical Engineering and Computing Av. Vukovar 39, Zagreb, Croatia, has created a set of TeX and METAFONT files called Croatian Glagolitic (1995-1996). It contains 367 symbols covering Croatian Glagolitic (round, angular, Baska Tablet, quickscript, about 60 ligatures, Baromic broken ligatures, calligraphic letters), Croatian Cyrillic, Stechak ornaments, and Croatian wattle patterns. See also here. The fonts are described in his paper "Croatian fonts", TUGboat, Vol. 17, 1996. This page also has links to other Glagolitic fonts. Old URL. [Google] [More]  ⦿

    Darya Fomicheva

    Russian designer of some experimental fonts (2011). [Google] [More]  ⦿

    Darynka Kysla

    During her studies in Lviv, Ukraine, Darynka Kysla designed several Cyrillic typefaces (2013). This includers a series of connect-the-dots style fonts called Dots (2013). [Google] [More]  ⦿

    Dasha Bogachevska

    Kiev, Ukraine-based designer of the vernacular Cyrillic typeface Street (2014). [Google] [More]  ⦿

    Dasha Yarzhambek
    [Yarzhombeck Kunst Group]

    [More]  ⦿

    Dataestradi Software Publishing Company

    Finnish company selling Cyrillic typefaces and barcode fonts and software. Webmaster Joni-Pekka Kurronen. [Google] [More]  ⦿

    David Brezina

    Czech designer (b. Brno) who graduated 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.

    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.

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

    David Glaude

    Site run by David Glaude. Archive with over 300 Cyrillic truetype fonts. [Google] [More]  ⦿

    David Hovhannisyan

    Graphic designer in Moscow. Creator of the Latin / Cyrillic hipster typeface Night (2014). [Google] [More]  ⦿

    David J. Birnbaum
    [Repertorium Fonts]

    [More]  ⦿

    David Jonathan Ross
    [DJR Type]

    [MyFonts] [More]  ⦿

    David Pancza
    [Byzantine Catholics in Slovakia]

    [More]  ⦿

    [Vangelis Dim. Gardikiotis]

    DBSV Moulding Ideas is a creative agency and typefoundry located in Larissa, Thessaly, Greece. Their first typefaces are the layered monoline sans family Aeolus Pro (2014, in dashed, bilined and trilined versions called Staccato, Rail and Tribe; by Vangelis Dim. Gardikiotis) and the curvy monoline typeface Khamai Pro (2014), which was a dashed line version called Khamai Pro Staccato, a bilined version called Khamai Pro Rail, and a trilined version called Khamai Pro Tribe. All typefaces cover Latin, Greek and Cyrillic.

    In 2015, Vangelis Dim. Gardikiotis designed Corset Pro. [Google] [MyFonts] [More]  ⦿


    This site contains various versions (Latin and/or Cyrillic) of the formal script typeface Decor: Decor Cyrillic (1992, ParaGraph), DecorCTT (1994, TeamAXis Corp), Decor (1991, Atech Software). [Google] [More]  ⦿

    [Vasil Shishovski]

    Cyrillic and old Cyrillic fonts: 1M-StaroSloven, AristonCirilicaA, CHelv, CTimes, Miroslavljevo, ArtsansLightC (by Vasil Shishovski, Shiva, Makidonija), Staromakedonskopismo. [Google] [More]  ⦿


    Ezine by ParaType in Russia. [Google] [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. [Google] [More]  ⦿

    Denis A. Serikov
    [OT Lab]

    [More]  ⦿

    Denis Afonin

    Art director in Moscow who created the multilayer font Cifricci (2013), the geometric solid typeface Modal Font (2013), and the decorative typeface Blitz Type (2013). [Google] [More]  ⦿

    Denis Bashev

    Russian designer of Reflex, a typeface that marries old ustav influences with modern scripts. His LineFont is a pixel experiment. [Google] [More]  ⦿

    Denis Izotov

    Moscow-based designer of the Latin / Cyrillic typeface Spoloch (2013), which is inspired by the logo of emigre magazine Spolokhi, which was published in the 1920s. This beautiful display typeface, in all its exaggerated elegance, was created during Denis's studies at the British Higher School of Art and Design under the direction of Ilya Ruderman. [Google] [More]  ⦿

    Denis Mas

    Moscow-based designer (with Anton Shelko) of the decorative Cyrillic caps typeface Entertaining Mechanics (2014). He also made the potato print Cyrillic font Zhola (2014). [Google] [More]  ⦿

    Denis Masharov

    Born in Moscow in 1973, he emigrated to Israel in 1990 and has a Bachelor of Arts degree from the Bezalel Jerusalem Academy of Arts, 1996. A professional designer since 1996, he designs type and is involved in typographic projects.

    At Google Font Directory, we can download his Latin/Cyrillic poster font Ruslan (or Rusland) Display (2011), the freehand lettering typeface Marck Script (2011, based on the hand of Marck Fogel), and the angular Kelly Slab (2011).

    Bolster (2011) is a unicase fat Western face.

    Forum (2011) is a classical roman face.

    Ruslan Display (2011) was co-designed with Vladimir Rabdu, this decorative typeface is in the poluustav style dating from the 16th century.

    In 2011, he set up the Denis Masharov foundry at MyFonts.

    Free fonts published at Google Web Fonts in 2012: Ledger (Ledger was likened to Zapf's Melior by Nick Shinn, but Masharov says that it is closer to Swift), Glass Antiqua. This is a revival of the 1913 typeface Glass Antiqua by Genzsch & Heyse (original by Franz Paul Glass, 1912). Poiret (2012, free at Google Web fonts) is a Latin / Cyrillic geometric grotesque that combines art deco with avant garde.

    Bolster (2012) is a great Italian wood type face.

    Tenor Sans (2012) is a Peignotian typeface (free at Google Web Fonts).

    Klingspor link. Behance link. Fontsquirrel link. Google Plus link. Fontspace link. [Google] [MyFonts] [More]  ⦿

    Denis Petrov

    Denis Petrov (Ekaterinburg, Russia) created the Latin / Cyrillic typeface Rupster Script (2013). Ruspter, he says, stands for Russian hipster. [Google] [More]  ⦿

    Denis Roegel
    [LaTeX Navigator]

    [More]  ⦿

    Denis Serebryakov
    [Dzianis Serabrakou]

    [MyFonts] [More]  ⦿

    Denis Sherbak

    Russian designer. In 2008, he created a number of commercial Cyrillic/Latin typefaces, including Capitalist, NoName, Antarktika, and Alenoushka. In 2010, he made the fuzzy op-art typeface Guilloche. Dafont link where one can download Capitalist and Bird Cherry (2009, sans). In 2013, he added the sirupy typeface Wild Honey. In 2014, he created the constructivist typeface Buran USSR and the techno typeface Redpower (Latin and Cyrillic).

    Behance link. [Google] [More]  ⦿

    Denis Smirnov

    Graphic designer in Cheboksary, Russia. He has designed some alphabets in 2001. [Google] [More]  ⦿

    Denis Yatsutko

    Russian designer of Yatsutko Glagolitsa. Home page. [Google] [More]  ⦿


    Organized font archive. Many subcategories including Party fonts, Holiday fonts, Balloons, Halloween, Christmas, screen fonts, phonetic fonts, African, Balinese, Bengali, Burmese, Cambodian, Croata-glagolitic, Cyrillic, Ethiopic, Georgian, Greek, Hebrew, Hindi, Hmong, Japanese, Javanese, Khmer, Lao, Malayan, Nepali, Nko, runes, Tamil, Vietnamese. [Google] [More]  ⦿

    Design Station
    [Evgeny Bulash]

    Evgeny Bulash (Design Station), is a Russian designer, b. 1978, who lives in Stavropol. He created the ornamental caps faces UniLeaf-Italic, Ornatix and Ornatique in 2009. He also did Bladeline (2009), Republic (2009) and Unileaf (2009). Another URL. Home page. Fontspace link. Dafont link. Another URL. [Google] [More]  ⦿

    Design Studio (mirror?)

    Nice fonts from Design Studio in Moscow. Is this a mirror? [Google] [More]  ⦿

    Design Tourist
    [Henning Brehm]

    Calling himself a design tourist, German designer Henning Brehm makes fonts for films. His company in Berlin is also called Design Tourist. Agitka (2010, 8 styles) contains Latin and Cyrillic characters, in a constructivist theme, and has a Neon sub-style that was used in the film Bourne Ultimatum. This family can be bought at Gestalten. In 2010, he published Kraut, a round outline face, and Koffer (a screen font family).

    Pandorum (2012, a spaceship typeface, by Henning Brehm and Alejandro Lecuna) was especially designed for film sets in the science fiction movie Pandorum starring Ben Foster, Antje Traue and Denis Quaid.

    At Vette Letters, Henning Brehm created the squarish oriental simulation typeface VLNL Kimchi: The Kimchi font had its starting point in the making of the film Cloud Atlas, based on the novel by David Mitchell and directed by Lana & Andy Wachowski and Tom Tykwer. A first version of Kimchi was created for Papa Song---an underground fast food restaurant in a futuristic Neo Seoul in the year 2144. It was used for the menus, advertisement and packaging.

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

    [Evgenij Dobrovinskii]

    Russian foundry. Evgenij Dobrovinskii designed Faktor, Inessa Cyrillic (calligraphic handwriting) and Magister Cyrillic (book) there. Mac fonts. A. Kustov's Aksent (TypeMarket, 1993) was based on a design of Dobrovinskii. [Google] [More]  ⦿

    Devillo Devianti

    Manchester, UK-based artist (b. 1984) who created Daggarland (2004, a scratchy handwriting face). No downloads. [Google] [More]  ⦿

    Deyan Sedlarski

    For a school project at the National Academy of Art in Sofia, Bulgaria, Deyan Sedlarski created the geometric Latin / Cyrillic typeface Klamer (2014). He also created an extensive series of car wash pictograms. Behance link. [Google] [More]  ⦿

    Dharma Type
    [Ryoichi Tsunekawa]

    Yet another foundry of Japanese designer Ryoichi Tsunekawa, who also runs Flat-It, Prop-A-Ganda, and Holiday Type. The first download is the industrial grotesk typeface Bebas Neue (2010), which was followed in 2014 by Bebas Kai. Bebas Neue can now be had for free at FontFabric, where new weights and a Cyrillic were added. The connected signage typeface Sneaker Script followed in 2012. Great Victorian (2012) follows the prototypical Victorian style.

    In 2015, Dharma Type published the great ultra-black creamy signage script Piepie.

    Dafont link. Creative Market link. Behance link. [Google] [MyFonts] [More]  ⦿


    Diai is a great Russian foundry, with about 100 free original fonts, Cyrillic adaptations of Latin fonts. Also known under the name Diai JS Font Collection, most fonts have been made in the 1995-1997 period. They include ArbatDi, BinnerDi, MicraDi and Rodeo95. They have a separtae page on script fonts, which includes the good-looking Kursiv95. [Google] [More]  ⦿

    Diana Gibadulina

    Designer at Ria Novosti News Agency in Moscow. During her education at the British Higher School of Art and Design (Moscow), she created the modular typeface Melodia (2012, Cyrillic). [Google] [More]  ⦿

    Diana Khozheva

    Moscow-based creator of some striking painted Cyrillic alphabets in 2014. She also created Fishtail Font (2014) and Potato Script (2014, for Cyrillic). [Google] [More]  ⦿

    Diego Sanz Salas

    Peruvian creator (b. 1984, Arequipa) 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.

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


    Cyrillic fonts such as Calligraph, TimesNewRoman, GothicRusMedium and Arial. [Google] [More]  ⦿

    Digital Photo
    [Konstantin Sirotkin]

    Digital Photo is a Ukrainian outfit (based in Kiev) where two fonts were made by Konstantin Sirotkin, KSScript (handwriting) and Digital (a pixel font). See also here. [Google] [More]  ⦿

    Dima Buko

    Dima Buko (Minsk, Belarus) created the children's typeface Bookie (2011) for Latin and Cyrillic. Behance link. [Google] [More]  ⦿

    Dima Pazuk

    Moscow-based designer of the Russian church style typeface Russian Texture (2013), the Latin piano key typeface Crude (2013), and the Latin font Diorius (2013). In 2014, he created the hand-drawn Cyrillic typeface DM Sans, and the octagonal typeface DropFont. In 2015, he designed the Star Trek font Omega. [Google] [More]  ⦿

    Dimitri Jakovlev
    [Jakovlev Type Foundry]

    [More]  ⦿

    Dimitri K

    Moscow-based designer of the Latin / Cyrillic text typeface Kamora (2014). [Google] [More]  ⦿

    Dimitri Yarynych

    Ukrainian type designer who made Terraformer (2011, Die Gestalten), which is a sans family with Latin and Cyrillic parts. [Google] [More]  ⦿

    Dimitris Foussekis

    Famous Greek illustrator, who studied geology and paleontology and worked as a specialist designer for archeological findings. Among his influences are Edmund Guy and Philip Burke. His designs appear weekly in magazines and often in advertising campaigns. He has designed several typefaces for Parachute such as PF Cosmonut Pro (2002 a retro futuristic typeface), PF Wonderland Pro (2003-2006, a curly/angular typeface with fantastic dingbats, a font for fairy tales), PF Psychedelia (2003), PF MyWay, PF ManicAttack, as well as Da Vinci Script Pro (2001-2006, with Panos Vassiliou, covers Latin, Greek and Cyrillic).

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

    Dimitry Ochakov

    Rostov-on-Don, Russia-based designer of the circle-based Latin font Done (2014). Behance link. [Google] [More]  ⦿

    Dino Art Corporation

    Cyrillic fonts by the Dino Art Corporation, dating from 1993, include Cirilica60, Cirilica80, AmericanUncialCirilica, ArabiaCirilica, AardvarkCirilicaBold, AardvarkCirilica, ArialCirilicaBold, ArialCirilicaItalic, Arial-Cirilica, ArialCirilicaBoldItalic, AristonCirilicaBoldItalic, AtletaCirilica, BahamasCirilica, BangkokCirilicaBold, BangkokCirilica, BedrockCirilica, BekerCirilicaBold, BodoniCirilicaBold, BodoniCirilicaItalic, BodoniCirilica, BodoniRomanCirilica, BodoniCirilicaBoldItalic, BookCirilicaBold, BookCirilicaItalic, BookCirilica, BookCirilicaBoldItalic, BremenCirilica, BroadwayCirilica, BrushScriptCirilica, CaligraphCirilica, CenturyCirilicaItalic, CenturyCirilica, CzarCirilicaBold, CzarCirilicaItalic, CzarCirilica, CzarCirilicaBoldItalic, GoliatCirilicaBold, Goliat-Cirilica, HelveticaCirilicaBold, HelveticaCirilicaItalic, HelveticaCirilica, HelveticaCirilicaBoldItalic, HippoCirilicaBold, Madrone-Cirilica, MemorandumCirilica, Miroslavljeva-Cirilica, MurmanskCirilica, OdessaScriptCirilica, RenfrewCirilica, SouthernCirilicaItalic, Southern-Cirilica, TimesCirilicaBold, TimesCirilicaItalic, Times-Cirilica, TimesRomanCirilicaItalic, TimesRomanCirilica, TimesRomanCirilicaBoldItalic, TimesCirilicaBoldItalic, UnicornCirilica. They can be downloaded at the site of the Serbian Orthodox Church. Some are also here. [Google] [More]  ⦿

    Dino dos Santos

    [MyFonts] [More]  ⦿

    DJR Type
    [David Jonathan Ross]

    DJR Type (was Lowell, MA, and now is in Los Angeles, CA) stands for David Jonathan Ross Type.

    His fonts include Lavinia and Manicotti (an ultra reversed-stress Western-look display face that won an award at Modern Cyrillic 2014), an untitled French Clarendon and and untitled semi-serif. Originally from Los Angeles, he was a student at Hampshire College in Amherst, MA, where he studied information design and typographic tradition. The fat Egyptian typeface DJR Manicotti (Western saloon style) won an award at TDC2 2007 (for a free lookalike, see Plagiacotti (2009, Saberrider)).

    In 2006 he was working on this semi-serif font (2006), as well as Climax Text (2006). Climax is a text and display series that was designed for Hampshire's student newspaper.

    After graduation, he joined Font Bureau as a junior designer and is currently assisting with custom projects and expanding Font Bureau's retail library. In 2009, he published Trilby (Font Bureau), based on 19th century French Clarendon of wood type fame.

    His 2010 project at Font Bureau was his biggest yet--a 60-style art deco family called Condor.

    Turnip (2012) is an angular and manly text face, also published at Font Bureau.

    In 2013, Ross revived Nebiolo's Forma for the redesign of Hong Kong Tatler, a fashion mag, supervised and commissioned by Roger Black, now based in Hong Kong. Read about the whole process in this piece by Indra Kupferschmid. Bungee (2013) won an award at TDC 2014.

    In 2014, David Jonathan Ross created the formidable 168-style programming font family Input (Font Bureau). Input is free for private use. It won an award at Modern Cyrillic 2014.

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

    Dmitri Lavrow

    Born in 1961 in Leningrad, Dmitri designed Hardcase at FontShop. He also made Hannover Milennial (sans; at Die Gestalten) and HardCase-Striped (free font at Die Gestalten).

    Friom 2007-2008, he cooperated with Carrois Type Design in the development of a Latin / Cyrillic angular grotesk typeface for the Russian Railways. [Google] [MyFonts] [More]  ⦿

    Dmitrij Greshnev
    [Green Type]

    [MyFonts] [More]  ⦿

    Dmitriy Aladkin

    Nizhniy Novgorod, Russia-based illustrator and designer. Creator in 2012 of the Cyrillic typeface FEDR, and of MephodiyD (old slavonic). He also made Prut (2012) and Favor (2012). [Google] [More]  ⦿

    Dmitriy Chirkov

    Dmitriy Chrirkov (or: D.C. Store) created the brush typeface Dreamboat (2015). [Google] [More]  ⦿

    Dmitriy Ivanov

    Creator of Franzisk (2001, with Ivan Arbatskiy). [Google] [More]  ⦿

    Dmitriy Konovalov

    Russian designer of these typefaces: Prokofe (elegant display face), eleQtronique (LED simulation). [Google] [More]  ⦿

    Dmitriy Shchetinskiy

    Russian type designer who made the calligraphic greetings typeface Gala 72 (2012) and Congratulatory (2010: Latin and Cyrillic) and the curly psychedelic all-caps typeface Lemonchello (2011). More greetings typefaces were added in 2015: Congratulatory 2.0, Congratulatory Happy Birthday, Congrats 36, Congratulatory New Year And Christmas, Congratulatory Womens Day. [Google] [MyFonts] [More]  ⦿

    Dmitriy Terskov

    Russian designer of Killer's Sketchbook (2010, hand-printed Latin font). He also made the octagonal display typeface Counterstrike (2010) and the grunge faces Invaders Must Die (2010) and Draff (2010).

    Dafont link. [Google] [More]  ⦿

    Dmitry Akindinov

    [More]  ⦿

    Dmitry Bag
    [Dmitry Savin]

    [MyFonts] [More]  ⦿

    Dmitry Bargatin

    Lipetsk, Russia-based creator of Cherty Rezy (2014), a Cyrillic typeface based on Slavic runes found when he was researching the pre-Christian Slavic literature. [Google] [More]  ⦿

    Dmitry Bazhanov

    Russian type and book designer, 1902-1945 or 1946. His characters were made into alphabets in 1961 by Mihail Grigorevich Rovenskiy, who called the type family Bazhanov. [Google] [More]  ⦿

    Dmitry Busarev

    Vector artist in St. Petersburg, Russia. Creator of the hand-printed (Latin) outline typeface Mirvoshar Stroked (2010).

    Dafont link. [Google] [More]  ⦿

    Dmitry Dervenjov

    Russian designer with Nikolay Dubina of the Runic font series (2001). See also here. [Google] [More]  ⦿

    Dmitry Fisher

    Dmitry Fisher (Fisher Design, Minsk, Belarus) is the creator of the hipster font family Freak Show (2014, free at Dafont: Latin and Cyrillic). Dafont link. [Google] [More]  ⦿

    Dmitry Fisher

    Art director in Minsk, Belarus, who created many geometric designs, including an experimental typeface for Latin and Cyrillic called Sang Bleu (2013, free download). Behance link. [Google] [More]  ⦿

    Dmitry Goloub

    Russian typefoundry, 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.

    Behance link. Creative Market link. [Google] [MyFonts] [More]  ⦿

    Dmitry Kachanov

    Designer of the Latin/Cyrillic book family simply called Freedom Typeface (2010) while he was a student at the British Higher School of Art and Design in Moscow. [Google] [More]  ⦿

    Dmitry Kinzerskyi

    Designer from Vladivostok who created the modular octagonal typeface Pacific Strong (2014, Latin and Cyrillic). Behance link. [Google] [More]  ⦿

    Dmitry Kirsanov

    Type designer Dmitry Kirsanov (b. Orenburg, Russia, 1965) graduated from the Orenburg Art School in 1987. He worked freelance for Yuzhnyi Ural publishing company in Orenburg. After attending the Moscow State University of Printing (1996), he joined its Department of Print Design in 1997 as an instructor of typographic design and computer graphics. From 1996 on he worked at ParaGraph International, designing typefaces. Since April 1998 Kirsanov works for ParaType. His page has essays on the history of serif and sans serif, and on font matching. Would be great for an introductory course. He designed a Cyrillic version of ITC Bodoni 72 (2000, called PT ITC Bodoni, Paratype) and ITC Bodoni 72 Swash (2001). PT Mas d'Azil (Paratype, 2002) and PT Mas d'Azil Symbols are prehistoric lettering and pictorial fonrs based on images discovered in a prehistoric cave of Mas-d'Azil, France. He created Magistral (1997, based on a clean look sans display typeface of Andrey Kryukov), Venetian 301 (2003, Paratype; a Cyrillic version of Bitstream's Venetian 301, which in turn was based on Bruce Rogers' Centaur, which in turn goes back to the 1470s alphabets of Nicolas Jenson), News Gothic (2005, a Cyrillic family based on the perennial News Gothic sans family), and Mag Mixer (2005, an industrial-look mechanical typeface based on Magistral).

    His talk at ATypI 2008 in St. Petersburg is on the first didones in Russia.

    Picture. Paratype page. FontShop link. Klingspor link.

    View Dmitry Kirsanov's typefaces. [Google] [MyFonts] [More]  ⦿

    Dmitry Komissarov

    Russian type designer who produced many cyrillizations of Western fonts. He was associated with the TeamAxis collection and later with ParaGraph. Creations include PigraphBTT and OrnamentTT (1994), QuantAntiquaCTT (1994), ArtSans, CourtierC, KarinaC, KursivC, TenseC (all 1994, TeamAxis), Izhitsa (1992, ParaGraph), KabelCTT-Medium. [Google] [More]  ⦿

    Dmitry Manoshin

    Designer of the Cyrillic font LirussTYPGRA (1994), which can be found here. [Google] [More]  ⦿

    Dmitry Morozhnikov

    Aka dmiceman, Dmitry Morozhnikov is the designer of the free Latin/Cyrillic font DMScript (2008). [Google] [More]  ⦿

    Dmitry N. Barsukov

    Poltava, Ukraine-based designer (b. 1983) of the free Latin / Cyrillic font B20 Sans (2013), which is designed for short text blocks. In 2014, he made the free Latin / Cyrillic slab serif typeface Acca, the free Latin / Cyrillic text typefaces Ahellya and Fowviel, and the text typeface Kraskario.

