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Cyrillic type design



[Image of Yuri Gordon, one of Russia's most important contemporary type designers. This page covers Cyrillic type design in general.]








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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 2007, Matt published the free icon typeface Adanac that contains 62 Canadiana symbols.

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.

In 2016, Matt published the angular Preissig-style Millwright and explains that it is inspired by spunky DIY attitude and Industrial era hardware---an exercise in rendering glyphs with a rudimentary, hand-cut flavour. Behance link. FontShop link. Creative Market link. Klingspor link. [Google] [MyFonts] [More]  ⦿

110design
[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 typefaces 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: co-designed 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.

Sumana (2015, free at Google Web Fonts, and published by Cyreal) is a family of Latin and Devanagari fonts for text setting and web usage. The Latin counterpart is derived from Lora by Olga Karpushina, Cyreal. Its vertical and horizontal metrics are adjusted to better match with the Devanagari. [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]  ⦿

195.206.35.44

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]  ⦿

38 Lineart Studio (or: Grayscale, or: Fontsources)
[Muhammad Ridha Agusni]

Architect and designer in Banda Aceh, Indonesia, b. 1980, who set up Grayscale, then 38 Lineart, and finally Fontsources.

In 2018, he released the hexagonally-patterned color font Space, the nervous monoline display typeface Barcelona, the monoline script Brandy, the tattoo and metal band blackletter font Amstha, Twinkle (hexagonal texture), Premium Quality, Hightide (signage script), Ashley Pages, Bold Grunge (a wood style Western font), Rabbit House, Strongbold (brush style), Onthel (a rhythmic signage script), Cafeine, Seulanga (calligraphic), Sweet Bubble, Downhill, Architecture (technical writing font), Wisethink (rough brush), Emerald, Ghotic, Oakland (signage script), Parthenon (signage script), Strawberry Night (script), the formal calligraphic font Beauty Athena, the inline font Epicentrum, and the signature font Attitude in 2018.

Typefaces from 2019: Ghoust (a marker font done at Cititype), Diamant Handwriting (a signature font), Utrecht (with Siti Saribanon Nurjannah), Exhibitionist (a fine rhythmic script), Holimount, Prague Metronome (a thin signature script), Allegroost (a brush typeface), Anisha (script), Kyoto Northern, ChiQuel (a Victorian display typeface that can be layered), Hillstone (a dry brush script), Malique, Ginchiest (a retro signage script), Kid Knowledge, Haghia, Khatija Calligraphy, Bernound, Graffity, Brandy Script (monoline), Downhill, Concept (sketched, blueprint font), Konya (signature script), Blacksmith, Curve Calibration (condensed sans).

Typefaces from 2020: The Pallace (a great natural inky signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Chipen (inline, all caps), Jakarta (a flowing inky script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Rhode White (a great signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Bailamore (a creamy signage script), Vogie (a sporty / techno sans family of 72 fonts, plus a variable font), Rollingtime (a brush script jointly designed by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Piedmont (a heavy connected handwriting script advertized as a masculine signature font), Whiplash (an all caps dry brush font), Aceh (a 36-style geometric sans), Youthink, Sacred Letter (a vintage weathered script), Serif Sketch (by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Corinthiago, Smart Chameleon (a handcrafted typewriter font by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Hiroshima Gyoshi (a brush font inspired by Japanese calligraphy), Roughmarker (dry marker font), Brotherhood, Blugie (a fat finger font), Rome Ionic (an all caps roman typeface), Black Orchestra (a great horror or black metal font), Black Orchestra (a horror font).

Typefaces from 2021: Magreb (an 8-style renaissance serif typeface), Toxide (calligraphic; Celtic; uncial), Redtone (a 14-style geometric sans), Moula (an 18-style geometric sans for Latin, Greek and Cyrillic), Zouk (blackletter), Zagreb (an inky signature script by Muhammad Ridha Agusni and Siti Saribanon Nurjannah), Alsace (Victorian), Backbone (a black metal blackletter typeface), Roundkey (a 24-style condensed, but not round, sans), Wordwalker (a marker pen font by Muhammad Ridha Agusni and Siti Saribanon Nurjannah for Cititype), Sweet Bubble (a bubblicious font), Souljah (an elegant inky calligraphic script).

Creative Fabrica link. Another Fontbundles link. [Google] [MyFonts] [More]  ⦿

3type

Shanghai, China-based type foundry, est. 2017, with a foreign office in Berlin. They specialize in multilingual and multiscriptual typography and type matching, in particular for Chinese, Latin, Cyrillic and Arabic. Their font catalog in 2020:

  • Astronomer (2018). An attractive Latin / Hanzi text typeface that refers to the Ming Dynasty astronomer / mathematician / scholar Xu Guangqi (aka Paul Siu, 1562-1633).
  • Dinkie Bitmap (2018-2020). A pixel typeface for Latin, Arabic, Hebrew, Cyrillic and Chinese by Willie Liu.
  • Ellenda (2018). An art deco typeface by Zheng Chuyang.
  • Faustina (2010-2018). A poster typeface by Zheng Chuyang, after an idea by Luise Schenker. It covers Latin, Cyrillic and Arabic, including the Persian, Urdu, Uyghur, Kazakh and Kirgiz versions. It also has a rich set of Emojis.
  • Freundschafts-Antiqua Neue (2017), by Roman Wilhelm. Covering Latin, Vietnamese, and Hanyu Pinyin, this 6-style typeface family revives the award-winning text typeface Freundschafts-Antiqua made in 1959 by Yu Bingnan.
  • Hong Kong Street Face (2015). A Hanzi font by Roman Wilhelm that reflects the character of Hong Kong.
  • Xingkai Next (2017). A modern polygonal typeface for Hanzi, by Li Zhiqian. It was derived from cursive handwriting and Chinese calligraphy.
  • Ryan Serif (2017). A Latin display typeface by Ryan Lau.
  • Weaf Mono (2017-2018). A monospaced monolinear sans family by Zheng Chuyang and Li Zhiqian, covering Latin, Hanzi (Chinese), Arabic, Cyrillic and Devanagari. It also has some emoji characters.
  • RVS Basic (2021). A brilliant and bold reverse-contrast typeface with an emphasis on Hanzi. Commercial letterings from the Republic of China and a calligraphic style named Qishu from the Qing Dynasty jointly inspired the typeface. Award winner at 25 TDC in 2022.
[Google] [More]  ⦿

440EMU

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. Open Font Library link.

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

60 Kilos (or: Sesenta Kilos)

Spanish designer of the hipsterish display typeface Belle de Mai (2020), a variable display typeface inspired in the cultural shock between high cost zones and the lowest suburbs near big metropolitans cities like Paris, and in the French culture, especially in the hood of La Belle de Mai, where it takes the name from.

Typefaces from 2021: Galipo or Galipos (a Latin / Cyrillic display typeface inspired by Andalusian society and culture). [Google] [More]  ⦿

7GUN

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. Ego

Russian co-designer, with Elena Kowalski, of the flexible all-caps display grotesk typeface Morpha (2018), the sans typeface Atenta (2019), Alter Aves (2020), Alter Biom (2020), and Minor (2020: a 12-style grotesk). [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]  ⦿

AaAAaAlena
[Alena Tsemkalo]

Russian programmer. In 2021, she released the simple script typeface Duck Footprint for Latin and Cyrillic. [Google] [MyFonts] [More]  ⦿

Aba Sh

Chelyabinsk, Russia-based designer of the free Latin / Cyrillic typefaces Elfabe (2018) and One (2018, a brush script). [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]  ⦿

Abdurrahman Hanif
[Monocotype Studio (or: Monoco Type, or: Awal Studio)]

[MyFonts] [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]  ⦿

Academy
[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]  ⦿

Adalin
[Kseniy Khikmatulina]

Designer in 2018 of the Latin / Cyrillic handcrafted typefaces Candy (curly script), Polar Bear (a sketched font for Christmas), A Wish (a Christmas script), Varvara, Jungle, Arelon, Elantris (script). [Google] [More]  ⦿

Adam Jagosz

Aka Iorveth Aen Seidhe. Katowice, Poland-based designer of Slowglass (2017: a stocky 30-style geometric semi-serif sans family with vast language coverage that includes Cyrillic, Greek and Vietnamese), the rune simulation font Pertho (2016) and the penis font Semi (2016). He also made several interesting calligraphic pieces.

In 2019, he designed the 62-style sci-fi typeface family Ares (+Ares VF), the condensed Latin / Greek / Cyrillic sans Rywalka, the creamy stencil typeface Aromatron and the leafy Aromatron Ornaments.

Typefaces from 2020: AJ Quadrata (a revival of Textura Qadrata).

Aka Quadratype. Devian Tart link. Creative Fabrica link. [Google] [MyFonts] [More]  ⦿

Adam Katyi
[Hungarumlaut (was: Cila Design)]

[MyFonts] [More]  ⦿

Adam Twardoch

Adam Twardoch (b. 1975) was raised in Tychy, Poland, and graduated from the University of Frankfurt/Oder, Germany. He worked at for Agentur GmbH, a Frankfurt/Oder-based design firm. Since 1991, Adam has advised numerous type designers on Central European extensions of their typefaces and has created localized versions of over fifty fonts. He frequently writes on type-related matters, and is the founder of Font.org, a (now defunct) website featuring articles about typography in English and Polish. Adam Twardoch is Director of Products of FontLab (since 2004), and is typographic consultant at Linotype (since 2002) and Tiro Typeworks (since 2001), and general font specialist at MyFonts (2000-2012). Since 2012 he is based in Berlin.

Adam Twardoch is working in the field of font technology, multilingual typography, CSS webfonts, Unicode and OpenType.

His typefaces:

  • Andromeda SL (1997-2006). The unicase Andromeda SL font was inspired by a 1970's-like logo design for the "Andromeda" cinema in Tychy, Poland.
  • Nadyezhda SL One (2007). Intended for testing of OpenType Layout features support in an application, this font is an extension of the Bitstream Vera Mono font, originally designed by Jim Lyles.
  • In 2016, a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf designed an 8-style Latin / Greek / Cyrillic stencil typeface, Milka, which is based on an original stencil alphabet from 1979 by Bulgarian artist Milka Peikova.
  • In 2017, Adam released the free 163-font collection Schticks, which is based on STIX Two.
  • In 2019, Adam Twardoch published the free Robert Sans typeface family at Open Font Library. Robert Sans is a fork off Christian Robertson's Roboto font. It was further developed by Cristiano Sobral in Bert Sans (2020).

Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2016 in Warsaw and at ATypI 2018 in Antwerp. [Google] [MyFonts] [More]  ⦿

Aditya Bayu Perdana

Bandung and Jakarta, Indonesia-based designer of these local language fonts in 2014-2015: Prayara (for Kawi), Godhong (for Javanese), Kamo (for Javanese), Ngrawit, Palataran (for Balinese), Liwet (for Sundanese), Lontara and Lontaraq (for Buginese), Wijaya (for Kawi), Mulawarman (for Pallava), Pustaha (for Batak), Lilitan (for Balinese), Aturra (for Javanese), Wulang (for Javanese; based on the 19th century calligraphic handwriting of Serat Jayalengkara Wulang), Tantular (a humanist sans for Latin, Balinese, Batak, Bugis, and Kawi).

Designer of the multiscript Bodoni typeface Kasira (2015), which covers Latin, Cyrillic, Greek, and Balinese, and the Javanese fonts Nawatura (2016), Bangil (2016) and Makara (2016).

Typefaces from 2017, designed during his studies at Parahyangan University in Bandung: Nakea (Javanese), Pustaka (Javanese).

Typefaces from 2018: Batangan (Javanese), Kavali (Sundanese), Jogjakartaip (Javenese), Salapa (for Lontara script), Pustaka Bali (Balinese), Nawatura, Istaka, Dioharudin (Cirebonese script).

Typefaces from 2019: Merpat (for Balinese), Kataruman (for Sundanese). [Google] [More]  ⦿

Adrian Englert

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

Adrian Frutiger

Famous type designer born in 1928 in Unterseen, Switzerland, who died in September 2015. He closely cooperated with Linotype-Hell AG, after having been artistic director at Deberny-Peignot in Paris since 1952. He established his own studio in 1962 with André Gürtler and Bruno Pfaftli. Art director for Editions Hermann, Paris 1957 to 1967. Frutiger lived near Bern, Switzerland, and was very interested in woodcuts. In 2009, Heidrun Osterer and Philipp Stamm coedited Adrian Frutiger Typefaces The Complete Works (Birkhäuser Verlag), a 460-page opus based on conversations with Frutiger himself and on extensive research in France, England, Germany, and Switzerland. Quote: Helvetica is the jeans, and Univers the dinner jacket. Helvetica is here to stay. He designed over 100 fonts. Here is a partial list:

  • Président (Deberny&Peignot, 1954). Digitized by Linotype in 2003.
  • Delta.
  • Phoebus (Deberny&Peignot, 1953).
  • Element-Grotesk.
  • Federduktus.
  • Ondine (Deberny&Peignot, 1953-1954). The Bitstream version of this font is Formal Script 421. Adobe, Linotype and URW++ each have digital versions called Ondine. Bitstream's Calligraphic 421 is slightly different.
  • Méridien (Deberny&Peignot, 1955-1957). Digitized by Adobe/Linotype in 1989.
  • Caractères Lumitype.
  • Univers (Deberny&Peignot, 1957). About the name, Frutiger wrote I liked the name Monde because of the simplicity of the sequence of letters. The name Europe was also discussed; but Charles Peignot had international sales plans for the typeface and had to consider the effect of the name in other languages. Monde was unsuitable for German, in which der Mond means "the moon". I suggested "Universal", whereupon Peignot decided, in all modesty, that "Univers" was the most all-embracing name!. Univers IBM Composer followed. In 2010, Linotype published Univers Next, which includes 59 Linotype Univers weights and 4 monospaced Linotype Univers Typewriter weights, and can be rented for a mere 2675 Euros. In 2018, Linotype added Univers Next Typewriter. In 2020, Linotype's Akira Kobayashi dusted off Univers Next Cyrillic and Univers Next Paneuropean.
  • Egyptienne F (1955, Fonderie Deberny&Peignot; 1960, for the Photon/Lumitype machine).
  • Opéra (1959-1961, Sofratype).
  • Alphabet Orly (1959, Aéroport d'Orly).
  • Apollo (1962-1964, Monotype): the first type designed for the new Monotype photosetting equipment.
  • Alphabet Entreprise Francis Bouygues.
  • Concorde (1959, Sofratype, with André Gürtler).
  • Serifen-Grotesk/Gespannte Grotesk.
  • Alphabet Algol.
  • Astra Frutiger. A typeface variant of Frutiger licensed under Linotype. It is the font used on the highways in Switzerland.
  • Serifa (1967-1968, Bauersche Giesserei). URW++ lists the serif family in its 2008 on-line catalog. Other names include OPTI Silver (Castcraft), Ares Serif 94, and Sierra. Bitstream published the digital typeface Serifa BT. But it is also sold by Adobe, Tilde, Linotype, URW++, Scangraphic, and Elsner & Flake. The slab serif is robust and is based on the letterforms of Univers.
  • OCR-B (1966-1968, European Computer Manufacturers Association).
  • Alphabet EDF-GDF (1959, Électricité de France, Gaz de France).
  • Katalog.
  • Devanagari (1967) and Tamil (1970), both done for Monotype Corporation.
  • Alpha BP (1965, British Petroleum&Co.).
  • Dokumenta (1969, Journal National Zeitung Suisse).
  • Alphabet Facom (1971).
  • Alphabet Roissy (1970, Aéroport de Roissy Charles de Gaulle).
  • Alphabet Brancher (1972, Brancher).
  • Iridium (1972, Stempel). A didone with slight flaring.
  • Alphabet Métro (1973, RATP): for the subway in Paris.
  • Alphabet Centre Georges Pompidou. The CGP typeface (first called Beaubourg) used in the Centre Georges Pompidou from 1976-1994 is by Hans-Jörg Hunziker and Adrian Frutiger, and was developed as part of the visual identity program of Jean Widmer. It is said that André Baldinger digitized it in 1997.
  • Frutiger (1975-1976, Stempel, with Hans-Jörg Hunziker). In 1999, Frutiger Next was published by Linotype. In 2009, that was followed by Neue Frutiger (a cooperation between Frutiger and Linotype's Akira Kobayashi). In fact, Frutiger, the typeface was made for the Charles De Gaulle Airport in 1968 for signage---it was originally called Roissy, and had to be similar to Univers. It was released publically as Frutiger in 1976. The modern Bitstream version is called Humanist 777. Frutiger Next Greek (with Eva Masoura) won an award at TDC 2006. Other digital implementations of Frutiger: M690 (SoftMaker), Quebec Serial (SoftMaker), Frutus (URW), Provencale (Autologic), Frontiere (Compugraphic), Freeborn (Scangraphic), Siegfried (Varityper). In 2018, under the aegis of Akira Kobayashi, the Monotype Design studio published the 150-language superfamily Neue Frutiger World (including coverage for Latin, Greek, Cyrillic, Georgian, Armenian, Hebrew, Arabic, Thai and Vietnamese).
  • Glypha (1979, Stempel). See Gentleman in the Scangraphic collection).
  • Icône (1980-1982, Stempel, Linotype). Digitized by Linotype in 2003.
  • Breughel (1982, Stempel; 1988, Linotype).
  • Dolmen.
  • Tiemann.
  • Versailles (1983, Stempel).
  • Linotype Centennial (1986). Based on Morris Fuller Benton's Clarendon typeface Century, Linotype Centennial was designed for Linotype's 100th birthday.
  • Avenir (1988, Linotype). In 2004, Linotype Avenir Next was published, under the supervision of Akira Kobayashi, and with the help of a few others. In 2021, the Monotype team released Avenir Next Paneuropean (56 styles, by Akira Kobayashi). Avenir Next World, released by Linotype in 2021, is an expansive family of fonts that offers support for more than 150 languages and scripts. The subfamilies include Avenir Next Hebrew, Avenir Next Thai, Avenir Next Cyrillic, Avenir Next Arabic and Avenir Next Georgian. Avenir Next World contains 10 weights, from UltraLight to Heavy.

    Contributors besides Adrian Frutiger and Akira Kobayashi: Anuthin Wongsunkakon (Thai), Yanek Iontef (Hebrew), Akaki Razmadze (Georgian), Nadine Chahine (Arabic), Toshi Omagari (Arabic) and Elena Papassissa (Greek, Armenian). Lovely poster by Ines Vital (2011).

  • Westside.
  • Vectora (1991, Linotype).
  • Linotype Didot (1991). See also Linotype Didot eText Pro (2013), which was optimized by Linotype for use on screens and small devices.
  • Herculanum (1989, Linotype): a stone age font.
  • Shiseido (1992).
  • Frutiger Capitalis (2006, Linotype): a further exploration in the style of Herculanum, Pompeijana and Rusticana. Linotype trademarked that name even though at least five fonts by the name Capitalis already exist.
  • Pompeijana (1993, Linotype).
  • Rusticana (1993, Linotype).
  • Frutiger Stones (1998, Linotype) and Frutiger Symbols.
  • Frutiger Neonscript.
  • Courier New, based on Howard Kettler's Courier, was one of Frutiger's projects he was involved in ca. 2000.
  • AstraFrutiger (2002): a new signage typeface for the Swiss roads. Erich Alb comments: With a Frutiger condensed Type and illuminated signs during night it is mutch better readable.
  • Nami (2008) is a chiseled-stone sans family, made with the help of Linotype's Akira Kobayashi.
  • Neue Frutiger (2009, with Akira Kobayashi) has twice as many weights as the original Frutiger family.
  • In 2019, the Linotype team released variable fonts for Frutiger's main typeface families, Avenir Next Variable, Neue Frutiger Variable, and Univers Next Variable.
Bio by Nicholas Fabian. Erich Alb wrote a book about his work: Adrian Frutiger Formen und Gegenformen/Forms and Counterforms (Cham, 1998). Winner of the Gutenberg Prize in 1986 and the 006 Typography Award from The Society for Typographic Aficionados (SOTA). Famous quote (from a conversation in 1990 between Frutiger and Maxim Zhukov about Hermann Zapf's URW Grotesk): Hermann ist nicht ein Groteskermann. A quote from his keynote speech at ATypI1990: If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.

Frutiger's books include Type Sign Symbol and Signs and Symbols. Their Design and Meaning (1989, with Andrew Bluhm, published by Studio Editions, London; Amazon link).

Linotype link. FontShop link. Adrian Frutiger, sa carrière française (2008) is Adèle Houssin's graduation thesis at Estienne.

Klingspor link. Wikipedia link. View Adrian Frutiger's typefaces.

View some digital versions of Avenir. Vimeo movie on Frutiger by Christine Kopp and Christoph Frutiger entitled "Der Mann von Schwarz und weiss: Adrian Frutiger". More Vimeo movies. [Google] [MyFonts] [More]  ⦿

Adrian Talbot
[Talbot Type]

[MyFonts] [More]  ⦿

Adrien Midzic

Fatnobrain was Adrien Midzic's design studio in Paris. Born in 1982, he co-founded Pizza Typefaces with Luc Borho in 2018. Midzic designed these typefaces or type families: Fine (lineal), Blokus (free pixel font, 2009), Cimen (strong sans, designed for Smacl Entraide), Mesquine (lineal), Blitz, Cucha, Stencil Reverse, Huit (2009, a gorgeous didone headline face), Stenha (stencil).

Fonts made in 2010: The ETH family (art deco sans).

Custom typefaces by Midzic: Aquitaine (2013, for Région Aquitaine), Nilka (2013, for his personal identity), No End (2013, a fat didone), Ethon Serif (2013, a perked up serif typeface for Penguin Books), Kasai Est (2011, for the Congo-based Kasai Est Magazine), Festival De Film Documentaire (2011), Nevenka (2011, condensed sans).

In 2014, Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez and Alisa Nowak co-designed the creamy script Vanilla FY. It was renamed Vanille FY after a few days. Still in 2014, Adrien Midzic, Jérémie Hornus and Alisa Nowak co-designed the very humanist sans family Saya FY and Saya Semisans FY. Adrien Midzic and Joana Correia co-designed Saya Serif FY (2015).

At the free font cooperative Velvetyne, he published the sans typeface Lack (2014).

In 2015, he made the 3-style sans typeface Suber for an art fair in Paris. The roman transitional typeface Bota Serif (2015), which was inspired by Cochin (designed by Charles Peignot in 1912) is a custom font designed for Hotel des ventes de Poitiers. In 2017, it was finally released for retail.

In 2016, Adrien designed the bold titling typeface Debeo and the modern condensed Latin/Arabic typeface 29LT Adir (with Naji El Mir; at 29 Letters).

In 2017, he published the piano key typeface Mixal, which became a large experiment on variable fonts and is free for everyone.

Typefaces from 2018: Kern, Kern Office (a sans with some Futura features), Forno (sans), VTF Lack (a free single weight monoline geometric sans for Latin, Greek and Cyrillic, published by Velvetyne), Metal (an all caps multi-width variable font originally designed for marché Dauphine), Orelo (a 120-style high-contrast fashion mag font family; +Orelo Hangul, 2020).

Typefaces from 2019: Ultra Solar (experimental), 1871 Mane (a custom sans typeface), Wasa (a tense sans in seven styles), Shrill, Gangster Grotesk (free), Stupid (a hacker / hipster font), Kern (geometric sans).