    Dafont link. [Google] [More]  ⦿

    Dmitry Rastvortsev

    Ukrainian type designer (b. 1977, Buryn) who graduated from Sumy State University in 1999. Since 2002, he creates digital fonts. He works at Dancor advertising in Sumy, Ukraine, since 1997.

    He received a TypeArt 05 award for the display family DR Galushki (and DR Galushki Hole, 2011), which was designed for children's books. Other creations: LQ Wow and LQ Anisett (2010, fpr women's magazine LQ), LQ Didot (2011, also for LQ), Dekapot (grunge), Gomorrah (2013), Usquaebach (2013), Kinescope (2013), Goshen (2013), Rhode Black (2014), UT Magazine (2014), Madmix (2014, for Esquire), Variety Square (2015), DR Agu (comic book face), DR Agu Sans (2013), DR Trafaret (army stencil face), DR Vixi, DR UkrGotika Sans, DR UkrGotika Serif.

    In 2014, Gayaneh Bagdasaryan and Dmitry Rastvortsev created the Latin / Cyrillic sans typeface family Brutal Type (Brownfox) that is genetically linked to DIN.

    His funny DR Krokodila won an award at Paratype K2009.

    In 2014, Dmitry Rastvortsev, Lukyan Turetsky, and Henadij Zarechnjuk cooperated on the design of the free Latin / Cyrillic handwriting typeface Kobzar KS, which is based on the handwriting of Taras Shnvchenko, a famous Ukrainian poet, artist and philosopher.

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

    Dmitry Rodionoff

    Moscow-based graphic designer and photographer. During his studies at the British Higher School of Design in Moscow, he created the Latin/Cyrillic packaging script typeface Convienta (2013), the psychedelic typeface Jimmi Hendrix (2013), and the blackletter poluustav hybrid typeface Frakstav (2013, Latin and Cyrillic). Behance link. [Google] [More]  ⦿

    Dmitry Savin
    [Dmitry Bag]

    Russian designer in Arzamas (b. 1987) of the free Latin / Cyrillic typeface Juste (2012). Other Latin / Cyrillic typefaces from 2012 include Doux, Font Pont, Firma, Polina, Even (elliptical), Provincial, Jazzy (sans), Frank (curly), Palaver (serifed), Firma, JWH (a didone family), Katomka, and Rustaud.

    In 2013, he published Pont (a slab serif typeface) and Woodburn (a Cyrillic constructivist typeface).

    Dafont link. Behance link. Fontspace link. Aka Dima Bag or Dmitry Bag. [Google] [MyFonts] [More]  ⦿

    Dmitry Taranov

    Rostov-based Russian designer of Ludmila023 (2003, sans serif) and Modern Usual Pixel Edit (2003).

    Creator at FontStruct in 2009 of Lexip (pixel face) and 8080 (a stencil typeface for Latin and Cyrillic). [Google] [More]  ⦿

    Dmitry Yu. Bolkhovityanov

    [More]  ⦿

    Dmitry Yu. Bolkhovityanov

    Cyrillic fonts for UNIX and Linux. Special attention paid to X11. [Google] [More]  ⦿

    Dmytro Iarynch
    [Huh Type Foundry]

    [MyFonts] [More]  ⦿

    Double Alex Team
    [Alexei Chekulayev]

    Cyrillic type outfit, whose fonts were mostly designed by Alexey Chekulaev in the mid 1990s as extensions of Latin fonts. Double Alex stands for Alexey Gunin and Alexey Chekulaev. The list of fonts, all in Cyrillic and many in Latin as well:

    • Decorative: Angelica (1996), Apostol, Arabskij (1993, Arabic simulation typeface based on an artwork of designer Oleg Snarsky), ArtScript, Blagovest (a series of Old Slavonic types), BorjomiDecor, CalipsoCyrillic, CalligraphRuss, Camerton, CooperDAT, CoventryCyr, Demosfen, Drops, E2, E4, Electronica, ElectronicaS, Eskiz, 1, Eskiz, 2, FavoritTraf, Finist, Hitman, Inicial, Italiansky, Jokey, Josephine, KeyFont, Kisty, Manuscript, Mistica, Mobul, Nelma, Ottisk, Petrovsky, PresentDAT, Radius, Repriza, SansDecor, Strob, SuvenirRus, TabloFont, Triline, Verbena, Vodevile.
    • Sans serif: Acsioma (1996), AcsiomaNext, Apical (1995, based on Agfa Aurora; Apical Bold is identical to Bitstream's Aurora Bold Condensed; for another version, see Castcraft's OPTI-Aurora Grotesk No. 9), Bastion, BastionKontrast (1992; codesigned with Alexey Gunin, and based on Helvetica), Blits, Block A, Block B, Bloknot, CyberCyr, Ecyr, Eurofont, Favorit, Favorit, Condensed, Freestyle, Kekur, Mania, MetRonom, Normalize, Orenburg, PaperGothic, Pinta, Plastica, Positiv, Pravda, Priamoj, PriamojProp, Regina, Rostislav, Rotonda, Rubrica, Sistemnyj, TornadoCyr.
    • Serif: Adamant, Alliance (1995, based on Berkeley Old Style by Frederic W. Goudy, 1938), APCCourier, APCGaramond, BaskervilleDAT, Bodoni Cyrillic (1970), Borjomi, ClassicRuss, Coliseum, DietDido (2006, published by Paratype in 2014 as DietDidot), Egypetskij, Grand, Grenader, Ideal, Jargon, Laguna, Latinskij, Legenda, Madrigal, Metropol, Shakula (1996, a heavy slab serif by Alexey Chekulaev, based on Monotype's Rockwell), Surpriz (1993, by Alexey Chekulaev, based on ITC Souvenir by Benguiat), Talisman, Vacansia.
    • Special: Interfont, Plumb.
    Alexei Chekulayev is the Russian designer of Rubrica (1996, Double Alex Font Studio), Angelica (1996, Double Alex Font Studio), Acsioma (1996, Double Alex Font Studio) and Alliance (1995, Double Alex Font Studio, a Cyrillic version of Goudy's Berkeley Oldstyle). He worked on these Linotype families: Univers, Sabon, Wiesbaden Swing, Stencil (1997, after the 1937 original by Gerry Powell), San Marco, and Bariton (1997: a great poster typeface).

    In 2014, he designed these typefaces at Paratype: Suvenir Rus (inspired by (psychedelic) artwork of Grigory Klikushin), Demosfen (Greek simulation font).

    Linotype link. Klingspor link. Another MyFonts link. Paratype link.

    View Alexey Chekulayev's typefaces. [Google] [MyFonts] [More]  ⦿

    Doulos SIL

    Doulos SIL is derived from the earlier SIL Doulos font, released in 1992 by the Summer Institute of Linguistics. It is provided for free. The goal of Doulos was to provide a single Unicode-based font family that would contain a comprehensive inventory of glyphs needed for almost any Roman- or Cyrillic-based writing system, whether used for phonetic or orthographic needs. In addition, there is provision for other characters and symbols useful to linguists. Doulos SIL is very similar to Times/Times New Roman, but only has a single face: Regular. It was developed in 2006 by Walt Agee, Miriam Martin, Annie Olsen, Victor Gaultney, Lorna Priest, Alan Ward, Bob Hallissy, Martin Hosken, Sharon Correll, Jon Coblentz and Jonathan Kew. [Google] [More]  ⦿

    DP StudioArt Compiler

    Russian foundry. In 2008, they produced these Old Slavonic typefaces: Archimandrite, Arhimandrite 2, Kalinov_Most, Moscowit-Capital, Moscowit, Nikodym, Pelagy, Pelagy_SG, Plyusnin, Serebro, Uglich. [Google] [More]  ⦿

    Dr. Emil Hersak

    Croatian designer from Zagreb (b. 1957) who created the Glagolitic faces GlagolicaUnicode (1998) and Staroslavenski unicode (1998). These fonts can be found here and here. [Google] [More]  ⦿

    Dr. Gia Bokuchava

    TbilisiCaps, TbilisiText Georgian fonts by Daniel J. Kai/XenoType Technologies (Truetype), plus some Cyrillic fonts, Windows and Mac. At Dr. Gia Bokuchava's site. [Google] [More]  ⦿

    Dr. Nikolaos Trunte

    Slavic language specialist at the University of Bonn, who discusses the fonts for Cyrillic, Old Cyrillic and Glagolitic. [Google] [More]  ⦿

    Dragan Pesic

    Dragan Pesic's foundry, Pesic, is located in Kraljevo, Serbia. Dragan created the grungy typeface Missing Stone (2013) and the lava lamp typeface Owl (2013). These typefaces cover both Latin and Cyrillic.

    In 2014, he created the flared lapidary typeface Epigraph, the grungy typeface Macalature, the sans typeface Tact (a techno / Wall Street sans), Tact Slab, and the techno sans typeface Big Bang. [Google] [MyFonts] [More]  ⦿

    DS Progress

    From Moscow's D-Studio, Nikolay Dubina's shareware decoration Cyrillic font. Mirror. [Google] [More]  ⦿

    D-Studio (Moscow)
    [Nikolay Dubina]

    DStudio, or Design Studio, is run by Nikolay Dubina, a prolific type designer. He is also a graphic designer, book designer and journalistic writer. He also runs the educational web site ProDTP. Their original Latin/Cyrillic fonts are of the highest quality, and include: Werewolf (2003), Werewolf NU (2003), DS Cosmo, DS Yermak, DS Eraser, DS Showbill, DS Poster Pen, DS Progress, DS Podd Cyr, DS Down Cyr, DS Comedy Cyr, DS Japan Cyr, DS Standart Cyr, DS Zombie Cyr, NewDeli, Stylo, Scrawl, the wonderful DS Nadejda, and DS OlymPix (2001, a pixel font), DPix8Pt (2003, pixel font), DS-Diploma-Bold, DS-Diploma, DSArmyCyr, DSBroadBrush, DS Brushess, DSComedyCyrBold, DSCyrillic, DSDiploma-Bold-Outline-DBL, DSDiplomaArt-Bold, DSDownCyr, DSEraserCyr, DS Initials (ornamental caps), DSJapanCyr--Normal, DSKolovrat, DSMechanicalBold, DSMotterHo, DSMotterStyle, DS Nova Black, DSPixelCyr, DSPoddCyrLight, DS Poster, DSPosterPen, DSProgress-SemiBold, DSRada, DSRussiaDemo, DSSharper, DS Sholom (Hebrew simulation), DSStain, DSStampCyr, DSStandartCyr, DSUstavHand, DSVTCoronaCyr, DSZombieCyr, InavelTetkaCyr, NadejdaBold, NewDeli (great display font!), Scrawl, SeedsCyr-Medium, Stylo-Bold.

    Direct access. More direct access. Some fonts are here. DS Century (2000).

    Dafont link where one can find DS Goose, DS Motter, DS Arabic and DS Stamper. Old URL. Abstract Fonts link. [Google] [More]  ⦿

    [Dino dos Santos]

    Established in 1994, dstype used to offer free fonts but has gone commercial now. It is run by Dino dos Santos (b. 1971, Oporto) from Oporto, Portugal. He graduated in Graphic Design at ESAD, Matosinhos. He received a Masters degree in Multimedia Arts at FBAUP, Porto. MyFonts place. In 2006 he won the Creative Review Type Design Competition in the Revival/Extension Family. At ATypI 2006 in Lisbon, he spoke about Portuguese lettering since 1700. Interview in 2007. Pic. Klingspor link. Dino created these typefaces:

    • Access (1997).
    • Acta, Acta Display and Acta Poster (2011, +Poster swashes). A didone fashion mag family. First designed for Chilean newspaper La Tercera in 2010, DSType's Acta family is a clean information design type system. It includes Acta Symbols, an extensive dingbat family.
    • Acto (2012). Acto is a type system designed as the sans serif counterpart of the previous released Acta. Both type families were designed in 2010 for the redesign of the Chilean newspaper La Tercera.
    • Andrade Pro (a modern) and Andrade Script Pro: based on the calligraphy of Andrade de Figueiredo, ca. 1722.
    • Anubis (2003): a unicase face.
    • Aparo (2013). A plumpish elegant high-contrast script face.
    • Apud and Apud Display (2010): a high-contrast serif family.
    • Aquila (2004).
    • Boldina (2004). A fat informal poster family with 18 weights and styles.
    • Braga (2011, Dino dos Santos and Pedro Leal). This is a layered font design family. Dino writes: Braga is an exuberant baroque typeface, named after a portuguese city, also known as the baroque capital of Portugal. Our latest typographic extravaganza comes with a multitude of fonts designed to work like layers, allowing to insert color, lines, gradients, patterns, baroque, floral swashes, and many other graphic elements. Starting with Braga Base, you can add any of the twenty-three available styles, to create colourful typographic designs.
    • A type system from 2014: Breve News, Breve Display, Breve Slab Title, Breve Sans Title, Breve Title, Breve Slab Text, Breve Sans Text, Breve Text. The Breve system includes modern design elements in the skeleton and ball terminals, transional elements, almost wedge-serifs in the serifed styles. As with most of dos Santos's typefaces, even the sans and slab styles exhibit Latin warmth and exuberance.
    • Capsa (2008): a family that was inspired by, but is not a revival of the Claude Lamesle types Gros Romain Ordinaire and Saint Augustin Gros Oeil.
    • Ception (2001): a futuristic sans family.
    • Cultura, and its improved version Cultura New (2013), a text book typeface family.
    • Decline (1996).
    • Dione (2003): a sans; redone in 2009 as Dobra at TypeTrust. See also Dobra Slab (2009).
    • Esta (2004-2005): extensive (transitional) text and newsprint family.
    • Estilo (2005): a gorgeous and simple art deco-ish geometric headline face. This was accompanied by Estilo Script (2006), Estilo Text (2007, a 6-style rounded sans family), and later, Estilo Pro (2010, +Hairline).
    • Ezzo: a sans family.
    • Factor (1997).
    • Finura (2009): this typeface has hints of University Roman.
    • Firme (2014). A geometric sans for corporate use.
    • Fragma (2003): squarish techno family.
    • Girga (+Italic, +Engraved, +Banner, +Stencil) is a strong black Egyptian family designed in 2012 together with Pedro Leal at DS Type.
    • Glosa (2008): Glosa is a meaty multi-style didone family. Glosa Text and Glosa Headline all followed a bit later in 2008, and Glosa Display in 2009.
    • Hades (2012). A yummy and free blackletter typeface.
    • Hypergrid (2002): octagonal.
    • Ines (2015). A calssi 7-style text typeface.
    • Kartago (2005): based on Roman inscriptions from Cartago.
    • Large (1999) and Large Pro (2006).
    • Leitura, Leitura Headline, Leitura News, Leitura Sans, Leitura Symbols, Leitura Display (2007): this 31 styles were all made in 2007.
    • Maga (2012). A text family.
    • Methodo (2005): calligraphic penman faces.
    • Missiva (2004).
    • Monox and Monox Serif (1998-2000): a monospaced family.
    • Musee (2006): a transitional family with ornaments and borders.
    • Nerva (2004). A subdued Trajan typeface with flaring.
    • Nyte (2012). A serifed text family.
    • Otite (1995).
    • Outside (1996): grunge.
    • Plexes (2003). See also Plexes Pro (2006).
    • Pluma (2005): a series of three exquisite calligraphic flowing scripts called PlumaPrimeyra, PlumaSegunda and PlumaTerceyra). Inspired by the typographic work of Manuel de Andrade de Figueiredo that was published in 1722: "Nova Escola para Aprender a Ler, Escrever e Contar, offerecida a Augusta Magestade do Senhor Dom Jao V, Rey de Portugal".
    • Poesis (1999).
    • Prelo (2008): A sans family for magazines, it has styles that include Hairline, Hairline Italic, Extra Light, Extra Light Italic, Light, Light Italic, Book, Book Italic, Medium, Medium Italic, Semi Bold, Semi Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Black, Black Italic, Slab and Prelo Condensed.
    • Priva Pro (2006): a sans family that includes Greek and Cyrillic).
    • Prumo (2011-2012). A 92-font family oroginally created for the redesign of the Argentinian newspaper La Nacion. Released to the public in 2013, it covers low and high contrasts, and has slab serif styles as well as Scotch Roman styles. So, it is more a type system or type collection than one single typeface: Prumo Banner, Prumo Deck, Prumo Display, Prumo Poster, Prumo Slab, Prumo Text.
    • Quadricula (1998).
    • Quaestor and Quaestor Sans (2004). Roman inscriptional faces.
    • Resea (2004) and Resea Consensed: Bank Gothic style faces.
    • Solido (2012) is a versatile type system with five widths: Solido, Solido Constricted, Solido Condensed, Solido Compressed and Solido Compact. In total there are 35 fonts. Codesigned with Pedro Leal.
    • Synuosa (1999): an experimental typeface showing only the top half of the characters.
    • Terminal (1996).
    • Titan and Titan Text (2003).
    • User (2012), User Upright (2012), and User Stencil (2012). Monospace type families.
    • Velino (2010): an extensive family including Velino Text, Velino, Velino Condensed, Velino Compressed, Velino Poster, Velino Sans, Velino Sans Condensed, Velino Display (+Compressed Display, +Condensed Display). This didone superfamily is sure to win a ton of awards.
    • Ventura (2006): based on the calligraphy of Portuguese calligrapher Joaquim José Ventura da Silva, ca. 1802, who wrote Regras methodicas para se aprender a escrever os caracteres das letras Ingleza, Portugueza, Aldina, Romana, Gotica-Italica e Gotica-Germanica in 1820. It had a "Portuguese Script". Do not confuse Ventura with Dieter Steffmann's font by the same name made many years earlier. Ventura won an award at TDC2 2008).
    • Volupia (2005): a connected advertising face.

    View Dino dos Santos's typefaces. DS Type's typeface library. [Google] [MyFonts] [More]  ⦿

    DTC (Digital Typeface Company)

    DTC (Digital Typeface Company, est. 1999, closed in 2004) was a Hungarian outfit founded and run by printer-typographer Attila Derecskei that developed and sells OpenType, truetype and Type 1 fonts on CDs or via downloads for just about every platform. One of their products was called ProFonts Library. An earlier name of the company was ScanDer Ltd, established by Derecskei in 1993. Other typographers at ScanDer included Leslie Egerer and Cathy Saufert. They said: "2500 TrueType&PostScript font for Windows 3.1x / 95 / 98 / Me / NT / 2000 / XP / OS2 / Linux / MacOs with Unicode. Some fonts with Cyrillic, Greek and Hebrew characters. Special pack is the PixelFonts Library for Flash. Developed by Digital Typeface Co. USA. Managed by Jon Stern." MyFonts link. [Google] [MyFonts] [More]  ⦿

    Dubina Nikolay
    [Intertype Studio]

    [More]  ⦿


    4MB worth of Cyrillic fonts in about 5 files. [Google] [More]  ⦿

    Dukom Design

    Design studio in Nis, Serbia. Their Latin / Cyrillic typeface Minaid (2014) is advertized as a strong masculine typeface suitable for sports and logo design. I think that it is quite appropriate for the signage in gulags. Partin (2014, FontStruct) is a free basketball typeface. Constantine (2014) is a roman caps typeface for Latin and Cyrillic. Constantine Bold and Outline (2014) are free.

    Behance link. Dafont link. Fontspace link. [Google] [More]  ⦿

    Duran Duran

    Small font archive. [Google] [More]  ⦿

    Dusan Jelesijevic

    Serbian graphic designer located in Gornji Milanovac, Serbia. Cofounder in 2009 with Slobodan Jelesijevic, his father, of the Serbian foundry Tour de Force. Creator of these typefaces:

    • Dusan Script (2009, Ascender: a monoline informal hand-printed script).
    • Artvod (2009, slabby and octagonal at the same time).
    • Qiltray (2009, handwriting for long texts).
    • Punkerro Crust (2009, delicious scratchy type).
    • Rough the Type (2009, blackboard style).
    • Shuma (2009, handwriting).
    • Dolina Script (2010).
    • Econs (2010, ecology dingbats).
    • Sensor (2010, an ink-trap monoline face).
    • Enforcer (2010, an elliptical headline sans).
    • Epruveta (2009).
    • Passage (2010, a great art deco family, including Initials and Borders).
    • Amanet (2011). A flared display face.
    • Osmacka azbukovica (2011). A Cyrillic font made by his kids in school.
    • The clean-cut semi-humanist sans family Centim (2011).
    • The Egyptian faces Saxophone Soprano and Saxophone Baritone.
    • Debelly (2011), one of the best faces to come out of Tour de Force. They say about this elegant fat poster face: Debelly is catchy fat typeface, with lovely geometric shapes. Inspired with contrast strokes, with square joins, Debelly gives an impression of retro style combined with contemporary trends. It is designed specially for packaging, posters, logotypes or headlines, even it can be pretty handfull in smaller sizes. Contains 375 glyphs.
    • Epitet (2011). A simple monoline family built around elegant elliptical shapes.
    • Refren (2012): A monoline script face.
    • Equator (2012): An avant-garde caps headline family.
    • Brisko Sans (2013). A straightforward sans family. Extended to Brisko Display (2012).
    • A day before Serbia was crushed by the Belgian soccer team, Dusan published the organic sans typeface Publio (2013).
    • Kamenica (2013). A display sans.
    • Nervatica (2013). A children's book font.
    • Lasta (2013) is an informal serif typeface advertized as poetic.
    • Selektor (2013). A geometrical almost techno sans family. This was followed by Selektor Slab (2013).
    • Bartender (2013). A copperplate typeface.
    • Lumier (2013). An all caps geometric sans family inspired by art deco posters from the interwar period. Followed by Lumier Texture.
    • Scholle (2014). A bouncy two-style inline family with cartoonish elements.
    • Hedon and Hedon Display (2014). A hedonistic sans that exhibits the sort of contrast one finds in inscriptional types.
    • Lumberjack (2014). A bouncy fat cartoon typeface. Not to be confused with Thiago Bellotti's Lumberjack (2013, Mushroom Type), it was renamed 24 hours after its first appearance to Lumberjacky.
    • Trampoline (2014). A funky typeface.
    • Dondolare (2014). A primitive hand-drawn typeface.
    • Balcon (2014) and Balcon Round (2014, a condensed rounded sans).
    • Scripton (2015). An urban wall brush type.

    Behance link. MyFonts link. His most popular typefaces showcased. Fontspring link. Klingspor link. View Dusan Jelesijevic's typefaces. [Google] [MyFonts] [More]  ⦿

    Dusko Joksimovic

    [MyFonts] [More]  ⦿

    Dzianis Serabrakou
    [Denis Serebryakov]

    Denis Serebryakov's Design studio in Minsk, Belarus creates logotypes and identity based on original lettering and own production fonts. Appetite (2011) is a black upright script family. It was followed by Appetite Contrast (2012) and the italic version, Appetite New (2012), the sketched version, Appetite Sketch (2013), and Appetite Rounded (2014).

    Myster (2012) is a random font in which each glyph has three alternatives. General (2012) is an elegant casual sans family. Germes (2012) is a grotesk family with some contrast and with some reverse serifs added sparingly. Germes Sans (2012) is the sans version.

    Statut (2012) is an elegant thin typeface that is based on calligraphic work by Belarusian artist Pavel Semchenko.

    Oldsman No. 1 (2012) is a fashion mag typeface.

    Displace (2013, +Displace Cut) is a sans typeface drawn with a tilted nib. Ultratype (2013) is an angular typeface designed for Ultralab.

    Typefaces from 2014: Bouquet (a fat brushy script, with Cyrillic).

    Typefaces from 2015: Ultratype Beta.