Typefaces from 2020: Shreck Issue (very tall and ultra-condensed), Metal (brutalist), Version ACT (a two-axis variable font), Debeo (a heavy sans), Dozza (a hybrid family named after ITC Mendoza by Jose Mendoza Almeida), XMX (experimental).

Typefaces from 2021: Campingo (a roundish informal typeface inspired by camping and outdoor life), Bota (with Ines Davodeau: first designed for Boissnot&Tailliez, Bota is a modern interpretation of Georges Peignot's Cochin (2012)), Pleasure (hipsterism pushed to the fringe of addiction), Model Standard (ModelStandard Mono, ModelStandard SemiMono, ModelStandard Sans).

Dafont link. Klingspor link. Behance link. Another Behance link. Hellofont link. Velvetyne link. [Google] [MyFonts] [More]  ⦿

Adrien Vasquez

Adrien Vasquez is from Grenoble, France. He studied in Valence and the University of Reading (class of 2011). He lives in London and teaches type design at ESAD Valence. His graduation typeface at Reading was Modern Seven (2011), a didone family for Latin and Cyrillic that comes with its own Modern Slab Serif.

With John Morgan, he founded Abyme in 2017. At Abyme, he published these typefaces:

  • English Egyptian (2011-2017, with John Morgan). English Egyptian is an interpretation of William Caslon's Two Lines English Egyptian of 1816, considered by some to be the first sans serif printing type to be sold commercially.
  • Nizioleti (2011-2017, with John Morgan). Named and modeled after the nizioleti, or Venetian street signs, Nizioleti is typeface consisting of painted letters stencilled within white plaster panels directly onto the city walls, in use since the early 19th century.
[Google] [More]  ⦿

AEnglish Dictionary

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

Africaan

Russian designer of the decorative hacker font Cabra (2016). Dafont link. [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]  ⦿

Agi Pramudiman
[Loch Typography]

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Agor2012 Studio (or: Drem Bike Shop)
[Andrei Gorshkov]

Russian designer of Sesibo (2017, +BiFur), Galumbra (2016, handcrafted) and Grunge Lane Font (2016). Creative Market link. [Google] [More]  ⦿

Ahoi

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

Aigul Gilmutdinova

Codesigner with Jovanny Lemonad of the free squarish sans typeface Bully (2016). [Google] [More]  ⦿

Aimur Takk

Tallinn, Estonia-based designer of IDA Display (2018, a variable font that reacts to music) and Sveta Bold Condensed Display (2018, for Latin and Cyrillic), which was developed for the branding of Tallinn Music Week 2018. [Google] [More]  ⦿

Airunreal
[Pavel Storchilov]

Stalingrad, Russia-based designer of the free AI and EPS-format Eco font (2017), which consists of foliated caps. Behance link. Creative Market link. [Google] [More]  ⦿

Ajusia
[Pana Type and Studio]

[MyFonts] [More]  ⦿

Akina686

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

Akira Kobayashi
[Neue Frutiger]

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Akira Kobayashi

Born in 1960 in Niigata, Japan. Studied at the Musashino Art University in Tokyo. He also studied calligraphy at the London College of Printing. He became a freelance designer in 1997. Akira Kobayashi, who was based in Tokyo prior to his move to the Franfurt area, is an accomplished type designer who has created numerous typefaces for Sha-Ken, Dainippon Screen (where he made the kanji font Hiragino Mincho), TypeBank (from 1993-1997), ITC and Linotype, where he is Type Director since 2001. Interview. His numerous awards include the Type Directors Club awards in 1998 (ITC Woodland), 1999 (the art deco styled ITC Silvermoon, and ITC Japanese Garden), and 2000 (FF Clifford), the 1999 Kyrillitsa award for ITC Japanese Garden, the 3rd International Digital Type Design Contest by Linotype Library (for the informal and quirky 4-style Linotype Conrad (1999): Linotype states that Kobayashi took his inspiration from a print typeface of the 15th century created by two German printers named Konrad Sweynheim and Arnold Pannartz), and the 5th Morisawa International Typeface Competition (in which he received an Honourable Mention for his typeface Socia Oldstyle). CV at bukvaraz. Interview in 2006. His typefaces:

  • Helvetica Neue eText Pro (2013).
  • Dainippon Screen: the kanji font Hiragino Mincho.
  • ITC: ITC Scarborough (1998), ITC Luna, ITC Silvermoon, ITC Japanese Garden, ITC Seven Treasures (1998), ITC Magnifico Daytime and Nighttime (1999), ITC Vineyard (1999), ITC Woodland Demi (1997).
  • Adobe: Calcite Pro (sans-serif italic at Adobe, in OpenType format).
  • Linotype: Akko Sans and Akko Rounded (2011; Akko Rounded is situated between DIN, Isonorm and Cooper Black, while Akko Sans is an elliptical organic sans related to both DIN and Neue Helvetica), Akko Condensed (2015), Akko Pro Condensed (2015), Akko Pan-European (2015), Eurostile Next (2008, after Aldo Novarese's original), Eurostile Candy and Eurostile Unicase, Cosmiqua (2007, a lively didone serif family based on 19th century English advertising types, and in particular Miller&Richard's Caledonian Italic), Metro Office (2006, a severe sans after a family of Dwiggins from the 20s), Neuzeit Office (2006, modeled after the original sans serif family Neuzeit S, which was produced by D. Stempel AG and the Linotypes design studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG's DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939), DIN Next (2009, based on the classic DIN 1451), Times Europa Office (2006, modeled after the original serif family produced by Walter Tracy and the Linotypes design studio in 1974. A redesign of the classic Times New Roman typeface, Times Europa was created as its replacement for the Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman.), Trump Mediaeval Office (2006), Linotype Conrad (1999), Optima Nova (2002, a new version of Optima that includes 40 weights, half of them italic), Linotype Avenir Next (2003, 48 weights developed with its original creator, Adrian Frutiger, and to be used also by the city of Amsterdam from 2003 onwards), Avenir Next Rounded (2012, in conjunction with Sandra Winter), Avenir Next Paneuropean (2021: 56 styles), Zapfino Extra, Palatino Sans and Palation Sans Informal (2006, with Hermann Zapf; won an award at TDC2 2007). Frutiger Serif (2008) is based on Frutiger's Meridien and the Frutiger (sans) family. Diotima Classic (2008, with Gudrun Zapf von Hesse) revives Gudrun's Diotima from 1951. In 2008-2009, Akira Kobayashi and Tom Grace unified and extended Trade Gothic to Trade Gothic Next (17 styles). Neue Frutiger (2009, with Adrian Frutiger) has twice as many weights as the orifinal Frutiger family. Later in 2009, the extensive DIN Next Pro, co-designed with Sandra Winter, saw the light. I assume that this was mainly done so as to meet the competition of FontShop's FF DIN (by Albert-Jan Pool).
  • Fontshop: Acanthus (2000, large Fontfont family), FF Clifford (gorgeous text face!). In 2009, he and Hermann Zapf cooperated on Virtuosa Classic, a calligraphic script that updates and revives Zapf's own 1952-1953 creation, Virtuosa.
  • Typebox: TX Lithium (2001, The Typebox).
  • Oddities: Skid Row (1990), Socia Oldstyle.
  • Suntory corporate types (2003-2005), developed with the help of Matthew Carter and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
  • In 2014, Akira Kobayashi, Sandra Winter and Tom Grace joined forces to publish DIN Next Slab at Linotype.
  • Alexey Chekulaev and Akira Kobayashi (Monotype) won a Granshan 2014 award for the Cyrillic typeface SST.
  • In 2016, Akira Kobayashi and Sandra Winter co-designed Applied Sans (32 styles) at Monotype. It is in the tradition of vintage sans typeface such as Venus and Ideal Grotesk and competes with Rod McDonald's splendid Classic Grotesque (2011-2016)..
  • Member of a type design team at Monotype that created the Tazugane Gothic typeface in 2017. Designed by Akira Kobayashi, Kazuhiro Yamada and Ryota Doi of the Monotype Studio, the Tazugane Gothic typeface offers ten weights and was developed to complement Neue Frutiger. It is the first original Japanese typeface in Monotype's history. Followed in 2018 by the more restrained Tazugane Info. Variable fonts published in 2022: Tazugane Gothic Variable, Tazugane Info Variable.
  • SST (2017). A set of fonts for Latin, Cyrillic, Thai, Vietnamese, Arabic and Japanese.
  • DIN Next Stencil (2017). Developed together with Sabina Chipara.
  • DIN Next Decorative (mostly textured styles such as Rust, Slab Rust, Stencil Rust and Shadow).
  • Univers Next Cyrillic and Univers Next Paneuropean, both released in 2020, extending Adrian Frutiger's Univers.
  • Shorai Sans (2022) and Shorai Sans Variable (2022). A 10-style Latin / Japanese sans by Akira Kobayashi, Monotype Studio and Ryota Doi, designed as a companion typeface to Avenir Next.
At ATypI 2008 in St. Petersburg, he ran a Linotype student type design workshop.

Speaker at ATypI 2012 in Hong Kong: Rounded sans in Japan.

View Akiro Kobayashi's typefaces.

Klingspor link. FontShop link. Eurostile Next review. Linotype link. Monotype link. MyFonts interview in 2017. [Google] [MyFonts] [More]  ⦿

Akira Kobayashi
[Sony Design]

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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]  ⦿

akkobank

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

Aktobe.com

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

Alan N. Po
[TNAIA]

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Alatau

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

Albert Filatov
[Alfi Design]

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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.

In 2018, Albert Kapitonov and Dmitry Kirsanov revived the early 20th-century typeface Lehmann Egyptian from the Berthold and Lehmann type foundries in St. Petersburg, and published it at Paratype.

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 these typefaces:

  • Faust-Antiqua (1958-1959), or just Faust. This right-footed serif typeface suffers from the ugly duck syndrom. Nevertheless, it inspired Nick Curtis to design Kaprice NF (2010). In 1993, Steve Jackaman revived it as Faust RR.
  • Leipzig (with Otto Erler in 1963). A font with large x-height.
  • Leipziger-Antiqua (1959). Revived by Tim Ahrens in 2004 as JAF Lapture. It was also digitized--close to the original and under the original name--by Ralph Unger at URW in 2005. And it was 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, Typoart, with Werner Schulze).
  • Magna Kyrillisch (1975).
  • Circa 1975, he created Garamond Cyrillic at Typoart.

A specialist of blackletter, he was passionate about Gotische Bastarda.

Author of these books:

  • Fraktur: Form und Geschichte der gebrochenen Schriften (1993, H. Schmidt, Mainz).
  • F.H.Ernst Schneidler Schriftentwerfer, Lehrer, Kalligraph (SchumacherGebler a.o., München, 2002). Co-authors: Max Caflisch, Albert Kapr, Antonia Weiss and Hans Peter Willberg.
  • 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).
  • Schriftkunst. Geschichte, Anatomie und Schönheit der lateinischenn Buchstaben (Dresden, 1971).
  • Schrift- und Buchkunst (VEB Fachbuchverlag, Leipzig, 1982).
[Google] [MyFonts] [More]  ⦿

Alberto Romanos
[Branding with Type]

[MyFonts] [More]  ⦿

Alec Julien
[Haiku Monkey]

[MyFonts] [More]  ⦿

AlefAlefAlef (or: Fontimonim)
[Avraham Cornfeld]

Avraham Cornfeld is a Tel Aviv, Israel-based type and graphic designer, lecturer and founder of the AlefAlefAlef Type Foundry and Fontimonim. He is a graduate of the Visual Communication Department, Shenkar and the Photography Department at Hadassah College, Jerusalem. Specializing in high quality Hebrew typefaces, his early fonts include Synposis, Almoni Tzar, Mekomi and Ambivalenti. In 2021, he released these fonts for Latin, Cyrillic and Hebrew via MyFonts: Ploni (an 8-style geometric sans designed for simultaneous use of Latin, Hebrew and Cyrillic), Bamberger (a 6-style Hebrew typeface), Teom (for Hebrew; inspired by the Latin typeface Tahoma), Almoni (a ten-style neutral sans), Anomalia, Kedem ML v1 AAA (Kedem is a multilingual serif font inspired by heritage posters from the time of Israel's national founding). [Google] [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]  ⦿

Aleks Flaks

Russian designer of the handwriting font Purple (2021) and the warped Latin & Cyrillic font Surge Sea (2021). [Google] [More]  ⦿

Aleksandar Andrejic

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

Aleksandar Glisic

Illustrator and graphic designer in Belgrade, Serbia, who created the retro decorative sans typeface Zavrzlama (Latin, Cyrillic) and the great calligraphic typeface Manufaktura in 2017. Behance link. [Google] [More]  ⦿

Aleksandar Marjanovic

Graphic designer in Paris, who created the Latin / Cyrillic Slova Stencil typeface in 2015. Behance link. [Google] [More]  ⦿

Aleksandar Nikov

Creator of the free constructivist typeface Desonanz (2015) for Latin Greek 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. The orginal design of Desonanz dates back to 2010. [Google] [More]  ⦿

Aleksander Koltsov

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

Aleksander Moskovskin

Moscow-based designer. During his studes there in 2016, he co-designed the free constructivist / art nouveau / pre-Petrine Latin / Cyrillic typeface Dobrozrachniy with Misha Panfilov (Russian Fonts). Behance link. [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) co-designed the Praktik typeface during their studies at BHSAD in Moscow. In 2017, Aleksander designed the free EPS format Rusty Georgia, which is based upon Carter's Georgia. [Google] [More]  ⦿

Aleksandr

Russian type foundry, est. 2016. [Google] [MyFonts] [More]  ⦿

Aleksandr Andreev
[Church Slavonic Initiative]

[More]  ⦿

Aleksandr Khomyakov

San Francisco-based designer of the text typeface Pudra (Powder) (2016). Behance link. [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.

Omnic Sans (2016) is a free artificial language font that is based on the Omnic script used in the Overwatch by Blizzard Entertainment. In 2016, he also designed the free typeface Starseed Pro.

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. Open Font Library download site.

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.

As a student in the TypeType education program in 2016-2017, she designed the Venetian antiqua Foundata. [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. After that she became Type Director at ParaType in Moscow.

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, co-designed with Vladimir Yefimov and Olga Umpeleva; Open Font Library link), PT Circe (2011, a geometric sans family with a neat Thin weight; Third Prize for Cyrillic text typefaces at Granshan 2011), and Cless (2010: ultra fat and counterless).

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

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

In 2013, Vasily Biryukov and Alexandra Korolkova co-designed 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 co-designed Stem, a geometric large x-height Latin / Cyrillic sans serif with optical sizing, with Isabella Chaeva and Maria Selezeneva at Paratype. This was followed in 2015 by Stem Text.

In 2015, she and Alexander Lubovenko co-designed Circe Rounded, which is an extension of her earlier Circe typeface (2011), both published by Paratype. In 2018, Paratype extended that family with Circe Slab (by Alexandra Korolkova and Olexa Volochay). 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.

Codesigner of Kudryashev Display (2015, Isabella Chaeva, Alexandra Korolkova and Olga Umpeleva). Kudryashev Display is a set of light and high-contrast typefaces based on Kudryashev text typeface. In addition to Kudryashev Display and Kudryashev Headline typefaces, the type family includes also two Peignotian sans-serif typefaces of the same weight and contrast, with some alternates. The serif styles were designed by Olga Umpeleva in 2011, the sans styles were created by Isabella Chaeva in 2015 with the participation of Alexandra Korolkova.

In 2016, she designed FF Carina, a delicate and absolutely stunning decorative didone.

In 2018, Alexandra Korolkova and Manvel Shmavonyan designed Fact at Paratype. Fact (2018) is based on Frutiger. The Fact type system contains 48 upright styles with variations in width and weight and eight italics of normal width. At the end of 2018, Alexandra Korolkova, Alexander Lubovenko, and the Paratype team finished Six Hands, which is a collection of six handcrafted typefaces: Black, Brush, Chalk, Marker, Condensed and Rough.

In 2019, Vitaly Kuzmin and Alexandra Korolkova co-designed the free sans serif typeface Golos Text at Paratype. It was originally commissioned by Smena (AIC Group) for state and social service websites.

Typefaces from 2020: Sber (the type system for Russia's Sber Bank; by Korolkova and the Paratype team), Tupo Vyaz (a free modular closed sans serif font with very simple design and some elements from the northern variant of Vyaz slavonic calligraphic hand), Grrr (at Paratype, with Dmiry Goloub; a techno family characterized by an oversized lower case f).

MyFonts interview. Kernest link. Klingspor link.

View Alexandra Korolkova's typefaces. Speaker at ATypI 2019 in Tokyo. [Google] [MyFonts] [More]  ⦿

Aleksandra Parkhomenko

Graphic designer and illustrator in Moscow, who the Cyrillic decorative caps alphabet Chameleon (2015). [Google] [More]  ⦿

Aleksandra Rybak

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

Aleksandra Slowik

Saint Petersburg, Russia-based designer.

Typefaces from 2015: Sacred (alchemic, mysterious), LAM and Larch Brush.

Typefaces from 2016: Line Flat (circuit font), Line Flat Icons.

Typefaces from 2018: Volos (a great textured poster font), Ancient Geometry (alchemic), Slowik Emphasis (a geometric logo font). She also specializes in alchemic symbolism, with sets of ornaments called Golden Section, Unalome (a script with Buddhist symbols) and Sacred Symbols. [Google] [More]  ⦿

Aleksandra Soloveva

Saint Petersburg, Russia-based designer of a couple of Cyrillic display typefaces in 2018. [Google] [More]  ⦿

Aleksandra Stamenkovic

Belgrade, Serbia-based designer of the rounded Latin / Cyrillic sans typeface Sugarfree (2017). [Google] [More]  ⦿

Aleksei Archipov

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

Aleksei Derin

Russian designer of the (vector format) decorative typeface Robot (2016) and the ironwork typeface Twig (2016). In 2017, he designed Fat Boy (colorful caps) and Hiking Icons. [Google] [More]  ⦿

Aleksei Kalinin

Nizhny Novgorod, Russia-based designer of the free Latin / Cyrillic poster font Lumberjack (2015, with Jovanny Lemonad). See also at Dafont. Behance link. [Google] [More]  ⦿

Aleksei Kondakov

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

Aleksei Labsin

Aleksei Labsin is a graphic designer in Moscow. In 2015, he created the Cyrillic typefaces Beda and Hruschoby. Behance link. [Google] [More]  ⦿

Aleksei Pashnin

Packaging designer in Moscow, who created the free Cyrillic weaving vector format typeface Water Plant in 2016. [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 Kaplaukh

Kharkiv, Ukraine-based designer of the Latin / Cyrillic display typefaces KhTZ (2017) and Apostol (2017), the Cyrillic sans typeface Svytoy (2017) and the post-punk typeface Losevo Grotesk (2017). [Google] [More]  ⦿

Aleksey Kostin

Moscow-based designer of the vernacular Latin / Cyrillic typeface Lingo Way (2016). [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. Typetype link. [Google] [More]  ⦿

Aleksey Mednov

Russian designer of the old Slavonic-inspired display typeface Kramola (2015, Latin and Cyrillic). [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]  ⦿

Aleksis Rudakov

Novomoskovsk, Russia-based designer of the custom techno typeface Vis-a-Vis (2015) and the StarWars font Warcase (2015). Behance link. [Google] [More]  ⦿

Alena Generalova

Moscow-based designer of the connect-the-dots Cyrillic typeface Air (2016). [Google] [More]  ⦿

Alena Marusena
[Madam Saffa]

[More]  ⦿

Alena Morgunova

Aka Malena. Kharkiv, Ukraine-based designer of these typefaces:

  • In 2017: Grid and the dog-themed typeface Lovely Rustica.
  • In 2018: Bright Gouache, Summertime (bitmap color font), Junior (bitmap color font), Stork, Malarstvo (artistic; inspired by the lettering of Ukrainian artist Vasyl Krychevsky (1873-1952)), the Latin / Cyrillic bitmap color font Happy Pencil, the color font Mosaic, Mosaik Black, and the brush font Plan Pen.
  • In 2019: Little Monster (a bitmap color font).
[Google] [More]  ⦿

Alena Muhina

Kursk, Russia-based designer of Wave (2019: a Cyrillic dry brush typeface). [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 Tsemkalo
[AaAAaAlena]

[MyFonts] [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]  ⦿

Alenka Karabanova

Nizhny Novgorod Oblast, Russia-based designer of the Chalk Eco font in 2015. [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 Bait

Moscow-based designer of the Cyrillic typeface Gore (2015), which is a hybrid of Kekur and Paratype's Rodeo. In 2015, he designed the free vector format font Shadow Cross. [Google] [More]  ⦿

Alex Color

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

Alex Cotton

In 2016, Saint Petersburg, Russia-based Alex Cotton and Stepan Lyaptsev co-designed the free handcrafted Cyrillic typeface Alcotton. Behance link for Stepan Lyaptsev. [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 Etewut

Moscow-based artist who created these typefaces in 2016: Buena Onda, Londa (a connected script), Foie Gras (signage script), Fuego, Cama (a thick connected script), Blackthorn, Savoiardi (connected monoline script), Savoiardi Sans, Savoiardi Display, Zimbra (a zebra stripe font), Signal, the Vincent Van Gogh-inspired Absinth, the Russian fairy tale font Anchor, the handcrafted Swan, the weathered Cliché Font, the constructed extraterrestrial font Structure, the geometric solid typeface Forma, the semi-calligraphic Absinthe and Glasgow, the calligraphic oriental brush typeface Yakudza, and the brush typefaces Augenblick and Barbada.

Typefaces from 2017: Curator (a curvy decorative didone), Gluck (a rounded monoline sans family with outlined and double outlined styles), Laser Dots, Zarathustra (a soft blackletter typeface family), Pedrera and Pedrera Script, Hooley (advertized as a party font), Forma (free counterless typeface), Fuego (calligraphic script), Arc Boutant (a vintage ballpoint-laden text typeface), Moloko (script), Etalon (a 33-style organic sans family), Molodos All Caps, Click (Stripes, Black), Geometry Pair, Venzel (an interesting experimental deco typeface), Batllo (inspired by Gaudi), Pluma (handwriting).

Typefaces from 2018: Pistoletto (a jelly or toothpaste script inspired by the work of Roy Lichtenstein and Michelangelo Pistoletto), Lento (a monoline script family), Rajomon (a dry brush typeface), Solomonk (an inky script), Ma Tilda, Warka, Abudabi (connected script), Lunar, Tilda (a monoline sans with character), Jeunes (connected script), Danken (a textured all caps typeface family), Salud (a hand-drawn slab serif, with some interesting sketched and arched styles), Hoochie, Brutto (stencil with alyering and coloring potential), Hvala, Mafond (slab serif), Tadaam, Liberal (a simple monoline sans).

Typefaces from 2019: Etewut Serif, Etewut Sans, New Lobster (sigange script).

Typefaces from 2020: Vulgary (a glistening oily font family), Spiro 2020 (a rounded sans), Chakra (script), Baker ST (spurred, all caps), Geraldica (a monoline script).

Typefaces from 2021: Domosed (sci-fi), Riley Wow (a round oily font for emulating glows).

As Etewut Graphics in Florence Italy, he published Pronto (2018, a monoline sans) and Allora (2018).

Typefaces from 2022: Domosed Slab Serif. [Google] [MyFonts] [More]  ⦿

Alex Frukta
[Nord Collective (or: Fontfirma)]

[More]  ⦿

Alex Frukta
[Alexey Frolov]

[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 I. Kuznetsov

Designer of Evolventa (2016, Open Font Library), a Cyrillic extension of URW Gothic L. Open Font Library link. [Google] [More]  ⦿

Alex Ivanov
[Vates Design]

[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
[Neue (or: Neue Foundry)]

[MyFonts] [More]  ⦿

Alexander Arhipov

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

Alexander Bobrov
[Indian Summer Studio]

[MyFonts] [More]  ⦿

Alexander Cherepanov

Alexander Cherepanov (White Russian Studio, Moscow) designed the Latin / Cyrillic sans typeface Transgender Grotesque (and Transgender Grotesk), the serifed display typeface New York City, Sport Super Italic, the blackletter typeface Kendrick Human Sacrifice, the avant garde typeface Hueviy Thin, and the piano key typeface Trust Me, the sans typeface November, the triangle-serifed Naaah, and Sestra Thin in 2017. [Google] [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 Kirillov

Alexander Kirillov studied at the Faculty of Economics of the St. Petersburg Polytechnic University. As a student at TypeType Education in 2016-2017, he created the almost military semi-angular sans typeface Taiga.

  • In 2018, Ivan Gladkikh, Alexander Kirillov, Philipp Nurullin, Vika Usmanova, Marina Khodak, and Nadyr Rakhimov published TT Severs. [Google] [More]  ⦿

  • Alexander Kiselev

    Illustrator in Petrozavodsk, Russia, who designed the handcrafted 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

    Talented Russian graphic and type designer who works for ParaType in Moscow. His typefaces:

    • In 2015, he and Alexandra Korolkova co-designed 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.
    • Carol Gothic (2015, Alexandra Korolkova and Alexander Lubovenko, Paratype) is a traditional blackletter face closest to Linotype's Old English.
    • Liberteen (2015) is a playful tongue-in-cheek take on 19th century slab serifs, including Clarendons. For Latin and Cyrillic, from Thin to Black. Dessert Script (2015, Paratype). A smooth-outlined advertising script for Latin and Cyrillic.
    • In 2016, Alexander Lubovenko and Manvel Shmavonyan co-designed the 30-style Latin / Cyrillic workhorse sans typeface family Mediator which was followed in 2017 by Mediator Serif. Later in 2016, Alexander Lubovenko designed the heavy slab serif family Bombarda.
    • Hypocrite (2017, Paratype).
    • He created some additional styles for Zakhar Yaschin's Mojito script font.
    • in 2018, he designed Clincher at Paratype, a set of monospaced and duospaced fonts that were specifically developed for program coding and user interface design.
    • Wak (2018). By Aleksander Lubovenko and Viktor Fitzner.
    • Journal Sans New (2018).
    • Six Hands (2018). This is a collection of six handcrafted typefaces: Black, Brush, Chalk, Marker, Condensed and Rough, by Alexandra Korolkova, Alexander Lubovenko, and the Paratype team.
    • Stapel (2020, Paratype). A 57-style Latin / Cyrillic sans family with a sci-fi look and thin stroke joints.
    • Vast (2021, Paratype). A 56-style sans family, and three variable fonts, by Manvel Shmavonyan and Alexander Lubovenko. Choices are from thin to black and regular to extra wide.
    • In 2021, Paratype designers Isabella Chaeva, Vasily Biryukov and Alexander Lubovenko created DIN 2014 Rounded, an extension of the industrial sans serif DIN 2014. The six-style typeface supports all European languages based on Latin, Cyrillic, and Asian Cyrillic (Tatar, Kazakh and Kyrgyz) and has a variable version.
    Paratype link. [Google] [MyFonts] [More]  ⦿

    Alexander Medvedev

    Moscow-based designer of the Cyrillic caption font Bipolar (2018). [Google] [More]  ⦿

    Alexander Minchuk

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

    Alexander Nedelev
    [Typedepot]

    [MyFonts] [More]  ⦿

    Alexander Pravdin

    Russian designer of the free all caps sans typefaces Next Art Bold (2017) and Next Art Thin (2017) for Latin and Cyrillic.

    In 2018, he published the extensive free all caps sans typeface family Songer.

    In 2019, he released the hybrid typeface Comic Helvetic. [Google] [More]  ⦿

    Alexander Pro

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

    Alexander Ricachov

    Saint Petersburg, Russia-based designer of Art Font (2016), Rustica (2015, calligraphic alphabet), Rust Cursiv (2015), Antiqua Cvadrato (2015), Capitalis Roman (2014, a calligraphic alphabet), Futurista (2015). In 2016, he designed the hand-drawn typeface Krita. [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 typefaces 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 Russian 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 Sheliketo
    [No Regular Fonts]

    [More]  ⦿

    Alexander Shimanov
    [Shimanov Types]

    [MyFonts] [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: Steel Blade 7, Semi Rounded Sans Serif 7, Bold Game Font 7, Double Force 7, Roman Font VII, Game Sans Serif 7, Sans Serif Plus 7, Soft Sans Serif 7, Smooth Pixel 7, Clear Metal 7, Military Font 7 (stencil).

    Typefaces from 2019: Clear Line 7.

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

    Alexander Slobzheninov

    Designer from Siberia who graduated from Ladislav Sutnar Faculty of Design and Art, University of West Bohemia and is now based in Prague, Czechia. Type, graphic and motion graphics designer who created these typefaces:

    • Octarine (2017). A geometric sans typeface family with two free weights).
    • Fivo Sans (2017, free) and Fivo Sans Modern (2017, free).
    • Wacom (2017). This is a simplified techno sans concept font not actually used by Wacom.
    • Objective and Subjective, two mischievous typeface families published in 2018. Objective was slightly altered and merged with Chris Simpson's Metropolis (2015) in 2020 by Cristiano Sobral in Metropolitano.
    • The 42-font sans family Agrandir (2018). Available from Pangram Pangram.
    • The 7-weight Swiss neo-grotesk Gestalte (2018) that is characterized by mathematically precise horizontal and vertical strokes and terminals.
    • The Baskerville grandchild AS Grafier (2018). A corporate typeface for the identity of Other Poets Society. There is a free beta version, and comes with a variable font option. Published by Pangram Pangram in 2019. The variable font Grafier can also be purchased from Type Tomorrow.
    • The Latin / Cyrillic Object Sans (2018), which is in the Swiss sans style. For the Cyrillic, he was helped by Sonya Yasenkova. Available from Pangram Pangram.
    • The cyrillization of Jeremy Landes's Le Murmure in 2019.
    • Relaate (2019-2020). A multi-genre typeface in which the lower case t and e try to reach for the sky.
    • Right Grotesk (2020, Pangram Pangram). Neutral, functional, slightly hipsterish. First in 51 styles, and then extended to 130 styles, and some variable fonts as well.
    • In 2021, he set out to design one typeface per day for 36 consecutive days. The typefaces explore various ideas and cover almost every imaginable type style: Casual Digital Goose, Chill Out, Damn Low Tech, Flying, Gravity Itself, Ligatureless, Ploite Green Finger, Pretty Dumb Idea, Rembrandt, Those Games, Weird, What A Feature.
    • Typefaces from 2022: Right Sans, Right Gothic (a 98-style variable type family), Weird Serif (a didone for vampires).

    Future Fonts link. Type Tomorrow link. [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
    [TFaces]

    [MyFonts] [More]  ⦿

    Alexandr Dragin

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

    Alexandr Galuzin
    [Alexandr Galuzin (was: Tangramus)]

    [MyFonts] [More]  ⦿

    Alexandr Galuzin (was: Tangramus)
    [Alexandr Galuzin]

    Pavlodar, Kazakhstan-based designer (b. 1987) of the medieval calligraphic typeface Square Capitals (2014, Latin and Cyrillic), the uncial typeface Uncial (2015) and the Trajan typeface Capitalis Monumentalis (2015). In 2015, he designed the angular and angry straight-edged typeface KZ Kirpich, the tangram-inspired German expressionist typeface Tangramus, and the Latin / Cyrillic deco typeface Kvadrat.

    In 2015, he set up the commercial type foundry Alexandr Galuzin. His first commercial typeface is Golovolomka (a modern blackletter).

    In 2017, he designed the fat stenci typeface Growling.

    Typefaces from 2020: AG Bambook (a condensed sans family). [Google] [MyFonts] [More]  ⦿

    Alexandr Kalachëv
    [Intelligent Design]

    [More]  ⦿

    Alexandr Kaliberda

    Kharkov, Ukraine-based designer of Stencil SS (2015, :atin and Cyrillic). [Google] [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 Ashikhina

    During her studies in Moscow, Alexandra Ashikhina designed an octagonal typeface for Latin and Cyrillic in 2019. [Google] [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 Dmitrieva

    Moscow-based graphic designer. During her studies in 2015, she revived the Venetian typeface Cloister Lightface from a scan, which is described by McGrew as follows: Cloister Lightface was designed in 1919 [by ATF] but not cut until 1924, with Italic the following year. It is considered the most faithful reproduction of Jenson's original type [Eusebius]; substantially the same as Cloister Oldstyle but cut lighter to allow for the heavying which results from printing on rough or dampened papers with a strong impression, as was done in the fifteenth century. [Google] [More]  ⦿

    Alexandra Dolgopolova

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

    Alexandra Kozlova

    Ivanovo, Russia-based designer of Science Things (2016, +dingbats) and the children's font My Family (2016). [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 Pavlenko

    During her studies at the British Higher School of Design in Moscow, Alexandra Pavlenko created the dry brush font Archeology (2017), an onion print typeface (2017), the very fat poster font Play (2017) and the prismatic typeface Strips (2017). [Google] [More]  ⦿

    Alexandra Pushkova

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

    Alexandra Savelkaeva

    Moscow, Russia-based designer of a rhombic Latin typeface in 2016. She also made the handcrafted Cyrillic typeface Native Type (2016), and a set of Olympic Icons (2016). [Google] [More]  ⦿

    Alexandra Shibalova

    Moscow, Russia-based designer of the fantastic modulated Latin/Cyrillic sans typeface Glypt (2015). [Google] [More]  ⦿

    Alexandra Tarnavskaya

    During her studies at Stroganov Moscow State University of Arts and Industry, Alexandra Tarnavskaya created the Cyrillic display typeface Glitch (2015). Behance link. [Google] [More]  ⦿

    Alexandra Ulyukina

    Moscow, Russia-based designer of the constructivist typeface Rodchenko Condensed (2017). [Google] [More]  ⦿

    Alexandra Valuikina

    Russian designer. Her typefaces for Latin and Cyrillic:

    • SK Paragrapher (2020, Shriftovik). A monumental geometric typeface whose structure was inspired by the paragraph glyph.
    • SK Brushwood (2020, Shriftovik). An experimental geometric typeface by Alexandra Valuikina and Tikhon Reztcov.
    • SK Fencer (2020). A display typeface inspired by the fine art of fencing.
    • SK Skrynka (2021). An octagonal technical typeface.
    • In 2021, Darya Cherevkova and Alexandra Valuikina co-designed the blocky experimental monumental font SK Quadratica (Latin and Cyrillic).
    • SK Pangramma (2021). In slab and sans versions, SK Pangramma is monolinear, geometric and experimental.
    [Google] [MyFonts] [More]  ⦿

    Alexandre Ruda
    [Sete Std]

    [MyFonts] [More]  ⦿

    Alexei Accio

    Or Aleksey Achyo. Omsk, Siberia-based designer of the free Pacman-inspired typeface Accio Beta (2016). Behance link. [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
    [110design]

    [MyFonts] [More]  ⦿

    Alexey

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

    Alexey Atapin

    Saint Petersburg, Russia-based designer of the free Latin / Cyrillic modular typeface Molodost (2018) and the free hipster typeface Nesovremenny (2019). [Google] [More]  ⦿

    Alexey Atapin

    Web designer in Saint Petersburg, Russia. His typefaces are often experimental and include:

    [Google] [More]  ⦿

    Alexey Babenkov

    Rostov-on-Don, Rissia-based designer of the artsy typeface Pozds (2016), and the ghastly Horror Font (2016). Behance link. [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 Fetisov

    Aka Alexey Blogoodf and Aleksei Fetisov. Designer in Moscow. In 2017, he designed the display typeface Koras (blackboard bold), Arktica, Arcachon (organic sans), Arcachon Dots, Arugula (handcrafted), Adequate (thick rounded sans), Public Icons, the organic sans typeface Iconic, the decorative blackletter font Kaligry, Fluffy, the bilined titling typeface Blogoodf, and the vintage script font Jewel.

    Typefaces from 2020: Satinado. [Google] [MyFonts] [More]  ⦿

    Alexey Frolov
    [Alex Frukta]

    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 typefaces 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. Gumroad link. [Google] [More]  ⦿

    Alexey Gunin

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

    Alexey Kryukov

    Russian developer of these free font families, quite exquisite and complete:

    • Old Standard TT (2006-2010): 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. People have also started using it for mathematical typesetting.
    • 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. Free download site. Many updates were made to the font package, with copyright notices to Michael Sharpe (2015), Alexey Kryukov (2005), URW++ Design & Development (1999), Valek Filippov (2001), Dmitry 40in (2001), The Omega Project (1996), and the Free Software Foundation (2002, 2003).
    • Theano Classical fonts: Theano Didot (2008) 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. Pick up Theano Modern C (2012) at Open Font Library, and Theano Didot at CTAN.
    • 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 Plus link. Abstract Fonts link. [Google] [MyFonts] [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, whose design and branding company is called Newface Studio. He designed the ball terminal typeface Asheron in 2013 and the display sans typefaces Higenson and Berkslund in 2015. Typefaces from 2016: Bjornson, Tiirson, Yaarve, Owuro, Appalachi (handcrafted), Kraftwied, Sungent.

    Typefaces from 2017: Mayland (monoline script).

    Typefaces from 2019: Deskmark Pro Slab. Behance link. Creative Market link. His foundry is called Newface. [Google] [MyFonts] [More]  ⦿

    Alexey Malkov

    Graphic designer from Kiev, Ukraine. He created the geometric typeface Midnight (2010), which was inspired by Herb Lubalin. Switch Connect (2011) is a high contrast art deco face. Lighter (2011) is a techno typeface that cries speed. Times New Fuck (2011) is a Peignotian sans with stiletto terminals on some glyphs. Blamed Neverland (2011) is a connect-the-dots avant-garde display face. Vampire (2011) is a gothic octagonal face. Geometria (2011) is a minimalist straight-edged face.

    Typefaces from 2019: Beast (a sharp-edged and pointy humanist sans), ALS Hauss (a Bauhaus sans family, released by Art Lebedev), Wagon (at art Lebedev: Wagon is a low-contrast closed neogrotesque typeface with static proportions and expressive decorative elements. It is a good rough, technological and industrial typeface, perhaps useful for signage on trains).

    Typefaces from 2020: Span (at Art Lebedev Studio). He writes: Span is a family of variable typefaces combining the traditional shapes of block antiquas of the 19th century with the geometry of modern digital type. Span is based on the cult typefaces of the era, Clarendon and Century Schoolbook. [Google] [More]  ⦿

    Alexey Mikhailov

    Saint Petesburg, Russia-based designer of the medieval decorative Cyrillic typeface Alebarda (2017). [Google] [More]  ⦿

    Alexey Persh

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

    Alexey Popovtsev
    [Aronetiv]

    [MyFonts] [More]  ⦿

    Alexey Potapov
    [Doffdog]

    [MyFonts] [More]  ⦿

    Alexey Razuvaev

    Moscow-based designer of the free octagonal typeface RMS Sans (2019) for Latin and Cyrillic. [Google] [More]  ⦿

    Alexey Rud
    [Karandashev]

    [More]  ⦿

    Alexey Shevtsov

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

    Alexey Sibirtsev

    Russian type designer who published two forks of free typeface families on the Open Font Library site in 2018 that include cyrillic support, Sibirtsev Monserrat (based on Julieta Ulanovsky's Monserrat from 2011) and Sibirtsev Lato (based on Lukasz Dziedzic's Lato from 2011). But Lato already had Cyrillic support, so I am unsure what Sibirtsev did to warrant this name change. [Google] [More]  ⦿

    Alexey Sirke

    Saint Petersburg, Russia-based designer of the decorative typeface Boroda (2019: stencil, and oriental emulation), Tetris (2019: pixelish) and Blender (2019: prismatic). All typefaces cover Latin and Cyrillic. [Google] [More]  ⦿

    Alexey Skvortsov

    During his studies at the School of Type design in Saint Petersburg, Russia, Alexey Skvortsov designed the two-style text typeface Bilingua (2016-2017), which covers Latin and Cyrillic. [Google] [More]  ⦿

    Alexey Timokhovsky

    Or Alex Timohovsky. Ukrainian type designer based in Kiev (b. 1983, Kiev). He has his own type foundry 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. In 2018, he designed Romanesque Display (3d, outlined, for Latin and Cyrillic). [Google] [More]  ⦿

    Alexy Velichkin

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

    Alfi Design
    [Albert Filatov]

    In 2018, Albert Filatov (Saint Petersburg, Russia) published Citifont, a Latin / Cyrillic serif typeface with a robust outlook, that according to him was made for navigation in the city of Saint Petersburg, Russia.

    In 2018, he designed the futuristic / sci-fi / LED font Space for Latin and Cyrillic, and the wide display sans typeface Muha. Port Anchor (2018) is a decorative typeface.

    Typefaces from 2019: Raster (a free blocky constructivist font). [Google] [More]  ⦿

    Ali Nuredini

    Struga, Macedonia-based creator of the free Latin and Cyrillic sans typeface Aspect (2015). [Google] [More]  ⦿

    Aliaksei Koval
    [Koval Type Foundry]

    [MyFonts] [More]  ⦿

    Alice Retunsky

    Designer in Moscow. In 2016, for a type design course given by Tagir Safaev, she designed Dutch Plus, a typeface with considerable contrast based on Egmont (a serifed typeface, designed by Sjoerd Hendrik DeRoos for Amsterdam Type foundry in 1933). She writes: The main goal was to create a unique Cyrillic version of the typeface and to make a modern interpretation of Latin letter forms. [...] It is a Modern serif typeface with long ascenders, perfect for titles or texts. [Google] [More]  ⦿

    Alice Traum

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

    Behance link. [Google] [More]  ⦿

    Alice Vecher

    Minsk, Belarus-based designer of a Cyrillic pixel typeface in 2016. [Google] [More]  ⦿

    Alif Nuryasin
    [Alifinart Studio]

    [MyFonts] [More]  ⦿

    Alifinart Studio
    [Alif Nuryasin]

    Balikpapan, Indonesia-based designer of the script typefaces Judessant (2020), Samball (2020) and Assessment (2020), the grungy Corona Covid19 (2020), the chalk typeface Struggle Line (2020), the inky script Samudera (2020) and the monoline script typeface Hello I'm Coming (2020).

    Typefaces from 2021: Guyon Gazebo (a wavy display font), The Rambutan (script), Shakila (script), Salma Alfasans (an almost monolinear geometric sans in 18 styles), Nabana (hand-printed), Barokah (a display serif with sharp edges), Mustica Pro (a geometric sans; 22 styles including a Hairline; +Cyrillic, +Greek), My Olivin (a rounded sans), My Rambutan (script), Judessant (calligraphic), Ananda (calligraphic), Assakita (script).

    Typefaces from 2022: Salma Pro (a 54-style sans with Patek Philippe circles instead of round circles). [Google] [MyFonts] [More]  ⦿

    Alina Radetsky

    Graphic designer in Moscow, who created the grid-based Cyrillic typeface Po-Russki (2015). 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 Soldatova

    Moscow-based designer of the handcrafted typeface Osolki Pechalki (2018). [Google] [More]  ⦿

    Alina Stepanenko

    Saint Petersburg, Russia-based designer of the experimental prismatic Cyrullic typeface simply called Decorative (2016). [Google] [More]  ⦿

    Alina Zoryna

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

    Alisa Katrevich
    [Red Studio]

    [More]  ⦿

    Alisa Morozova

    Moscow, Russia-based designer of an op-art typeface for the 26th Brno biennal in 2014. [Google] [More]  ⦿

    Alisa Vorobyova

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

    Alisovna

    Designer of the scrapbook fonts Amelie (2018: floriated), Ginger, Hygge (2017: a textured Scandinavian party font for Latin and Cyrillic) and Chalk (2019: an SVG font). [Google] [More]  ⦿

    Alja Herlah

    Slovenian type designer, who co-founded Type Salon together with Krista Likar in Ljubljana in 2020. Alja's typefaces:

    • Praz Slab and Praz Italic (2014). Developed during the 2014 Tipobrda workshop mentored by Domen Fras and Lucija Bratus.
    • Alica (2015). A cursive slab serif heavily inktrapped typeface designed at TipoBrda 2015.
    • Univerza Sans (2020, Type Salon). Univerza is not a take on Frutiger---it is Slovenian for "university". Alja writes: Univerza Sans was developed to mark the hundredth anniversery of University of Ljubljana. The style is influenced by the combination of Slovenian avant-garde with some recognizable forms that are known for Slovenian typography.
    • Palsam Pro (2020, Abjad). This rounded sans typeface covers Latin and Arabic and was co-designed by Ali Almasri and Alja Herlah. Regarding the Arabic part, they write: The main highlight for Palsam was the cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. The Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh.
    • Spektra (2020, Type salon). A black condensed sans by Krista Likar and Alja Herlah that combines five scripts: Latin, Arabic, Cyrillic, Greek and Hebrew. It also has a variable type with an italic axis.
    • In 2021, Krista Likar and Alja Herlah published Plecnik, which is named after Slovenian architect Joze Plecnik. Plecnik is defined by classical elements and shapes, classic proportions, humanist stroke endings and low contast. It has a capital A with an overhang. Plecnik Display is quite different as it features flaring in every stroke.
    • In 2021, Alja released Gizela (a dagger-edged all caps typeface), and wrote: Gizela shows her personality with a feminine, sensual, seductive and art deco vibes.
    [Google] [MyFonts] [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]  ⦿

    Ally White

    Moscow, Russia-based designer, at The British Higher School of Art and Design, of the Cyrillic typefaces Mondrian (2018) and Crosstype (2018). [Google] [More]  ⦿

    Almaty Telecom

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

    Aloha Go

    Krasnodar, Russia-based designer of the handcrafted Cyrillic typeface Introvert's Portrait (2017). [Google] [More]  ⦿

    Alphabetum
    [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; second edition, 2018). 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]  ⦿

    Alyona Serdyuk

    Moscow-based creator of the low contrast Latin / Cyrillic sans typeface Ami (2015), which was a school project at Stroganoff Art Academy in Moscow. Other school projects include a sketched typeface and a Cyrillic origami typeface. She created a great Treefrog-style Latin / Cyrillic alpghabet in 2015. Behance link. [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]  ⦿

    Amar Arif
    [KaryAmo Studio]

    [MyFonts] [More]  ⦿

    Amazingmax
    [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 typefaces.