    Behance link. Home page. MyFonts link for Denis Serebryakov. [Google] [MyFonts] [More]  ⦿


    In 1999, this company produced a number of fonts that combine Latin with other languages such as Cyrillic, Greek, Turkish and Arabic. Download here. [Google] [More]  ⦿

    Edik Ghabuzyan

    Head of the Department of Creating and Keeping Armenian fonts of the National Book Chamber in Yerevan, Armenia. Edik Ghabuzyan 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), GHEA Dvin (2014), GHEA Tatevik Display (art deco), GHEA Kamar (geometric avant garde sans), GHEA Katil (a plump display typeface realted to the modern fat faces), GHEA Narek Serif. Most of his fonts cover Latin, Greek, Cyrillic and Armenian.

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

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

    Edward Detyna
    [Electronic Font Foundry]

    [More]  ⦿

    Eesti Keele Instituut

    Phonetic font archive in Estonia with the RusEE family [RusEEBold, RusEEBoldItalic, RusEEItalic, RusEE, RusEERItalic, RusEER] (Monotype, 1992, a Microsoft core font), Venelane (Cyrillic), VenelaneTrans (Latin), Fone (Corel), and the Phonetic Times family (Monotype, 1992) [PhoneticTimesC, PhoneticTimesCBold, PhoneticTimesCBoldItalic, PhoneticTimesCItalic, PhoneticTimesEMS, PhoneticTimesEMSBold, PhoneticTimesEMSBoldItalic, PhoneticTimesEMSItalic, PhoneticTimesIMSK, PhoneticTimesIMSKBold, PhoneticTimesIMSKItalic, PhoneticTimesIMSKBoldItalic, PhoneticTimesISBoldItalic, PhoneticTimesS, PhoneticTimesSBold, PhoneticTimesSBoldItalic, PhoneticTimesSItalic, PhoneticTimesSL, PhoneticTimesSLBold, PhoneticTimesSLBoldItalic, PhoneticTimesSLItalic, PhoneticTimesV, PhoneticTimesVBold, PhoneticTimesVBoldItalic, PhoneticTimesVItalic]. Site maintained by Indrik Hein. Some of the weights of Phonetic Times are by Esko Oja (Türnpu 11-3, Tallinn EE0001, Estonia) for the Institute of Estonian Language (Roosikrantsi 6, Tallinn). [Google] [More]  ⦿

    EFI Home Page (Educational Fontware)

    Sells handwriting-fonts designed to exactly replicate many educational handwriting styles. In particular, they have these:

    • D'Nealian: DN Cursive and DN Manuscript.
    • Zaner-Bloser: ZB Manuscript, ZB Cursive, OZ Manuscript, OZ Cursive.
    • A Beka: AB Cursive and AB Manuscript, based on the style shown in workbooks developed by A Beka Book, Inc.
    • Bob Jones University: CCU Cursive and CCU Manuscript, ugly fonts based on materials copyrighted by Bob Jones University.
    • DKL Cursive and DKR Cursive, patterned after the handwriting methods in the workbooks Cursive Writing Skills (Educators Publishing Service, Inc, 31 Smith Place, Cambridge, MA), by Diana Hanbury King.
    • Frank Schaffer: FS Classic, FS Contemporary, and FS Manuscript, developed using materials copyrighted by Frank Schaffer Publishing.
    • Getty-Dubay Italic: GDI Basic, GDI Combined, and GDI Cursive, a handwriting method developed by Barbara M. Getty and Inga S. Dubay at Portland State University, Continuing Education Press. EFI worked with Getty and Dubay to develop its GDI fonts.
    • Handwriting Without Tears: HWT Cursive and HWT Manuscript, pretty upright cursives and a hairline geometric sans. Handwriting Without Tears is a registered trademarked of Jan Z. Olsen.
    • Harcourt Brace: HB Cursive and HB Manuscript.
    • Loops and Groups: LG Cursive, based on the handwriting samples in the copyrighted Instructor's Manual Loops and Other Groups---A Kinesthetic Writing System by Mary Benbow.
    • McDougal, Littell: McD Cursive and McD Manuscript, based on materials copyrighted by McDougal, Littell&Company.
    • Palmer: Palmer Manuscript (simple hairline sans), Vintage Palmer and New Palmer, which include several variations of the cursive handwriting style that constitute the Palmer Method. Vintage Palmer is based on a 1923 workbook, and New Palmer on a 1987 workbook.
    • Pentime: PT Cursive and PT Manuscript, developed for use by the Amish communities, through workbooks rather than directly with computers. The fonts were created for JKL Services, who use the fonts to produce handwriting materials for the Amish community.
    • Peterson Directed Handwriting: PM Cursive, PM Block, and PM Slant.
    • Queensland: QM Cursive and QBA Manuscript, based on samples from workbooks by Horowitz Martin Education.
    • Russian: RU Cursive and Manuscript families (9 fonts) for Cyrillic.
    • Seattle School District: SSD Cursive and SSD Printscript, based on handwriting samples and methods developed by Patricia Heller and Elaine M. Aoki for the Seattle Public Schools. samples were found in a 1993 K-5 handwriting manual called Write It Right (Seattle Public Schools).
    • Steck Vaughn: SV Cursive and SV Manuscript, developed using materials copyrighted by Steck Vaughn Company.
    • Specialty Fonts: four Ball-and-stick and Dashes fonts, Braille 24 and Braille 24 Hollow, Clocks, EFI Count Dots on Numbers, EFI Direct Instruction, EFI Music Symbols, Emo-faces, Fingerletters (for American Sign Language), Lettersound Pictures, Morse Code, Phonetics Phont, POSTNET-16.
    [Google] [More]  ⦿

    Egor Suvorov

    Belarussian typographer and type designer. His typefaces include Slim (2010) and Kvadrocircle (2010, an angular Latin/Cyrillic typeface done while studying with Ilya Ruderman). [Google] [More]  ⦿

    Eimantas Paskonis

    Eimantas Paskonis is a type designer from Vilnius, Lithuania, who graduated from Vilnius College of Technology and Design. He created the fat didone typeface Magnola (2011). At the end of 2011, Magnola was renamed Magnel. It has 865 glyphs and about 200 ligatures, swashes and diacritics.

    He is working on a poster typeface called Kelmas.

    Hazelnut Pro (2012) is a beautiful high-contrast rounded poster family. It seems to be a renamed version of Kelmas.

    Typefaces from 2013 include the titling sans family Neris. Some free weights of Neris.

    Cargocollective link. Old Cargocollective link. Klingspor link. Behance link. [Google] [MyFonts] [More]  ⦿

    Ekaterina Anenko

    Designer of the Latin/Cyrillic text superfamily Fregata (2010) while she was a student at the British Higher School of Art and Design in Moscow. Pic. Promotional samples of Fregata (serif and sans, regular and bold, Latin and Cyrillic) while we are waiting for the awards to roll in: i, ii, iii, iv, v, vi, vii, viii, ix, x, xi, xii, xiii, xiv, xv, xvi, xvii, xviii. [Google] [More]  ⦿

    Ekaterina Borg

    Moscow-based art director and illustrator who has made some typographic illustrations between 2008 and 2013. Behance link. [Google] [More]  ⦿

    Ekaterina Dune

    Russian designer of a modular octagonal typeface in 2015. [Google] [More]  ⦿

    Ekaterina Fokicheva

    Moscow-based creator of some experimental typefaces, including the Cyrillic art deco typeface Type 02 (2014) and Cherry Type (2014). [Google] [More]  ⦿

    Ekaterina Grigorova

    During her studies at The Britsh Higher School of Art and Design in Moscow, Ekaterina created the Castle typeface (2013). [Google] [More]  ⦿

    Ekaterina Maslova

    Russian type designer, b. St. Petersburg, 1978. She entered the St. Petersburg State Academy of Arts and Design in 2000. Her typefaces include Cube, India, Daiga and Messo. She received a TypeArt 05 award for the display family Daiga, which was created on the basis of the poluustav handwriting published in the 17th century in the collection of hagiographies for Avvakum and Epifany. [Google] [More]  ⦿

    Ekaterina Pulenko

    Russian designer at Paratype of the ink-splatter script typeface Dew Cyrillic (2009). [Google] [More]  ⦿

    Ekaterina Sheleveister

    Based in Saint Petersburg, Russia, Ekaterina Sheleveister created an unnamed Latin / Cyrillic Victorian script typeface in 2013. [Google] [More]  ⦿

    Ekaterina Vinogradova

    Moscow-based designer of a number of experimental Latin or Cyrillic typefaces in 2014. These include Kukuruza (pixel font), and Wardrobe. [Google] [More]  ⦿

    Ekaterina Vorobieva

    Designer of the Latin/Cyrillic slab serif Provinciale (2009). [Google] [More]  ⦿

    Ekaterina Zhurkina

    Moscow-based designer who created Squareline (2014), a monoline compass-and-ruler typeface with a squarish techno look. She used Russian symbols, patterns and shapes in her initial caps typeface Russian Font (2014). [Google] [More]  ⦿

    Ekatherina Galuyan

    Or Katya Galuyan. Russian type designer. She created the fat brush typeface Shaltai (2008, Paratype). Klingspor link. [Google] [MyFonts] [More]  ⦿


    A discussion of Russian typography books. In Russian. [Google] [More]  ⦿

    Electronic Font Foundry
    [Edward Detyna]

    The Electronic Font Foundry (EFF) in Ascot, Berkshire, UK, sold most classical fonts at about 15 dollars per weight, and made custom fonts. Established in 1984, the foundry had 1300 fonts by 2012.

    The font designer and owner was Edward Detyna, who died in March 2014. People are reporting to me that the fonts are in limbo, and that Detyna's family is not replying to requests for information.

    On July 4, 2002, Apostrophe wrote this: I'm currently having a difficult time trying to predict the past of EFF LondonA, EFF Liz, EFF Eric and EFF Formal, to name a few. I have a feeling that these folks just happen to be twins with entities that are currently across the Atlantic from them, namely Adobe Garamond, Cooper Black, Gill Sans and Copperplate Gothic. A friend of Detyna's writes this: When I met him at least twenty years ago, Edward and his associates had a font design studio based in Ascot, near London. He is a mathematician/statistician turned typographer, and was really on top of type design at the time. There are academic articles published on mathematical subjects on the internet. He's an old man now, but still a very smart guy. When he started, with fonts for Acorn RISC-OS (now defunct, but leading-edge British computer of mid-eighties to -nineties), he had very advanced and sophisticated algorithms for anti-aliasing and hinting, and his hand-hinting is still better than almost any other fonts I have used for screen work. He still sells fonts and adapts to user requirements promptly. I recently asked him to adjust the hinting on a font and he turns it around in a day.

    Closed captioning fonts for TV, made according to the EIA 708-B specifications, include EFF Sans Serif CC, EFF Serif CC, EFF Sans Serif Mono CC, EFF Serif Mono CC, EFF Casual CC, EFF Script CC, EFF Small Caps CC.

    EFF also has fonts for Vietnamese, Greek, Hebrew, and Cyrillic.

    EFF Primary is a large family of educational fonts.

    EFF Utamaru is an oriental simulation font. [Google] [More]  ⦿

    Elena Albertoni
    [Anatole Type Foundry]

    [MyFonts] [More]  ⦿

    Elena Alexandrovna Trofimova

    Russian type designer, b. 1943, Moscow. [Google] [More]  ⦿

    Elena Alexeeva

    Russian designer of Sapiens, a hand-crafted typeface that won an award at Modern Cyrillic 2014. [Google] [More]  ⦿

    Elena Balakhnova

    Graphic designer in Shenzhen, China. ArtMy (2010) is an ornamental art nouveau typeface that was based on letters hand-drawn by herself. [Google] [More]  ⦿

    Elena Byzova

    Elena Byzova (Saint Petersburg, Russia) created some Treefrog-style Latin typefaces in 2012. [Google] [More]  ⦿

    Elena Genova
    [My Creative Land]

    [MyFonts] [More]  ⦿

    Elena Kolesnikova

    Russian type designer. She received a TypeArt 05 award for the display family Calm Hour. In 2009, Paratype published Quiet Time (Latin & Cyrillic). Klingspor link. [Google] [More]  ⦿

    Elena Kowalski
    [Glen Jan]

    [MyFonts] [More]  ⦿

    Elena Novoselova

    Born in Ioshkar-oila in 1984, Elena Novoselova graduated from the Moscow State University of Printing Arts in 2006. Currently, she designs type at Art Lebedev Studio, where she made ALS Dereza (2010, a grotesk comic book style typeface for children's books), ALS Mezzo (2009, a flared sans), ALS Heino (2008, a decorative typeface with two styles that was inspired by a piece of lettering in an old magazine), ALS Klementina (2011, a calligraphic cursive typeface based on brush pen handwriting), ALS Bingsley (2012, a wonderful transitional text face), and ALS Mirta (2007), a mild slab serif family that is easy on the eye.

    MyFonts interview.

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

    Elena Saharova

    Elena Saharova (Altaisk, Russia) is a graphic designer. She created a cyrillicized version of Nexa Bold in 2013. [Google] [More]  ⦿

    Elena Tzaregorodtseva

    Russian type designer who designed

    • Baskerville (1961, at Polygraphmash). See here for the URW+ version of this family.
    • The sans family TextBook (1958, at Polygraphmash). This was digitized at Paratype in 2008 (Isabella Chaeva and Emma Zakharova).
    • Paratype Journal Book (first designed at the Polygraphmash type foundry in 1951-53 by Lev Malanov and Elena Tzaregorodceva, based on the typeface Excelsior (1931, Mergenthaler Linotype, Chauncey H. Griffith); digital version at Paratype, 1994).
    • Schoolbook (1949-1961, Polygraphmash; based on Shkolnaya (school) typeface (1939, project manager Evgeny Chernevsky), which in turn was a version of Century Schoolbook of American Type Founders (1915-1923, Morris F. Benton). URW writes: The low-contrast text typeface of the Ionic-Legibility group, it is designed expressly for schoolbooks and children books. The digital version by Paratype is from 1996.
    URW has Latin, East European and Cyrillic versions of all these faces, TextBook excepted.

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

    Eleni Beveratou

    Graduate of the University of Reading in 2011. Originally from Greece, Eleni's graduation typeface was Intone (2011), which was specially created for Latin and Greek texts.

    During TipoBrda 2010, she created the contrast-rich display sans typeface Untitled.

    At Fontsmith, she published FS Olivia (2012), an angular text family for Latin Greek and Cyrillic. [Google] [More]  ⦿

    Elizaveta Matveeva

    Based in Saint Petersburg, Russia, Elizaveta Matveeva created an unnamed Cyrillic display typeface in 2013. [Google] [More]  ⦿

    Elnara Elizabeth Browers

    American type designer, b. 1984, Baku, Azerbaijan. She earned a degree in International Law from Western University in Baku, Azerbaijan and paralegal certificate from the National Paralegal College in Arizona. In 2010, she created the ink-stained handprinting font Jeyran together with Michael Jason Browers. [Google] [MyFonts] [More]  ⦿


    Company that made Cyrillic versions of six fonts used by Nike: Knockout 94 Ultimate Sumo Cyrillic, Acropolis Black Cyrillic, Agency FB Black Wide Cyrillic, Knockout 29 Junior Lightweight Cyrillic, Knockout 69 Full Lightweight Cyrillic. [Google] [More]  ⦿

    Elvira Slysh

    Designer at ParaGraph of PT Ornament (1992), Numerals (1992, letters in circles), PiGraph A (1992, arrows), PiGraph B (1992, dingbats), PT ITC Studio Script (1994, a Cyrillic extension of Pat Hickson's ITC Studio Script, 1990), Corrida (1989, based on Helmut Matheis' Slogan, 1959), Astron (1991), after a design Gonzales Jeanette by Francisco Gonzales (Photo Lettering Inc). She also made a Cyrillic version of Renner's Futura Black, called Futura Eugenia (1987, Polygraphmash), as well as Parsek (ParaGraph, 1990), based on Brush Script (ATF, 1942, Robert E. Smith).

    FontShop link. Paratype link. [Google] [MyFonts] [More]  ⦿

    Elvis Mehmedovic

    Croatian designer of PX Glagolitic 01, a freeware pixel font for glagolitic script. Regalar and bold versions are available. Recommended usage size is 8pt. He also made the great free pixel family PX Sans Nouveaux (2008), about which he writes: Sans nouveaux is designed for the malcontents. [...] Sans nouveaux is serious business. Dafont link. [Google] [More]  ⦿

    Emil Karl Bertell

    [MyFonts] [More]  ⦿

    Emil Yakupov

    Head honcho at ParaGraph Int. and cofounder (in 1998) and director of ParaType in Moscow. Emil Yakupov lived in Russia and died in Moscow in 2014. At ATypI 2008 in St. Petersburg, he spoke about truetype hinting.

    Adam Twardoch wrote this a day after emil's death on February 25, 2014: Emil Yakupov has passed away. His heart stopped after his regular sports exercise. He was 56.

    Together with Vladimir Yefimov (who had died almost exactly two years ago), Emil co-founded ParaType in 1998, a company that not only revolutionized the Cyrillic typeface world but was instrumental in building a bridge between the Russian typographic culture and the rest of the world. More than anybody else, Emil was the architect and tireless upholder of that bridge. Under Emil, ParaType has published hundreds of original Cyrillic typefaces and digital revivals of classic Russian and Soviet typeface designs.

    But perhaps more importantly, it was Emil who has created vital business relationships with Bitstream, ITC, Linotype, Monotype, FontShop and many other font foundries. As a result of this relationship, numerous major Western font families have received high-quality Cyrillic companions, and were introduced to millions of users in Russia. It was Emil, Vladimir and the rest of the ParaType team who have greatly contributed to the transformation of the visual culture in the Cyrillic-writing world.

    Emil was also instrumental in introducing me to Russia. I first met him at the ATypI 1998 conference in Lyon. He gave me the ParaType font catalog, which to me was a revelation. After browsing it, I "got" Cyrillic. I understood how it works, and fell in love in it. I would later spend hours looking at the catalog, and the ParaType fonts.

    At the same conference, I also met Yuri Yarmola, now my co-conspirator at Fontlab Ltd., and a friend of Emil's. Looking at the photo from Lyon 1998, I'm now surprised how little Emil changed over the last 16 years. When I last saw him in Amsterdam five months ago, he had the same energy.

    Emil has introduced me to other Russian type designers. I visited the ParaType offices in Moscow a few times, and was always met with great hospitality. At all the type conferences over the years, I always sat down with Emil, and we talked---about typography mostly, but also about family.

    Emil was a quiet, wise, kind and incredibly modest man equipped with a cheeky smile and subtle dry wit. He put tremendous personal efforts into publications created by ParaType and events organized by his company---these efforts were always about culture rather than pure business. [Google] [More]  ⦿

    Emma Zakharova

    Russian type and graphic designer. She worked for VNII Polygraphmash as a type designer. Later, she worked as a type designer for ParaGraph. Her oeuvre includes

    • Tip Times (with Gennady Baryshnikov).
    • TextBook (1987). Italic and Latin sets added to the 1958 Polygraphmash typeface of Yelena Tzaregorodtseva.
    • TextBook New (2007-2008, Isabella Chaeva, ParaType) is based on Bukvarnaya (TextBook) photocomposing version designed in 1987 by Emma Zakharova. The initial Bukvarnaya for metal composition was created at Polygraphmash in 1958 by Elena Tsaregorodtseva specifically for first level school textbooks.
    • Mysl. Designed at the Polygraphmash type design bureau in 1986 by Isay Slutsker, Svetlana Yermolaeva and Emma Zakharova. It was based on the Polytizdatkaya type family (1966 Vera Chiminova), which in turn was inspired by the typefaces of Garamond. The family was initially developed for Mysl Publishers, Moscow, for text matter. Available now as ParaType Mysl in both Latin and Cyrillic versions, and also sold by URW. MyslNarrow (1992-1996, Intermicro, with Svetlana Yermolayeva and Isay Slutsker).
    • PT ITC Flora (1993). Co-designed with Vladimir Yefimov. She did the Cyrillization.

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

    Empty Page Studio
    [Lukasz Kulakowski]

    Lukasz Kulakowski, a Polish graphic designer in Dublin and Baile Atha Cliath, Ireland, created the free typeface Mosaic Leaf (2011), which was inspired by Akzidenz Grotesk typeface. In 2012, he published Orbits (a prismatic multiline face, done with Zbyszek Czapnik).

    Typefaces from 2013 include the free display typeface Rhubarb Display Font (a condensed art deco sans caps family for Latin and Cyrillic done with Zbyszek Czapnik). In 2014, he created the tweetware font Christmas Time.

    Emptypage Studio is presently located in New York City. [Google] [More]  ⦿


    A 24MB rar file with hundreds of Cyrillic truetype fonts. [Google] [More]  ⦿

    ER Univers
    [Gavin Helf]

    ER UniversIF2 and ER UniversIV2 are a pair of Cyrillic typefaces originally designed by Gavin Helf in 1994. Subsequent modifications were by Curt Ford (1998) and Ken Petersen (1998). [Google] [More]  ⦿

    [Michael Sharpe]

    Erewhon (nowhere) is a transitional font based largely on Andrey V. Panov's Heuristica, but with so many changes that Michael Sharpe, its designer at UCSD in San Diego, decided in 2014 to offer it as an enhanced alternative. Heuristica (2008-2012) extended the Utopia font family made available by the TEX Users Group, adding many accented glyphs, Cyrillic glyphs, ligatures, superior and oldstyle fixed-width figures in all styles. Erewhon has 1398 characters and is free at CTAN. [Google] [More]  ⦿

    Eric Wannin
    [Quartet Systems]

    [More]  ⦿

    Erik Spiekermann

    German type designer and graphic designer par excellence, born in 1947 in Stadthagen. He set up MetaDesign in Berlin in 1979. In 1988 he set up FontShop, home of the FontFont collection. He holds an honorary professorship at the Academy of Arts in Bremen, is board member of ATypI and the German Design Council, and president of the ISTD (International Society of Typographic Designers). In July 2000, Erik left MetaDesign Berlin. He now lives and works in Berlin, London and San Francisco, designing publications, complex design systems and more typefaces. He collaborated on the publication of the comprehensive FontBook. Author of Stop Stealing Sheep & Find Out How Type Works (2nd Edition) (Adobe Press, Second Edition, 2002, First Edition, 1993). He taught typography at the Art Academy in Bremen, and is guest-lecturer at several schools around the world.

    In October 2003, he received the third Gerrit Noordzij Prize, which is given every other year to a designer who has played an important role in the field of type design and typography. It is an initiative of the postgraduate course in Type&Media at the Hague Royal Academy of Art with the Meermanno Museum (The Hague).

    His essay on information design.

    Biography. Bio at Linotype. Laudatio by John Walters of Eye Magazine. Blog.

    Presentation at ATypI 2006 in Lisbon. Presentation at ATypI 2008 in St. Petersburg. Interviewed in 2006 by Rob Forbes. Speaker at ATypI 2010 in Dublin.