    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]  ⦿

    amk2000
    [Anatole]

    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]  ⦿

    Amok Ink

    Tomsk, Russia-based calligrapher and lettering artist. In 2018, he published the wonderful Cyrillic ink splatter typeface Hazrskij. [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 Babii

    Irkutsk, Siberia-based designer of Simple Ink (2016, brush script), Double Ink (2016), Grunge Dry Brush (2016), Sponge (2016, a high-contrast calligraphic script), Christmas Snowy (2016), Grunge Stamp (2016), Simple Handdrawn (2016), Grunge Display (2016: a dry brush font), Grunge Display Formal (2016), Rhubarb Pie (2016), Yndina (2016, script), Boriska (2016, watercolor grunge), 3D Sketch Font (2016), Blooming Sally (2016), Pride & Prejudice (2016), Ribbon Display (2016), Melted Font (2016), Leaves Display Font (2016, a floral decorative caps typeface), Concept Round Font (2016), Quick Handwritten Font (2016), Snabbyshoe (2016, grungy handcrafted typeface), the Latin typeface Old Typewriter (2016), Old Destroyed Typewriter (2016), Retro Typewriter (2016), and Heart Font (2016).

    Typefaces from 2017: Grunge Dry Brush (an extension of her 2016 typeface), Ink Brush, Bold Brush, Bold Grunge Display, Dry Brush, Bold Dry. [Google] [More]  ⦿

    Ana Kay

    Moscow, Russia-based designer of the experimental Cyrillic typeface Linius (2017). [Google] [More]  ⦿

    Ana Nikolova

    Veliko Turnovo and/or Sofia, Bulgaria-based designer of the Latin and/or Cyrillic display typefaces Tulip (2011), Edoardo (2013, a school project font) and Puncho (2013). Devian tart link. Behance link. Aka Plaxy. [Google] [More]  ⦿

    Ana Prodanovic

    At the Faculty of Applied Arts in Belgrade, Serbia, while she was pursuing a doctoral degree, Ana Prodanovic designed two wonderful super-heavy poster typefaces, Archibet (2016) and Iris (2016), and the text typeface family Petra (2016, Latin and Cyrillic).

    In 2017, she set up her own commercial type foundry, LetterPalette, together with Vedran Erakovic. Her first commercial typeface is the serif typeface family Obla. Obla's strokes are sometimes forcibly curved--the h, m and n are almost kneeling. This large x-height typeface received Special Mention in the Cyrillic typefaces category at Granshan 2016. Her Cyrillic typeface Petra also won an award at Granshan 2016.

    Typefaces from 2018: Plener (an experimental layerable font family).

    Typefaces from 2021: Orto (a simple 8-weight sans for Latin and Cyrillic; the design is true to its name---orthogonal---as it favors horizontal and vertical strokes). [Google] [MyFonts] [More]  ⦿

    Anastacia Novik

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

    Anastasia Aiguzina

    During her studies at British Higher School of Art and Design in Moscow, Anastasia Aiguzina designed the straight-edged techno typeface Kurskaya (2016, for Latin). [Google] [More]  ⦿

    Anastasia Allakhverdova

    Prolific art director from Moscow who is now located in New York. 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 Averina
    [Ave]

    [MyFonts] [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 Belevskaya

    Saint Petersburg, Russia-based designer of the colorful Cyrillic initial caps alphabet Razrabotka (2017). [Google] [More]  ⦿

    Anastasia Belozerova

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

    Anastasia Dimitriadi
    [DimitriAna]

    [MyFonts] [More]  ⦿

    Anastasia Galkina

    Saint Petersburg, Russia-based designer of the Cyrillic paperclip typeface Razrabotka Akcidentnogo (2018). She also cyrillicized Agonz's Ailerons in 2018. [Google] [More]  ⦿

    Anastasia Kaminskaya

    Graphic designer in Kiev, Ukraine, who drew the Brush Cyrillic alphabet in 2016. [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 Kuznetsova

    Anapa, Russia-based designer of a curly connected Latin / Cyrillic script typeface and of the sketched Chalk Cyrillic in 2016. Aka Inky Owl.

    Typefaces from 2022: Kit Cloudkicker (in a child's hand), Paperboard (a paper cutout font), Pumpkin Magic (a brush font), Sunny Citrus (a bold grungy font), Hocus Pocus (a paper cutout font). [Google] [MyFonts] [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) and of the handcrafted Ampersands (2015). Creative Market link. [Google] [More]  ⦿

    Anastasia Linkova

    Moscow-based designer of an eperimental Cyrillic typeface (2015). [Google] [More]  ⦿

    Anastasia Lisenko

    Designer in Lviv, Ukraine. Creator of a Latin / Cyrillic typeface in 2016. [Google] [More]  ⦿

    Anastasia Malinovskaya

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

    Anastasia Mikhaleva

    Designer, with Ivan Gladkikh (Jovanny Lemonad) of the free typeface USSR Stencil (2016), published by Typetype in Russia. [Google] [More]  ⦿

    Anastasia Nekrasova

    Aka Wewhitelist. Blagoveshchensk, Russia-based graphic designer who created the brush script typefaces Insouciance (2017), Soul Run (2017), Young+Wild (2017), Acquainted Script (2017), Amaury (2017), Sylvestre (2017), Acquainted (2017: watercolor brush), Felicitous (2017), Whitey (2017), Sandrine Brush (2017), Darkshine (2017) and Luuna (2017, an emotional brush font). She also designed Iolanthe (2017).

    In 2019, she designed the wavy Somnambulist, the brush script Huckleberry Gateau, and the monoline script Winsomeness. [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 Popova

    Saint Petersburg, Russia-based designer (b. 1993) of the sketched Latin / Cyrillic typeface Stripe (2016). [Google] [More]  ⦿

    Anastasia Savchenko

    During her studies in Lviv, Ukraine, Anastasia Savchenko designed the squarish apocalyptic and weathered typeface Platforma (2018) for Latin and Cyrillic. In 2019, she released the wavy Cyrillic typeface Arkana. [Google] [More]  ⦿

    Anastasia Tsimbalova

    Saint Petersburg, Russia-based designed of the amoebic Cyrillic font Amorfus (2019). [Google] [More]  ⦿

    Anastasia Vorobyeva

    Yakutsk, Siberia-based designer of the rounded sans typeface Bekunuk for Latin and Cyrillic (2019). [Google] [More]  ⦿

    Anastasia Wojt

    Lviv, Ukraine-based designer of the casual typeface Nails (2017) for Cyrillic. [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]  ⦿

    Anastasia Yeski

    Saint Petersburg, Russia-based designer of the squarish typeface So Close (2015). [Google] [More]  ⦿

    Anastasiia Dmytrenko

    Kharkiv, Ukraine-based designer of the multiline Cyrillic typeface Tribl (2017). [Google] [More]  ⦿

    Anastasiia Kolodii

    Or Stasya Kolodii, b. 1993. Kiev, Ukraine-based designer who specializes in wild calligraphic scripts. Creator of the outlined handcrafted typefaces Pear Dragon (2017), My Little Scandinavia (2017), Rosemary (2017), Lavender (2017), Sailor Jack Script (2017), Gypsy Soul (2017: textured brush style), Rosemary & Lavender (2017), Drunk Panda (2016).

    Typefaces from 2018: White Marble, Beauty Youth, La La Lapland (a Christmas font), Rock n Roll Baby, Vongoforte Script, Bellontze, Summer Rock, Zimbabwe (gorgeous script), Bohemian Heart (font duo), Chase The Sun, Million Dreams (signature font).

    Typefaces from 2019: Bomtrys, Winter Time, Amulet, Xmas Garland, Xmas script, Xmas Ornament, Breathe Me, Martin Script, Garnet Night (font duo), Belem (font duo), Montenegro (a wild calligraphic brush script).

    Typefaces from 2020: Boho Signature, Black Cabaret (wild calligraphy). She operates as Call Me Stasya. [Google] [More]  ⦿

    Anastasiia Nalkovskaya

    Graphic designer in Kharkiv, Ukraine, who created the curly Cyrillic typeface Breeze in 2018. [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 Koba

    Russian designer of Dry Brush (2017). [Google] [More]  ⦿

    Anastasiya Shlyatseva

    At Siberian Federal University, Anastasiya Shlyatseva (Krasnoyarsk, Russia) created a pixelish Latin / Cyrillic typeface in 2017. [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]  ⦿

    Anastassiya Vishnevskaya
    [Cherry Vishnya]

    [More]  ⦿

    Anastasy N

    Kharkiv, Ukraine-based designer of several decorative typefaces, including Lock (2018). [Google] [More]  ⦿

    Anatole
    [amk2000]

    [More]  ⦿

    Anatolii Tytarchuk

    Kiev, Ukraine-based designer of the (Ukrainian) Cyrillic stencil typeface M04 (2017). [Google] [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 and was project manager at VNII Polygraphmash. His typeface oeuvre either as a designer or project manager:

    • 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. Maxim Zhukov pointed out its popularity in Russia: Series No 27 (Neo Didot) had a Cyrillic version. I don't know when it was developed. A lot of books in the USSR and world-wide were set in Neo Didot. Neo Didot was so popular that around 1940 its Soviet clone was developed, Obyknovennaya Novaya Garnitura (Ordinary New Typeface). It was custom-designed for the 4th edition of Lenin's Collected Works (its 1st volume was printed in 1941, and the last one, 39th, in 1967). That typeface was later released for general use. It is now offered in digital form by ParaType, under the name New Standard.
    • Latinskaya (1936, later Literaturnaya). The 1937 version of Literaturnaya is attributed to Schchukin, T. Breyev and G. Bannikova. For a free digital version, see Literaturnaya (2017, Marath Salychow).
    • Paratype Journal Sans and Paratype Journal Sans Cyrillic (1940-1956). Paratype writes: The typeface was designed at the Polygraphmash type design bureau in 1940-56 (project headed by Anatoly Shchukin) based on Erbar-Grotesk typeface of Ludwig & Mayer company, 1929 by Jakob Erbar, and on Metro typeface of Mergenthaler Linotype, 1929 by William A. Dwiggins. A sans serif of geometric style. For use for text and display typography. In 2014 designer Olexiy Volochay made some corrections in original digital data and extended character set. The family was rereleased in ParaType in 2014. In 2014, Maria Selezeneva cooperated with Alexandra Korolkova on a revamped Journal Sans typeface at Paratype, called Journal Sans New (Latin and Cyrillic). This is a major extension as explained by Paratype:

      The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940-1956 by the group of designers under Anatoly Shchukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three typefaces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made "irregular" geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new typefaces, such as true italic (the older font had slanted version for the italic), an Inline typeface based on the Bold, and the Display typeface with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen.

    • Roublennaya (1947). Digital revivals include Superstar Grotesk (2022, Ilja Pazderin) and GT Eesti (2015-2016, by Reto Moser at Grillitype). Moser writes: It is a free-spirited interpretation of the Soviet geometric sans serif Zhurnalnaya Roublennaya, first released in 1947 and designed by Anatoly Shchukin.
    • Akademicheskaya (1941).
    • Schkolnaya (1962).
    • Ladoga (1968, Polygraphmash): emulation of flat nib writing. Digitized and extended by Viktor Kharyk in 2005-2006 at ParaType.
    • Rukopisnaya Korobkovoy (1953) and Rukopisnaya Zhihareva (1953): calligraphic typefaces.

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

    Anatoly Serpilin

    Krasnoyarsk, Russia-based designer of a constructivist octagonal Latin / Cyrillic typeface in 2016. He also designed the free dot matrix typeface Cadet (2016).

    Typefaces from 2017: Eight Line Grecian Condensed (wood type revival). Behance link. [Google] [More]  ⦿

    Anatoly Shabalin

    London, UK-based designer of the octagonal Latin /Cyrillic typeface AS Izhevsk (2018), which is inspired by the industrial city of Izhevsk. [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]  ⦿

    Anderson Ruda

    Brazilian designer of Zigfrida (2019: a modular logo font family for Latin and Cyrillic). [Google] [MyFonts] [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
    [Team 77]

    [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 and in 2018 KIQ.

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

    Andreas Johansson
    [unfontunately]

    [More]  ⦿

    Andreas Larsen

    Copenhagen-based designer (b. 1986) of Tal (2014), a full set of numerals in many weights for use on small devices. Tal is advertized as free, but there are no download buttons anywhere.

    In 2014, he also created the Open Source fonts Gidole Play (later renamed Gidolinya) and Gidole Sans [micropage], which is patterned after DIN 1451 and uses Euler spirals. Dedicated page for Gidole Sans. Github link for Gidole.

    In 2015, he published Gidole Regular and the monoline sans programming font families Monoid and Mono 16, which cover Latin, Greek and Cyrillic. Gidole was forked and extended in 2016 at Open Font Library by Cristiano Sobral as Normung.

    He modified the free M+ font to design MonoMusic for chords and tabs.

    Behance link. Dafont link. Open Font Library link. Use Modify link. [Google] [More]  ⦿

    Andreas Nolda

    Lecturer at the Department of German Studies of the University of Szeged, Hungary. Designer of the free Utopia Nova font family for Latin, Greek and Cyrillic (2014-2015), which is a modified version of Andrey V. Panov's Heuristica font family, which in turn is based on the Utopia Type 1 fonts, designed by Robert Slimbach for Adobe and licensed to the TeX Users Group (TUG) for free modification and redistribution. Open Font Library link. The changes applied to Heuristica:

    • proportional figures
    • Greek glyphs from the Fourier fonts
    • a stylistic set with longer slashes, matching the parentheses in height and depth
    • kerning for pairs of slashes like in "http://" (a Heuristica issue Panov refused to fix)
    • small-cap substitution table for ligatures without corresponding small-cap glyphs (fixing another Heuristica issue)

    Utopia Nova was renamed Lingua Franca a day after it was first posted on Open Font Library. Open Font Library link for Andreas Nolda.

    In 2016, we find an extension of Utopia Nova by Stefan Peev called Linguistics Pro on CTAN, where useful TeX support files are added as well. See also Font Squirrel. [Google] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Andrei Gorshkov
    [Agor2012 Studio (or: Drem Bike Shop)]

    [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 typefaces there include Rus Sans Pokrytie (2009, based on Luxi Sans; withdrawn in 2010) and Rus Sans 3 (2010). [Google] [More]  ⦿

    Andrei Zaripov

    Russian designer of the vector format typeface Watercolor (2017). [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 Gurmanchuk

    Kiev, Ukraine-based designer of Digital (2015), a Latin & Cyrillic modification of Helvetica used for an identity project. [Google] [More]  ⦿

    Andrew Kensler

    Designer of the free font family Luculent (2014, Open Font Library), scalable, monospaced, geometric sans serif screen fonts designed for programmers. Both Latin and Cyrillic are covered. [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 handcrafted Cyrillic typeface Afinskaya (2015). [Google] [More]  ⦿

    Andrew Sigurow

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

    Andrew West
    [BabelStone]

    [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 type designer. His typefaces:

    • 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 portraits of Bush, Castro, Gorbachev, Osama Bin-Laden, Reagan, Martin Luther King and other leaders.
    • 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.
    • Astera,
    • Cliche,
    • FastFingers,
    • Vataga (2008, Paratype, with Yana Kutyina). A really funny dingbat face.
    • In 2016, Yana Kutyina and Andrey Belogonov cooperated with Valery Golyzhenkov on the great vintage typeface system Triplet in Erste, Zweite and Dritte styles. Triplet won an award at Granshan 2017.

    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 typefaces dingbat font co-designed with Yana Kutyina). [Google] [MyFonts] [More]  ⦿

    Andrey Chernevich
    [Mister Chek]

    [More]  ⦿

    Andrey Dali

    Moscow-based designer of Andrali (2019). [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 Karter

    Moscow-based designer of the free free Latin/Cyrillic typeface Concrete (2019) and the free brutalist sans typeface Miratrix (2019). [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: Smile Pro (a fat multi-style handcrafted poster family of exceptional beauty; together with Rodrigo Araya), Ardilla Small (a rounded small x-height sans done together with Rodrigo Araya; inspired by the children's show Peppa Pig), Plumps, Antey, Crisper.

    Typefaces from 2016: Pequena Pro Cyrillic (Rodrigo Typo), Robest (unicase).

    Typefaces from 2017: AK Sans, Hatter Cyrillic Display (a Halloween font), La Pica (by Rodrigo Araya and Andrey Kudryavtsev), Fairystory (curly typeface), Kreker (a rounded poster sans), Stickout (comic book style).

    Typefaces from 2018: Czarevitch (a Cyrillic and Cyrillic simulation pair), Skaz (a psychedelic type inspired by the Victorian typeface Ringlet), Sitari, Dozer, Squick (a comic book / children's font family by Franco Jonas, Andrey Kudryavtsev and Rodrigo Araya), Freept (a free marker font), Nightelf, Ingot (a condensed rounded blackletter), Insolenta. Ding (2018) is a great fattish cartoon font that was co-designed by Rodrigo Araya Salas, Andrey Kudryavtsev and Franco Jonas. See also its extensions, Ding Pro (2019) and Ding Extra (2019).

    Typefaces from 2019: Clarence Alt (a an almost bubblegum children's book sans by Franco Jonas, Rodrigo Araya Salas and Andrey Kudryavtsev).

    Typefaces from 2020: La Pica Bonus (a vernacular or supermarket style font and dingbat family by Andrey Kudryavtsev and Rodrigo Araya Salas), Ancoa Slanted (an angular display family in 15 styles; by Andrey Kudryavtsev, Rodrigo Araya Salas and Franco Jonas Hernandez), Skippie (a comic book family by Andrey Kudryavtsev, Rodrigo Araya Salas, Bruno Jara Ahumada and Franco Jonas, and four sets of dingbats including Skippie Monster Lucha Libre and Skippie Monster Halloween), Ancoa (an angular 19-style layerable typeface by Andrey Kudryavtsev, Rodrigo Araya Salas and Franco Jonas Hernandez).

    Typefaces from 2022: Chessnota (a chess font).

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

    View the typefaces made by AKTF. Patreon link. [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. Download sites: Google Code Archive, Google, Open Font Library. [Google] [More]  ⦿

    Andrey Martynov

    Ekaterinburg, Russia-based calligrapher. Creator of a Latin Kanzlei-style blackletter alphabet (2015). [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 Ukhanev

    Russian designer of the molecular monolinear sans typeface Grossesbuch (2021) for Latin and Cyrillic. In 2022, he published Life Cinema Screen, a poster font that is both stylish and retro. [Google] [MyFonts] [More]  ⦿

    Andrey V. Panov
    [Computer Modern Unicode fonts]

    [More]  ⦿

    Andrey V. Panov
    [CM Unicode]

    [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.

    • Humus (2007-2022). A ten-style humanist / lapidary Latin / Ukrainian Cyrillic / Greek typeface that is characterized by flared terminals.

    Additional URL.

    MyFonts interview.

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

    Andriy Dykun
    [NREY]

    [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]  ⦿

    Andy Panchenko

    Lviv, Ukraine-based designer of the free Latin / Cyrillic graffiti typeface Tag Type (2016). [Google] [More]  ⦿

    Andy Usikov

    Florence, Italy-based designer of the free Latin / Cyrillic geometric sans display typeface Rostov (2017), named after the city he hails from, Rostov-on-Don. [Google] [More]  ⦿

    Anferov Artem

    Magnitogorsk, Russia-based graphic designer who created Simple Line Icons (2015) and the grid-based squarish typeface Mebius (2015). [Google] [More]  ⦿

    Angela Poghosova

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

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

    Ani Dimitrova

    Graduate of The National Academy of Art in Sofia, where she obtained a Masters in type design in 2014. Upon graduation, she started to work for Fontfabric, and set up her own type foundry in 2019. Sofia, Bulgaria-based designer of these typefaces:

    • The plump display typeface Maver (2019).
    • The 28-style sans workhorse family Vocal (2019).
    • The 16-style humanist grotesque typeface Kardinal (2019), which covers Latin and Cyrillic.
    • Quat (2019). A 22-style sans family, covering hairline to black.
    • Alamia (2020). A 20-style slightly condensed sharp-edged sans family.
    • Faddy and Faddy Cyrillic (2020). A fun poster typeface family.
    • In 1993 Ivan Kyosev designed an angular typeface which was digitally revived in 2020 by Ani Dimitrova as Thalweg (Latin, Cyrillic, Greek).
    • Gezart (2020). A 32-style geometric sans with an amazin g weight range from Hairline to Heavy. The only concession made to humanism are the inktrap-inspired joins.
    [Google] [MyFonts] [More]  ⦿

    Ani Petrova

    Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov's type foundry. 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 (2009). 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 handcrafted 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, Ani Petrova, Svetoslav Simov and Radomir Tinkov co-designed the 214-style mammoth font system Intro Rust, a rough version of Fontfabric's Intro. The fonts are partitioned over Intro Rust, Intro Script, Intro Head and Intro Goodies.

    In 2016, she designed Mixa (FontFabric), a connected script font influenced by grotesques.

    In 2016, a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf designed an 8-style Latin / Greek / Cyrillic stencil typeface, Milka, which is based on an original stencil alphabet from 1979 by Bulgarian artist Milka Peikova.

    Typefaces from 2017: Attractive (a free sans, done with Botio Nikoltchev), Kardinal (a neo humanistic grotesque published at Lettersoup).

    Typefaces from 2018: Vocal (Latin and Cyrillic; published by Lettersoup). Vocal has slightly tapered stems and tilted terminals that give the 28-weight typeface family warmth, pizzazz and oomph.

    Codesigner of Mozer (2019, by Svetoslav Simov, Ani Petrova, Mirela Belova and Nikolay Petrousenko: a condensed headline sans family that covers Latin, Greek and Cyrillic; Mozer SemiBold is free). [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]  ⦿

    Anita Jürgeleit
    [Type This Studio]

    [MyFonts] [More]  ⦿

    Anja Banjesevic

    During her studies in Belgrade, Anja Banjesevic created the handcrafted Latin / Cyrillic typeface Mukva (2015). [Google] [More]  ⦿

    Ann Gree

    Moscow-based designer of the thin hipster typeface Geronimo (2018) for Latin and Cyrillic. [Google] [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 Bezhan

    During her studies at KSADA in Kharkiv, Ukraine, Anna Bezhan designed the handcrafted Cyrillic typeface Postanova (2017). [Google] [More]  ⦿

    Anna Bulka

    Moscow-based designer of the shaky handcrafted typeface Lefty (2015), which emulates left-handed writing of a right-handed person. [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 Danilova

    Type designer who is employed by Artem Gorbunov (Gorbunov Bureau) in Moscow. Her typefaces there:

    • The Greek part of Bureauserif (2015-2016), a text typeface family by Ksenija Belobrova. The Greek part was done by Anna Danilova.
    • Bureausign (2015-2016). Anna Danilova's splendid Latin / Cyrillic wayfinding font family.
    • Envy (2016). A number font by Anna Danilova for Envy Car Rental.
    • Mary Trufel (2016). A hand-printed typeface by Anna Danilova.
    • Olimpiada (2018). By Anna Danilova (and Michael Nozik) for olimpiada.ru. This sans typeface is based on the wayfinding font Bureausign.
    [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 Haidash

    During her studies at LNAA, Lviv, Ukraine-based Anna Haidash designed the straight edged film noir Cyrillic typeface Bukashky (2020). [Google] [More]  ⦿

    Anna Ilich

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

    Anna Khorash

    Member of the Contrast Type Foundry in Moscow.

    In 2019, Maria Doreuli and Anna Khorash released the variable font CoFo Peshka at Future Fonts. Inspired by the industrial and military lettering in the Soviet era, it is named after the Pe-2 aircraft also called the Peshka. CoFo Peshka features weight and width axes.