    He made the following typefaces and type families:

    • Lo-Type (1913, Louis Oppenheim) was digitally adapted by Spiekermann for Berthold in 1979-1980. BERTLib sells it as Adlon Serif ST.
    • PT 55 (1986), the precursor of FF Meta.
    • Berthold Block
    • Berliner Grotesk (1979-1980, Berthold): based on an old Berthold AG typeface from 1923.
    • FF Govan
    • The huge families FF Meta1, FF Meta2, FF Meta3 (2003), FF Meta Condensed (1998) and FFMetaCorrespondence. The FF Meta families (1985) were originally designed for Bundespost, which did not use it--it stayed with Helvetica for a while and now uses Frutiger. Meta comes with CE, Cyrillic, Greek and Turkish sets as well. Weights like Meta Light (Thin, Hairline) Greek are available too. Spiekermann is a bit upset that Linotype's Textra (2002, a typeface by Jochen Schuss and Jörg Herz) looks like a cloned of Meta. FF Meta Condensed won an award at Modern Cyrillic 2014.
    • Meta Serif (2007) by Christian Schwartz, Kris Sowersby and Erik Spiekermann, promised for May 2007. Kris Sowersby will also help, but the 2007 deadline seems to have been optimistic.
    • ITC Officina in versions Sans Book (1989-1990) and Serif Book (1989-1990).
    • Boehringer Sans and Antiqua (1996): custom types.
    • Grid, which appeared in FUSE 3.
    • Codesigner with Ole Schaefer (FontShop, 2000) of FF InfoDisplay and FF InfoText in 1997 and of FF InfoOffice in 2000.
    • NokiaSans and NokiaSerif (2002, company identity family). This was in cooperation with Jelle Bosma. Before Nokia Sans and Serif, Nokia used Rotis. Nokia Sans and Serif were replaced by Nokia Pure (Bruno Maag) in 2011.
    • Glasgow Type (1999), for the city of Glasgow, taking inspiration from the Rennie Macintosh types.
    • Heidelberg Gothic (1999).
    • Symantec Sans and Serif (2003): custom types.
    • FF Unit (2003-2004; see also here), another sans family, which won an award at TDC2 2004. This was followed by FF Unit Rounded. And FF Unit Rounded started according to Erik as Gravis, the largest Apple dealer in Germany. FF Unit Slab (2009) is the product of a cooperation between Kris Sowersby, Christian Schwartz, and Erik Spiekermann.
    • ITC Officina Display (2001).
    • FF Meta Thin Light and Hairline (2003) and FF Meta Headline (2005).
    • Bosch Sans and Bosch Serif (2004).
    • The SeatMeta family (2003) for Seat.
    • DB Type in six styles (Serif, Sans, Head, Condensed, Compressed, News): designed in 2005 in collaboration with Christian Schwartz for the Deutsche Bahn (train system in Germany). Some typohiles say that it reminds them of Bell Gothic and Vesta.
    • A Volkswagen company family based on a correction of Futura.
    • The DWR House Numbers Series (2006): four fonts with numerals for house numbers: Contemporary House Numbers, Tech House Numbers, Classic House Numbers (based on Bodoni), Industrial House Numbers (stencil). DWR stands for Design Within Reach.
    • Tech (2008, FontStruct), a rounded squarish headline face.
    • Axel (2009): developed jointly with Erik van Blokland and Ralph du Carrois, it is a system font with these features:
      • Similar letters and numbers are clearly distinguishable (l, i, I, 1, 7; 0, O; e, c #).
      • Increased contrast between regular and bold.
      • High legibility on the monitor via Clear Type support.
      • Seems to outperform Courier New, Verdana, Lucida Sans, Georgia, Arial and Calibri, according to their tests (although I would rank Calibri at or above Axel for many criteria).
    • In 2012-2013, Ralph du Carrois and Erik Spiekermann co-designed Fira Sans and Fira Mono for Firefox / Mozilla. This typeface is free for everyone. Google Web Font link. It is specially designed for small screens, and seems to do a good job at that. I am not a particular fan of a g with an aerodynamic wing and the bipolar l of Fira Mono, though. Mozilla download page. Google Web Fonts download page.
    • In 2013-204, Erik created HWT Artz, a wood type published in digital form by P22, which is based on early 20th century European poster lettering. Named after Dave Artz, a Hamilton Manufacturing retiree and master type trimmer, the proceeds of the sales will go to the Hamilton Wood Type and Printing Museum.

    Picture of Eric Spiekermann shot by Chris Lozos at Typo SF in 2012.

    FontShop link.

    View Erik Spiekermann's typefaces. [Google] [MyFonts] [More]  ⦿

    ERK Democratic Party

    Free Uzbek Cyrillic fonts: AardvarkUzbNormal, AcademyUzb, RusTimesNormal, RusTimesNormalItalic. The latter two fonts are by Ishtar Software (1993). [Google] [More]  ⦿

    Erken Kagarov

    Designer of the op art font Opticum at Paratype in 2009. Klingspor link. Fontshiop link. [Google] [More]  ⦿


    Erté (Romain de Tirtoff) was a well-known art deco era artist. Born in St. Petersburg, Russia in 1892, he died in 1990 in Paris. In 1912, Erté moved to Paris. In 1915, he began an association with Harper's Bazaar by designing covers of each of their magazines for the next 22 years. He became known for elegant lithographs and sculptures for the fashion industry. On these pages, you find an elegant set of capitals and numerals in which the glyphs are formed by elegantly drawn naked women.

    Wikipedia. [Google] [More]  ⦿

    Esa Anttikoski
    [Minority languages of Russia on the Net]

    [More]  ⦿


    Arial and Times Cyrillic families (truetype). [Google] [More]  ⦿


    Designer in 2008 at FontStruct of Queen Mab CE, which was cloned from Ben Hamm's Queen Mab. [Google] [More]  ⦿

    ETH Productions

    Fontstructor who made Dot Serif (2012), fs Gold (2012, kitchen tile face) and Kidnapper (2012, dot matrix face).

    In 2013, he added fs Slyte, fs Kingsletter (blackletter), fs Gardenia, fs Accordion, fs Badminton (+Mono), fs Lollipop Script, fs Monopixel (Serif, Regular), fs Sphinx, fs Quotable, fs Recalibur, fs Informe 04, FS Typewriter (a huge font that covers Latin and Cyrillic), FS Uno (monospaced), Menora, Excalibur, Cirplex (a circular font), 5x5 Monopixel, Medievia, fs Tahoma 8px, Standard Serif, Zapphire Round (kitchen tile face), fs Smilies, fs Gridded (+lc), fs Midnight Gambler, fs Semiserif Mono, fs Almostencil, fs Glass (textured face), fs Will I Am Not, fs Magnifique (a connected script), fs Karmina, fs Kursiv, fs Handwritten, fs Markitaraz, fs Neon, fs Himali (a connect-the-dots typeface), fs Fontstruct, fs Phille (kitchen tile font), fs Phoneta, fs Curves, fs Wizdom, fs Handwritten, fs Sly Small, fs Quark, Williomnot, fs Sanstruct, fs Direction (arrowed letters).

    Typefaces from 2014: FS Score 3D, FS Vincent, FS Vandyx, FS Wizdom, FS Dot Serif, FS Handwritten, FS Lost (a labyrinthine font for Latin and Cyrillic that won an award in the 2014 FontStruct InLine Font Competition). Other typefaces from 2014 include FS Cookie, FS Cookie Clean, FS Pentagale, FS Gardenia, FS Monopixel Regular, FS Shattern (glaz krak face), FS Zeblin, FS Intrepid (labyrinthine). [Google] [More]  ⦿

    Eugen Divjak

    Croatian designer from Zagreb of the Glagolitic font Krcka glagoljska kurziva (2002, also called Kr*ka notarska *kola), a glagolitic quickscript from the island of Krk. This typeface can be found here and here. [Google] [More]  ⦿

    Eugen Sudak
    [WDC Fonts]

    [MyFonts] [More]  ⦿

    Eugene Moklyak

    A designer in Moscow who created a hairline Cyrillic didone typeface called Apple (2011). In 2006, he graduated from the Faculty of Design and Fashion. [Google] [More]  ⦿

    Eugene Shestopalov

    Khabarovsk, Russia-based designer of the ornamental typeface NRG (2013). [Google] [More]  ⦿

    Eugene Yukechev

    Designer of the Latin/Cyrillic text family Kafka (2010) while he was a student at the British Higher School of Art and Design in Moscow. Kafka (Sans, Serif) was intended for intellectual magazines. Scans of Kafka: i, ii, iii, iv, v, vi, vii, viii, ix. [Google] [More]  ⦿


    Russian foundry. A sampling of its fonts: AvantiBoldItalic, AvantiBold, AvantiItalic, BreezeBold, Breeze, Breeze, CourierETBoldOblique, CourierETBold, CourierETOblique, CourierET, DomkratBoldItalic, DomkratBold, DomkratItalic, DomkratNormal, Domkrat, Eurotype, KaliakraNormal, Kaliakra, Kaliakra, KarinaBlackItalic, KarinaBlack, KarinaBoldItalic, KarinaBold, KarinaItalic, Karina, VetrenBold, Vetren. [Google] [More]  ⦿

    EversonMono for MacOs

    Free Mac fonts in the EversonMono series for CSX, Celtic, Croatian, Cyrillic, Esperanto, Gaelic, Georgian, Greek, Icelandic, Inuktitut, Ogham, Romanian, Sami, and Turkish. [Google] [More]  ⦿

    Every Witch Way
    [D. Paul Alecsandri]

    D. Paul Alecsandri designed the runic fonts Futharc (2001), NewSymbolFont (2000) and Samaritan (2001). We also find the rather complete Unicode truetype font Roman-Unicode (2001), which cover all European, Arabic, Hebrew, Greek, Cyrillic, Thai and Indic languages, and provide kana as well (but not kanji). All parts of unicode covered. See also here.

    Samaritan (2001) deals with a pre-Samaritan or pre-Babylonian Hebrew.

    Originally designed for linguistics, the free typeface Chrysanthi Unicode (2001) contains all Unicode Latin characters (including Basic Latin, Latin 1 Supplement, Latin Extended A&B, IPA, and Latin Extended Additional) as well as Greek, Cyrillic, Hebrew, and everal others.

    Fontspace link. [Google] [More]  ⦿

    Evgeni Chernevski

    Russian type designer who designed Schoolbook in 1939, a Cyrillic extension of Morris F. Benton's design (ATF, 1915-1923). [Google] [More]  ⦿

    Evgeniia Plenkina

    Moscow-based creator of Modular Typeface (2014). [Google] [More]  ⦿

    Evgenij Dobrovinskii

    [More]  ⦿

    Evgeniy Agasyanc

    Izhevsk, Russia-based designer of a brush pen set of numerals in 2015. Behance link. [Google] [More]  ⦿

    Evgeniy Baranov

    Ukrainian designer of the dot matrix font (Latin/Cyrillic) Matricha (1999). [Google] [More]  ⦿

    Evgeniy Beluha

    Russian type designer. This scan of a Duerer-style alphabet with compass and ruler was found on a slide prepared by Victor Kharyk for a talk Victor was going to give at ATypI 2009 in Mexico City (but didn't because he could not pass through transit in the USA due to the office of Homeland Insecurity). [Google] [More]  ⦿

    Evgeniy Tarasenko

    Russian FontStructor who made the ultra black counterless typeface Blot (2011). Home page. He also made nice Transport pictograms (2011). [Google] [More]  ⦿

    Evgeniy Voronin

    Saint Petersburg, Russia-based creator of the ink splatter typeface P1 for Latin (2013). [Google] [More]  ⦿

    Evgeniya Savenkova

    Graphic design student at the British Higher School of Art and Design in Moscow. During her studies, she created the fat comic book style Cyrillic typeface called Dancing (2012). Earlier, in 2009, she created the ornamental Latin caps typeface Masked Ball Font.

    Behance link. [Google] [More]  ⦿

    Evgeny Bulash
    [Design Station]

    [More]  ⦿

    Evgeny Domnikov

    [More]  ⦿

    Evgeny Filippov

    Moscow-based designer of the Latin / Cyrillic text typeface Amsterdam (2012). [Google] [More]  ⦿

    Evgeny Koroletov

    Russian FontStructor, aka WHAT, who created the severe octagonal typefaces FCZL and HeadHole in 2012. [Google] [More]  ⦿

    Evgeny Laskovy

    Moscow-based designer with Michael Puzakov of 12 pt Stencil (2012), a Latin and Cyrillic stencil typeface that was created on commission for 12pt Design Studio.

    Behance link. [Google] [More]  ⦿

    Evgeny Sadko

    Russian type designer. At ParaType, he cyrillicized Baker Signet (Arthur Baker in 1965 for Visual Graphic Corporation; first digitized in the Bitstream library) in 2008. [Google] [More]  ⦿

    Evgeny Tkhorzhevsky
    [Robot Smith]

    Based in Vladivostok, calligrapher Evgeny Tkhorzhevsky (Robot Smith, or ET Lettering Studio) created Braxton (2013, a brush script published by Fontfabric---one style is free), and Construct (2012, a constructivist experiment with geometric solids).

    In 2014, he created the semi-connected vintage signage script (or marker script) typeface Suzee FY (Fontyou), the creamy script Kumiz FY (with Gia Tran, Fontyou), which is a renamed version of Maio FY (with Gia Tran, at FontYou).

    Another alias is Robot Smith.

    Behance link. Behance link for ET Lettering Studio. [Google] [MyFonts] [More]  ⦿

    Evgeny Zotov

    Russian designer of the elegant Latin / Cyrillic script faces Elza (2012, a revamping of Elzevir), and Cheldon (2010) and of a cyrillized version of Walbaum. Zotov lives in Krasnoyarsk. In 2014, he designed the signage / packaging font Label Food.

    Behance link. [Google] [More]  ⦿

    exe Ltd

    Slovak IT company, est. 1990. It is a vendor for Monotype fonts, among other things. It also sells Central and Eastern European fonts developed under license from Bitstream. Some of their typefaces are sold on a CD called Fontotéka. [Google] [More]  ⦿

    Extending Cyrillic

    Article by Adobe's Thomas Phinney on how to tackle extensions of Cyrillic in future Adobe releases (in line with the Unicode specs), in the hope of covering these languages as well (population numbers in parentheses): Abaza (45K), Adyghian (300K), Avar (600K), Buryat (440K), Chechen (1M), Dungan (50K), Ingush (230K), Kabardian (650K), Kalmyk (160K), Kara-Kalpak (200K), Kazakh (8M), Kyrgyz (1.5M), Lakh (145K), Lezgi (400K), Mongolian (5M), Tabasaran (100K), Tajik (4.4M), Tatar (7M), Turkmen (6.4M), Tuvan (200K), Uzbek (16.5M). [Google] [More]  ⦿

    [Frank Béla]

    Frank Béla (b. 1978, Orosháza, Hungary) is a graphic design student at Krea Art School in Budapest who uses the pseudonym Fabergraph. Home page. Blog. In 2010, he started out commercially as Faberfonts. Dafont link. Behance link. Klingspor link.

    He created the ink trap font Portrait Of A Lady (2009), FR Irisz (2009, didone family), Pontifex (2009), the hand-printed Munkácsy 1120 (2009), the unicase Reka Sans (2009), the thick-thin Azur (2009), the simple sans Babyface (2009), the medieval sorcery font Elmulas (2009), the Valentine;s Day font Sapet (2009), the avant garde sans family Hopper Sans (2009) and the ultra-fat typeface Rendezvous (2009). Callimachos (2009) is a fun triple-lined hand-printed headline typeface (with a Cyrillic version added in). Azur Title Font (2009) is a hairline slabbed typewriter type. Pasta Simpla (2009, followed by FR Pasta Mono in 2010) is another experimental jewel. Hobbista (2009) mixes symbols and glyphs. FR Rama Nous (2009) is a free modular font. In 2009, he also made Arrow, Enamel Paint Type, Belonging (Roman caps).

    Commercial fonts made in 2010: FR Unalom, FR Sniccer (stencil), FR Ceruza, FR Minta (a dingbat typeface to make labyrinthine patterns; +Two), FR Tabula (beveled face), FR Smaragdina, FR Mintry One and Two (pattern fonts), and a custom alphabet for Esquire Russia, FR Hopper (monoline sans family).

    Activity in 2011: A didone-inspired typeface called MFA Dagi that was was commissioned for a catalog of an exhibition at The Museum of Fine Arts (Budapest, Hungary). [Google] [MyFonts] [More]  ⦿

    Fabio Luiz Haag
    [Foco Design (or: ByType)]

    [MyFonts] [More]  ⦿

    Faik Schakirdshanovich Tagirov

    Russian type designer, b. 1906. Faces include Operativnash Targova (1966), Gurmukhi Narodnash (1968), Bhilai Targova (1965) and Akzidentnash Targova (1971). [Google] [More]  ⦿

    Fanny Branger

    During her studies at ECV in Bordeaux, Fanny Branger created the display typeface Cyrillique (2014). [Google] [More]  ⦿

    Far PluGRinG Site

    Russian page. Download various Latin/Cyrillic bitmap files, typically in ".fon" format. These include families by Vladislav Kornienko (Terminal Font Cyr, 2001), Oleg Melnikov (OS-2 warp Font 8x18, 2003), Alexander Abrosov (Terminal Fonts, 2003), Sergey Dindikov (Console Font, 2002), Igor Palkin (Terminal Fonts Belarus, 2001), and Alex Pakhotin (DOS Terminal Font, 1999). It has one Latin/Cyrillic truetype typewriter face, Sourier New (based on, or identical to Courier New). [Google] [More]  ⦿

    Favete Art
    [Olga Zakharova]

    Moscow-based designer of the pleasingly rough brush typeface Bronks Script (2015). [Google] [More]  ⦿

    FDI (was: Schriftgestaltung)
    [Georg Seifert]

    Georg Seifert (Schriftgestaltung) is a Bitterfeld-Wolfen and/or Jena, Germany-based designer. Photograph. He was a student at the Bauhaus University Weimar and runs Schriftgestaltung.de (Leipzig; now FDI or fonts dot info in Jena) with Ralf Hermann.

    Schriftgestaltung's fonts include Olive Green Mono and Rosa Stencil. All others are FDI fonts:

    • Agendia (Ralf Hermann).
    • Olive Green Mono (2006, Georg Seifert). A monospaced typeface designed for his own use in email and programming code.
    • Graublau Sans (2005, Georg Seifert), GrauBlau Sans Kursiv. Has a Cyrillic style. The design of Graublau Sans Pro (20 styles with over 1000 glyphs each) took Georg Seifert over 5 years. Graublau Sans Web is free, but Graublau Sans Pro (2008) is not. Follwed in 2012 by Graublau Slab.
    • Logotypia (2004, Ralf Hermann).
    • Tagesschrift (2005, Jan Gerner).
    • Neue Fraktur.
    • Rosa Stencil (2008, Georg Seifert). A calligraphic stencil.
    • OliveGreen (2008, Georg Seifert). This includes Greek and Cyrillic.
    • Pen (2006, Georg Seifert). A handwriting font.
    • Azuro (2011, a 4-style screen family developed by Georg Seifert and fine-tuned by Jens Kutilek). Images: i, ii, iii, iv.

    At ATypI 2009 in Mexico City, he introduced his (free) font editor Glyphs to the world. Speaker at ATypI 2013 in Amsterdam.

    Klingspor link. Behance link. Older German URL. [Google] [MyFonts] [More]  ⦿

    Fedor Balashov

    Designer (aka Opex) who used FontStruct in 2008 to create the faces font Wooster together with Alexei Vanyashin and Kate Semenova. He runs 110design in Moscow. [Google] [More]  ⦿

    Fedor Saveliev

    Russian designer of the 3d outline typeface Leshy (2003, with Olga Ryabinina at Paratype). Klingspor link. [Google] [MyFonts] [More]  ⦿

    Fedor Sorokin

    During his studies at the British Higher School of Art and Design in Moscow, Fedor Sorokin designed the modular Bauhaus stencil typeface Ründstük (2012) and Russian Dolls Font (2012).

    In 2013, he published the free typeface Bodonika, a fun dada font, the result of what if Helvetica f u c k s Bodoni? [Google] [More]  ⦿

    Felix I. Shor

    [More]  ⦿

    [Emil Karl Bertell]

    Fenotype, a Finnish typefoundry, has the original (often techno) designs of Emil Bertell (b. 1983, Helsinki) and his brother Erik Bertell and wife Kea Bertell. Emil has been studying graphic design at University of Art&Industrial Design in Helsinki since 2004. He designed most of his typefaces during 2001-2004, and works as a freelance illustrator. Behance link.

    Typefaces made in 2002: Disco (prismatic), Lakmus, Valimo, FUTU, Test1, Foton Torpedo, Cheaptype, Personal Computer, Copycut, Unicode 0024, HKI Metro, HKI NightLife, Digital Kauno, Fenotravels (dingbats), Tivoli, Kosmonaut, 10124, JouluFonttiFenotype, Testi, 1laitos, 1120, 0629 (2002, a kitchen tile font), 0927, 0210, FTdingsprevi, Fenotypedings#lego3, Genotype, NeoPangaia, NeoPangaia 2, Nipponblocks, Pectopah, Personalcomputer, Pouttu, Samarin (2002, athletic lettering), Unicode0024, URALphat, URALthin, URAL, URAL3d (all Latin/Cyrillic fonts with incomplete punctuation though), Automania (multiline), Copycut, Halo, 222_2003, Tantor, Letters, Rikos, Lastu, ThreeTheHardWay, Bukkake, Halo. Emil's brother Erik designed Neon (paperclip face), Mama and Mama Round (paperclip faces). In private email, he calls himself Carl. The foundry evolved from 2theleft.

    Fonts made in 2003: Military Dingbats, 08 02 03 Fenotype, Projectsfenotype, Rock-it.

    Fonts made in 2004: Scandinavian Titan white, Scandinavian Titan, Acid Test 2, Acid Test (texture faces), 080203, Letters11, Linja, Projects, Rock it, Simpletype. Commercial typefaces: Sapluuna, Shortcut, Transeuro-Express, Omega-Uros, Fenotype Dings, Military Dingbats, Nippon Noodle. Typefaces made in 2004: Kolari, Kolari Light, FTfaces, Twisted Ontogenesis. Alternate URL.

    In 2005: RoundAbout, Nihilist Philosophy, Boogie Monster, Chunky Hunk (Western), Diy Typeface (kitchen tile style), Futuretro (stencil-like), 3TheHardWayOverrun, Pedant Dilettante, FT Rosecube, FT Blockbuster, 3TheHardWayRMX, Adios Gringo (Western face), Helsingfurt (3d oil glow face), Cream Soda (liquid), Thashed Paper Bag, Big Medium.

    In 2006: Rock It Deluxe (grunge), Cassette (dingbats), Kings Garden (Japanese trees as dingbats).

    MyFonts link, opened in 2009, where one can buy 080203, 3 The Hard Way Overrun, 3 The Hard Way RMX, Adios Gringo, Depth Charge, FT Helsingfurt, FT Roundabout, FT Scandinavian Titan, FT Twisted Ontogenesis, Ice Cream Soda, Kings Garden, Kolari, Nihilist Philosophy, Old Note, Rock It, November Script, and Majestic Mishmash (ransom note caps), Digital Kauno (2002, upright script), 10.12, EB Vintage Future, Fenotype Dingbats, FT Forest, FT Funghis, FT Military Dingbats, FT Weapon of Choice, Motel Xenia, URAL, Valima.

    Additions in 2010: Linguine (connected script), FT Telegraph (slab serif), FT Brush, FT Industry Machine, FT Giorgio, Killer Elephant (signage), FT Supervisor (retro), FT Dead Mans Diary (scribbly), FT Grandpa Script (grunge calligraphy), FT Stamper (angular lettering), FT Tantor (fat, rounded), FT Bronson (fat display typeface with mustache dings thrown in), FT Master of Poster (bi-level display typeface with many ligatures and interlocking letters), FT Hidden Forest (tree dingbats), FT Mammoth (grotesque headline face), Rikos (futuristic), Squarendon Extra Bold (2010, a Clarendon), FT Moonshine Script (a Treefrog style face), Billboard (a hand-printed rounded caps family), EB Bellissimo Display (rounded monoline sans), Malamondo (an all caps display typeface with a large number of interlocking ligatures), Linja (2002 and 2010, a rounded ultra condensed family), Punavuori (2002 and 2010: a monoline sans family), Signor (2010, a rounded all caps family), Mrs. Lolita (connected script), Funghi Mania (mushroom dingbats), Funghi Mania Script, Darlington (very open upright connected script family), Archipelago (+Caps: an upright connected script), Tower (pieces that enable one to modularly construct towers when stacked; created as a school assignment at the University of Industrial Art&Design Helsinki in 2006), Monster (just as Tower but for monsters), Verna (informal face with ball terminals), Verner (2010, a connected script version of Verna), Verner (2010, a connected script version of Verna).

    Typefaces from 2011: Pepita Script (an upright connected script with small lachrymal terminals), Pepito (its nonconnected version), Barber (upright script family), Banzai Bros (a fat caps-only signage face), Mishka (an upright connected script with tear drop terminals).

    In 2012, he created Salamander Script, Taiga (connected upright script), Mercury Script (a set of upright connected script typefaces), Slim Tony (a bubblegum retro signage face) and Mercury Ornaments.

    Typefaces from 2013: No. Seven (a successful brushy signage or baseball script), Alek and Alek Ornaments (an upright signage script), Voyage (a vintage script), Barracuda Script (brushy signage face), Bonbon (signage script), Bonbon Ornaments, Scaramouche (a playful connected script).

    Typefaces from 2014: Larry (sturdy connected script), Silver (upright connected script), Powder Script, Peaches And Cream (creamy signage or baseball script), In and Out (a connected retro signage script), The Carpenter (a script family in the style of Mercury Script).

    Typefaces from 2015: Skipper (connected script), Frost (a signage typeface that is just right, a sure award winner), Monday (sign apinting typeface).

    Dafont link. Behance link. Creative Market link. MyFonts interview.

    View the Fenotype typeface library.

    View Emil Bertell's typefaces. [Google] [MyFonts] [More]  ⦿

    Ferdie Balderas

    Mexico City-based designer of the multilingual Le Hand hand-printed typeface, the sans display typeface Axima (2013, tweetware), the hand-printed typeface Engine, the hand-printed tweetware font L'Engineer, and the cartoonish futuristic font Neo Genesis in 2013.

    Typefaces from 2014: Silici (a tweetware marker pen font for Latn, Greek and Cyrillic).

    Behance link. Fontspring link. Devian Tart link. [Google] [More]  ⦿

    Filip Cvitic

    Creator of the beautiful font Epistula Croatica (2011), a Glagolitic face. [Google] [More]  ⦿

    Filip Popovic

    Belgrade, Serbia-based creator of the artsy multiline Latin/Cyrillicdisplay typeface Dome (2014). Behance link. [Google] [More]  ⦿

    Fingertip Software

    A PO Box company company in Universal City, TX, involved in multilingual computing. It offers some Cyrillic fonts in a decorative pack (Artisan, Brush Stroke, Graceful Script, Kids Hand, Mechanical Pen, Mechanical Pen Wide, Old Cyrillic, Showtime). Other fonts can be found on various archives: for example, see Timesse CE (1999). [Google] [More]  ⦿

    Fingertip Software

    Designers of Couriere Cyr (1996-1998). [Google] [More]  ⦿

    Fingertip Software

    Fonts and software for multilingual computing. From Universal City, TX, a commercial site covering most major languages, especially Cyrillic, East-European and Slavic languages. [Google] [More]  ⦿

    Fingertip Software (Windows--Mac)

    Fonts and utilities for Cyrillic, Central European, Latin, and Middle Eastern language support. [Google] [More]  ⦿

    Fiodor Sumkin

    Byelorussian illustrator who fled his country when he was 18 years old. He sold paintings in Moscow and now lives in Amsterdam. His drawings are straight out of the 19th century, ornamental and playful. He is also inspired by the psychedelic lettering of the 1960s. Discussion of his work by Coles. Typefaces, all made or drawn in 2006-2007: Rodopi, Fashion Condensed, Farringdon, Hopkins, Rondell (Western style face), Abramesque (ornamental caps), Mansard Trimmed (19th century emulation), Wedlock, Silverado, Shimmer Wide (cyrillic), Mona (extra-wide slab serif), Flirt Chloe (more 19th century ornamental glyphs), Jubilee (constructivist Cyrillic lettering), Big Cyrillic pixels (many great pixelized alphabets), Cuba, Gingerbread (Victorian), and St. Clair. Alternate URL. Check out his gorgeous country maps designed for the aeroflot in-flight magazine in 2008. [Google] [More]  ⦿

    Fishbone Crew

    Russian designer of Classic Amiga CLI Font v1.2 Amiga Topaz Unicode Rus (2010). [Google] [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]  ⦿

    Flanker (or: Studio di Lena)
    [Leonardo Di Lena]

    Flanker, or Studio Di Lena, is the foundry of Italian type designer Leonardo Di Lena (b. 1975, Rome). Initially, it offered fresh free designs of classics. In 2012, it went commercial. Their fonts, made beteen 1998 and 2009:

    The outfit was known as JFDooM Flanker's Fonts, between 2001 and 2004. The fonts then were slightly different. They included BodoniFlnk, BodoniFlnkCor, BodoniFlnkCorGrass, BodoniFlnkGas, CNRLineare, DidotFlnk, DidotFlnkCorsivo, DidotFlnkCorsivoGrassetto, DidotFlnkGrassetto, Emblema-della-Repubblica-Italiana, Frantisek, GaramondFlnkNormale, GaramondFlnkCorsivo, GaramondFlnkCorsivoGrassetto, GaramondFlnkGrassetto, GriffoFlnkCorsivo, GriffoFlnkCorsivoGrassetto, GriffoFlnkGrassetto, GriffoFlnknormale, Lellocorsivobold, Lellocorsivo, Lello, MarlboroFlnk, Magnificat, There's-nothing-money-can't-buy, Poker, ShocktothesystemCorsivo, ShocktothesystemVuoto, Sony, Bjork-Isobel, Imperator, Traiano, Rdclub. Most fonts have Greek and Cyrillic letters as well.

    Commercial fonts at Flanker via MyFonts: Garaldus (2012, based on a 1956 font by Aldo Novarese), Italian Typewriter (2012, a family of monospaced typewriter typefaces based on Italian typewriters of the thirties and forties).

    Typefaces from 2013: Flanker Ruano (based on a chancery typeface by raffaelo bertieri, 1926), Selene (monoline sans).

    Dafont carries Magnificat, a 2011 revival of the ornamental typeface by Friedrich Peter. [Google] [MyFonts] [More]  ⦿

    [Vit Abramov]

    Founder and creative director at Flëve in New York City.

    Mobispot Regular (2013) is a beautiful contemporary geometric grotesque for Latin and Cyrillic, designed by Olga Balina and Vit Abramov at Flëve for Mobispot Social Systems, a company that creates cool applications for life and business based on NFC technology.

    Behance link. Behance link for Flëve. [Google] [More]  ⦿

    Flëve Partners
    [Vit A]

    Brand design consultants in New York City. In 2014, under the guidance of partner Holga Balina and founder and creative director Vit A, they designed Mobispot Regular (Latin & Cyrillic), a contemporary geometric grotesque, which was created for Mobispot Social Systems, a company that creates applications for life and business based on NFC technology.

    Bwehance link for Vit A. Behance link for lëve Partners. [Google] [More]  ⦿

    Fly Art

    Moscow-based industrial design group which made the techno typeface Fly Font (2010). [Google] [More]  ⦿

    Foco Design (or: ByType)
    [Fabio Luiz Haag]

    ByType is the type subdivision of Foco Design, the Brazilian design company of graphic and type designer Fabio Luiz Haag (b. 1981, Taquara, Rio Grande do Sul), located in Sapiranga, Rio Grande do Sul. Fabio Haag designed FH After (2006, futuristic display typeface to which After Text and After Headline were added in 2007), FH Foco (2003) (a large x-height sans), this futuristic typeface (2003), and Minas Headline, a custom family made for the government of Minas Gerais. He was working on this display font (2005).

    In 2006, Foco became a Dalton Maag Ltd font family, and Fabio Haag became the Brazilian wing of Dalton Maag in 2008. MyFonts sells Foco and Foco Corp (2007).

    Designer (with Jonas Schudel) of a grotesque sans at Dalton Maag, 2007-2009, called Effra, which was inspired by a 1816 design from the Caslon font foundry. Discussion at Typophile. Followed in 2013 by Effra Corp (Dalton Maag) which also supports Greek and Cyrillic.

    In 2007, he created the organic sans typeface IronThree.

    Cordale (2008) is a workhorse serif typeface jointly done with Lukas Paltram at Dalton Maag. Cordale Corp, the corporate edition, includes Latin Extended A, Greek and Cyrillic characters sets. Cordale Arabic was published in 2013.

    In 2009, Foco Italics was published.

    At ATypI 2009 in Mexico City, he spoke about Dalton Maag and about the elements necessary to make it in the type business today.

    In 2012, the Dalton Maag Brazil team designed the font for the Rio 2016 Olympic Games The 5448-character connected script font Rio2016 was developed by Dalton Maag Brazil, and involved a team that includes Fabio Haag, Fernando Caro and Gustavo Soares. Beth Lula is the Branding Director of the Rio 2016 Olympic and Paralympic Games Organising Committee. Passages of the press release: Each letter expresses a characteristic of Rio 2016 Games, its people and city. The letters are written with a single continuous linework, with a fast and fluid movement, suggesting the movements of the athletes in action. The variety of curves in the letters has a unique informality, inspired by the joyfulness of the Brazilian people. Fabio Haag, Creative Director at Dalton Maag: As a Brazilian typophile, designing the Rio 2016 font was a dream job. This is a milestone for the design scene in Brazil---it's a great example of how type designers can collaborate with graphic designers, sharing their expertise to strengthen an identity.

    In 2013, Fabio designed Almaq, a pair of sans display typefaces in cuts called Refined and Rough.

    Codesigner with Bruno Mello, Fernando Caro, Rafael Saraiva and Ron Carpenter of Soleto (2014, Dalton Maag), a sans typeface that won an award at Tipos Latinos 2014.

    Klingspor link.

    View Fabio Haag's typefaces. [Google] [MyFonts] [More]  ⦿

    Font archive

    Russian mini-archive and link site for old slavonic typefaces. In Russian. Many bad links. [Google] [More]  ⦿


    Font vendor located in Korea. It covers Latin (fonts by Adobe, Agfa, Bitstream, Emigre, FontFont, Garagefonts, ITC, Linotype-Hell, Monotype, T-26, URW, and others), Korean, Japanese (fonts by Morisawa, Dynalab and Fontworks), Chinese (FZ series fonts), Arabic (Kitabi LS, Lateefi LS, Nargisi LS), and Cyrillic. [Google] [More]  ⦿

    Font City
    [Igor&Kate Shipovsky]

    Font City is a Russian foundry headed by Igor (b. Volgograd, Tver (Russia), 1965) and Katherine (b. 1990, Russia) Shipovsky. Their typefaces: City of Lipetsk, City of Ivanovo, City of Chudovo, City of Oryol, City of Magadan, City of Tsaritsyn, City of Suzdal, City of Khabarovsk (oriental simulation font), City of Moskva, City of Plesetsk, City of Samara, City of Cherkizovo, City of Ostankino. All fonts are for Latin and Cyrillic.

    All font names starting with "City of" are identical to those starting with "Gorod", the Russian word for city.

    They were sued in August 2003 by Berthold because the foundry's name, Font City, is too close to Berthold's trademarked font name, "City". Hence the name change to Gorod as in Gorod Volgograd (2004).

    View Font City's typefaces. [Google] [MyFonts] [More]  ⦿

    Font Project VEDI

    Dead link. This was a Russian font cooperative. It had many font downloads, including fonts by these artists: D-Studio, litera, Bazhen Yurchenko, V. Vyazminov, Oleg Martos, Alexis V. Ryumin, Y. Warhol, LazyCrazy, VM Studio. [Google] [More]  ⦿

    Font Trainer

    On-line font testing page, in Latin and Cyrillic. [Google] [More]  ⦿

    [Zakhar Yaschin]

    Russian designer (also spelled Zahar Yaschin) of some fonts at Paratype. In 2014, he set up his own commercial typefoundry, FontaZY in Oryol, Russia. He also published some typefaces at Art Lebedev Studio.

    He created the blockish font Quasimode at Studio Dezygn. At Art Lebedev, he made ALS Ekibastuz (2006, sans family), ALS Tonguin (2006, oriental simulation face) and ALS Story (2008, together with Taisiya Lushenko). He also made the Latin/Cyrillic sans family SansSay (2007) and MainStormZ, Harry Plotter New (Paratype), the script faces Rondo Script, Treasure (as in signatures), the hand-printed faces Art Brush, Art Pencil, Auktyon Z (2001, ParaType, hand-printed), Auktyon Dot Z, Kapelka (2005, ParaType, connected brush lettering), KvadratZ (2001, ParaType: fun octagonal, including dingbats)), KvadratWoodZ, KvadratPictZ, the futuristic faces Astra, Avangard, the display faces MainStormZ, Harry Plotter (2003, ParaType), Elektro_Mech, Elektro_DC, Elektro_AC, the slab typeface Egypt, and the comic book typeface Comicz. Other creations include the delicate sans typeface Solovets (2008), and Zwoelf (2008, with Oleg Pashchenko and Irina Smirnova).

    In 2014, Zakhar created the fat paper cutout typeface New Year Poster (2014), Korobok Soft, and Korobok Edgy.

    In 2015, he made the creamy signage script typeface Kapelka New (Paratype).

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

    Fontbilisi (was: Germán León)
    [Germán León]

    Tbilisi, Georgia-based Germán León's first typeface is the quaint Latin slab serif Miraflores (2012). At MyFonts, we read that the foundry is located in Ukraine or in Tbilisi, Georgia. He explains: He was born in Madrid, but crisis and love brought him to Tbilisi, Georgia, from where he is currently designing.

    In 2013, he published GL Tetuan (a slab serif that covers Latin, Cyrillic, Georgian and Greek) and GL Benicassim (a sans for Latin and Cyrillic). The foundry Germán León was renamed Fontbilisi that same year. [Google] [MyFonts] [More]  ⦿

    [Jamie Place]

    Jamie Place (aka FontBlast, b. 2002) is a UK-based FontStructor, allegedly born in 2002 (?), who made these typefaces in 2012: Microstruct (gridded, kitchen tile face), FontStrukt Soft, FontSrukt Clean Soft, Kombinationsschrift, Gridder (a kitchen tile family: +Soft, +Box, +Bold), Skyber, Diabolo (piano key stencil genre), fb Catbop, Hangar Shot, Hangar (army stencil), FontStrukt (+Soft), Braille Full, fb Symbols, Imagine More FB, fb Atarian, Imagine FB, Barkode, Fontstruction No1 (+Extended), Tetraminos, Structurosa Fill, fb Karakter, Minimal Export, Barkode, fb Scoreboard (dot matrix typeface for Latin and Cyrillic), Wenlock, Small Fonts, Fat Largo, Largo, Kerr, Kerr Bold, fb Mixture Unstable, Freehand, Structurosa Refined, fb Switch, fb Mixture, Vado, NES Forever, Retrotype Dot Matrix, Avant Pixel, fb Tall, Fast Money Clean, Retrotype, Retrotype Too (pixelish), Retrotype Sliced, Braille Caps, Tiger Sans (horizontally striped), Pixelface (smilie face), Karmink (star dingbats), Cofmugg (+Gap: piano key faces).

    Typefaces from 2013: Slink, Tuning Fork, Dicey (dice font), Septober, Pico Pop (kitchen tile), Plano (kitchen tile), Dolphin Sans (hairline), New English (stencil), Gadget, Curvaceous Script, Avant Pixel, Barkode, Brailled, Haus (counterless), Zapadni, Curvaceous Script, Metric (a piano key Futura-like stencil face), Mocha, Mocha Book, dm FB Solidis, Tapedeck, Gridder Bold (kitchen tile face), Modulator, Turning Fork, Zapadni (Western), FontStrukt2, Metric (piano key face), Monaco (pixel face), Blackfoot (Pac-Man style), FB Catbop, Peach Condensed, Noodle, Peach Squared, Vaquero, Haus, fb Academy Sans, Peach, Rider.

    Dafont link. [Google] [More]  ⦿

    Fontboard (was Nyelvészeti Fontok)
    [Gyula Zsigri]

    Free truetype fonts for linguistics by Gyula Zsigri include Uralica, Saecula Hungarica, OctoCyrillic and ExtraLow. All are fonts with plenty of accents for Hungarian and Cyrillic. Linguistic fonts: direct link. Alternate URL. Check out Gyula Zsigri's cards font called "Cards" (1998). Hungarian mirror. Another Hungarian mirror. Uralica and OctoCyrillic are also here. [Google] [More]  ⦿


    Iconic font scissors. This free tool can be used to combine icons into a single font. The authors are Roman Shmelev, Vitaly Puzrin and Aleksey Zapparov.

    GitHub link.

    Fonts from which compositions can be made:

    • Entypo by Daniel Bruce.
    • Font Awesome by Dave Gandy
    • Typicons by Stephen Hutchings
    • Modern Pictograms by John Caserta
    • Meteocons by Alessio Atzeni
    • Maki by Mapbox
    • Zocial by Sam Collins
    • Brandico by Crowdsourced
    • Web Symbols by Just Be Nice studio
    [Google] [More]  ⦿

    [Dusko Joksimovic]

    Foundry in Serbia, est. 2011 by Dusko Joksimovic. Fontex created Brillian (2011), a large Latin/Cyrillic semi-connected script family, characterized by two gigantic b counters. Boos (2012) is a casual typeface family. AJSHA (2012) is an oriental simulation face, inspired by Japanese swords, or katana.

    Typefaces from 2013: Astrum (wedding script family for Latin and Cyrillic), Astrum Heart (calligraphic script). [Google] [MyFonts] [More]  ⦿

    [Svetoslav Simov]

    Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. Highly innovative designer whose creations have lots of style and flair. Many fonts are for both Latin and Cyrillic. Picture. Behance link. Dafont link. Typegoodness link. YWFT link.

    • Typefaces from 2008: Cubic (3d face), Clou (cloud-like letters), Colo (double-lined and geometric), Snail, Blou (very thick and counterless letters).
    • Typefaces from 2009: United Sans (sans family), Uni Sans (another (the same?) sans family), Kare (psychedelic), File (fat face), Zag (7-style monoline sans with tear drop terminals; it include Zag Drps and Zag Deco), Clou (cloudy letters), Facet (Black and Ultra: paper fold faces), Noveu (psychedelic, art nouveau), Pastel (brush face), Rolka (round ultra-fat and curly lettering), Val (rounded fat), Kvant (severe and octagonal), Duplex (fat techno), Avatar (ultra fat black), Dovde (bubbly, co-designed by Maria Karkova), LOT (fat art deco), MOD (ultra-fat), Oval (rounded sans), Quad (octagonal outline), Portal Strips and Portal Black (hyper-experimental geometric faces), Prisma (more ultra-fat experimentation) and Wigan (Wigan Thin and Bold of this paperclip typeface appeared in 2014).
    • Creations in 2010: Hero (free sans family), Null (ultra fat, free), Aston (a modern high-contrast rounded display face), DAN (free piano key font; Dan Pro is not free though), Solomon (headline sans family) [Images of Solomon: i, ii, iii, iv, v, vi, vii, viii], Dox (ultra fat geometric poster face), Sudoku (a geometric display family with several biline and triline styles, done with Fontan2), VAL Stencil (a stencil in which repeating letters makes them tilt the other way; free), Code (2010, a fantastic monoline sans family; images: i, ii, iii, iv, v), Dekar (techno), Clipdings Web, Clipdings Travel, Clipdings Graphic Arts, Babydings, Artdings, Reader (Light, Bold: avant garde sans), SAF2010 (comic book/signage: well, Jan Erasms, the designer in 2006 of Menyaka for FIFA WC 2010 is not happy, calling SAF a blatant imitation), Age Free (free fat organic face), GOTA (a free fat finger sans face).
    • Typefaces from 2011: Gabriel Sans (grotesk family), La Boheme (signage face), Qero Mite (an organic monoline sans), Code Pro (caps only clean sans headline family), Solomon Sans (a headline monoline sans family).
    • Typefaces made in 2012: Nexa (a geometric sans in 16 styles), Nexa, Rex (free octagonal family for Latin and Cyrillic), Hagin (free), Intro (26-style superfamily) and Intro Inline (free Futura-style family for Latin and Cyrillic). Intro Condensed was created in 2014.
    • Typefaces from 2013: Nexa Slab, Nexa Slab XBold, Nexa Slab Bold, Nexa Slab Book, Nexa Slab Light. [Recognize the typeface by the a and the g (an 8 with a small piece missing).
    • Typefaces from 2014: Nexa Rust (a weathered letterpress emulation family of 83 typefaces by Radomir Tinkov, Ani Petrova, Svetoslav Simov and Vasil Stanev).
    • Typefaces from 2015: The roundish tightly set broad-ranged sans typeface family Panton.

    View Fontfabric's typefaces.

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

    [Lucas de Groot]

    FontFabrik was established in 1997 in Berlin by Luc(as) de Groot (b. 1962, Noordwijkerhout, The Netherlands). He studied at the Royal Academy of Fine Arts in Den Haag, worked from 1989-1993 as a freelancer at the design bureau Premsela Voonk. From 1993 until 1997, he was with Meta Design in Berlin as typographic director in charge of many corporate design projects. In 1997, he set up his own studio, FontFabrik. Since 2000 his fonts are also sold under the Lucasfonts label. He creates retail and custom fonts, and made his reputation with his humongous font family Thesis. Originally, he published most of his retail fonts with FontFont, but his "FF" fonts were withdrawn from FontFont in 1999, and renamed with LF instead of FF, where LF stands for LucasFonts. Here is a partial list of his fonts:

    • Thesis (1994-1999) originally known as FF Thesis. This consists of many subfamilies all starting with the prefix The. Thesis includes TheAntiquaB (1999 Type Directors Club award), TheAntiquaE, TheAntiquaSun [TheAntiqua received a TypeArt 05 award], TheSans, The Sans Classic, The Sans Basic, The Sans Office, TheMix, The Mix Classic, The Mix Basic, The Mix Office, TheSerif, The Serif Classic, The Serif Basic, The Serif Office, The Sans Condensed, Thesis Mono, The Sans Mono, The Sans Mono Dc, The Sans Mono 11pitch, The Sans Mono Cd Office, The Sans Typewriter. An OEM was made for the SPD party called SPD 2002 TheSans. Grundfos TheSans (2007) is another commissioned font.
    • FF Nebulae, now LF Nebulae.
    • FF Jesus Loves You all, now LF Jesus Loves You all.
    • FF TheSansMono and others.
    • MoveMeMM (erotic multiple master font)
    • Agrofont (1997, for the Dutch Ministry of Agriculture, Environment and Fisheries), Agro Sans, developed in collaboration with the Dutch design bureau Studio Dumbar.
    • Fohla Serif (2001, for a Brazilian newspaper in Sao Paulo: this collection includes a multiple master font, FohlaMM).
    • Spiegel and SpiegelSans (for Der Spiegel). Alkso called LF Spiegel Sans and LF Spiegel Serif. The Sans comes from Franklin Gothic, and the Serif from Linotype Roitation.
    • Sun (1997, for Sun Microsystems).
    • Taz (sans family, 2002), Taz III (2003, including a hairline weight) and Taz Text (for "taz", the magazine). Are these the same fonts as Tazzer and Tazzer Text? Taz has grown as fopllows: TazText, Taz CFondensed (2010), Taz Text Small Caps (2011), Taz Wide (2013-2014), Taz Textended (2013-2014).
    • LucPicto (dingbats for private use at FontFabrik). Not available to the world.
    • Volkswagen Headline and Volkswagen Copy (1996), extensions of Futura. Note: the other Volkswagen house font is VW Utopia, a descendant of Utopia.
    • Rondom (finished in the LF Punten family: Punten Straight, Punten Extremo and Punten Rondom).
    • Corpid III (sans family, 2002-2007, with support now for Cyrillic, Greek and Turkish).
    • BellSouth Basis, Serif and Bold, developed with Dutchman Roger van den Bergh.
    • LeMonde (2002, new headline family). An OEM family made for LeMonde in 2001 includes Lucas-Bold, Lucas-BoldItalic, Lucas-ExtraLight, Lucas-ExtraLightItalic, Lucas-Italic, Lucas-Light, Lucas-LightItalic, Lucas-SemiBold, Lucas-SemiBoldItalic, Lucas.
    • BolletjeWol (1997, Fontshop).
    • Transit and Transit Pict (both at FontShop).
    • MetaPlus (1993, with Erik Spiekermann).
    • Calibri and Consolas (2004), two OpenType font families designed for Microsoft's ClearType project (Latin, Greek and Cyrillic glyphs). Calibri received a TypeArt 05 award. Also, it won an award at the TDC2 2005 type competition. For a yet-to-be-revealed reason, Google decided to support a metric-compatible free clone of Calibri for its Chrome OS system, Lukasz Dziedzic's Carlito (2014).