    Future Fonts link. [Google] [More]  ⦿

    Anna Kipot

    During her studies, Kursk, Russia-based Anna Kipot (now based in Saint Petersburg) created Display Face 32 Bit (2015). [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 Konopelko

    Vilnius, Lithuania-based designer of several Latin and Cyrllic display typefaces in 2018. [Google] [More]  ⦿

    Anna Koplovich

    Russian designer of the modular techno typeface Flickulor (2018, made with FontStruct). She also designed the street art Cyrillic font Amons (2018). FontStruct 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 Lukyanchenko

    Graphic designer in Moscow. During a type design workshop in 2017, Anna Lukyanchenko designed the dada typeface Psychodelic Serifim. She writes: I was inspired by Dmitrovskaya station in Moscow metro and created two sets of characters, based on trapezium: characters from one set are wide on the top, and from the other set on the bottom. They can be combined or used separately. This Latin / Cyrillic all caps typeface has no relationship with the psychedelic style of the 1960s and 1970s. [Google] [More]  ⦿

    Anna Lyubimova

    This Moscovite designed Band Regular and Band Rounded, a pair of angular typefaces 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 Ozerina

    Russian designer of a magnificent set of 600 (vector format) vintage frames and emblems (2016), and of 350 Line Business Icons (2016). In addition, she designed the brush typefaces Bobervons (2016) and Momentique (2016) and the script typeface Likonder (2016). [Google] [More]  ⦿

    Anna Pavlova

    Graphic designer in Moscow, who created a circle-based typeface for Latin and Cyrillic in 2015. [Google] [More]  ⦿

    Anna Personne

    During her studies at ECV in Bordeaux, Anna Personne created the ornamental Cyrillic caps typeface Cyrillique (2014) and the Bifur-style art deco typeface Modulaire (2015). Home page. [Google] [More]  ⦿

    Anna Po

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

    Anna Postum

    Moscow, Russia-based designer of the decorative caps typeface Paul Klee (2016). [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 Nicholas Jenson and William Morris. Stiana covers Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

    Anna Rolskaya

    Moscow-based designer. In 2015, she made the Flos typeface. Behance link. [Google] [More]  ⦿

    Anna Ruf

    Moscow-based designer of the decorative Cyrillic caps typeface Accidental (2016). [Google] [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
    [Popkern]

    [MyFonts] [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 typefaces and graphology. She is associated with ParaType. [Google] [More]  ⦿

    Anna So

    Moscow-based student designer of a counterless blocky modular typefaces for Latin and Cyrillic, 2012. [Google] [More]  ⦿

    Anna Stadnik

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

    Anna Stefkina

    During her studies in Minsk, Belarus, Anna Stefkina designed a Cyrillic typeface (2017). [Google] [More]  ⦿

    Anna Tsuranova
    [Letter Muzara]

    [MyFonts] [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 Werigo

    During her studies, Minsk, Belarus-based Anna Werigo designed the free Latin / Cyrillic avant garde typeface Minsk (2016) and the hipster typeface Minsk Accent (2016). The download link no longer works. [Google] [More]  ⦿

    Anna Xenz

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

    Anna Zakharchenko
    [Anza Letters]

    [More]  ⦿

    Anna Zonova

    Murygino, Russia-based designer of the handcrafted monoline typeface Gilda (2017, Latin and Cyrillic). Creative Market link. [Google] [More]  ⦿

    Annastasia Samsonova

    Russian codesigner with Jovanny Lemonad of the free Latin / Cyrillic handcrafted typeface Hitch Hike (2015). Other free typefaces: Steamy (2014, pure steampunk beauty), Insektophobiya (2012). [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 Chernogorov

    Graphic and web designer in Volgograd, Russia, who created the free Latin / Cyrillic handcrafted typeface Bemount (2015), the free rounded sans typeface Shirota (2015, for Latin and Cyrillic), and the free font Highliner (2015). Behance link. [Google] [More]  ⦿

    Anton Didenko
    [Kavoon]

    [MyFonts] [More]  ⦿

    Anton Drachuk
    [Jimi-neko]

    [More]  ⦿

    Anton Fros

    Russian designer of the experimental deco typeface SK Nowatorus (2021: at Shriftovik) for Latin and Cyrillic. [Google] [MyFonts] [More]  ⦿

    Anton Geroev

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

    Anton Izorkin
    [Xaotik]

    [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. His typefaces can be downloaded from Fontspace and Typetype. [Google] [More]  ⦿

    Anton Kuzilenkov

    Saint Petersburg, Russia-based designer of the constructivist Cyrillic typeface Accidentnyj (2018). [Google] [More]  ⦿

    Anton Mikaskin

    Saint Petersburg, Russia-based designer of Monster Alphabet (2017). He specializes in childen's book illustrations. [Google] [More]  ⦿

    Anton Motuzov

    Minsk, Belarus-based designer of the free alchemic / hipster Latin / Cyrillic typeface Mefestico (2015). Behance 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 type foundry. 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]  ⦿

    Antonia Cornelius

    German type and communication designer, lecturer and researcher with a special interest in legibility and readability (b. 1989). She obtained a Bachelor's in communication design with Jovica Veljovic at Hamburg University of Applied Science, where her thesis was entitled The Letters in my Head. What Creatives should know about reading processes in order to design joyful reading experiences. She also did a Master's with Veljovic, which led to her Legilux typeface family (a transitional serif with optical sizes as well as a sans serif) and further research on legibility. She graduated in 2017. Antonia joined Dutch Design in 2017 and extended the FF DIN family to FF DIN Slab. Furthermore, she re-engineered the whole FF DIN family itself to make variable fonts; she also added Bulgarian Cyrillic and other characters; finally, she also made FF DIN Stencil into a functional three axis variable font. Since 2018, she teaches type design at Muthesius University of Fine Arts and Design in Kiel.

    Her typefaces:

    • Legilux (2016). A transitional serif with optical sizes as well as a sans serif developed during her Masters studies at Hamburg University of Applied Science.
    • FF DIN Slab (2022). With Albert-Jan Pool.
    • FF DIN Slab Variable (2022). With Albert-Jan Pool.
    • FF DIN Stencil (2022). With Albert-Jan Pool and Achaz Reuss.
    • FF DIN Stencil Variable (2022). With Albert-Jan Pool and Achaz Reuss.
    • FF DIN Paneuropean (2022). With Albert-Jan Pool, Achaz Reuss, Aleksei Chekulaev and Panos Haratzopoulos. See also and FF DIN Paneuropean Variable (with Achaz Reuss, Aleksei Chekulaev, Albert-Jan Pool and Panos Haratzopoulos).

    Antonia Cornelius won the People's Choice award for Legilux in 2016 at the Morisawa Type Design Competition 2016.

    Speaker at ATypI 2018 in Antwerp on the topic of legibility: Typeface designers Antonia Cornelius and Björn Schumacher conducted a preliminary study for their final master's projects. They set up a reading-speed test by reverting to well-tried test material, which they set in their new typefaces Legilux and Text Type as well as the common Walbaum Standard. Focusing on the effect of the optical scaling method, the typefaces were tested in two sizes: 1.5 mm and 1 mm x-height. The results tend to show a positive effect for optical adjustments in type designs. [Google] [MyFonts] [More]  ⦿

    Antonina Zhulkova

    Saint Petersburg, Russia-based designer of Celestina (2017, Piñata), a brush script typeface, Disruptors Script (2018) and Gentlemens Script (2018).

    Typefaces from 2020: TT Octosquares (an octagonal superfamily by Antonina Zhulkova, Yulia Gonina and Kseniya Karataeva; TT Octosquares comes with a 3-axis variable type option), TT Runs (a 20-style sports sans by the TypeType team in cooperation with Vika Usmanova, Antonina Zhulkova and Philipp Nurullin).

    In 2020, she co-designed TT Lakes Neue, a 91-style sans family by Vika Usmanova, Antonina Zhulkova and Kseniya Karataeva at TypeType. Tt is a functional sans-serif that draws inspiration from Finnish signs of the functionalism era. TT Lakes Neue is an almost monolinear sans, with ovals in the form of rounded rectangles, reminiscent of Nebiolo's Microgramma. It comprises a useful variable font.

    In 2021, Antonina Zhulkova and Yulia Gonina designed TT Autonomous, a 25-style wide brutal technological sans family that includes a monospaced subfamily and a trio of variable fonts. Later in 2021, Antonina Zhulkova, Pavel Emelyanov and Yulia Gonina (aided by Radik Tukhvatullin and Marina Khodak) co-designed the 32-style geometric sans TT Fors which comes in standard, display and variable versions. In 2021, Zhulkova designed TT Ricordi Allegria (a sleek and elegant flared all caps yet contemporary Florentine sans for Latin and Cyrillic that was inspired by the half-erased lettering in Basilica di Santa Croce, Florence) and TT Globs (+Variable), a 3-style Latin-only typewriter-style slab serif.

    Typefaces from 2022: TT Fellows (a monolinear sans with 18 static fonts and one variable font; by Antonina Zhulkova, Yulia Gonina and the TypeType team). [Google] [MyFonts] [More]  ⦿

    Antonis Tsolomitis
    [Laboratory of Digital Typography and Mathematical Software]

    [More]  ⦿

    Antony Zonne

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

    anttarr.com

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

    Anugrah Pasau
    [Lafontype (pr: tardiexwas: Pixifield, Elementype, Fontliner Studio)]

    [MyFonts] [More]  ⦿

    Anvar Kurbanov

    Moscow-based designer of the scratchy inky Cyrillic typeface Teriyaki (2017). [Google] [More]  ⦿

    Anvar Kurbanov

    Moscow-based designer of the scribbly handcrafted Cyrillic typeface Teriyaki (2017). [Google] [More]  ⦿

    Anya Polunina

    Born in Severodvinsk, Russia, Anya Polunina graduated from Bonch-Bruevich Saint Petersburg State University of Telecommunications. As a student at TypeType Education in 2016-2017, she designed the antiqua typeface Glamer. [Google] [More]  ⦿

    Anya Pro

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

    Anza Letters
    [Anna Zakharchenko]

    Miass, Russia-based type designer offering mainly handcrafted script or brush fonts. Her typefaces from 2021: Fruity Morning (a color SVG font), Coffee Break, Gradient Quirky, Aster Glow, Vintage, WMN Power, Carnival (and party masks), Snowflake Christmas, Cupid, Vegan.

    Her typefaces from 2020: Orchid (an ornamented sans), Avocado (a stylish display serif), Wanderlust, Snowflake, Warmth (a retro brush font for Latin and Cyrillic), Sunshine, Breaking Rules (a paper cutout typeface), Feel Free, Bravo (a prismatic SVG font for Latin and Cyrillic), Virgo (a serif stencil), Grotesque, Ander, America, Quirky Spring (a playful rounded hand-drawn typeface), Retro Vibes.

    Typefaces from 2019: Nuova (a modern stencil family), Caramel (an upright script), Daenerys (a script and serif duo), Didone (an over-the-top swashy ball terminal didone), Mood Board (script), One Upon A Time (an octagonal and script font duo), Abstract, Summer in Paris (font duo), Nordic Dream, Organic, Poster (a heavy sans), Throne (a free dry brush SVG font), Primavera (brush script), Emotion Sans, Emotion SVG, Emotions Brush, Mobile (a modular sans), Fleuriste (a decorative duoline font), Lovely (a tall monoline script), School SVG, Aloha SVG (a watercolor script), Sport, Alpha & Omega (a signature script), Rio Love, Delight Grunge, Quirky, Oh My Child (textured).

    Typefaces from 2018: Protect, Shadow (an all caps fashion mag titling sans family in ten styles), Ultra Violet (sans), Fall in Love Script, White Christmas (a brushed SVG font), Golden Leaves Script, Alesya (script), Rush. [Google] [More]  ⦿

    Apollinaria Volskaya

    Moscow-based designer of the experimental Cyrillic typeface Nadachu (2018). [Google] [More]  ⦿

    Apostrof
    [Konstantin Golovchenko]

    Ukrainian type foundry founded in 2012 by Viktor Kharyk and Konstantin Golovchenko in Odessa. In 2014, they published the Latin / Cyrillic typefaces Arsena (original from 2013 by Vikto Kharyk), 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.

    Kyiv (2010, Viktor Kharyk) combines elements of antiqua, Cyrillic, and carving into widely usable Latin and Cyrillic text family. Kyiv was awarded the 2nd prize in the text font category in the first Ukrainian typeface competition Ruthenia in 2010.

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

    In 2020, Konstantin Golovchenko and Kyrylo Tkachov released the sans typeface family Rock Star at AlfaBravo.

    In 2020, Viktor Kharyk, Henadij Zarechnjuk and Konstantin Golovchenko released an update and extension of Vasyl Homenko's metal Ukrainian typeface from 1963-1967, called Homenko.

    A special project published in 2020: 1812 (by Viktor Kharyk and Konstantin Golovchenko). This is a 14-style revival and further development of the typeface 1812 by Lehmann Type Foundry (St. Petersburg). It was created for the centenary of the French invasion of Russia, known in Russia as the Patriotic War of 1812 along the lines of decorative engraved inscriptions and ornamented typefaces of that time, presumably by the artist Alexandre Benois. It was used mainly for the decoration of luxurious elegant publications. Later, in 1917, this typeface was used on the Russian Provisional Government banknotes. In the Soviet period of time '1812' appeared to be one of the few typefaces included in the first Soviet type standard OST 1337. It was produced for manual typesetting until the early 1990s. This typeface could be seen on Soviet letterheads, forms, posters and even air tickets. [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. The name Apostrophe comes from a Frank Zappa song. 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). A spoof on Comic Sans, this family includes Komika Hand and Komika Text.
    • 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, active ca. 1999. The fonts covered Japanese, Chinese, Russian, Arabic, Hebrew, Persian, Urdu, Tamazight, Turkish, Greek, Indic, Thai, Eastern European, and Korean. [Google] [More]  ⦿

    Ardak Mukanova

    At Saint Petersburg State University (in Saint Petersburg, Russia), rdak Mukanova designed the experimental typeface Cumulus (2016). [Google] [More]  ⦿

    Area Download

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

    Areopag.com

    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]  ⦿

    arh.ru

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

    Ari Budi Setiawan
    [Hamizan]

    [MyFonts] [More]  ⦿

    Ari Rafaeli
    [ARTypes]

    [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]  ⦿

    Arina Kovrizhkina

    Saint Petersburg, Russia-based student-designer of the Latin / Cyrillic typeface Estandar (2017). [Google] [More]  ⦿

    Arina Shubina

    Moscow-based designer of the Latin / Cyrillic pixel game font Wiwy (2017). Behance link. [Google] [More]  ⦿

    Arina Vermen

    Vilnius, Lithuania-based designer of several experimental Latin and Cyrillic typefaces in 2019. [Google] [More]  ⦿

    Aring Typeface
    [Måns Grebäck]

    Måns Grebäck (Aring Typeface, Örebro, Sweden) is a prolific Swedish designer (b. Lindesberg, Sweden, 1990), who lives in Borlänge, Sweden. Måns Grebäck has a bachelor's degree in graphic design from the University of Dalarna (2012). In 2010, he went commercial, and started selling fonts through MyFonts. In 2011 he started Mawns Design. In 2013, that was renamed to Aring Typeface. In 2011 he already had over seven million downloads of his fonts, which were featured at websites such as Dafont and Myfonts. He also does custom type work. His typefaces, both free and commercial:

    View Mans Grebäck's typefaces.

    Abstract Fonts link. Fontspace link. MyFonts link. Another URL. Dafont link. Klingspor link. Buy fonts directly from Måns Grebäck. Old URL. [Google] [MyFonts] [More]  ⦿

    Arisugava

    Russian creator of the (free) calligraphic script fonts Allegretto Script One and Two (2004). Designer of the Cyrillic font Champignon Script (2004), which can be found here. [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]  ⦿

    Armin Numanovic

    At the Academy of Fine Arts in Sarajevo, Bosnia and Herzegovina, Armin Numanovic designed the free super-condensed Glagoljica (2017). [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]  ⦿

    Armtype
    [Edik Ghabuzyan]

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

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

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

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

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

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

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

    Aronetiv
    [Alexey Popovtsev]

    Or Aleksey Popovtsev. Graphic designer in Kiev, Ukraine, who made the Latin / Cyrillic sans typefaces Nachalnaya (2016) and Rothko (2018: a sans).

    Typefaces from 2019: Jheronimus (a neo-humanistic grotesque variable font), Jheronimus Contrast, Ezlo Sans.

    Typefaces from 2020: Genau (a 9-style geometric sans influenced by the constructivist schools of Vkhutemas and Bauhaus; contains a variable font), Nomenclatur (2020: a sans family for information design and engineering, inspired by DIN).

    Typefaces from 2021: Wolfgang (a six-style bare-bones text typeface influenced by renaissance types such as Garamond, Bembo and Jenson).

    Typefaces from 2022: Rottko (a ten-style static grotesque). [Google] [MyFonts] [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. Examples: Egyptian Outline Condensed (1997, by W. Chufarofsky and M. Slutsker), Dexter Outline (1996, W. Chufarofsky). List of 1206 fonts that I compiled for the historic record. [Google] [More]  ⦿

    Arseny Selivanov

    During his studies at Stieglitz State Academy of Art and Design, Arseny Selivanov ( Saint Petersburg, Russia) cyrillicized Erbar Grotesk (2019). [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).

    In 2018, he published Baobab.

    Typefaces from 2022: Handcraft (a scrapbook script).

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

    Art Gorbunov (or: Gorbunov Bureau)

    Studio in Moscow set up in 2007. Their typefaces:

    • Bureauserif (2015-2016). A text typeface family by Ksenija Belobrova. The Greek part was done by Anna Danilova.
    • Bureausign (2015-2016). Anna Danilova's splendid Latin / Cyrillic wayfinding font family.
    • Envy (2016). A number font by Anna Danilova for Envy Car Rental.
    • Galochki (or: Checkmarks). Done in 2013 by Ksenia Belobrova.
    • Lavish Shoestring (2016). A monoline script by Misha (Michael) Nozik.
    • Mary Trufel (2016). A hand-printed typeface by Anna Danilova.
    • Olimpiada (2018). By Anna Danilova (and Michael Nozik) for olimpiada.ru. This sans typeface is based on the wayfinding font Bureausign.
    • Voltaire (2015, Ksenia Belobrova). A script typeface based on illustrations in one of Voltaire's books from 1734. Voltaire covers Latin and Cyrillic.
    [Google] [More]  ⦿

    Art Lebedev
    [Artemius Lebedev]

    Art Lebedev is Artemis Lebedev's large design studio in Moscow, est. 1995. In 2020, it had 300 employees, and oiffices in New York, Kiev (Ukraine) and Moscow. It has a subsection on Russian typography.

    A listing of their retail typefaces:

    • Agrus (2007, Andrij Shevchenko).
    • Alumna (2016, Ksenia Erulevich).
    • Arc (2019, Konstantin Lukyanov).
    • Beast (2019, Alexey Malkov).
    • Bingley (2012, Elena Novoselova).
    • Brevier (2019, Konstantin Lukyanov).
    • Chalk & Honey (2011, Kirill Sirotin).
    • Contract (2018, Ksenia Erulevich).
    • Departure (2018, Ksenia Erulevich).
    • Dereza (2010, Elena Novoselova).
    • Direct (2008, Vera Evstafieva).
    • Dulsinea (2007, Vera Evstafieva).
    • Echelon (2019, Daniil Vidmich).
    • Ekibastuz (2007, Zakhar Yaschin).
    • Finlandia Script (2015, Julia Sysmäläinen).
    • Flai (2015, Taisiya Lushenko and Vera Evstafieva).
    • Fuchsia (2012, Ksenia Erulevich).
    • Gross Kunst (2011, Kirill Sirotin).
    • Hauss (2019, Alexey Malkov).
    • Heino (2008, Elena Novoselova).
    • Horizon (2019, Taisiya Lushenko).
    • Ivolga (2018, Taisiya Lushenko).
    • January (2019, Konstantin Lukyanov).
    • Junior (2019, Konstantin Lukyanov).
    • Kalamos (2019, Michael Gorenshtein).
    • Klementina (2011, Elena Novoselova).
    • Klinkopis (2008, Irina Smirnova).
    • Kraft (2008, Irina Smirnova).
    • Lamon (2017, Dima Lamonov).
    • Lavanda (2018, Ksenia Erulevich).
    • Malina (2013, Ksenia Erulevich).
    • Meringue (2009, Taisiya Lushenko and Olga Balina).
    • Mezzo (2009, Elena Novoselova).
    • Mio (2019, Mio Horii).
    • Mirta (2008, Elena Novoselova).
    • NF64 (2018, Konstantin Lukyanov).
    • Neuch (2009, Igor Mustaev).
    • Pobeda (2015, Julia Sysmäläinen).
    • Rundgang (2005, Dominik Heilig).
    • Schlange Sans and Schlange Slab (2013, Olga Umpeleva).
    • Sector (2017, Ksenia Erulevich).
    • Span (2020, Alexey Malkov).
    • Story (2008, Zakhar Yaschin and Taisiya Lushenko).
    • Syys Script (2012, Julia Sysmäläinen).
    • Tongyin (2007, Zakhar Yaschin).
    • Wagon (2019, Alexey Malkov).
    • Zet (2014, Ksenia Erulevich).
    • Zheldor (2009, Oleg Tischenkov and Elena Novoselova).
    • Zum-zum (2020, Pavel Zyumkin).
    • Zwoelf (2008, Oleg Pashchenko, Irina Smirnova and Zakhar Yaschin).

    Additional custom typefaces: 19oclock (2004, Yuri Gordon: for Vernost Kachestvu confectionery factory), BBPlay (2006: a pixelish typeface by Pavel Radyuk for Ergo screens), Copycat (2019, Ksenia Erulevich), CSKA (2016, Erken Kagarov), Hyundai (2016), MVideo (2013, Olga Umpeleva and Ksenia Erulevich), Permian (2011: sans, serif and slab: a free family by Ilya Ruderman done for the city of Perm via Art Lebedev Studio), Russian Premier League (2018, Ksenia Erulevich, Nikolay Nedashkovsky, and Konstantin Lukyanov), Scripticus (2013, Julia Sysmäläinen), SPb (2015, Ksenia Erulevich), Vlas (2018, Konstantin Lukyanov), Yandex (2013, Ksenia Erulevich, Taisiya Lushenko, and Elena Novoselova), Zaryadye (2017, Taisiya Lushenko).

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

    Art of Sun

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

    Artcoast Design (was: Mankoff)
    [Dmitry Mankoff]

    Dmitry Mashkin (or Dmitry Mankoff, or Artcoast Design, located in Sochi and/or Krasnodar and/or Moscow, Russia) created the absolutely wonderful restaurant menu deco typeface Montclar (2015, +food icons), the vintage letterpress emulation typeface family Stampbor (2015), the handcrafted Karmina (2015), the brush typeface Hypsletters Script (2015, with Nadi Spasibenko), the vintage letterpress typeface Marktype (2015), and the sans typefaces Albori Sans (2015, rounded and monoline) and Brentwood Sans (2015).

    Since 2016, he operates as Art Coast Studio. His free bilined hipster typeface Brokes (2016) outhipsters even the coolest hipsters. He also created the letterpress emulation typeface Jameson (2016), the appealing (regular and rough) poster typeface Weisshorn (2016), the grungy letterpress font Ovsyanka (2016), and the handcrafted typeface Norquay (2016).

    Typefaces from 2017: Santens Script (dry brush).

    Typefaces from 2020: Tipio.

    Typefaces from 2021: Regolith (an all caps display sans with or without a stripe texture), Roadside Motel (a poster font), Planet Jupiter (a great all caps cartoon font), SA Tampico (mimicking writing on wooden crates), Tampico Symbols, Howard (an ultra-condensed titling font).

    Typefaces from 2022: SA Woodland Hills (an all caps monolinear rounded sans for Latin and Cyrillic).

    Old URL. Graphicriver link. [Google] [MyFonts] [More]  ⦿

    Artcoast Studio
    [Nadi Spasibenko]

    Or Nadezhda Spasibenko. Krasnodar, Russia-based artist and illustrator who created the brush typefaces Hypsletters Script (2015, with Dmitry Mankoff) and Reckless (2016, free), and the script typefaces Patrick (2016), Olivia Sand (2016) and Buddy Bear (2020). [Google] [More]  ⦿

    Artegra
    [Ceyhun Birinci]

    Type designer in Antalya (or Istanbul), Turkey, who studied graphic design at Marmara University. Creator of the rounded organic sans typeface family Primus (2012-2015) and of the basic geometric sans typeface family Genius (2013-2015).

    In 2017, he designed the 162-style geometric sans typeface family Artegra Sans, which covers Latin, Greek and Cyrillic. He added the 54-font family Artegra Slab later in 2017. Near the end of 2017, he designed the squarish Latin typeface Kufica, which is based on the Arabic kufic style.

    Typefaces from 2018: Millard (a transitional typeface family), Caldina (a rounded sans family), Suprema (geometric sans in 14 styles; it features horizontal and vertical terminal cuts).

    Typefaces from 2020: Dexa Pro (a 72-style workhorse sans), Artegra Soft, Habanera (a semi-geometric sans family with Outline and Rounded subfamilies).

    Typefaces from 2021: Dexa Round (an 18-style rounded sans family), Anatolian (a 12-style octagonal slab serif), Procerus (an 18-style ultra-compressed movie credit font family).

    Fontspring link. Behance link. . Home page of Ceyhun Birinci. Fontspring link. Fontsquirrel link. Behance link for Artegra Type. [Google] [MyFonts] [More]  ⦿

    artelecom

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

    Artem Andrushkin

    Or Artem Andryushkin. Designer, with Ivan Gladkikh (Jovanny Lemonad) of the free typeface Flow (2010), published by Typetype in Russia. [Google] [More]  ⦿

    Artem Dmitriev

    Saint Petersburg, Russia-based designer of a rounded sans typeface in 2017. Behance link. [Google] [More]  ⦿

    Artem Gerasimov

    Cheboksary, Russia-based designer (b. Arkhangelsk, 1977) at AType of the paperclip fonts Scripio A, Scripio B and Scripio C (2003), Scripio A Simple (2004), Doughnut (2005: with the plumpness and a bit of the DNA of Bronislaw Zelek's Bron), Galleon (2004: a faux italic), Cubes (3d), Sennit (2003: textured like sandals), D Block A (2003: blackboard bold), and Fatman (2003). [Google] [MyFonts] [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 Velychko
    [Precise Creative]

    [More]  ⦿

    Artem Vorotnikov

    The web links of Alyona Vorotnikova and Artem Vorotnikov are interspersed. Saint Petersburg, Russia-based designers of the great dry brush typeface Shuher (2018). [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]  ⦿

    Artemiy Kremer

    As part of Kiosk Works (or: Playfaces Type foundry) in Moscow, Russia, Artemiy Kremer designed the experimental Latin / Cyrillic typeface Afform (2019). [Google] [More]  ⦿

    Artemy Perevertin

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

    Arthur Balitskiy

    Saint Petersburg, Russia-based designer of the Latin / Cyrillic beveled display typeface Qui (2016) and the script font Old Motorcycle (2019). [Google] [More]  ⦿

    Artur Chochaev

    Russian designer of the all caps typeface Header (2016). [Google] [More]  ⦿

    Artur Nakhodkin

    Saint Petersburg, Russia-based designer of an experimental typeface in 2015. [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]  ⦿

    ARTypes
    [Ari Rafaeli]

    ARTypes is based in Chicago, and is run by Ari Rafaeli. List of their 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.
    • Custom typefaces include Fabrizio (2016), a classical serif typeface family for Hebrew, Latin, Cyrillic and Greek, with hints of Garamond and Caslon. Ari writes that Fabrizio made its first appearance in Saggi di Letteratura Italiana: Da Dante per Pirandello a Orazio Costa, by Lucilla Bonavita, printed at Pisa in March 2016 by Fabrizio Serra Editore for whom the type was specially designed.
    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. Ascender's version of the CJK font Heiti is called ASC Heiti. 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]  ⦿

    ASCON
    [Sergey Komarov]

    Russian outfit, credited with the Latin/Cyrillic sans serif typefaces 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 typefaces, 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 handcrafted 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
    [NoCommen Type (or: 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 (2010, a free old 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; + grungy version), 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: papercut sans), 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 Pro (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 (described as a bacterial stencil typeface), 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, BeatnikBlueAOE, BeatnikBlueFillAOE, GeishaBoyAOE, MardiPartyAOE, MindCrimeAOE, OcovillaAOE, PolynesianTouristAOE, RuthlessAOE, SaltyDoggieAOE, SpruceAOE, WhiskersAOE-Oblique, WhiskersAOE, WhiskersAltCapsAOE-Oblique, WhiskersAltCapsAOE (2002), Habitual, Automatic (techno), Bitrux, Filth (an eerie brush script), Cake&Sodomy, Gulag, Bad Comp, Detour, Alien Argonaut, Dark Night, GateKeeper (Halloween font), 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 typefaces followed there, like Ultra (fat didone), Maiden Orange, Special Elite (2010, a free old typewriter face), 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, at Google Fonts and CTAN), 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 type foundry 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).

    Typefaces from 2015: Shanks Antique 5 AOE (after the newspaper typeface Memorial (1865, Stevens, Shanks & Sons)), Reliquaire AOE (a somber blackletter typeface inspired by Memorial (1881, Boston Type Foundry)).

    Typefaces from 2016: Mailuna Pro AOE (a gothic sans), Kentish AOE Pro (art deco). Reardon AOE (a digitization of a film typeface called Joyce Black by LetterGraphics), Berkmire AOE (1970s style robot-inspired techno font), Blackheath Pro AOE (this typeface started as a digitization of a film typeface called Roberts Square by LetterGraphics), Delaware Pro AOE (art deco), Rutland AOE (a futuristic font that is a digitization of a film typeface called Maccaro by LetterGraphics). In 2016, Brian J. Bonislawasky and Jim Lyles published the rugged octagonal mega typeface family Tradesman at Grype. In 2017, they added the art deco typeface Cowling Sans AOE (which is based on alphabet from "Lettering for Commercial Purposes" by Wm. Hugh Gordon). In 2018, they published the letterpress emulation typeface Prison Pro, Pink Sangria (50s style movie font), Manic Tambourine, Motenacity (a Martian cartoon font), the old typewriter font Office Memorandum Pro, and the Flintstone font Strongman.

    Typefaces from 2021: Klutz AOE Pro (a condensed all caps beatnik font), Data Error AOE Pro (based on early dot matrix printers), Customs Paperwork AOE Pro (based on the NuMode Type No. 61 vintage typewriter), Rinzler AOE Pro (a great stencil font that revives LetterGraphics' Caren), Restraining Order AOE Pro (an old typewriter font), Brazarri AOE Pro (an Aztec emulation font based on MacKeller, Smiths and Jordan's Bizarre from 1884).

    View Astigmatic's typeface library. View the typefaces made by Brian Bonislawsky.

    Fontsquirrel link. Dafont link. Fontspace link. Creative Market link. [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 type foundry 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, followed by Geometria Narrow in 2016), 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).

    Typefaces from 2015: Nolde (a Latin / Cyrillic titling typeface named after german-Danish printer Emil Nolde; by Vyacheslav Kirilenko and Gayaneh Bagdasaryan).

    Typefaces from 2016: Wermut (a transitional dagger-serifed Latin / Cyrillic text typeface family by Gayaneh Bagdasaryan and Vyacheslav Kirilenko, published at Brownfox).

    Typefaces from 2022: Jet (the authors, Gayaneh Bagdasaryan and Vyacheslav Kirilenko, write: Jet is an assertive italic sans that anticipates the return of the simpler, optimistic times when progress was considered positive and forward seemed to be the only way to go).

    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 Gareeva

    Moscow-based designer of the Cyrillic display typeface Duomo (2018). [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]  ⦿

    Atlas Font Foundry
    [Christoph Dunst]

    Berlin-based foundry, est. 2012 by Christoph Dunst.

    Creators of Novel Mono (2012, Christoph Dünst), Novel Sans (2012), Novel Sans Rounded (2012), and Novel Sans Condensed (2012), Novel Sans Office Pro (2013), Novel Sans Hair Pro (2014), Heimat Sans (2010), Heimat (2010), Heimat Mono (2013), Heimat Stencil (2013), Novel Sans Office Pro (2013), Heimat Didone (2014: a 72-style family of high-contrast didones; some styles should be useful for fashion mags), Heimat Display (2015: characterized by an inverted tail of the y), Novel Display (2017), Edit Serif Pro (2017), Edit Serif Cyrillic (2018), Edit Serif Arabic (2018).

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

    ATRI

    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 typefaces of the mid-18th century), AZ Poligon (1990-1995, by Leonid Silkin: a kitchen tile font). [Google] [More]  ⦿

    Avalon

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

    Ave
    [Anastasia Averina]

    Saint Petersburg, Russia-based designer of Sigillium (2022: a 4-style flared, beveled, embossed and carved serif typeface), New Comer Sans (imitating Comic Sans) (2022). [Google] [MyFonts] [More]  ⦿

    Avenir Next World

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

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

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

    Avraham Cornfeld
    [AlefAlefAlef (or: Fontimonim)]

    [MyFonts] [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]  ⦿

    AZ

    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]  ⦿

    BabelStone
    [Andrew West]

    UK-based Andrew West's great intro page to the 'Phags-pa script, a Brahmic script based on Tibetan that was used for writing Mongolian, Chinese and other languages during the Mongolian Yuan dynasty (1271-1368). Although it is no longer used for Mongolian and Chinese, it is still used to a limited extent as a decorative script for writing Tibetan. Unlike other Brahmic scripts, 'Phags-pa was written vertically from left to right after the manner of the Uighur-derived Mongolian script. The script is named after its creator, the Tibetan lama known by the title 'Phags-pa Lama "Reverend Lama" (1239-1280). Font subpage with samples of BabelStone Phags-pa Book, BabelStone Phags-pa Tibetan A, BabelStone Phags-pa Tibetan B, BabelStone Phags-pa Seal. These fonts were made in 2006 by Andrew West. In 2007, he added the free Zhang Zhung Opentype fonts for Zhang Zhung scripts: sPungs-chen, sPung-chung and Bru-sha, sMar-chen and sMar-chung. The Zhang Zhung culture was an ancient culture that flourished in the western and northern parts of Tibet before the introduction of Buddhism into the country during the 7th century. The extinct Zhang Zhung language is a distinct language related to but separate from Old Tibetan.

    Andrew West's free font BabelStone Modern was designed between 2008 and 2013. This font has almost 2000 glyphs and covers, e.g., Latin, Cyrillic, Ogham, and Braille, and has hundreds of symbols, including a large set of arrows, mathematical symbls, domino tiles, and dingbats.

    BabelStone Han (2017) is a Unicode Han font in Song/Ming style with G-source glyphs used in Mainland China. The font is derived from Arphic's AR PL Mingti2L Big5 and AR PL SungtiL GB fonts, converted to Unicode mappings, and expanded to cover a wide range of traditional and simplified characters in the CJK, CJK-A, CJK-B, CJK-C, CJK-D, CJK-E, and CJK-F blocks, as well as a large number of currently unencoded characters in the Private Use Area. A few glyphs for non-CJK symbol characters are derived from images uploaded to Wikimedia Commons by Christopher J. Fynn. The number of glyphs is closeto 40,000. [Google] [More]  ⦿

    Babis Touglis
    [The Zyme]

    [MyFonts] [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]  ⦿

    Backpacker
    [George Triantafyllakos]

    George Triantafyllakos was born in Thessaloniki, Greece, in 1980. In 2004, he was a PhD student, Department of Informatics, Aristotle University of Thessaloniki. Founder, with Manolis Pratsinakis, of Backpacker, where one can find free Latin and Greek typefaces: BPLatinNumerals, BPbigHead, BPchildLefty, BPchildFatty, BPchubby, BPchubbyFat, BPdots, BPilialena, BPletterSquares, BPletterSquaresWide, BPmolecules, BPmouse, BPmyhand, BPneon [paperclip face], BPpong [light stencil face], BPsquareHand, BPtall, BP PhD Sans, BP PhD Italic, BP PhD Mono, BP Inktrap, BP Script. These include quite a few handwriting typefaces. Commercial handwriting fonts at Cannibal (2001-2005): BPPallas, BPOlga, BPMaria, BPHaroula. In 2007, he added BP display black, BP mono and BP mono italics, and BP script. In 2008, BPreplay was created as a correction of MgOpenModata. Creations in 2009 and 2010: BPOApeloig, BPScript, BP Typewrite, BP Imperial (think Impact), BP Dots (30 monospaced dot fonts).

    He set up the independent foundry Atypical.

    Designer of TapeBold (2015, iFontMaker).

    In 2016, he released the free all caps sans typeface Hellenica for Latin, Greek and Cyrillic.

    In 2017 he participated in the team of designers who won the competition for the design of the new visual identity of the National Library of Greece (George D. Matthiopoulos, Dimitris Papazoglou, George Triantafyllakos and Axel Peemöller).

    Fontsquirrel link. Kernest link. iFontMaker link. Cannibal Fonts 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.
    • Xy-Pic Drawing Fonts, dated 1997: XYATIP10, XYBSQL10, XYBTIP10, XYCIRC10, XYCMAT10, XYCMAT11, XYCMAT12, XYCMBT10, XYCMBT11, XYCMBT12, XYDASH10, XYEUAT10, XYEUAT11, XYEUAT12, XYEUBT10, XYEUBT11, XYEUBT12, XYLINE10, XYMISC10, XYQC10.
    • 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]  ⦿

    Barbara Shpak

    Novocherkassk, Russia-based designer of two Cyrillic color fonts in 2017. [Google] [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

    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]  ⦿

    Bashnet

    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 English: ordinary new face). This typeface was widely used in the USSR for scientific and technical publications, as well as textbooks. [Google] [More]  ⦿

    Baskerville Display PT

    Baskerville Display PT (2016) is a Latin / Cyrillic type family intended for large and extra large point sizes developed by the type design team of Paratype. [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. Abstract Fonts link. [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. I have no idea who made them, and there are no claims to these fonts, so you can download them here. [Google] [More]  ⦿

    Becca Hirsbrunner Spalinger

    American type designer who graduated from the MATD program at the University of Reading in 2015. Her graduation typeface was Etincelle, which was designed with long ascenders and descenders to better blend with the deep swashes of a specific style of Arabic used for Ajami languages in northern Nigeria and southern Niger. In addition to Arabic, Etincelle currently includes Greek, Cyrillic, and extended Latin characters. Etincelle Arabic Bold is the first attempt at a typeface design based on handwritten manuscripts from Nigeria, in a style of writing called Rubutun Kano by the speakers of the Hausa language.

    Becca is affiliated with SIL International, where she was involved in the following projects:

    • Gentium. This famous free typeface supports a wide range of Latin-based alphabets and includes glyphs that correspond to all the Latin ranges of Unicode. Gentium Plus supports a wide range of Latin, Greek and Cyrillic characters. It was developed between 2003 and 2014 by J. Victor Gaultney (main designer), Annie Olsen, Iska Routamaa, and Becca Hirsbrunner. CTAN download link.
    • In 2011-2012, George Nuss designed the Arabic typeface Fouta for the Guinean community. This was at the basis of the free font Harmattan (2015, Becca Hirsbrunner and Iska Routamaa at SIL International; Google Font link). SIL explains: Harmattan, named after the trade winds that blow during the winter in West Africa, is designed in a Warsh style to suit the needs of languages using the Arabic script in West Africa. The font does not cover the full Unicode Arabic repertoire. It only supports characters known to be used by languages in West Africa. This font provides a simplified rendering of Arabic script, using basic connecting glyphs but not including a wide variety of additional ligatures or contextual alternates (only the required lam-alef ligatures.) This simplified style is often preferred for clarity, especially in non-Arabic languages, but may be considered unattractive in more traditional and literate communities.
    • Alkalami (2015-2017, SIL): Alkalami is designed for Arabic-based writing systems in the Kano region of Nigeria and Niger. Alkalami is the local word for the Arabic "qalam", a type of sharpened stick used for writing on wooden boards in the Kano region of Nigeria and in Niger, and what gives the style its distinct appearance. The baseline stroke is very thick and solid. This style of writing African ajami has sometimes been called Sudani Kufi or Rubutun Kano.
    [Google] [More]  ⦿

    Belinka

    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]  ⦿

    Belleve Invis
    [Renzhi Li]

    Programmer and font technologist in Hefei, China. He wrote a parametric program that can create fonts. His first adventure is the gorgeous (monoline monospaced) programming font Iosevka (2015), which is completely free: for the source code, see Github. It has 7 weights and 6 styles and is entirely programmed. Belleve says that he was inspired by Pragmata Pro, M+ and PF DIN Mono. Github link to the releases. The font covers Latin, Greek and Cyrillic, and is narrower than many fonts in order to be compatible with CJK characters. A tour de force that deserves an award. The 27-style Iosevka Extended was released in 2020. Jozsika (2015-2017) is a customized version of Iosevka Curly. Github link. Aardvark Sans (2020) by a mystery author is also based on Iosevka.

    In 2019, he released the free semi-monospaced font Zapus Sans. It is based on his earlier typeface Iosevka Aile.

    Sarasa Gothic (2020) is a CJK programming font based on Iosevka and Source Han Sans.

    Github link. [Google] [More]  ⦿

    Ben Bold
    [Bold Studio (was: Studio BB)]

    [MyFonts] [More]  ⦿

    Ben Harris

    Designer of the multistyle free monospaced octagonal and pixel font family Bedstead (2017), covering, Latin, Greek, Cyrillic, Hebrew, mathematics, and a slew of other things. He explains: Bedstead is an outline font based on the characters produced by the Mullard SAA5050 series of Teletext Character Generators. The SAA5050 is familiar to those of a certain age as the chip that produced the MODE 7 display on the BBC Microcomputer. It generates characters from a 5x9 pixel matrix, smoothing diagonal lines to produce an interlaced 10x18 matrix for each character. Bedstead extends that algorithm to continuity, converting a 5x9 pixel grid into an outline with smooth diagonals. [Google] [More]  ⦿

    Ben Jones
    [Protimient.com]

    [MyFonts] [More]  ⦿

    Ben Karamyan

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

    Beopho Choi

    Type designer associated with Heumm Design in North Korea.

    Typefaces from 2021: HU Blackout (a blocky sans; for Latin, Greek and Cyrillic), HU Garaetteok (a rounded headline sans), HU Mois (a handwriting typeface by Yehyeong Lee and Beopho Choi; Latin, Greek and Cyrillic), HU Kinderland (a fat finger font by SangHyeon Park and Beopho Choi). [Google] [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]  ⦿

    Bersearch
    [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]  ⦿

    Besed

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

    Betina Todorova

    During her graphic design studies in Stara Zagora, Bulgaria, Betina Todorova created the avant garde typeface Orbita (2016) for Latin and Cyrillic. [Google] [More]  ⦿

    BG11 Design
    [Boris Garic]

    Brand identity designer in Subotica, Serbia, b. 1990, who created the bare bones free sans typeface Nikoleta (2016), which is based on Bebas Neue.

    In 2017, he designed Somber Sans (rounded sans), Chester Sans, Balmy Brush, Geometrica Sans, Bosk (a free handcrafted typeface), and Big Stem (free demo), which is a condensed movie credit sans. He also created the free brush script typeface Slopes (for Latin and Cyrillic). Graphicriver link. [Google] [More]  ⦿

    Bianca Berning

    Graduate of the MA Typeface Design program at 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 is characterized by multiple personalities, with asymmetric serifs, a daring axis, some timid ball terminals, and other exogenetic details.

    Bianca specializes in the technical aspects of type design. As a font engineer with a background in civil engineering, communication and typeface design, she joined the Brixton, UK-based Dalton Maag type foundry in 2011. Until 2018 she headed their Skills & Process team, responsible for training and development, knowledge management, and for the implementation of font development processes. In 2018, she was appointed Creative Director and became responsible for ensuring that Dalton Maag remains at the forefront of type innovation. She directed the design of brand typefaces and complex type systems for international clients such as the Amazon, AT+T, BBC, Bodyform, Goldman Sachs [Goldman Sans], and Jacobs Engineering Group [Jacobs Chronos], and oversaw the design and refinement of wordmarks and font modifications.

    Speaker at ATypI 2018 in Antwerp, at ATypI 2017 in Montreal and at ATypI 2016 in Warsaw. [Google] [More]  ⦿

    Bigelow&Holmes
    [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 Donald 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. Before that, he taught at Stanford University, Rhode Island School of Design, and other institutions. Typefaces designed by Bigelow:

    • The Lucida family (1985). Lucida is used in several scientific publications such as Scientific American. Its origins 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).
    • For the Go Project, Kris Holmes and Charles Bigelow designed the free typeface families Go Sans and Go Mono in 2016. The font family, called Go (naturally), includes proportional- and fixed-width faces in normal, bold, and italic renderings. The fonts have been tested for technical uses, particularly programming. These fonts are humanist in nature (grotesques being slightly less legible according to recent research) and have an x-height a few percentage points above that of Helvetica or Arial, again to enhance legibility. The name Go refers to the Go Programming Language. CTAN link.
    Ascender link. Wikipedia link. FontShop link. Klingspor link. Font Squirrel link. Ascender link. Lucida Fonts is a dedicated commercial site. [Google] [MyFonts] [More]  ⦿

    Biljana Stankovic
    [Bistatype]

    [MyFonts] [More]  ⦿

    Bill Tavolga

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

    Bistatype
    [Biljana Stankovic]

    Bistatype is founded by Biljana Stankovic, a font designer and calligrapher from Serbia. She graduated from the Faculty of Arts Department of Graphic Design, with a master's degree in type design and typography. She received her PhD from the Faculty of Applied Arts in Belgrade, Department of Applied Arts and Design. Currently, she is an assistant professor of Typeface Design and Typography at the Department of Applied Arts at the Faculty of Arts in Nis, Serbia.