    FontShop link. Klingspor link.

    View Lucas de Groot's typefaces. [Google] [MyFonts] [More]  ⦿


    Archive with over 9000 free fonts. The Russian counterpart is FontDarom.cwx.ru. [Google] [More]  ⦿


    Russian font archive. Has mostly Latin fonts. Blackletter subpage. Cyrillic subpage. Display font subpage. Cyrillic script subpage. [Google] [More]  ⦿


    Large Russian font archive. See also here. [Google] [More]  ⦿

    FontShow 98

    Balda Dumbs' free font manager (handles Cyrillic too). [Google] [More]  ⦿

    [Jason Smith]

    Jason Smith is the British corporate typeface designer who founded Fontsmith in 1999, where he retails his own designs from his office in London. He has created a typographic identity for the Post Office in the UK. His fonts include FS Sinclair (2008, octagonal), Casey, Seat, Tractebel, PPP Healthcare, Powergen, Allied Irish Bank, UUnet, Channel 4, FS Ingrid, FS Rome, FS Albert (2002, a soft-cornered sans family), and Saudi Aramco. Of these, only FS Albert (2002), FS Rome and FS Ingrid can be purchased.

    Newer fonts include Champions (Regular, Bold, Headline; done in 2009 for the UEAFA Champions League), FS Rufus (a slab serif by Mitja Miklavcic, Jason Smith and Emanuela Conidi), FS Sophie (2004, sans), FS Rigsby (2005, sans), FS Clerkenwell (2004, with Phil Garnham, slab serif), FS Pele (2007, ultra fat), FS Kitty (2007), FS Sinclair (2007, rounded octagonal), FS Alver (2007), FS Dillon (influenced by the Bauhaus quest for simplicity), FS Lola (2006, for Wechsler Ross&Portet; done with Phil Garnham, it is advertised by Fontsmith as a transgender type).

    In 2007, he made the custom typeface Xerox Sans (+Condensed) as a modification of his FS Albert, to which Greek and Cyrillic alphabets were added as well. Mencap, a British company that works with people with a learning disability, asked Smith to design a font, FS Mencap (also known as FS Me), for the learning disabled---easy to read, yet elegant.

    Custom typefaces include Colgate Ready (2014: for Colgate, covering Latin, Cyrillic, Eastern European, Devanagari and Thai), More4 (2005, for the Channel 4 Adult Entertainment channel), ITV (2006, for the ITV network), BBC ONE (2006, for the BBC), Post Office Sans (2003), FS Conrad (2009, a multiline display face). Vernon Adams and Fontsmith got into a quarrel about Vernon's Mako, which was submitted and rejected by Fontsmith, which published its own similar typeface Lurpak a few weeks later.

    In 2012, Jason Smith and Fernando Mello codesigned the sans typeface family FS Truman at Fontsmith.

    Klingspor link">Jason Smith [Google] [MyFonts] [More]  ⦿

    [Genadij Zarechnjuk]

    Ukrainian font foundry run by Genadij (also spelled Henadij) Zarechnjuk (b. 1961) who lives in Lviv. Nice historically accurate free fonts made by him in the period 2000-2003: Abetka Kirnarskoho, Ancient Kyiv, Luchtein-Bold, Luchtein, LuchteinLight, NarbutClassic, NarbutNarrowContrast, NarbutWhirlSans-Serif, Narbut Abetka, Skoropys-XVII, SnarskyUstav, SnarskyjOldStyleNarrow, SnarskyjUstavNew, Traditional-Heavy, Yakutovych-Black. Chomenkivska (2007) is a semi-slab serif Cyrillic beauty.

    In 2010, he created the art deco typeface New Hotinok 2D (2D Typo), together with Viktor Kharyk, as well as the nice calligraphic typeface Ukrainian Barokko 2D. Khomenkivska (done with Viktor Kharyk) is based on a 1965 design by Basil Khomenko (1912-1984). Baumans (2011, Google Web Fonts) is a geometric typeface for headlines. Its letterforms are inspired by Bauhaus typefaces and preconstructivist forms.

    In 2014, Dmitry Rastvortsev, Lukyan Turetsky, and Henadij Zarechnjuk cooperated on the design of the free Latin / Cyrillic handwriting typeface Kobzar KS, which is based on the handwriting of Taras Shevchenko, a famous Ukrainian poet, artist and philosopher.

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

    [Israel Seldowitz]

    "Quality-crafted multiple language fonts." Based in New York and run by Mark Seldowitz, they sell Arabic, Russian, Greek, Vietnamese, Hebrew, Baltic and Central European faces. Mark sold the Hebrew fonts made by his brother Israel Seldowitz, who studied in Israel with Henry Friedlaender, the creator of the Hadassah typeface. [Google] [More]  ⦿

    Fontworld (Russian)

    Russian faces in packages at about 12 dollars per face. [Google] [More]  ⦿

    Fonty PL
    [Grzegorz Klimczewski]

    Grzegorz Klimczewski, who runs Fonty PL, a commercial Polish foundry etablished in 1994 in Wroclaw, is the Polish designer of a commercial font that mimics the letters found on Polish traffic signs, called Tablica drogowa (free). He also made the commercial faces Tablica Samochodowa (2002: Polish license plate font), Naomi Sans (2004-2011), Rashel Serif (2012), Grawer (monoline with many hairline weights called SL Gingko, SL Helena, SL Switzer and SL Watch), Pismo Szkolne (upright script), OCR-A, OCR-B, eTerminal, and the monospaced/typewriter family EFN AgeMono (10 styles). Pixel fonts by him include include EFN Cena, EFN Elegants, EFN Screen Banners, EFN Impressive, EFN Machines.

    His Multifonty package contains these Cyrillic typefaces: Ailanthus, Eliza, Eukalyptus, Bravus, Bureau, Classic, Fagus (Victorian), Gilead, Gilead Condensed, Gingko Biloba, Flores, Olivea, Ritmo, Switzer, Switzer Condensed, Orient, tamar Alba, Tamar Nigra, Switzer Beveled.

    His Eurofonty package has Aerton (+Shaded, +Caps), Alphabet (blackletter), AlphaBook, Absolut, Bravus, Abigail, Ailanthus, Edelmann (art nouveau), Dorothy (various brush faces), Cornelius (grunge), Bureau, Credo Chalk, Eunice, EuroGaramond, Gilead, German, Gutenberg, Gaya, Gingko Biloba, Koenig, McGregor (art nouveau), Goldy, Greenfield, Grand Antique, Irbis, Morus, Olivea, Penny Lane (script), Straight, Platea, Pinus, Symeon Old, Random, Schrift, Orient, Switzer (+Condensed, +Round, +Scribbled), Watch, Watch The Line, Tabasco, Techniczne, Rutica, Troya, Flowers, Jasmin, Handy, Fagus, Black Puzzle, Binokle, Breeze, Decorator, Kredki, Daglesia (blackletter), Tablica (chalk font), Detlef, Blackout, Ketling, Etiopia, Eukalyptus, Xtras (fleurons), Rubber, Garage, Machine One (old typewriter face), Wymalowany (brush).

    In 2012, he placed the brush typeface Akronim on Google Web Fonts.

    Google Plus link. [Google] [More]  ⦿

    Forgotten Scripts by Dino Manzella

    Dino Manzella's draft on a book entitled Forgotten Scripts: a Book of Runes. Fantastic pages in all respects! Many fonts can be downloaded. Includes Academiury-ITV (Georgian, by Alexander&Temuri Imnaishvili), Rashi, Alex and ChayaBold (by Aaron Schmiedel), Angelic and Enochian (by Digital Type Foundry), several rune fonts by Dan Smith, Beth-Luis-Fearn and Beth-Luis-Nion (by Curtis Clark), Cherokee (by Joseph LoCicero), Moonrune (Morton Bek, 1995), Eshmoon (by Salim G. Khalaf, Family Health International), Glagoljica UGL and Glagoljica OBL (old Croatian; by Zox), RK Meroitic, RK Sanskrit, RK Ugaritic, Mendel Siddur, Nug-Soth (by Daniel U. Thibault), Tzipporah and RuthFancy (by AFS Ltd), and RNIB Braille. [Google] [More]  ⦿


    Designers of the Latvian-Russian typefaces LR_Architect, LR_Baltica-Bold, LR_Baltica-BoldItalic, LR_Baltica-Italic, LR_Baltica, LR_Benguiat-Bold, LR_Compact-Italic, LR_Compact, LR_Helvetica-Bold, LR_Helvetica-BoldItalic, LR_Helvetica-RegularItalic, LR_Lazurski-Bold, LR_Lazurski-BoldItalic, LR_Lazurski-Italic, LR_Lazurski, LR_Optima-Bold, LR_Optima, LR_Souvenir, LR_Times-Bold, LR_Times-BoldItalic, LR_Times-Italic, LR_Times, LR_University-Roman. [Google] [More]  ⦿


    The 39MB rar file contains a number of Cyrillic fonts, including ER-Architect-866, ER-Architect-KOI-8, ER-BukinistKOI-8Bold, ER-BukinistKOI-8BoldItalic, ER-BukinistKOI-8Italic, ER-BukinistKOI-8, ER-Kurier866Bold, ER-Kurier866BoldItalic, ER-Kurier866Italic, ER-Kurier866, ER-KurierKOI-8Bold, ER-KurierKOI-8BoldItalic, ER-KurierKOI-8Italic, ER-KurierKOI-8, ER-UniversKOI-8Bold, ER-UniversKOI-8BoldItalic, ER-UniversKOI-8Italic, ER-UniversKOI-8. [Google] [More]  ⦿

    ForWWW Fonts

    Cyrillic ForWWW TrueType fonts designed by Gavin Helf. [Google] [More]  ⦿


    Lithuanian foundry which markets the Aistika family for Latin, Lithuanian and Cyrillic. They used to (bit no longer) sell the Lithuanian fonts CourierLT, TimesLT, HelveticaLT, ArialLT. Older Fotonija fonts can still be found on archives such as this one: BrushScriptLT, CourierLT, CourierLTBold, CourierLTBoldItalic, CourierLTItalic, HelveticaLT, HelveticaLTBold, HelveticaLTBoldItalic, HelveticaLTItalic, HelveticaRS, MonospaceLT, TimesLT, TimesLTBold, TimesLTBoldItalic, TimesLTItalic, TimesRS. Here we have CourierLT, TimesLT-Bold, TimesLT-BoldItalic, TimesLT-Italic, TimesLT. [Google] [More]  ⦿

    François H. Villebrod

    [More]  ⦿

    Franciscus Skoryna

    Also Francysk Skaryna, b. 1486 Polazk (white Russia), d. 1541 Prague. First printer in white Russia (Belarussia). Skaryna was one of the first to publish in the Cyrillic alphabet, but not the very first as Oktoikh was published by Schweipolt Fiol in 1491. [Google] [More]  ⦿

    Franck Jalleau

    French designer and type specialist (b. 1962). Works at the Imprimerie Nationale in Paris, and teaches typography at the Ecole Estienne. Fascinating interview (in French). His typefaces: As an OEM for the Imprimerie, he designed some fantastic fonts between 1990 and 1998, including Arin (1986; Morisawa award 1987), Garamont (1995), Grandjean (1997), Jalleau (1996), Perrin (1997), Roma (1996), Scripto (Morisawa award 1996), Virgile (1995, Agfa) and Oxalis (1996, Agfa).

  • Francesco (1998) is based on the letters of Francesco Griffo. Perfectly executed, it is a renaissance revival face---although first designed in 1998, it was published only in 2010 at BAT Foundry, which Franck helped co-found. It also covers Greek and Cyrillic.
  • In 2002, he created Le Brive, commissioned by senator and mayor Bernard Murat of Brive-la-Gaillarde.
  • In 2005, he digitized the Grec du Roi based on original characters and ligatures by Claude Garamond for François 1er, 1544-1550.
  • In 2009, he created Le Maghrébin based on material in the Imprimerie Nationale. The original from 1846 and 1850 was cut by Marcellin Legrand. This version of Arabic is also called western, or African (africain), and features many ligatures. [Google] [MyFonts] [More]  ⦿

  • Frane Paro

    Creator with Anton Katunar of the Baromich breviary style angular glagolitic (1493 incunabulum) typeface Glagoljica Breviar. This typeface can be found here and here. [Google] [More]  ⦿

    Frank Béla

    [MyFonts] [More]  ⦿

    Frantisek Storm
    [Storm Type Foundry]

    [MyFonts] [More]  ⦿

    Frédéric Rich

    Frenchman (Rodilhan, b. 1984) who created the poster typeface It's A Penalty Kick (2012), Paradise Road (2012), the shadow sci-fi typeface Far Away Galaxy (2012), the pixel game font Pixel Invaders (2012), Weltmeister (2012, a fat hand-drawn poster font), Chocolate Hippo (2012, hand-printed), Night Train 382 (2012) and Night Train 315 (2012). This font supports many languages, including for example : Romanian, Serbian (Latin and Cyrillic), Croatian, Slovenian, Bosnian (Latin and Cyrillic), Bulgarian, Russian, Belarussian, Macedonian, Turkish.

    In 2012, he created the grungy poster typeface Mezzanine, the condensed pixelish typeface Hauptbahnhof, the grungy In The Streets Of Europe, the techno typeface Platform Eight, Mastodont (in the obese category), the noisy Second-Hand Shop, the grungy Zagreb Underground, the striped game font Press Any Key To Continue, Dusty Matchbox (children's hand), Slaughterhouse (grungy), the pixel typeface Back Label Pixel, Please Hold The Line, Under The Bed (grunge), Refrigerator, I Fink U Freaky (a severe sans), Night Prowler (scary dusty caps face), Six Weeks Ago (texture face), Dimension (3d face), Ernestine, Frenchy (thin face).

    Typefaces from 2013: Hostile Headline (textured typeface), Emergency Exit (grunge), Lazy Sunday (shadowed outlined face), Moon of Jupiter (octagonal sci-fi face), Birthmark (grungy and condensed), Ruxandra (scribbly face), Auricom, Arcade Nightmare, Volga (grunge caps), Urban Brigade, Evil Conspiracy (poster fonts, +Shadow), Container (grungy stencil), Peach Milk (paper cut face), Brouhaha (a 3d face).

    Typefaces from 2014: Lazing on a Sunny Afternoon, Old School United (athletic lettering family; +Stencil).

    Dafont link. [Google] [More]  ⦿

    Fred Bordfeld

    German designer of GP.F La Muerte (2005, with Ollie Peters), GP.F Bitur 1.0 (2005, bitmap fraktur font), GP.F Mudam (2005, with Ollie Peters) and Jado (2005, FF DIN modified for Jadolabs GmbH). GP.F Bitur 1.0 is on the CD that comes with Fraktur Mon Amour (Hermann Schmidt Verlag, 2006). MyFonts link. Creator of Deja Rip and Deja Web (2010, with Elena Albertoni; Cyrillic included), a family of eight sans typefaces sold via Anatoletype. [Google] [MyFonts] [More]  ⦿

    Fredrick M. Nader
    [Apostrophic Laboratory]

    [MyFonts] [More]  ⦿


    Font archive with over 3,600 truetype fonts, including the Arsenal collection. [Google] [More]  ⦿

    FREELANG Fuentes

    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]  ⦿


    Has NewtonCTT (1996, ParaGraph), a Cyrillic truetype font. It has some big type 1 zip files that still need to be checked out. [Google] [More]  ⦿


    Free font link collection pointing to Latin and Cyrillic fonts. [Google] [More]  ⦿

    Friedrich Althausen

    Potsdam, Germany-based designer (b. 1981) who studied Media Systems (Informatics) and Visual Communication at the Bauhaus University Weimar and is working as a freelance designer since 2008. Creator of the free fonts Vollkorn-Brotschrift (2006, text face), Elise Meincke logotype (didone), and Halbstark (2006, a fancy display face). Vollkorn microsite for the most recent downloads. Vollkorn supports many scripts, including Latin and Cyrillic. In 2014, Vollkorn 3.0 was published.

    In 2014, he published the thin but striking fashion mag and all caps titling typeface Uberschrift at FDI.

    Behance link. Kernest link. Old URL. Interview with Friedrich Althausen. [Google] [MyFonts] [More]  ⦿


    KOI8 fonts: 8 Cyrillic TrueType fonts archived here. [Google] [More]  ⦿


    Russian mini-archive with 8 Cyrillic TrueType fonts. [Google] [More]  ⦿


    Archive with 650 mostly Cyrillic truetype fonts. [Google] [More]  ⦿


    Spanish font archive. The A-Fonts file has some nice Cyrillic beauties such as NadejdaBold, NewDeli, Stylo-Bold, AntiDecor-Bold-Italic. [Google] [More]  ⦿


    Small Spanish-language archive. Includes a collection of decorative Cyrillic truetype fonts by Nikolay Dubina (D-Studio): AntiDecor-Bold-Italic, B52, NadejdaBold, NewDeli, Scrawl.ttf Stylo-Bold. Truetype only. [Google] [More]  ⦿


    About 170MB worth of fonts in one file. This has mainly fonts geared towards Cyrillic, but contains only standard collections such as those from Letraset, Bitstream, Arsenal, and Soft Horizons. [Google] [More]  ⦿

    Fulvio Bisca

    Italian illustrator and designer from Torino (b. 1970) who made Antitled, a sans serif family at T-26 (2001, completed in 2004). Ex-graduate of Institute G.B. Bodoni in Torino in 1989.

    In 2010, he made Cutoff Pro (URW++, +Bold), a serif family with serifs cut off in odd ways, and which covers all European scripts, including Cyrillic and Greek. One could say that it is a hyper-organic typeface.

    Typefaces from 2014 include Vertebrata.

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

    Funet Russian archive

    Free Russian and Slavonic TrueType fonts, including Vera Humana 95 (by BX fonts; contains codepages Cyrillic (1251), Central European (1250), and Baltic (1257)), Kirillica Wincyr (by Christopher Singer), Fixed system Kurier (by Steve Luckau), ER fonts (by Gavin Helf), and many other fonts. List and archive compiled by Glaude David. Nice links, great downloads. [Google] [More]  ⦿


    Danube (accented font by Ralph Hancock, 1994), and the Cyrillic font Pravda (Translation Experts Ltd, 1994). [Google] [More]  ⦿


    About 1MB worth of Cyrillic fonts (ER-Bukinist, ER-Kurier) in all basic encodings. Truetype. [Google] [More]  ⦿


    Cyrillic, Old Church Slavonic, and Byzantine Greek font archive: UB-Byzantine (1993, by Unibrain SA), SymbolGreekPF (Payne Loving Trust), OdysseaF (Payne Loving Trust), NB-Byzantine (1999, Nikolaos), Miroslavljeva Cirilica (1993, Dino Art Corporation), MgGreekArchaic Plain (1989), Ciril Studenica (1993), C_Sveti_NIKOLA Normal (1993, Predrag Milivojevic, Belgrade), ALBXHRNormal (1994, Im Grhgorioy). [Google] [More]  ⦿

    Galina Andreevna Bannikova

    Russian type designer, 1901-1972 (d. Moscow). Faces include Bannikovskaya (1946-1951, at Polygrafmash, which was inspired by the Russian Grazhdansky early and mid 18th century typefaces: the digital version is Paratype Bannikova (1999), revived by L. Kuznetsova), Baikonoer (1960-1969) and Kama (1967-1971). Lyubov Kuznetsova at Paratype created Bannikova (1999; Baltic, Central European, Cyrillic, Old Russian, Multilingual, Turkish, Western, Cyrillic Asian), a clean serif text family.

    See here for a picture, which shows without a shadow of a doubt that she was Donald Rumsfeld's real mother. Alternate URL. [Google] [MyFonts] [More]  ⦿

    Galina Kalougina

    Designer at EF English First. Moscow-based creator of Foxtrot Icon Set (2013), which she calls a constructivist collection of icons. She also made the stocky angular newspaper typeface Virginia Lives (2013) for Latin and Cyrillic. Linkedin link. [Google] [More]  ⦿

    Galina Vodopyanova

    Designer in Saint Petersburg, Russia, who created Organika (2012), a Cyrillic typeface that is based on shapes of chairs. [Google] [More]  ⦿

    Gamma Productions

    Outfit in San Diego, CA, which used tyo sell international commercial fonts in the 1990s, including Cyrillic fonts mostly from Paragraph. WL PashtoNaskh (1995) is one of their Arabic fonts. Other fonts include WLGreekTimesAncient-Regular for Greek and WL-ArabicNaskh for Arabic. [Google] [More]  ⦿

    Ganka Vlacheva

    Ganka Vlacheva (Sofia, Bulgaria) created an unnamed Cyrillic typeface in 2013.

    Behance link. [Google] [More]  ⦿


    At the UNESCO site in Kazakhstan, type 1 and truetype font families for Cyrillic and East-European languages, by Garkavets, made in 2000: BookmanUrum, BookmanUrumBold, BookmanUrumItalic, QypchakDiacritic, QypchakDiacriticBold, QypchakDiacriticBoldItalic, QypchakDiacriticItalic, TimesUrumNewBold-Italic, TimesUrumNewBold, TimesUrumNewItalic, TimesUrumNewNormal. Plus VusillusOldFaceItalic (Ralph Hancock, 1999) and SchoolBookAC (ParaGraph, 1992). [Google] [More]  ⦿

    Gary Munch

    [MyFonts] [More]  ⦿

    Gaslight (or: Valery Zaveryaev)
    [Valery Zaveryaev]

    Gaslight-type-foundry is collaboration between two type designers---Valery Zaveryaev and Roman Shchyukin---, founded in 2011. Valery Zaveryaev is a Russian designer (b. Bryansk, 1977) at LetterBe, who created the octagonal family Teco (2005), the display typeface Brut (2005), the clean sans family Maza (2005), the informal unicase family Rezerv (2009, inspired by a logo he created for Evroterm), Barrez (2010, a techno family inspired by the TC-Helicon logo), and the stencil typeface Marshrut (2005).

    He lives in Bryansk. All his fonts are Latin/Cyrillic.