    In 2022, she released the formal calligraphic 6-style script typeface Minea for Latin and Cyrillic including the Serbian version. [Google] [MyFonts] [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]  ⦿

    BIZ UD

    Four free fonts made by TypeBank and marketed jointly with Morisawa:

    • BIZ UDP Mincho (2022, Google Fonts) and BIZ UDM Mincho (2022, Google Fonts). They write: BIZ UD Mincho is a universal design typeface designed to be easy to read and ideal for education and business documentation. It combines high quality in readability and legibility while carrying on the stately Japanese Mincho type tradition. BIZ UD Mincho bases its design on one of the typefaces from the Morisawa font library, which has thicker horizontal lines than the traditional Mincho type style. Because most Mincho types have thin horizontal strokes, the style can be difficult to read on some displays or signs and for people with low vision. [...] UDMincho includes full-width kana. UDPMincho includes proportional-width kana. Github link.
    • BIZ UDP Gothic (2022, Google Fonts)and BIZ UD Gothic (2022, Google Fonts). They write: BIZ UD Gothic is a universal design typeface designed to be easy to read and ideal for education and business documentation. It is a highly legible and well-balanced design sans serif. In order to make the kanji more clear and identifiable, the letterforms are simplified by omitting hane (hook) and geta (the vertical lines extending beyond horizontal strokes at the bottom of kanji). Counters and other spaces are finely adjusted so that the overall balance of the type is not impaired even with the use in relatively large size. The kana are made slightly smaller than the kanji to give a good rhythm and flow when setting long texts in the lighter weights. UDGothic includes full-width kana. UDPGothic includes proportional-width kana. Github link.
    [Google] [More]  ⦿

    Bjørn Hansen
    [Let Us]

    [MyFonts] [More]  ⦿

    Black Foundry
    [Jérémie Hornus]

    Type foundry in Paris, est. 2016 by Jérémie Hornus, who is the design lead. Type designers associated with Black Foundry include Alisa Nowak and Ilya Naumoff. They initially bought the font collection of FontYou. Typefaces not included in the original FontYou collection:

    • Angus (2018). A multiplexed rounded sans typeface family by Elliott Amblard that includes a variable font.
    • In 2018, Elliott Amblard and Jérémie Hornus co-designed the information design humanist sans typeface family Drive. It is accompanied by the more typewriter-styles families Drive Mono and Drive Prop, and published by Black Foundry. The fiorms in Drive Mono and Prop are great, but all fonts in Drive are too widely spaced (as are several other fonts in the Black Foundry collection).
    • Clother (Jeremie Hornus, Julie Soudanne, Ilya Naumoff, 2017). This geometric sans workhorse covers also Cyrillic, Hebrew and Arabic.
    • Vesterbro (Jeremie Hornus, Alisa Nowak, Ilya Naumoff, 2017). High-contrast Latin / Cyrillic typeface with a Viking feel that won an award at Granshan 2017.
    • Jeremie Hornus, Gregori Vincens, Yoann Minet, and Roxane Gataud (and possibly Riccardo Olocco) designed the free Google web font Atma for Latin (in comic book style) and Bengali. Github link.
    • In 2016, Google Fonts published the free Latin / Bengali signage font Galada (2015). It is based on Pablo Impallari's Lobster (for Latin). The Bengali was developed as a studio collaboration by Jeremie Hornus, Yoann Minet, and Juan Bruce at Black Foundry.
    • In 2016, Franck Jalleau designed the monospace sans typeface family Aubusson. Initially designed as a custom typeface by Franck Jalleau for the Cité internationale de la tapisserie d'Aubusson, the monowidth proportions are linked to pattern and tiles arrangements used in tapestry. The retail version of Aubusson offers four weights with matching italics. It was published by Black Foundry.
    • Drive (2016). A corporate sans serif family.
    • Dragon (2016). A clean sans typeface.
    • Galien (2019). By the Black Foundry team, a mix with didone elements in the roman and garalde features in the italic. There is also a variable font with a weight axis.
    • A custom sans font family for DS Automobiles (2019).
    • Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese.
    • Screen Sans (2020). A 14-style sans by Jérémie Hornus and Ilya Naumoff published by Indian Type Foundry.
    • Alpine Script: a variable font with four axes including boldness, humanity, and irregularity, made for the identity of the French (Renault) Alpine sports cars.
    • Maif (2020). A sans family for the corporate identity of the Mutuelle d'Assurance Automobile des Instituteurs de France.
    • In 2017, Jérémie Hornus, Théo Guillard, Morgane Pambrun, Alisa Nowak and Joachim Vu co-designed Bespoke Sans, Bespoke Serif and Bespoke Slab at Fontstore / Fontshare. In 2020, Bespoke Stencil was added.
    • Egitto (2020). A huge Egyptian (slab serif) family together with a handy variable font. By Jérémie Hornus and Solenn Bordeau.
    • Rowton (2021) is a humanist sans in black, regular and hairline weights, named after Arthur Eric Rowton Gill. It is accompanied by two stencil styles.
    • NouvelR (2021). A corporate geometric sans typeface for Renault covering Latin, Greek, Cyrillic, Hebrew, Arabic and Korean. Characterized by a totally square lower case r. All terminal angles are 28 degrees, to align with the angle in Renault's logo.
    • Enedis (2022). A commissioned sans.
    Creative Market link for Black Foundry. [Google] [MyFonts] [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]  ⦿

    Black Orbit Art
    [Slava Antipov]

    Voskresenk, Russia-based designer of Grafita (a hipster-gone-wild sans family for Latin and Cyrillic) (2022), Slivky (a 6-style monoline rounded sans) (2021), the free Latin / Cyrillic rounded sans typeface Aqum (2019) and the octagonal typeface family Woodsans (2019). Aqum Two (2021) is a commercial version of Aqum.

    The deco typeface Twentyone (2020) was co-designed by Gajana Aslanjan, Gumilang Anggara Ruslan, Slava Antipov, and Fidan Aslanova.

    In 2021, Slava released Quanty (a free geometric sans for Latin and Cyrillic), Mars Wars (octagonal and militaristic), and the headline sans typefaces Phonk and Phonk Sans (a wide branding sans in 20 styles) for Latin and Cyrillic.

    Typefaces gfrom 2022: Gella Display (40 styles; a headline or poster sans with considerable internal contrast). [Google] [MyFonts] [More]  ⦿

    Blackmoon Foundry (was: La Letteria, or: Anatole Type Foundry)
    [Elena Albertoni]

    Elena Albertoni (Blackmoon Foundry, and before that, La Letteria, and before that, 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. La Letteria is located in Berlin. In 2011, Elena cofounded LetterinBerlin, a studio dedicated to handmade and digital design, with a special focus on lettering and type-design.

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

    Her typefaces:

    • The connected script typeface Dolce (2005), which won an award at the TDC2 2005 type competition.
    • Dyna (2009). A connected feminine script. Review of Dolce & Dyna.
    • Kigara.
    • Scritta (connected calligraphic script). Followed by Scritta Nuova (2011): a rhythmic upright connected script, which evokes retro calligraphic styles taught in Italian schools around the 1950s.
    • Helene (squarish face).
    • Valora.
    • Schneider.
    • Gregoria. A Gregorian chant font that won an award at TDC2 2007.
    • Deja Rip and Deja Web (2010). An eight-style sans family of great utility, co-designed with Fred Bordfeld; Cyrillic included.
    • Acuta (2010). An all-purpose type family.
    • Nouvelle Vague (2011). A connected display script along the lines of Mistral.
    • Spinnaker (2011). A sans design based on French and UK lettering found on posters for travel by ship.
    • The plump and curvy script typeface Molle (2012, Google Web Fonts).
    • Kiez (2016, The Blackmoon Foundry).
    • Vidal (2018). A wide sans with low contrast and medium-to-tall ascenders.
    • Coast (2018). An almost monoline sans inspired by enamel signs from the 1920s.

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

    Blancoletters
    [Juan Luis Blanco]

    Juan Luis Blanco is a graphic designer, type designer and calligrapher based in Zumaia in the heart of the Basque country. Since 1993, he works as a freelancer graphic designer. In 2013, he obtained an MA in Typeface Design from the University of Reading. Currently he combines calligraphy classes and graphic design with typographic projects that focus on Basque lettering as well as multi script typefaces involving the Latin, Arabic and Tifinagh alphabets.

    For his graduation work in the Masters of Type Design program of the University of Reading, Juan Luis Blanco (Spain) created the Latin, Greek, Cyrillic, Tifinagh, Arabic typeface family Amaikha (2014). Amaikha is characterized by Latin warmth and roundness.

    A list of his typefaces:

    • Akaya Telivigala/Kanadaka. Blanco writes: Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts designed in collaboration with Vaishnavi Murthy (Bangalore, India). Akaya Telivigala and Akaya Kanadaka are made as two separate font files which share a common Latin. Github link. i Google Fonts link for Kanadaka. Google fonts link for Telivigala.
    • Amaikha (2014). His graduation typeface from the University of Reading.
    • Harri (2016, Type-o-Tones). A display font based on the peculiar letter forms used in signs and fascias all over the Basque Country. The letterforms can be traced back to romanesque inscriptions. Harri (stone, in Basque) is an all-caps typeface, and must be ranked as one of the greatest digital typefaces that capture the Basque soul. In 2020, it was republished at Blancoletters. Later in 2020, Harri Text was added. See also Harri text at Type Network.
    • Ingeo (2021). A 9-style geometric sans that oozes confidence and style, and has a senate seat thanks to its pharaonic lower case g.
    • Karela (2017). A humanist slab serif.
    • Qandus (2017), a multiscript typeface co-designed with Kristyan Sarkis and Laura Meseguer. It won a TDC Certificate of Typographic Excellence in 2017. Qandus covers Arabic, Latin and Tifinagh.
    • Tuqbal Pro (2015-2019, by Andreu Balius and Juan Luis Blanco). Tubqal Pro is a tri-script type family based on its previous Tubqal typeface commissioned by the Khatt Foundation as part of the Typographic Matchmaking in the Maghrib 3.0, the 3rd edition of the multi-script typographic research project of the Khatt Foundation. It includes Latin, Arabic (+Farsi) and Tifinagh (for the Tifinagh based languages: Tamazight (Central Atlas), Kabyle, Tamazight (Standard Moroccan), Tachawit, Tachelhit, Tagdal, Tamahaq, Tahaggart, Tamasheq, Tarifit, Tamajaq, Tawallammat, Tamajeq, Tayart, Tumzabt, Zenaga).

    Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Laura Meseguer and Krystian Sarkis, the Typographic Matchmaking in the Maghrib project of the Khatt Foundation, which tries to facilitate a cultural trialogue as well as shed a typographic spotlight on the largely ignored region of the Maghreb in terms of writing and design traditions. The specific goal of the collaboration is the research and development of tri-script font families (for Latin, Arabic and Tifinagh) that can communicate harmoniously. [Google] [MyFonts] [More]  ⦿

    Blaze Type Foundry (was: Adèle Type Foundry)
    [Matthieu Salvaggio]

    Lyon, France-based designer founded first Adèle Type Foundry and in 2018 renamed it Blaze Type Foundry. Creator of these typefaces:

    • In 2021, Tim Vanhille, Léon Hugues and Matthieu Salvaggio co-designed the blackletter font Emeritus at Blaze Type.
    • Area (2020). Area is a variable typeface family of 88 grotesque fonts. Interestingly, all styles have an inktrapped version.
    • Inferi (2019). Inspired by garaldes.
    • Oroban (2018). A high-contrast text typeface in six styles, Oroban Masuria & Italic, Oroban Hermonthica & Italic and Oroban Elegans & Italic. The name is unrelated to Hungary's despot, Orban.
    • AT Apoc (2017-2018), short for AT Apocalypse. A text typeface that exhibits angst in the face of a bellicose American crackpot. In 2020, varialble and Cyrillic options were added.
    • AT Surt (2017). A 54-style Scandinavian sans typeface family, expanded in 2018. In Normal, Expanded and Extended widths.
    • Scriptures Memoriam (2017). A didone.
    • Scriptures Keops (2017). A didone with angular modifications inspired by blackletter type.
    • Arges (2017). A very condensed American headline sans, updated in 2019.
    • Osmose (2017). A "neoclassical grotesk". He writes that all of his licenses have been sold. Huh?
    • AT Global (2017). A sans.
    • Vuit Grotesk (2016). Not part of the Adele collection.
    • S1 (2013). A sans typeface designed during his studies at L'École européenne supérieure d'art de Bretagne (2012-2014). Not part of the Adele collection.
    • AT Inexpugnable. A free font that was promised for 2017.
    • AT Goliath. A free font that was promised for 2017.

    Behance link. I Love Typography link. Cargocollective link. Type Network link. [Google] [More]  ⦿

    Blazej Ostoja Lniski
    [Typoforge]

    [MyFonts] [More]  ⦿

    Blazrdsky
    [Niccolo Agnoletti]

    Italian designer, b. 1998, of the free handcrafted typeface Niscript (2017) for Latin and Cyrillic. Typefaces from 2020 include Ranch CMX Sans, QVR Sharp (a squarish typeface) and Primova Display (a tuxedo font). [Google] [More]  ⦿

    Blits-One

    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]  ⦿

    Bogdan Balatchi
    [DePlictis Type (was: ESS Fonts)]

    [MyFonts] [More]  ⦿

    Bogdan Gligoric

    Pancevo, Serbia-based designer of decorative sets of capitals called Latinica (2017) and Cirilica (2017), which are inspired by urban graffiti. [Google] [More]  ⦿

    Bogdana Pashkevich

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

    Bohdan Hdal

    Ukrainian illustrator, photojournalist 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).

    In 2015, he designed the vintage text typeface Vernyhora (inspired by graphic designers Georgiy Narbut and Fedir Krychevskyi), and in 2016, he added the free handcrafted typeface Innerspace, and the monoline sans typeface Rukotvory Sans (Latin and Ukrainian, part of a Ukrainian folk art project).

    Typefaces from 2017: Rukotvory (the serif companion of Rukotvory Sans), Old Kharkiv (Latin and Cyrillic: inspired by the first half of the 20th century photo with a signage on the building of the Ivan Kotlyarevsky Kharkiv National University of Arts).

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

    bol.bg

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

    Bold Studio (was: Studio BB)
    [Ben Bold]

    Lake Konstanz, Germany-based designer of these typefaces:

    • The pixel typeface BB Bitmap (2008, for a rock band).
    • The BB Roller Mono Pro typeface family (2013-2017, +Text, +TextSoft +Headline, +HeadlineSoft).
    • The octagonal typeface system BB Strata (2015-2018). See also BB Strata Pro (2019).
    • BBT Series 2011-2014: Various contributions, including numerals, for clock typography.
    • BB Studio Pro (2013-2017). A sans family, with Greek, Cyrillic, Mono and Stencil substyles. See also BB Studio Round Pro (2013-2017).
    • BB Torsos Pro (2019). Based on the shape and proportion of the human body. Interpolations between styles are mathematically precise and innovative.
    • Noname Pro (2019).
    • BB Manual Mono Pro (2020). At 60 fonts, probably the largest monospaced typeface in the world in 2020. The glyphs are organic, monowidth and simple.
    • BB Anonym Pro (2020). A rounded version of Noname (2019).
    • BB Casual Pro (2020). A 34-style sans.
    [Google] [MyFonts] [More]  ⦿

    Bolotov

    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 typefaces), 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 (calligraphic), 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. Open Font Library link for Tyler Schnitzlein. [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 Garic
    [BG11 Design]

    [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]  ⦿

    Borissov

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

    Borutta (or: Duce Type)
    [Mateusz Machalski]

    Borutta (or Duce Type) is the creative studio of über-talented Warsaw-based designer Mateusz Machalski (b. 1989), a graduate of Wydziale Grafiki ASP in 2014, and of Warsaw Academy of Fine Arts. His oeuvre is simply irresistible, charming and a worthy representative of the Polish poster style---witness Alergia (2016), Magiel Pro (2017) and Madiso (2017).

    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, which is based on an earlier De Stijl-genre alphabet by Freudenreich. In 2020, they released the free typeface family SYN Nova, which includes additional styles and a variable font.

    Machalski likes old wood types, which inspired him in 2012 to publish a wood type collection of weathered display typefaces: 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 (an organic sans family, renewed in 2016 as Aneba Neue), 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. Tupper Pro (42 styles) was designed by Mateus Machalski and the RR Donnelley team.

    Typefaces from 2015: Tupper Serif (again with RR Donnelley: a custom superfamily for pairing Latin, Cyrillic, Hebrew an Greek; for Tupperware), Vitali Neue, Legato Serif, Corpo Serif, Corpo Sans, Zigfrid, Picadilly (a great ink-trapped sans typeface family with an erect g).

    Typefaces from 2016: Nocturne (just like Magiel, this free typeface was designed as part of the Warsaw Types project: this wedge serif text typeface is inspired by the lettering on stone tablets commemorating the victims of World War II, and prewar Jewish shop signage), Favela (an experimental, geometric sans, for headline and fashion magazine use), Gangrena (a weathered typeface system co-designed with Ania Wielunska), Migrena Grotesque (earlier named Enigma Grotesque but probably in view of a clash with the name Enigma used by Jeremy Tankard changed to the appropriately named Migrena Grotesque), Alergia Grotesk (a take on the classical geometric grotesque style, in 60 weights, for Latin, Greek and Cyrillic), Alergia Remix (a hipster / hacker / Futura take on Alergia Grotesque).

    Typefaces from 2017: Nocturne Serif, Massimo (copperplate semi-serif influenced by New York; originally called Madison, they were frced to change the name to Massimo), Magiel Pro (a geometric display family influenced by Polish banners from the Russian occupatuon era, 1945-1989; it has a charming Black and a hairline, and covers Cyrillic too).

    A particularly intriguing project in 2017 was Bona, which set out to revive and extend Andrzej Heidrich's old typeface Bona. Mateusz Machalski contacted him for advice on the revival project. The resulting typeface families were published by and are available from Capitalics. The centerpiece is the warm and wonderful text typeface Bona Nova. It is supplemented by the extreme contrast typeface family Bona Title and the inline typeface family Bona Sforza. Participants in the project also include Leszek Bielski, Ania Wielunska and Michal Jarocinski. Google Fonts link for Bona Nova. Github link for Bona Nova.

    Typefaces from 2018: Bilbao (an innovative blend of sans, slab and mono genres in 18 styles), Cukier (a logo font family inspired by the vernacular typography from Zanzibar).

    In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms. In 2021, with Anna Wielunska added to the list of authors, it was added as a variable font covering Latin, Greek and Cyrillic to Google Fonts. Github link.

    Typefaces from 2019: Gaultier (a sans family that is based on the styles of Claude Garamond, Robert Granjon and Eric Gill---a serifless Garamond and Gill Sans hybrid; includes a fine hairline weight), Aioli (a commissioned type system), Promo (a rounded sans family), Sigmund (the main style is inspired by the Polish road signage typeface designed in 1975 by Marek Sigmund: With the increase of weight, Sigmund turns into a geometric display in the spirit of vernacular typography from the signs of Polish streets; followed in 2022 by Sigmund Pro (15 styles)), Podium Sharp (based on Dudu, this 234-style family is a hybrid between different old Polish modular and geometric woodtypes such as Rex, Blok and Bacarat; note that 234=2x9x13, so fonts are numbered in Univers style from 1,1 (ultra-compressed hairline) to 9,13 (ultra expanded heavy)), Harpagan (an experiment in reverse and unusual stresses).

    Typefaces from 2020: Tyskie (a custom sans for Tyskie Magazine), Habibi Display (an ultra-fat display typeface inspired by bold Arabic headline typefaces), Podium Soft, Afronaut (an experimental Africa-themed font). In 2020, the team at Capitalics in Warsaw, namely Mateusz Machalski, Borys Kosmynka and Ania Wielunska, revived Adam Poltawski's Antykwa Poltawskiego (1928-1931) as Poltawski Nowy.

    Typefaces from 2021: Alfabet (a 20-style Swiss-inspired sans with narrow connectors, with support for Latin (+Vietnamese), Greek and Cyrillic scripts, including Ukrainian, Bulgarian and Serbian forms), Change Serif (a 10-style Robert Granjon-genre garalde designed as a part of Mateusz Machalski's PhD project, carried out in 2015-2021; the main goal was to create a typeface allowing for the typesetting of complex humanistic texts, containing many historical letterforms; each font contains 4000 glyphs and covers Latin, Cyrillic and Greek), Engram (a soft geometric sans family in 22 styles; close to his own earlier font, Enigma, 2016).

    Typefaces from 2022: Yalla (inspired by Arabic headline type).

    Home page. Behance link. Personal Behance link. Behance link for Duce Type. Another link. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

    Borys Kosmynka

    Freelance graphic and type designer in Lodz, Poland. He cooperates with the Book Art Museum (which stores the legacy of Polish typography) to revive the spirit of letterpress printing and digitize old type. Speaker at ATypI 2017 in Montreal.

    In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms. In 2021, with Anna Wielunska added to the list of authors, it was added as a variable font covering Latin, Greek and Cyrillic to Google Fonts. Github link.

    Graduate of the MATD program at the University of Reading, class of 2019. His graduation typeface, Pactio, is a multi-script typeface family, intended for printing long text passages. It was created with small to medium size printing in mind. The Pactio family consists of six weights each for Latin, Cyrillic, and Arabic.

    In 2020, the team at Capitalics in Warsaw, namely Mateusz Machalski, Borys Kosmynka and Ania Wielunska, revived Adam Poltawski's Antykwa Poltawskiego (1928-1931) as Poltawski Nowy (2020). [Google] [More]  ⦿

    Botio Nikoltchev
    [Lettersoup]

    [MyFonts] [More]  ⦿

    Bouk Ra

    Paris-based designer of the display typeface Hanol (2020-2021, +Cyrillic), a delicate display typeface on the theme of threads of hair.

    Typefaces from 2021: Faust (an experimental typeface that expresses the agony and corruption of Faust, a character in German legend. The deformed serifs and wide alternates create a drastic rhythm throughout the typeface and is available in two styles---Wagner and Mephisto), Plage (Text, Display: playful, stuffed with ligatures), Tartuffo (a mischievous 10-style display serif published by Lift Type). [Google] [More]  ⦿

    Boyan Nurdiansyah
    [Ussual Studio (or: Boyanurd)]

    [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]  ⦿

    Brandia Central

    Designer of Dusha V5 (2014) for the FIFA World Cup in Russia in 2018. Free download. Dusha is discussed at Type Today, in light of an aggressive tweet by Christian Koeberlin who pointed out the similarities between the Russian World Cup designs and those of the previous World Cup in Brazil. Brandia had created a proposed design, and asked Dino dos Santos to make a typeface from their proposed drawings. Dino objected to many design details, but they were never implemented. [Google] [More]  ⦿

    Branding with Type
    [Alberto Romanos]

    Alberto Romanos is a Zaragoza, Spain-based type designer who is co-located in London. First he founded the type foundry Alberto Romanos. In 2015, that morphed into Branding with Type.

    Alberto designed a font for an imaginary language. For his MA degree, he worked on variations of Frutiger (2009). His first commercial typeface is Bw Quinta Pro (2015, a sans family).

    In 2015, he created the variable width condensed grotesque and poster typeface Bw Stretch, and the bespoke retro-futuristic elliptical sans typeface Flat Sans for the Spanish digital agency Flat101. During Typeclinic 11th International Type Design Workshop, he created the typeface Stretch Caps (2015).

    In 2016, he designed Bw Darius (a sharp-edged high-contrast 4-style typeface family), Bw Surco (humanist sans for Latin and Cyrillic), Bw Modelica (a minimal, robust, reliable and pragmatic geometric sans in 64 styles), Bw Modelica Ultra Condensed, Bw Modelica Condensed, Bw Modelica Expanded, and Bw Mitga (a sans with strong personality and a 16 degree angle that dominates the design).

    Typefaces from 2017: Bw Nista (Grotesk, International and Geometric), the Cyrillic / Greek expansion of Modelica, called Modelica LGC, Bw Helder (an 18-style sans typeface developed with Thom Niessink), Bw Gradual (an eccentric ink-trapped hipster sans), Bw Glenn Sans and its Egyptian companion, Bw Glenn Slab.

    Typefaces from 2018: Bw Seido Round (a rounded almost-but-not-quite monoline sans in 12 styles that takes elements from DIN 1451; fiollowed in 2019 by Bw Seido Raw), Bw Vivant (a Peignotian typeface co-designed wih Moritz Kleinsorge).

    Typefaces from 2019: Bw Beto (a text family in two optical sizes, the larger one being called Bw Beto Grande), Bw Aleta (geometric sans).

    Typefaces from 2021: Bw Pose (Bw Pose No 3 and Bw Pose No 5, two times twelve fonts: didone typefaces with additional features such as uninterrupted slabs in the No3 family, and occasional wedges in the uppercase).

    Behance link. Creative Market link. Home page of Alberto Romanos.

    Typefaces from 2022: Bw Fusiona (a workhorse sans family). [Google] [MyFonts] [More]  ⦿

    bratstvo.org

    A Cyrillic font archive [Google] [More]  ⦿

    BraveBros
    [Yaroslav Samoilov]

    Tolyatti, Samara Oblast, Russia-based designer of Maker (2016, a creepy handcrafted typeface). His main products are icons, however. Creative Market link. [Google] [More]  ⦿

    Brian J. Bonislawsky
    [Astigmatic One Eye]

    [MyFonts] [More]  ⦿

    Brian Jongseong Park

    Seoul-based designer who is working on the serif typefaces 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]  ⦿

    BrightHead Studio
    [Michael Chereda]

    Ekaterinburg, Russia-based creator of the free information design grotesque face Casper (2012). This typeface covers Latin and Cyrillic.

    Chereda also created an experimental Cyrillic pixel font in 2009.

    In 2013, Michael published the free Latin / Cyrillic text typeface Marta and the free Latin / Cyrillic sans typeface Bravo.

    In 2017, Chereda designed the neogrotesque typeface Studio Sans for Latin and Cyrillic.

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

    Brill
    [John Hudson]

    E.J.Brill is an 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]  ⦿

    Brownfox
    [Gayaneh Bagdasaryan]

    A graduate of Moscow State University of Printing Arts, Gayaneh has designed Cyrillic localizations for most major type libraries, including Linotype, Bitstream, The Font Bureau, ITC, Berthold, Typotheque, Emigre, and ParaType. She began her type design career at ParaType in 1996 and started Brownfox (her type foundry) in 2012.

    Brownfaox specializes 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 co-designed 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).

    Typefaces from 2015: Nolde (a Latin / Cyrillic titling typeface named after german-Danish printer Emil Nolde; by Vyacheslav Kirilenko and Gayaneh Bagdasaryan).

    Typefaces from 2016: Wermut (a dagger-serifed transitional Latin / Cyrillic text typeface family by Gayaneh Bagdasaryan and Vyacheslav Kirilenko, published at Brownfox).

    Typefaces from 2017: Aeroport (by Gayaneh Bagdasaryan & Vyacheslav Kirilenko).

    Typefaces from 2022: Jet (the authors, Gayaneh Bagdasaryan and Vyacheslav Kirilenko, write: Jet is an assertive italic sans that anticipates the return of the simpler, optimistic times when progress was considered positive and forward seemed to be the only way to go).

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

    Bruno La Versa

    Graphic designer from Catania, Italy. He created the ultra-geometric typeface Eidos (2013).

    In 2015, at Zetafonts, Cosimo Lorenzo Pancini designed CocoBikeR (2015) to celebrate the hipster and bike cultures. Bruno La Versa did the illustrations for that project. CocoBikeR (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. [Google] [More]  ⦿

    Bukvi

    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), BD Tribler (2015, a tribal font).

    Alphabetical listing of their pre-2015 free typefaces: Algebra, Alm, Apotheke, AsciiMax, Baldrian, Band, Bankwell, Bardust, Beans, Billding, Billiet, Bonbon, Brockelmann, Burner, Cash, Cashbox, Chantilly, Circo, Console, Console Remix, Cravt, Delafrance, Designer, Destination, Dippex, Eject Katakana, ElAutobus, Elmax, Elside, Equipment, Faxer, Fazer, Fimo, Flossy, Fluke, Galaquadra, Geminis, Halfpipe, Hexades, Hiragana Kuro, Jayn Fonta, Kristallo, Lodelfizler, Lofi, Medled, Meter, Mustang, Outline, Paccer, Pipe, Plakatbau, Plankton, Polo, Ragout, Ramen, Ratterbit, Reithalle, Relaunch, Relaunch Ktna, Rocket70, Sirca, Sirca Rmx, Solaris, Spacy125, Spicyfruits, Spinner, Stella, Stencler, Stereotype, Ticket, Times New Digital, TinyFont, Tribler, Unfold, Wakarimasu.

    Alphabetical listing of their pre-2015 commercial typefaces: A3mik, Acidboyz, Alustar, Aquatico, Aroma, Balduin, BDR Mono 2006, Bermuda, Bernebeats, Breakbeat, Brick, Broadband, Calamares, Central, Cluster (Corporate), Colonius, Deckard, Demon, Discount, Doomed, Edding850, Eject, Electrobazar 2008, Electronicplastic, Elk, Emerald, Endless, Extrawurst, Fontabello, Globus, Good Wood, Hell, Hitbit, Jupiter, Jura, Kalinka, Kameron, Kinski, Las Palmas, Mandarin, Mann, Memory, Mother, Motra, Naranino (2012: a children;s script), Navyseals, Nebraska, Nippori, Nokio, Orlando, Pankow, Panzer, Qualle, Radiogram, Rainbow, Retrocentric, Ritmic, Robotron, Schablone, Showlong, Smoker, St.Moritz, Stalker, Stonehenge, Sweethome, Tatami, Telegraph, Unexpected, Unicorse, Varicolor, Victoria, Viewmaster, Virtual, Wotka, Wurst, Wurst Directors Cut, Zenith.

    In 2015, Gianfreda designed BD Barbeaux (a condensed typeface with the fashionable chic of the French art nouveau or film noir).

    Typefaces from 2016: BD Kickrom Mono (LED emulation type).

    Typefaces from 2018: BD Westwork.

    Typefaces from 2020: BD Aubergin (an experimental poster font with Bauhaus elements), BD Microna (a pixelish variable font), BD Micron Robots (dingbats).

    Typefaces from 2021: BD Supper (a food packaging sans), BD Roylac (a stylish poster font that evokes modern furniture), BDRmono 2021 (hipster style techno).

    Alternate URL. Dafont link. Behance link.

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

    ByoungHeon Park

    Type designer associated with Heumm Design in North Korea. Creator of the monolinear hand-drawn typeface HU Cookie (2020, with Haerin Lee and Rumi Kim), HU Wind Sans (2020: a 15-style sans for Latin, Greek and Cyrillic by Haerin Lee, SangHyeon Park and ByoungHeon Park), HU Hand Serif (2020: with Yehyeong Lee and Haerin Lee), and HU The Game (2020, with Haerin Lee), a typeface with mini-spurs and odd terminals that is designed for display.

    Typefaces from 2021: HU Sangsang (a fat finger font by ByoungHeon Park and Jueun Kim), HU Masking Tape Latin (a masking tape font for Latin, Greek and Cyrillic by Rumi Kim and ByoungHeon Park), HU Big Round (a techno typeface by Rumi Kim, ByoungHeon Park and Gahee Kim), HU Rosette (a cursive display serif by Haerin Lee, Rumi Kim, ByoungHeon Park and Gahee Kim).

    Typefaces from 2022: HU Makingfilm (a stencil typeface by ByoungHeon Park and Jihoon Park). [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]  ⦿

    c2ps

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

    Cade
    [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]  ⦿

    Cafe.no
    [Cato Hernes Jensen]

    Cafe.no was founded in 2000 by Norwegian designer Cato Hernes Jensen, who holds a BA in Graphic Design from Staffordshire University (UK) and an MA in Sociology from the University of Oslo. He also studied computer engineering in his hometown Horten.

    His typefaces include Journeyman (2016: an all caps layered display typeface in the sign painter tradition, which comprises 3d Shadow and Silhouette styles and covers Latin, Greek and Cyrillic).

    In 2019, he published Brexit. [Google] [MyFonts] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Calamar Art (or: Calamar Studio)
    [Oksana Petrenko]

    Lviv, Ukraine-based designer of these typefaces in 2017: Buenos Dias (brush script), Gillian (brush script), Wisteria (irregular script), Bellamy (doodle brush script), Holly Jolly.

    Typefaces from 2018, mostly calligraphic: Creamy, Ambrose, Saint Amour (calligraphic script), Montpellier (a signature font), Galanthia (a great thin script), Giselle Script (calligraphic), Laster, Better Letter, Roselyn Script, Amelie Script, Stream, Bubbles, Dessetum (brush style).

    Typefaces from 2019: Euphoria, La Roche.

    Typefaces from 2020: Modernist (calligraphic), Wildflower (hand-printed), Crystal Noir (art deco caps), Solange (a decorative serif), Olivie Font Duo, Edith (elegantly flared), Le Major (a fashionable all caps typeface), Ms Claudy (formal calligraphy), Jadore Vous, Modern Symphony (a connected script), Desert Song (a wild script), Wonder Garden, Le Grand (a fashionable serif), Monologues.

    Typefaces from 2021: Saint Viet (calligraphic, for Latin and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Callig.ru

    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, Indiction Unicode (1996-2017), 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.

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

    Camille Moisset

    Based in Steenvoorde, France. 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.

    A shop sign for the Fontainas Bar in Brussels inspired her to design the vernacular typeface Fontainas (2015) Behance link. [Google] [More]  ⦿

    Cango.net

    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 Maag'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]  ⦿

    Carlos Mignot

    Graphic designer in Rio de Janeiro associated with Plau Design. At Miami Ad School, as a student, he created Minimal Fraktur (2015). In 2018, he designed the corporate art deco typeface Chez Lalu 70. In 2019, he co-designed Muda, a corporate typeface for the fashion brand Oficina Muda with Ana Laura Ferraz, Gabriel Menezes and Rodrigo Saiani. In 2020, still at Plau, he designed the custom all caps sports company typeface Brio. With Rodrigo Saiani, Carlos Mignot designed the video game font family (+stencil, +Cyrillic) either called Killing Sans or Nine to Five (2020). Still in 2020, Mignot designed the flared Koch Antiqua-style custom typeface Xilo.

    In 2021, Ana Laura Ferraz, Valter Costa, Carlos Mignot and Rodrigo Saiani designed the handcrafted black poster and branding typeface Vinila for the identity of grammar teacher Eduardo Valladares' personal brand EDU VLLD (Edu stands for Eduardo and Education while VLLD represents Valladares and Vulnerability). Carlos Mignot and Felipe Casaprima designed the corporate family iN Serif and iN Sans (+Mono) for iN Consultoria de Marcas in 2021. Still in 2021, Carlos Mignot and Rodrigo Saiani designed a few hip typefaces for the Brazilian TV channel Canal Brasil.

    At Plau, he published the 10-style humanist ans typeface Redonda. [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...):

    • Allzweck MvdR (2010-2011), a revival of a sans typeface influenced by Planzkissen by Mies van der Rohe. This was commissioned by Neue Nationalgalerie.
    • The corporate typeface Cisco Sans (2010), which is positioned midway between Helvetica and Akzidenz Grotesk.
    • Fira Sans (2013, for Firefox; with Erik Spiekermann). Google Web Font link. Mozilla download page. Google web Fonts published Fira Sans Condensed and Fira Sans Extra Condensed (2012-2016) in 2017. CTAN link.
    • Krikrikrak and Blumenkohl (2013, children's scripts).
    • PTL Manohara (2010, Primetype: a humanist sans by Botio Nikoltchev), Sadgirl(2006, Primetype), and PTL Maurea (2005, Primetype). Ralph du Carrois made many more fonts at Primetype prior to the establishment of Carrois Type design.
    • Free Google Web Fonts made in 2012: ABeeZee (Anja Meiners: a sans typeface created to help children), Carrois Gothic, Carrois Gothic SC, Finger Paint (brush face).
    • Icon fonts for a number of companies: Bosch (2011), Herzberger Bäckerei (2011), Hybride Iconwelt (2007), Ponce, Russian Rail, Sentres Wettericons, ZDF Nachrichten.
    • Several typefaces were created in cooperation with Erik Spiekermann's group between 2007 and 2012. These include work on Meta Serif Pro (2011), Meta Science (2012: done for De Gruyter, it is based on Meta and Meta serif), FF Meta (2008: some thin italic weights), TERN or Trans European Road Network (2007-2008), ZDF Nachrichten (2009, plus many icons), Lautschrift (2012: a phonetic script done for Erik Spiekermann to add to his Meta and Meta Serif families), and Unit Slab Pro (2009).
    • Inarea Sans (2003) and Inarea (2003-2005).
    • FR Classic (2002). This typeface was used in the redesign of the Frankfurter Rundschau. This didone is based on a reworking of LT Gianotten by Antonio Pace.
    • Two condensed sans typefaces done for the subway system in Rome in 2005. Some icons were also made in that project.
    • Share (2006). A free techno monospaced family made for the TYPO3 Association.
    • An angular grotesk done in 2008 for the Russian Railways. This work was carried out with Dmitri Lavrow, and invloved Andreas Eigendorf and Ralph du Carrois.
    • Suzuki (2006) is a corporate gothic font that replaces Franklin Gothic at Suzuki as house style.

    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]  ⦿

    Carrot

    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]  ⦿

    CAST

    CAST, or Cooperativa Anonima Servizi Tipografici (est. 2014, Bolzano, Italy) is a digital type foundry dedicated to the production and marketing of high quality fonts catering to specific needs, especially in the areas of branding and publishing. Their typefaces:

    • Divenire (2014). By Molotro / Luciano Perondi. Divenire is derived from an earlier custom typeface designed for the Partito Democratico (Italian Democratic Party), which uses it for political communications. For the information of non-Italians---this is not Berlusconi's party.
    • Dic Sans (2014, Luciano Perondi). This elliptical sans was inspired by Aldo Novarese's Eurostile. It has its own idiosyncracies, and comes with a gorgeous Dic Sans Extra Bold weight (2014). On the nomenclature---French are allowed to use Sans Dic, and Americans are permitted to typeset in Extra Bold Dic, or its shadow version, Tricky Dic.
    • Brevier (2014). Riccardo Olocco's typeface was designed for setting long texts in small or very small type sizes---the name Breveir refers to 8 point size in ancient times.
    • Gramma (2014, Riccardo Olocco). A compact temporary sans with large x-height eventually published at CAST.
    • Brasilica (2015). By Rafael Dietzsch, based on his graduation typeface in 2012 in the MATD program at the University of Reading. This Latin / Greek typeface family with sufficient diacritical support of most Brazilian indigenous languages. It is a serifed typeface but has matching sans styles. My own first reaction to this typeface was sturdy. Brasilica won an award at Tipos Latinos 2014 and was published by CAST.
    • Macho Modular (2015). By Luciano Perondi. Macho was originally designed in 2010 for MAN (Museo d'Arte Provincia di Nuoro) and is based on the idea of modular widths of the 20th-century typesetting systems, as required by the Olivetti Margherita and the hot-metal Linotype machine.
    • Saffran (2007, by Erasmo Cuifo and Alessio D'Ellena; published in 2015 by CAST). Saffran is a stencil sans with squarish letterforms.
    • Zenon (2014, for Latin, Bengali, Greek and Cyrillic, by Riccardo Olocco). Zenon is Riccardo's graduation typeface in the MATD program at the University of Reading, UK. He writes: is a sum of different styles, from Francesco Griffo to Granjon, from modern typefaces to the first sketches of Times New Roman. Zenon is an apparently Renaissance revival with modernish proportions. A closer look reveals that it is a typographic potpourri. Zenon was published by CAST in 2015.
    • Sole Serif (2016). A text typeface family by Luciano Perondi, who writes: Sole Serif is a newspaper face with features relating to book typography. Inspiration from Francesco Griffo's romans was adapted to resist the rough usage typical of newspaper printing without any loss of quality. Sole Serif is available in an extensive range of cuts including extra bold and ultra thin. With its big x-height, short ascenders and a roundish and wide italic for text and titles, it has all the attributes of a newspaper face. Nonetheless, details like the inclined axis, calligraphic terminations, Renaissance proportions and a refined but slightly mannered design, all evoke the book rather than the daily paper. In 2018, Luciano Perondi and Riccardo Olocco designed the companion typeface Sole Sans. It was originally designed for the leading Italian financial newspaper Il Sole 24 ore.
    [Google] [MyFonts] [More]  ⦿

    Castle Type
    [Jason Castle]

    Designs by Jason Castle from San Rafael, CA, who studied psychology at Dominican University of California. He does custom font design and sells commercial typefaces 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, Cradley (2015, a Caslon titling family with Greek and Cyrillic, named after the birthplace of William Caslon).
    • 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; based on Peter Schnorr's Schnorr Gestreckt, from 1898), 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), Standard CT Stencil (2012: free).
    • 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 and perhaps even military).

    Klingspor link. Behance link.

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

    Catharsis
    [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. Thalmann is an astrophysicist by training.

    Catharsis 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).

    At 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.

    Brilliance (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.

    In 2015, he made the free 45-style classic serif typeface family Cormorant, which includes several unicase fonts. This typeface started out in 2014 as Paramond, a light, contrasted, space-taking Garalde with impossibly tiny counters and long extenders. Links to the Google Font directory: Cormorant, Cormorant Garamond, Cormorant Infant, Cormorant SC, Cormorant Unicase, Cormorant+UprightCormorant Upright. See also CTAN.

    In 2016, he created the humanist geometric sans typeface family Quinoa for Latin, Cyrillic, Greek and Hebrew.

    Typefaces from 2017: Tesserae (kitchen tile style), Traction. Traction was originally conceived and designed by Christian Thalmann. Chiara Mattersdorfer and Miriam Suranyi expanded, completed and produced the font family. This typeface sports signature serifs, soft edges and a fluid, organic design.

    In 2018, Christian started work on a blackletter-themed stencil typeface, first called Komik Ohne (the German for Comic Sans) and later named Kuschelfraktur (2019).

    Between 2016 and 2019, he developed Eau de Garamond---a sans distilled from the essence of Garamond---, which was later renamed Ysabeau. Github link. In 2020, we find another fork, Isabella Sans.

    Overbold (2019) is described by him as follows: Overbold is an unapologetic display typeface inspired by an illustration in Eric Gill's Essay on Typography (p.51), in which he demonstrates how not to make letters. In particular, he shows that increasing the weight of the downstroke in a serif A without structural adjustments yields an absurd, overbold result. I found the letter so charming that I decided to blatantly disregard Gill's wisdom and draw an entire overbold typeface. Here is the result. I'm not sorry.

    1001 fonts link. Yet another URL. Fontspace link. Behance link. Klingspor link. Dafont link. Open Font Library link. Github 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]  ⦿

    Cato Hernes Jensen
    [Cafe.no]

    [MyFonts] [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]  ⦿

    Cerement

    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]  ⦿

    Cerulean Stimuli
    [Kevin Pease]

    Kevin Pease runs Cerulean Stimuli in Collingswood, NJ. He created the typefaces Cerulean (2003) and Cerulean Black (2005). Check also his pixel family Fourmat (2004) and the very original card game-inspired Pokeresque (2006).

    In 2016, he designed the unicase display typeface family Cerulea for Latin, Greek and Cyrillic. In 2017, he published Walklike, its name referring to the song Walk Like an Egyptian and thus to hieroglyphic influences. He ends 2017 with the balloon font family Glazed.

    Typefaces from 2022: Anachrony (a weirdly modular family; ten styles). [Google] [MyFonts] [More]  ⦿

    Ceyhun Birinci
    [Artegra]

    [MyFonts] [More]  ⦿

    Changchun Ye

    Type designer. Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese. [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's 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. Charis SIL download. [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
    [Bigelow&Holmes]

    [MyFonts] [More]  ⦿

    Chebykin

    An on-line comparison 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 (1997), Mistral, Monotype Corsiva, Palatino Linotype, Segoe Print, Segoe Script, Segoe UI, Sylfaen, Tahoma, Times New Roman, Trebuchet MS, Verdana. [Google] [More]  ⦿

    Chekart

    Illustrator based in Ust Sysolsk, Northern Russia, whose first name is Katya. In 2016, she designed the brushy Yoshiko, the connected Neoscopic, Dissentio, the dry brush typeface Sungai, the brushy Elvissa Script, and Arlin Brush.

    Typefaces from 2017: Old Maple, Jelani (free African motif font), Keril Devil (rounded fat comic book style), Tino Script, Fun Bang, Alsynya (fat finger font), Miss Lavanda, Demetriss, Sacral Town (alchemic), Mr. Lonely, Malanya, Retano Script, Black Shepherd (a skeletal bones font), Summerrine, The Nordlike, Bekabuga Display, Basnow Grunge, Inversus (grungy slab serif), Raisia Script, Disquise Brush.

    Typefaces from 2018: Forgotten November, Thirty One, Immensely, Spring Feel, Cracky (glaz krak), Jelani Display (tribal), Frisky Wind (brush), Lovely Valentine, Blue April (scratchy), New Years Story.

    Typefaces from 2019: Coffee Bear (a dry brush font).

    Typefaces from 2020: Mister Burn, Jack Simple, Fragile Bones.

    Typefaces from 2021: Lonely Angels (brush script). [Google] [More]  ⦿

    chel.su

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

    Cherry Vishnya
    [Anastassiya Vishnevskaya]

    Kiev, Ukraine-based graphic designer. She cyrillicized Anton Cahyono's Atziluth Script and Irina Dvilyuk's Miss Katherine in 2019. In 2020, she released the free spurred typeface Boombox, the script typeface Christopher, and the free typeface Sweet Mavka Script (2020). [Google] [More]  ⦿

    Chiharu Tanaka

    Chiharu Tanaka was born and raised in Japan. She completed her Bachelor's degree of Textile Design in Tokyo and worked at design companies for a few years. She subsequently received her MFA in Graphic Design from the Academy of Art University in San Francisco in 2009, and remained in San Francisco area ever since. She worked as a graphic and type designer for John McNeil Studio (2009-2010), Landor Associates (2009-2010), Psy/Ops (2010-present) and Morisawa (2016-present). Her typefaces:

    • The roman and ornamental retail typeface family HaruNami (2010, Psy Ops). She writes: HaruNami (spring wave) is a family of decorative typefaces which fuse together Japanese ornamentation with the Roman alphabet. My purpose with this project is to find a balance between the designs of the West and the East. My hope is to share the Japanese aesthetic with an International audience. HaruNami has a unique stylistic system that ranges from Simple to Ornate.
    • Corporate typefaces for Tokyu Hands (an icon set, dated 2002), Landor (San Diego Zoo), Psy/Ops (Chevrolet; Bollinger Motors). Louis, done for Chevrolet under the creative direction of Rodrigo Cavazos at Psy/Ops, is a six-style DIN-like industrial grotesque for Latin and Cyrillic.
    • The corporate typefaces Reitmans Script.
    • Tegaki. An experimental brush script.
    • Mie. A hand-drawn font that attempts to obfuscate the border between letters and art.
    • Txt 1010 (2014). An experimental typeface to make fancy borders using opentype prowess. Done together with Carolina de Bartolo while working at Psy/Ops.
    [Google] [MyFonts] [More]  