    In 2011, Zaveryaev set up the commercial foundry Gaslight. Fonts there include the elliptical family Maza (2005), the angular elliptical family Barrez (2010), Brut (2005), and the stencil typeface Marshrut (2005). Electrolize (2011) is a free squarish typeface available from Google Web Fonts. Bad Script (2011, Google Web Fonts) is an informal hand-printed typeface made by Roman Shchyukin.

    Rock Logo (2012) is a metal band / tattoo font codesigned with Roman Shchyukin. Wide Display and Wide Display Ribbon are unicase headline typefaces. Teco Sans (2012) is an octagonal military typeface family, accompanied by the icon font TecoSymbol (2012) and the stencil family Teco Sans Stencil (2012). Teco Serif (2012) is an octagonal slab version of Teco Sans.

    Still in 2012, Zaveryaev designed Actio, Roz (rounded sans family), Wary (pop art typeface that won an award at Modern Cyrillic 2014), the fat display overlay families Quadratish Serif and Quadratish Solid.

    Delgado (2012) is an elegant tall and thin fashion mag typeface for Latin and Cyrillic, made by Roman Shchyukin. It won an award at Modern Cyrillic 2014.

    Typefaces from 2013: Kiddy, Gen (techno), Tesla (techno face, Roman Shchyukin).

    Typefaces from 2014: Dotee (octagonal paper cut-out typeface, by Valery Zaveryaev and Maria Luarvik), Sofya.

    Klingspor link. Fontspring link. Behance link. Another Behance link. Hellofont link. Creative Market link. [Google] [MyFonts] [More]  ⦿

    Gavin Helf
    [ER Univers]

    [More]  ⦿

    Gavin Helf

    [More]  ⦿

    Gayaneh Bagdasaryan

    [MyFonts] [More]  ⦿

    Gayaneh Bagdasaryan

    [MyFonts] [More]  ⦿

    Genadij Zarechnjuk

    [MyFonts] [More]  ⦿

    Genady Fridman

    Russian designer of the bouncy script Amore (2004, Paratype), Zubilo Black (2004, Paratype: comic book face), Jefferson (2005, based on the handwriting of Thomas Jefferson), Peter Skoropis (2003, Paratype, based on the samples of Russian handwriting of the reign of Peter The Great (early 18th century) named skoropis), Pushkin One, Two and Three (1999-2004, Paratype, based on the autographs of Alexander Pushkin, the eminent Russian poet (1799-1837)), and the informal handwriting fonts PT Lightning (2009, Paratype), PT Earthquake (2009), Jeff Script (2009, based on the handwriting of Vladimir Yefimov), Nina, Olga, Tatiana, Betina Script, and Katherine (2007, Paratype).

    Telegraph, designed for ParaType in 2003 by Gennady Fridman, is based on the type of CTA-M-67 telegraph lettersetting machine widely used in the USSR from 1960-1980. The character set corresponds to Rules for Telegraph Connection Service of the Russian Federation.

    FontShop link. ParaType link. Klingspor link.

    View Gennady Fridman's typefaces. [Google] [MyFonts] [More]  ⦿

    Gennady Baryshnikov

    Russian designer of Anons (a Cyrillic sans family), Arbat (1989, ParaType), Inform (ParaType, 1992, based on the brush script font Flash), Decor (ParaType, 1989, with Vladimir Yefimov, a formal script, based on a 1979 design by Pavel Kuzanyan), ITC Machine (1994, with Vladimir Yefimov; original by Tom Carnase and Ronne Bonder, 1970), Fat Face Cyrillic (1993, with Vladimir Yefimov; ParaGraph), and Zhikharev (1989, ParaType, with Vladimir Yefimov; based on an original design at Polygraphmash in 1953 by Igor Zhikharev). FontShop link. Paratype link. [Google] [MyFonts] [More]  ⦿

    Georg Duffner

    Austrian designer who is trying hard to give the free software world an excellent qualitatively competitive free Garamond family. At Google Web Fonts, we find his EB Garamond family (2011), which covers both Latin and Cyrillic. Thee are also EB Garamond Initials. It is named after Egelnoff and Berner.

    He explains: The source for the letterforms is a scan of a specimen known as the Berner specimen, which, composed in 1592 by Conrad Berner, son-in-law of Christian Egenolff and his successor at the Egenolff print office, shows Garamont's roman and Granjon's italic fonts at different sizes. Hence the name of this project: Egenolff-Berner Garamond. Also planned are polytonic Greek, IPA and ornaments.

    Klingspor link. Open Font Library link. CTAN download of EB Garamond. [Google] [More]  ⦿

    Georg John

    German designer at Linotype of Linotype Cutter Schere Com (1997, white on black informal lettering; with Georg Kugler in 2007), Linotype Tagesstempel (1999, with Georg Kugler) and Johnstemp Pro (2008, grunge). In 2014, he made John LED7 (2014), a dot matrix typeface for Latin, Greek and Cyrillic.

    Are Georg John and Georg Kugler one and the same?

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

    Georg Ross&Co

    St. Petersburg-based foundry acquired in 1901 H. Berthold AG. [Google] [More]  ⦿

    Georg Salden
    [TypeManufactur (was: GST Georg Salden Typedesign)]

    [More]  ⦿

    Georg Seifert
    [FDI (was: Schriftgestaltung)]

    [MyFonts] [More]  ⦿

    George Douros
    [Unicode Fonts for Ancient Scripts]

    [More]  ⦿

    George Lygas

    George Lygas studied Printing and Graphic Arts at the National Design School (TEI) of Athens. His graduation thesis on Greek Typography was the base for PF Scriptor, a revival of a historic Greek typeface. He collaborated with Panos Vassiliou in the design of PF Stamps (2002-2006, a stencil family, also done with Panos Vassiliou). All his faces cover Greek and Cyrillic He currently works for Parachute. [Google] [MyFonts] [More]  ⦿

    George Thomas
    [Liberty Type Foundry]

    [More]  ⦿

    George Toumbalis

    George Toumbalis studied Image processing and DTP at DOME Design School in Athens. He is considered an expert on graphic design issues and he is a regular columnist in +Design, the Greek magazine on aesthetics and design issues. He started his first business in 1996 and some of his major clients include Sony Music, BMG, Warner Music, Capital Radio 96.5, Planet Works, Filmnet, Flash.gr. Some of his font designs, released by Parachute, include PF Mechanica B (2002-2006: a tiled typeface for Latin, Greek and Cyrillic) and PF Overload. [Google] [More]  ⦿

    Georgi Krumov

    Designer in Varna, Bulgaria, who made the fashion mag extreme-contrast typeface Profile (2011), the free didone typeface Dotty (2012), and the elliptical Latin/Cyrillic typeface Google] [More]  ⦿

    Georgi Ravanski

    Professor of graphic design at IT Academy Alexandria in Skopje, Macedonia. In 2010, he created the geometric typeface Ravan Sans. [Google] [More]  ⦿

    Gerard Unger

    Dutch type designer, born in Arnhem, The Netherlands, in 1942. He studied at the Gerrit Rietveld Academy in Amsterdam, and taught at the Rhode Island School of Design, the University of Reading, and at the Gerrit Rietveld Academy in Amsterdam. From 1974 on, he designed type, starting his career at Hell in Kiel in 1986. He still teaches at Reading and Rietveld. He has designed stamps, coins, magazines, newspapers, books, logo's, corporate identities, annual reports and many other objects. He designed numerous typefaces:

    • Markeur (1972), not available as digital type.
    • M.O.L. (1974), not available as digital type. M.O.L. is the type used in the Amsterdam subway.
    • Demos (1975-1976, Linotype) Unger said once that this was his first face, and that he made it at Hell in Kiel in 1974 (but I am confused then as to the date of Markeur then).
    • Demos (new version 2001), available from Visualogik. In 2015, Gerard published Demos Next at Linotype.
    • Praxis (1977, Linotype).
    • Hollander (1983, Linotype).
    • Flora (1984). There is also ITC Flora (1980-1984). Named after Unger's daughter, this is an upright sans italic.
    • Swift (1985). This is his most popular face, used by many Dutch and Scandinavian newspapers. It got Unger the Gravisie-prijs in 1988. In 2009, Linotype published Neue Swift (a 1995 design by Unger): Neue Swift is Swift with old style figures thrown in. See also Swift 2.0 (1995).
    • Amerigo (1986), available from Bitstream. This was originally designed for 300dpi laserprinters. It is a tapered almost lapidary typeface family. In the Bitstream collection, Amerigo is also called Flareserif 831.
    • Oranda (1987), available from Bitstream. This is a slab serif originally drawn for the European hardware manufacturer Océ in 1968.
    • Cyrano (1989).
    • Argo (1991), available from Dutch Type Library.
    • Delftse Poort (1991), a stencil typeface not available as digital type.
    • Decoder (1992), available from Font Shop. This was a font from the FUSE 2 collection.
    • Gulliver (1993). This typeface was used by USA Today and the Stuttgarter Zeitung. Can be bought from URW++ from 2009 onwards.
    • OCW Swift (1995-1997, for Ministerie van OC en W, Zoetermeer - NL, by Visualogik Technology&Design).
    • ANWB fonts (1997), available from Visualogik.
    • Capitolium (1998). Capitolium was designed in 1998 at the request of the Agenzia romana per la preparatione del Giubileo for the Jubilee of the Roman Catholic Church in 2000. It was not used though for the millennium celebrations. In 2002, Capitolium was picked as the serif font for the material of ATypI in Rome. It was accompanied in that advertising by Unger's sans serif font Vesta (2001), loosely based on the lettering at the Vesta temple in Tivoli. He developed Capitolium futher to make Capitolium News and Capitolium News 2 (2011, Type Together), so that the adapted glyphs would be more legible (large x-height) and fit better on a page (more glyphs per line). The modern typeface Capitolium News 2 was published by Type Together in 2011.
    • Paradox (1999), available from Dutch Type Library. This is a Didone font done in 1999, for which he won a Bukvaraz award in 2002.
    • Coranto (2000). In 2011, Coranto2 was published at TypeTogether: Coranto 2 is originally based on Unger's typeface Paradox, and arose from a desire to transfer the elegance and refinement of that type to newsprint.
    • Vesta (2001). The sans serif Vesta (designed as a possible candidate sans serif for the Rome 2000 project) won an award at Bukvaraz 2001. It is available now as Big Vesta (2003).
    • Linotype Library is the licenser of the German government's new corporate design typefaces Neue Demos (Antiqua, 2004) and Neue Praxis (sans-serif, 2004) by Unger. The typefaces are to be used for all official correspondence, brochures and advertisements.
    • Allianz (2005) is a corporate type system with sans and serif faces developed with the firm of Claus Koch of Düsseldorf. The typefaces were designed in collaboration with Veronika Burian, London, and were produced as fonts by Visualogik, 's-Hertogenbosch.
    • Alverata (2013). A lapidary flared typeface with a huge x-height influenced by roman ("romaneque") lettering from the XIth and XIIth centuries. Alverata consists of three different fonts: Alverata, Alverata Irregular and Alverata Informal. For the development of the Greek letterforms, Unger collaborated with Gerry Leonidas (University of Reading) and Irene Vlachou (Athens), and with Tom Grace on the Cyrillic letterforms. It appears to have Vesta's skeleton and dimensions. Alverata was published by Type Together in 2014. PDF file.
    Gerard Unger lives in Chicago and Bussum, The Netherlands. Besides the awards mentioned in the list above, he received global prizes for his typography, such as the H.N.Werkman Prize (1984) and the Maurits Enschedé-Prize (1991). Bio at Linotype. Author of Terwijl Je Leest (Amsterdam, 1997). Interview by John L. Walters. At ATypI 2004 in Prague, he spoke about type for dailies, and also on Neue Demos and Neue Praxeis. At ATypI 2008 in St. Petersburg, he spoke about letterforms in inscriptions from the 10th, 11th and 12th centuries. In 2009, he won the 2009 SOTA Typography Award. FontShop link. Klingspor link.

    View Gerard Unger's typefaces. [Google] [MyFonts] [More]  ⦿

    Gerber Fonts

    Manchester, CT-based company that sells a font package, as well as a number of fonts for Arabic, Cyrillic, Greek, Hebrew and Thai. See also here. [Google] [More]  ⦿

    Germán León
    [Fontbilisi (was: Germán León)]

    [MyFonts] [More]  ⦿

    Gernot Stangl

    Designed abc, an experimental Roman-Cyrillic font. [Google] [More]  ⦿

    Gerry Powell

    Typographer and industrial designer, b. 1899. A sample of Gerry Powell's work from 1937 for the Lettergieterij Amsterdam, now on the URW CD-ROMs: Arsis (or Onyx (ATF, 1937, now available at Bitstream; the URW version is called Arsis)}, Stymie (ATF, 1931, with Sol Hess; now available at Bitstream), Stencil (ATF, 1937; versions at Bitstream, Linotype (1997, by Alexey Chekulaev), Adobe and Elsner&Flake), Daily News Gothic and the Spartan Series. Onyx is a condensed elongated fat "modern" face. Cyrillic version of Stencil by A. Chekulaev at ParaType (1997).

    About Onyx versus Arsis, there has been some discussion by type lovers. Apparently, both were released in 1937, Onyx by ATF and Arsis by Tetterode. It is believed both foundries had a deal on the exchange of some typefaces. Lanston Monotype had a metal Onyx that was probably copied from the ATF version, and the Monotype UK metal Onyx was probably a copy of Lanston Monotype. The current digital version of Monotype seems to be made after the Monotype UK metal version. The Bitstream digital version was copied from the ATF Onyx typeface.

    FontShop link. Klingspor link.

    View Gerry Powell's typefaces. [Google] [MyFonts] [More]  ⦿


    Russian graffiti font archive. [Google] [More]  ⦿

    Gesha Toros

    Russian designer of Wild dance (2014), a decorative typeface on the theme of people killing people. [Google] [More]  ⦿

    [Michael Yunat]

    Ukrainian-born Michel Yunat is content curator at GetVoIP in New York City. In 2014, he was involved in the commissioning of a free 2-style typeface family simply called GetVoIP Grotesque. The typeface was made by Sergiy S. Tkachenko.

    Behance link. GetVoIP link. Dafont link. [Google] [More]  ⦿

    Gianni Sinni
    [LCD Graphics]

    [MyFonts] [More]  ⦿

    Gilbert Powderly Farrar

    [MyFonts] [More]  ⦿

    Gilles Le Corre
    [GLC --- Gilles Le Corre]

    [MyFonts] [More]  ⦿

    GIS Panorama

    The fonts.zip file contains free topographical symbols for Latin and Cyrillic: A431Italic, Bm431Italic (text typeface with Cyrillic letters included), Ch122Bold (Cyrillic only), D431Italic, D432BoldItalic, P131, P152SemiBold, T132SemiBold, Do431Italic, all made by GIS Panorma, or Panorama Group, in 2004. Gruppa Provincia, Nizhny Novgorod, made Bo2-Italic, Ch131-Regular (Cyrillic only), Ch132-Bold (Cyrillic only), D231Regular (Cyrillic only), P112-Semibold (Cyrillic only), P151 (Cyrillic only), T1-131, T2131, all in 1994. From 2005 until 2007, they made D231, D431, D432 and Do431Italic. [Google] [More]  ⦿


    The Glagolitic alphabet, also known as Glagolitsa, is the oldest known Slavic alphabet. The wiki explains its history: The two Slavic missionaries canonized as Saints Cyril and Methodius were sent to Great Moravia in 862 by the Byzantine emperor at the request of Knyaz (Duke) Rastislav, who wanted to weaken the dependence of his country on East Frankish priests. The glagolitic alphabet, however it originated, was used between 863 and 885 for government and religious documents and books, and at the Great Moravian Academy founded by the missionaries, where their followers were educated. In 886, an East Frankish bishop of Nitra named Wiching banned the script and jailed 200 followers of Methodius, mostly students of the original academy. They were then dispersed or, according to some sources, sold as slaves by the Franks. Many of them (including Naum, Clement, Angelarious, Sava and Gorazd), however, reached Bulgaria and were commissioned by Boris I of Bulgaria to teach and instruct the future clergy of the state into the Slavic languages. After the adoption of Christianity in Bulgaria in 865, religious ceremonies and Divine Liturgy were conducted in Greek by clergy sent from the Byzantine Empire, using the Byzantine rite. Fearing growing Byzantine influence and weakening of the state, Boris viewed the introduction of the Slavic alphabet and language in church use as a way to preserve the independence of Slavic Bulgaria from Greek Constantinople. As a result of Boris's measures, two academies, one in Ohrid and one in Preslav, were founded. A page from the 10th-11th century Codex Zographensis found in the Zograf Monastery in 1843. From there, the students traveled to various other places and spread the use of their alphabet. Some went to Croatia (into Dalmatia), where the squared variant arose and where the Glagolitic remained in use for a long time. In 1248, Pope Innocent IV gave the Croats of southern Dalmatia the unique privilege of using their own language and this script in the Roman Rite liturgy. Formally given to bishop Philip of Senj, the permission to use the Glagolitic liturgy (the Roman Rite conducted in Slavic language instead of Latin, not the Byzantine rite), actually extended to all Croatian lands, mostly along the Adriatic coast. The Holy See had several Glagolitic missals published in Rome. Authorisation for use of this language was extended to some other Slavic regions between 1886 and 1935. In missals, the Glagolitic script was eventually replaced with the Latin alphabet, but the use of the Slavic language in the Mass continued, until replaced by the modern vernacular languages. Some of the students of the Ohrid academy went to Bohemia where the alphabet was used in the 10th and 11th century, along with other scripts. Glagolitic was also used in Kievan Rus. In Croatia, from the 12th century onwards, Glagolitic inscriptions appeared mostly in littoral areas: Istra, Primorje, Kvarner and Kvarner islands, notably Krk, Cres and Losinj in Dalmatia, on the islands of Zadar, but there were also findings in inner Lika and Krbava, reaching to Kupa river, and even as far as Slovenia. The Hrvoje's Missal (Croatian Hrvojev misal) was written in Split, and it is considered as one of the most beautiful Croatian Glagolitic books. Until 1992, it was believed that Glagolitsa in Croatia was present only in those areas, and then, in 1992, the discovery of Glagolitic inscriptions in churches along the Orljava river in Slavonia, totally changed the picture (churches in Brodski Drenovac, Lovcic and some others), showing that use of Glagolitic alphabet was spread from Slavonia also. At the end of the 9th century, one of these students of Methodius who was settled in Preslav (Bulgaria) created the Cyrillic alphabet, which almost entirely replaced the Glagolitic during the Middle Ages. The Cyrillic alphabet is derived from the Greek alphabet, with (at least 10) letters peculiar to Slavic languages being derived from the Glagolitic. Nowadays, Glagolitic is only used for Church Slavic (Croatian and Czech recensions). [Google] [More]  ⦿


    Quoting: The Glagolitic script (Glagolitsa) is the oldest known Slavic script and supposedly was created by the missionaries St Cyril (827-869 AD) and St Methodius (826-885 AD). They needed it to translate the bible and other religious texts into Old Slavic language when the Slavic world converted to Christianity. The letters were probably modeled after a cursive Greek script. With their translations which were based on a slavic dialect of the Thessaloniki area, they created the literary standard known as Old Church Slavonic. The name Glagolitic comes from the fourth letter of the script, glagol. Glagol in turn stems from the Serbo-Croatian glagoljica, from Old Church Slavonic glagolu (word). The script was also referred to as azbuka which is a generic term derived from the names of the first two letters of the alphabet. The Glagolitic script consists of 33 basic letters whose order is mainly based on the Greek script, apart from some letters that represent Slavic sounds not found in Greek language. The origin of the shape of the non-Greek Glyphs is unknown, some say they are derived from hebrew or Coptic script, but there is little evidence. The earliest documents written in Glagolitic are from the 9th century. Glagolitic was used until the 12th century and then gradually replaced by Cyrillic, sometimes Latin in liturgical uses. Only in Croatia was it used in church until the 19th century, because in 1248, the Croats had been given special permission by Pope Innocent IV to use their own language and script in liturgy. In Croatia, the rounded shapes of the Glagolitic Glyphs (seen above) also evolved into a very distinctive, more square variant which features a lot of ligatures. Today, Glagolitic is a dead script only used for research and scholarly purposes. [Google] [More]  ⦿


    Cyrillic fonts by GlasNet made in 1997: Courier-Glas, Times-Glas (family). [Google] [More]  ⦿

    GLC --- Gilles Le Corre
    [Gilles Le Corre]

    French painter born in Nantes in 1950, who lives in Talmont St Hilaire. His fonts include 2010 Cancellaresca Recens (inspired by a chancery type of Francisco Lucas from the late 16th century), 2009 Handymade (comic book style), 2009 Lollipop (chancery style), 2009 GLC Plantin, 2009 Primitive (2009, a rough-edged roman script), 2008 Script 2 (2008), GLC Ornaments One (2008) and 2008 Xmas Fantasy (2008: blackletter). In 2008, he started GLC -- Gilles Le Corre and became commercial. Creative Market link. He is best known for his historic revivals:

    • 161 Vergilius (2010)
    • 750 Latin Uncial (2010): inspired by the Latin script used in European monasteries from circa 5th to 8th, before the Carolingian style took over. The uppercases were mainly inspired by a 700's manuscript from Fécamp's abbey in France.
    • 799 Insular (2010): inspired by the so-called insular style of Latin script that was used in Celtic monasteries from about 600 until 820.
    • 825 Karolus (2009), and 825 Lettrines Karolus (2009).
    • 1066 Hastings (2009).
    • 1350 Primitive Russian (2012) was inspired by a Russian Cyrillic hand of Russkaja Pravda. It has rough-edged Latin charaters and many old Russian glyphs.
    • 1420 Gothic Script (2008).
    • 1431 Humane Niccoli (2010), after writings of Florence-based calligrapher Niccolo Niccoli (1364-1437).
    • 1456 Gutenberg (2008, based on a scan of an old text). Followed by 1456 Gutenerg B42 Pro, which was based on the so called B42 character set used for the two Gutenberg Latin Bibles (42 and 36 lines).
    • 1462 Bamberg (2008).
    • 1467 Pannartz Latin (2009): inspired by the edition De Civitate Dei (by Sanctus Augustinus) printed in 1467 in Subiaco by Konrad Sweynheym and Arnold Pannartz, who was the punchcutter.
    • 1470 Sorbonne (2010) was inspired by the first French cast font, for the Sorbonne University printing shop. The characters were drawn by Jean Heynlin, rector of the university based on examples by Pannartz. It is likely that the cutter was Adolf Rusch.
    • 1470 Jenson-SemiBold (2008).
    • 1475 BastardeManual (2008, inspired by the type called Bastarde Flamande, a book entitled Histoire Romaine (by Titus Livius), translated in French by Pierre Bersuire ca. 1475, was the main source for drawing the lower case characters).
    • 1479 Caxton Initials (2009): inspired by the two blackletter fonts used by the famous William Caxton in Westminster (UK) in the late 1400s.
    • 1483 Rotunda Lyon (2010): inspired by a Venetian rotunda found in a 1483 book called Eneide printed in Lyon by Barthélémy Buatier (from Lyon) and Guillaume Le Roy (from Liège, Belgium).
    • 1484 Bastarda Loudeac (2008).
    • 1470 Jenson Latin (2009), inspired by the pure Jenson set of fonts used in Venice to print De preparatio evangelica in 1470.
    • 1491 Cancellarasca Normal and Formata (2009): inspired by the very well known humanistic script called Cancellaresca. This variant, Formata, was used by many calligraphers in the late 1400s, especially by Tagliente, whose work was mainly used for this font.
    • 1492 Quadrata (2008).
    • 1495 Lombardes (2008): a redrawn set of Lombardic types, which were used in Lyon by printers such as Mathias Huss, Martin Havard or Jean Real, from the end of 14OOs to the middle of 1500s.
    • 1495 Bastarda Lyon (2008, based on the font used in the "Conte de Griseldis" by Petrarque).
    • 1499 Alde Manuce Pro (2010): inspired by the roman font used by Aldus Manutius in Venice (1499) to print Hypnerotomachia Poliphili, the well-known book attributed to Francesco Colonna. Francesco Griffo was the punchcutter. The Italic style, carved by Francesco Colonna, illustrates the so-called Aldine style.
    • 1509 Leyden (2008; inspired by the type used in Leyden by Jan Seversz to print Breviores elegantioresque epistolae).
    • 1510 Nancy (2008, decorated initial letters was inspired by those used in 1510 in Nancy (France, Lorraine) for printing of Recueil ou croniques des hystoires des royaulmes d'Austrasie ou France orientale[...] by Symphorien Champion; unknown printer).
    • 1512 Initials.
    • 1514 Paris Verand (based on initial caps that Barthélémy Verand employed for the printing of Triumphus translatez de langage Tuscan en François.
    • 1522 Vicentino (2011). Based on Ludovico Vicentino Arrighi's 1522 typeface published in La Operina.
    • GLC 1523 Holbein (2010, after Hans Holbein's Alphabet of Death.
    • GLC 1525 Durer Initials (2010). Sample R.
    • 1529 Champ Fleury Pro and 1529 Champ Fleury Initials (2010): based on Geofroy Tory's original drawings and text face.
    • 1532 Bastarde Lyon (2008, based on work by an anonymous printer in Lyon (France) to print the French popular novel Les Grandes et inestimables Chroniques du grand et enorme geant Gargantua).
    • 1533 GLC Augereau Pro: inspired by one of Antoine Augereau's three roman typefaces: the Gros Romain size, used in 1533 to print Le miroir de l'&aciorc;me..., a poetic compilation by Marguerite de Navarre, sister of the French king François I.
    • 1534 Fraktur (2009; inspired by the early Fraktur style font used circa 1530 by Jacob Otther, printer in Strasbourg (Alsace-France) for German language printed books).
    • 1536 Civilité manual (2011). Based on a handwritten copy of Brief story of the second journey in Canada (1535) by French explorer Jacques Cartier.
    • 1538 Schwabacher (2008, based on a font used by Georg Rhan in Wittemberg (Germany) to print Des Babsts Hercules [...], a German pamphlet against roman catholicism written by Johannes Kymeus).
    • 1540 Mercator Script was inspired by an alphabet of Gerardus Mercator, who is known for his maps as well as his Literarum Latinarum, quas Italicas cursoriasque vocant, scribendarum ratio (1540).
    • 1543 Humane Petreius (2012) was inspired by the typeface used in Nuremberg by Johannes Petreius for De Revolutionibus Orbium Coelestium, the well-known mathematical and astronomical essay by Nicolas Copernicus.
    • 1543 German Deluxe (2009): a Schwabacher inspired by the sets of fonts used in 1543 by Michael Isengrin, printer in Basel, to print New Kreüterbuch, which is a book with numerous nice pictures, the masterpiece of Leonhart Fuchs, father of the modern botany.
    • 1543 HumaneJenson-Bold (2008, after the typeface used in Vesalius' 1543 book De humani corporis fabrica).
    • 1543 HumaneJenson-Normal (2008, same source).
    • 1545 Faucheur (2011) is a rough garalde typeface that was inspired by the set of fonts used in Paris by Ponce Rosset, aka Faucheur, to print the story of the second travel to Canada by Jacques Cartier, first edition, printed in 1545.
    • 1546 Poliphile (2009), nspired by the French edition of Hypnerotomachie de Poliphile ("The Strife of Love in a Dream") attributed to Francesco Colonna, 1467, and printed in 1546 in Paris by Jacques Kerver.
    • 1550 Arabesques (2008, caps).
    • 1557 Civilité Granjon (2010).
    • 1557 Italique (2008, based on Italic type used by Jean de Tournes in Lyon to print La métamorphose d'Ovide figurée).
    • 1565 Renaissance (2010), inspired by French renaissance decorated letters.
    • 1565 Venetian Normal (2008, initial decorated letters that are entirely original, but were inspired by Italian renaissance engraver Vespasiano Amphiareo's patterns published in Venice ca. 1568).
    • 1584 Rinceau (2008, a set of initial letters is an entirely original creation, inspired by French renaissance patterns used by Bordeaux printers circa 1580-1590).
    • 1584 Pragmatica Lima (2011). Based on fonts used in 1584 by Antonio Ricardo to produce the first publication ever printed in Southern America.
    • 1585 Flowery (2009): inspired by French renaissance decorated letters.
    • 1589 Humane Bordeaux (2008, inspired by the Garamond fonts used by S. Millanges (imprimeur ordinaire du Roy) in Bordeaux ca. 1580-1590. The alphabets were used to reprint L'instruction des curés by Jean Gerson).
    • 1590 Humane Warszawa is a rough-edged garalde typeface inspired by a font carved circa 1590 for a Polish editor.
    • 1592 GLC Garamond (2008, inspired by the pure Garamond set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of sixteen century. Considered the best and most complete set at the time. The italic style is Granjon's).
    • 1610 Cancellaresca (2008, inspired by the Cancellaresca moderna type of 1610 by Francesco Periccioli who published it in Sienna).
    • 1613 Basilius (2012) was based on the hand-drawn types used by Basilius Besler (Germany) for the carved plates of his botanical manual Hortus eystettensis.
    • 1621 GLC Pilgrims (2010).
    • 1634 René Descartes (2009), based upon his handwriting in a letter to Mersenne.
    • 1638 Civilité Manual (2010). Inspired by a French solicitor's document dated 1638.
    • GLC 1648 Chancellerie (2011). Inspired by the hand-written 1648 Munster peace treaty signed by roi Louis XIV and Kaiser Ferdinand II.
    • 1651 Alchemy (2010): a compilation created from a Garamond set in use in Paris circa 1651.
    • GLC 1669 Elzevir (2011) was inspired by the font faces used in Amsterdam by Daniel Elzevir to print Tractatus de corde, the study of earth anatomy by Richard Lower, in 1669. The punchcutter was Kristoffel Van Dijk.
    • GLC 1672 Isaac Newton (2012) is based on the hand of Isaac Newton.
    • GLC Morden Map (2011). Based on an engraved typeface used on a pack of playing cards published by Sir Robert Morden in 1676.
    • 1682 Writhed Hand: very irregular handwriting.
    • 1689 GLC Garamond Pro (2010): inspired by Garamond fonts used in an edition of Remarques critiques sur les oeuvres d'Horace by DAEP, published in Paris by Deny Thierry and seprately by Claude Barbin.
    • 1689 Almanach (2009): inspired by the eroded and tired fonts used by printers from the sixteenth century to the early years of twentieth for cheap or fleeting works, like almanacs, adverts, gazettes or popular novels.
    • 1695 Captain Flynt.
    • 16th Arabesques (2008, an exquisite ornamental caps scanfont).
    • 1715 Jonathan Swift (2011). An example of the hand of Irish poet and novelist Jonathan Swift (1667-1745). It is a typical exemple of the British quill pen handwriting from about 1650-1720.
    • GLC 1726 Real Espanola (2012). Based on the set of typefaces used by Francisco Del Hierro to print the first Spanish language Dictionary from the Spanish Royal Academy (Real Academia Española, Dictionario de Autoridades) in 1726. These transitional styles are said to have been the first set of official typefaces in Spain.
    • 1741 Financiere (2009): inspired by the Fournier's font Financière. While it appears handwritten, it was in fact carved in 1741 by Pierre Simon Fournier le jeune and published in his Manuel Typographique in Paris (1764-1766).
    • 1742 Frenchcivilite (2008).
    • 1751 GLC Copperplate (2009), a 6-style family about which Gilles says: This family was inspired by an engraved plate from Diderot&Dalembert's Encyclopedia (1751), illustrating the chapter devoted to letter engraving techniques. The plate bears two engravers names: "Aubin" (may be one of the four St Aubin brothers?) and "Benard" (whose name is present below all plates of the Encyclopedia printed in Geneva). It seems to be a transitional type, but different from Fournier or Grandjean.
    • 1756 Dutch (2011).
    • 1776 Independence (inspired mainly from the font used by John Dunlap in the night of 1776 July 4th in Philadelphia to print the first 200 sheets of the Congress' Declaration of Independence establishing the United States of America).
    • 1781 La Fayette (2010): a formal bâtarde coulée script with caitals inspired by Fournier (1781).
    • 1785 GLC Baskerville (2011). Le Corre explains: The Baskerville's full collection was bought by the French editor and author Pierre-Augustin Caron de Beaumarchais who used it to print---in Switzerland---for the first time the complete work of Voltaire (best known as the Kehl edition, by the "Imprimerie de la société littéraire typographique"). We have used this edition, with exemplaries from 1785, to reconstruct this genuine historical two styles.
    • 1786 GLC Fournier (2010), based on several books printed in Paris just before the Didot era set in. The Titling characters are based on hymns printed by Nicolas Chapart.
    • 1790 Royal Printing (2009): inspired by various variants of Romain du Roy.
    • 1791 Constitution (2011).
    • 1792 La Marseillaise (2011). Based on the original manuscript of the French revolutionary song La Marseillaise which later became the French national hymn---it was composed in one night (April 25, 1792) by captain Rouget de Lisle.
    • 1805 Austerlitz Script Light: a typical French handwriting style from that period, named after one of the few battles that Napoleon actually won.
    • 1805 Jaeck Map (2011). Inspired by the engraved characters of a German map, edited in Berlin at the end of 1700s. The engraver was Carl Jaeck or Jaek (1763-1808).
    • 1809 Homer (2011), a grungy typeface named after the "homer" message pigeons.
    • 1815 Waterloo (2008): a handwriting typeface originating in Napoleon's government. Why do I feel that GLC is nostalgic for the era of Napoleon? Their own present dwarf-version of Napoleon is not exactly a huge success.
    • 1820 Modern (2009) was inspired by a didone font used in Rennes by Cousin-Danelle, printers, for a Brittany travel guide.
    • 1822 GLC Caslon (2010): inspired by a Caslon set used by an unknown Flemish printer from Bruges, in the beginning of 1800s, a little before the revival of the Caslon style in the 1840s.
    • 1845 Mistress (2009): calligraphic script.
    • 1848 Barricades Italic, a quill pen italic.
    • 1859 Solferino (2009).
    • 1863 Gettysburg (2008; inspired by a lot of autographs, notes and drafts, written by President Abraham Lincoln, mainly the Gettysburg address).
    • 1864 GLC Monogram Initials (2011) was inspired by a French portfolio containing about two hundred examples of Chiffres---deux lettres, created for engravers and jewelers in Paris in 1864, and drawn by French engraver C. Demengeot.
    • 1871 Victor Hugo (2011). Based on manuscripts from the final part of the life of Victor Hugo (1802-1885).
    • 1871 Whitman Script (2008) and 1871 Dreamer Script (2008): inspired by manuscripts by American poet Walt Whitman. See also 1871 Dreamer 2 Pro (2012).
    • 1880 Kurrentschrift (2010): German handwriting, based on late medieval cursive. It is also known as "Alte Deutsche schrift" ("Old German script"). This was taught in German schools until 1941.
    • 1883 Fraktur (2009): inspired by fonts used by J. H. Geiger, printer in Lahr, Germany.
    • 1885 Germinal: based on notes and drafts written by Émile Zola (1840-1902).
    • GLC 1886 Romantic Initials (2012).
    • 1890 Registers Script (2008): inspired by the French "ronde".
    • 1890 Notice (2009): a fat didone family.
    • 1902 Loïe Fuller (art nouveau face).
    • 1906 Fantasio (2010): inspired by the hatched one used for the inner title and many headlines by the popular French satirical magazine Fantasio (1906-1948).
    • 1906 French News: a weathered Clarendon-like family based on the fonts used by Le Petit Journal, a French newspaper that ran from 1863 until 1937.
    • 1906 Fantasio Auriol (2010), inspired by the set of well known Auriol fonts used by the French popular satirical magazine Fantasio (1906-1948).
    • 1906 Titrage (2009): a didone headline typeface from the same newspaper.
    • Underwood 1913 (2007, an old typewriter font, whose commercial version is Typewriter 1913), and 1913 Typewriter Carbon (2008).
    • 1920 French Script Pro (2010).
    • 1920 My Toy Print Set, 1925 My Toy Print Deluxe Pro (2010): inspired by rubbert stamp toy print boxes called Le petoit imprimeur.
    • 1968 GLC Graffiti (2009).
    • 1917 Stencil (2009; with rough outlines).
    • 1920 My Toy Print (2010, grunge).
    • 2010 Dance of Death (2010): based on Hans Holbein's Alphabet of Death.
    • 2010 Pipo Classic: a grungy typewriter slab serif family.
    • 2011 Slimtype (2011, +Italic) and 2011 Slimtype Sans (2011): an old typewriter typeface.
    Creative Market link. [Google] [MyFonts] [More]  ⦿

    Glen Jan
    [Elena Kowalski]

    Glen Jan is the foundry of type designer Elena Kowalski (b. 1986) in Ufa, Russia. Elena created the Latin / Cyrillic typeface Sreda Slab Serif (2011), Road Radio Sans Serif (2011) and Affect Sans Serif (2011, a fashion sans family for Latin and Cyrillic).

    Typefaces from 2012: Road Radio (sans family), Sceptica (a 12-style sans text family), Room (a display geometric all caps sans serif typeface family), Idealist Sans (a humanist sans for Latin and Cyrillic: free download), Echoes Slab, Echoes Sans.

    Typefaces from 2013: Leto Sans, Leto One (a display slab), Leto One Condensed, Leto Two, Affect.

    Typefaces from 2014: Certa Sans (a very legible Latin/Cyrillic sans family with some flaring in the strokes; Medium is free), Leto Slab.

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

    [Ivan Zeifert]

    Russian language site with an archive (specializing in calligraphic and display scripts), some original fonts by Ivan Zeifert of Ivan Zeifert Works, tens of free fonts by Alexandra Gophmann, and links to free and commercial font sites. Commercial scripts nearly all by Zeifert, and nearly all are cyrillicized versions of Latin faces. Free scripts: Cansellarist (2003, Ivan Zeifert, cyrillicized version of Cancellaresca Script Plain), ChampagneCyrillic (2005), Copyist (2004, Ivan Zeifert), Drakkar (2004), Figurny (2006, an exaggerated Victorian face, done with Anatole and Alexandra Gophmann), Flibustier-Thin (2005), HeatherScriptOne (2005, Alexandra Gophmann), HeatherScriptTwo (2005, Alexandra Gophmann), KabarettSimple-Thin (2004, a Showboat-style face, cyrillicized by Ivan Zeifert), KabarettDecorDEMO-Thin (2004), Marianna (2006), RockletterSimple (2005), RockletterTransparent (2005), RosamundaOne-Normal (2005, Alexandra Gophmann), RosamundaTwo (2005, Alexandra Gophmann). These are all by Ivan Zeifert: Flibustier-Thin (2005), Twin Brush (2006), Custodian (2006), Acquest Script (2006), Auric Script (2006), Calligraphist, ChampagneCyrillic (2005), Cansellarist (2003, cyrillicized version of Cancellaresca Script Plain), Chancellor, Chaplain, Chromium Plated, Connetable, Counterbalance, Copyist, Countess, Decree Art One and Two, Decree (Narrow, Thin, Wide), Drakkar, Engraver, Forest, Gissmonda, Kabarett Decorated, Kabarett Transparent, Languedoc, Maghreib, Medieval, Neon Italic, Patience, Rockletter Decorated, RockletterSimple (2005), RockletterTransparent (2005), Saloon, Splinter, Twin Brush, Whirlpool, Wooden Ship Decorated, Wooden Ship One and Two. News. [Google] [More]  ⦿

    Global Ukraine FTP server

    650+ Russian TrueType archive. Fonts by ParaGraph International, A.Kustov (for Type Market), Nikita Vsesvetskii (for SoftUnion), TeamAXis Corp, Yuri A.Lyamin, Dmitry Komissarov (for ParaGraph), AzBuki press, Atech Software, Adobe, VNLabs, S. Agronsky (for Graphic Bureau Az-Zet), SMENA-SPSL Corp, Andrejs Grinbergs (for AG Fonts Collection), and !22! Soft. [Google] [More]  ⦿

    Glonti fonts

    The Glonti font package consists of virtual fonts that are composed from CM and CMCYR fonts. The package is intended primarily for plain TeX based formats that use Knuths original font selection, font naming, and font coding schemes. Use them with `cyrplain' format found in `T2' package. Developed in 2001-2002 by Iliya Peregoudov. [Google] [More]  ⦿

    Gloria Pike

    Pencil artist from Norman, OK (b. 1984) who designed the curly typeface GloriaNumberOne (2004), the hand-printed typeface March Nouveau (2006), Descenders (2006, art nouveau face), April Nouveau (2006), Jaws of Life (2006, artsy billboard face), Konnectors (2006), Rebubbled (2006), Eggheadz (2006), Untitled Comic Font (2006, contains Cyrillic characters), Hexangular (2006), Gloriental (2006, oriental simulation), ApplePear (2009) and Gloria's Hand 1 (2005). Alternate URL. [Google] [More]  ⦿

    Gluk Fonts
    [Grzegorz Luk]

    Grzegorz Luk, aka Gluk, is a Polish type designer (b. 1973). Type catalog in 2010.

    Creator of the free artsy font Wanta (2008), of Resagnicto (2010), of Rawengulk (2010), of Rawengulk Sans (2011), of Reswysokr (2011), of the bold slab serif typeface Zantroke (2011), and of the free calligraphic faces Odstemplik (2009), promocyja (2008) and Konstytucyja (2008).

    He published the elegant serif family Foglihten (2010), which includes the inline faces Foglihten No. 1 (2011), Foglihten Fr02 (2011), Foglihten No. 3 (2011) and Foglihten No. 4 (2012). The latter is inspired by the Polish Constitution of May 3, 1791. Foglihten Petite Caps Black (2012) and Foglihten Black PCS (2012) are high-contrast fat didone faces, minus the ball terminals. The series continues with Foglihten No. 6 (2012) and Foglihten No. 7 (2013).

    Qumpellka No 12 (2011) is a flowing italic. Opattfram01 (2011) is a dingbat typeface with onamental patterns. The Okolaks family (2008) has a bit of an art deco feel. It covers East-European languages as well as Cyrillic. Sportrop (2008) is a neat multiline face. Gputeks (2008) is a delicate decorative face. Szlichta07 (2008) on the other hand is an experimental typeface based on tilting the horizontal edges about ten degrees up. Kawoszeh (2008) is a curly Victorian pre-art nouveau face. Spinwerad (2009) and Itsadzoke S01 (2010) and Itsadzoke S02 are display didones. Znikomit (2011) is an impressive lachrymal hairline slab face. See also Znikomit No. 25 (2012) and Znikomit No. 24 (2012; image by Benjamin Frazzetto).

    Creations from 2012: Charakterny, Garineldo, Mikodacs (an Impact-like black display sans), Yokawerad (a didone headline face), Resagokr, Nikodecs, Garineldo SC.

    Typefaces from 2013: Etharnig, Namskin, Namskout (a layered heavy display face), Prida 65 (spurred antique face), Ketosag, Prida 61, Gatometrix, Glametrix, Gallberik.

    Typefaces from 2014: VECfont FogV4, EtharnigV (a bi-colored font), Risaltyp, Wabroye, Kleymissky, Sortefax (an outline font with engraved versions as on dollar bills), Dragerotypos (blackboard bold), Resamitz.

    Typefaces from 2015: PridaEn (a vector font for color), Prida S4.

    Dafont link. Digart link. Fontspace link. Dafont link. Open Font Library link. Scribus Stuff link. Fontspace link. Kernest link. Abstract Fonts link. Behance link. Font Squirrel link. Klingspor link. [Google] [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. Scans: FreeMono, FreeMonoBold, FreeMonoBoldOblique, FreeMonoOblique, FreeSans, FreeSansBold, FreeSansBoldOblique, FreeSansOblique, FreeSerif, FreeSerifBold, FreeSerifBoldItalic, FreeSerifItalic. The original head honcho was Primoz Peterlin, the coordinator at the Institute of Biophysics of the University of Ljubljana, Slovenia. In 2008, Steve White took over. Participants and credits, as of the end of 2010, with Unicode range responsibilities:

    • 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. Download link. [Google] [More]  ⦿


    Chinese truetype fonts. And 20 MB worth of international bitmap fonts. The fonts at the latter link contain PCF and BDF sources, and some truetype and type 1 fonts. Among the bitmap (BDF) fonts: ISO8859 series 1 through 9 (Latin, Greek, Cyrillic), KOI8 (Cyrillic), Indic, Lao, Tibetan, Thai, Vietnamese, Chinese, Japanese, Korean, Ethiopic, Arabic, IPA, Hebrew. Truetype: Latin-X fonts, Vietnamese (VISCII roman). Type 1: Latin-X fonts, Vietnamese (VISCII roman), Thai (TIS620), Thai National Font. The readme goes: "We greatly appreciate the contribution of Yannis Haralambous and Tereza Tranaka. They made free TrueType and Type1 fonts for Latin-X series, Thai, and Vietnamese. They will eventually make fonts for more character sets." The fonts are called OmegaSerif, and were made in 1999. Also included is the Thai National font Nf3, made by Yannis Haralambous and Virach Sornlertlamvanich in 1999. [Google] [More]  ⦿


    Designer at FontStruct in 2008 of goglus_urodz. In 2009, he made Urodz, and in 2010 Goglus Menu. Seems to be Russian. [Google] [More]  ⦿


    Archivette with 5 Cyrillic truetype fonts (ER-Kurier, ER-Bukinist). [Google] [More]  ⦿


    Golova is a community of graphic designers, illustrators and art directors in the UK. Behance link. Creators of the hand-drawn Lefthand (2009) and interesting type-based logos such as Gagra and Bulkas Makom. [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 faces 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

    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]  ⦿

    Graphic bureau Az-Zet

    Russian foundry that published Cyrillic/Latin fonts from these designers:

    • Anton Bisiajew: AZGaramondC (1990-1995).
    • Serge Agronsky: AZGaramondExtraBoldC (1990-1995), ParagonNordC (1990-1995).
    • Leonid Silkin: HighWayC (1990-1995), PoligonC (1990-1995).
    • A. Andreev: NewsPaperC (1990-1995).
    • K. Tchouvashew: AZLatinWideC (1990-1995).
    [Google] [More]  ⦿

    Green Type
    [Dmitrij Greshnev]

    Green Type is the foundry of creative Russian type designer Dmitrij Greshnev (b. 1975, Lengingrad). Still based in Leningrad, Dmitrij received a TypeArt 05 award for the display family Multicross (2003-2004), which can be bought at ParaType. He will win many more awards.

    His typefaces include Stopwatch (2010, LED face), Sokol (Old Slavonic Latin simulation face), Slavica (2010), Reliant (2010, with Iza W at Intellecta Design), Reliant Beveled (2012, free), Logistica (2010, army stencil), Danger (2010, another army stencil), Dusk Thin (2010), and Multicross (2003-2004, stitching font).

    Typefaces from 2011: Zoo300 (techno sans; +Shadow, +yrillic). Behance link.

    In 2012, he created Patriciana (a Peignotian typeface for Latin and Cyrillic) and Directo.

    Typefaces from 2013: Finch, Hypermarket (dirty typewriter).

    Typefaces from 2014: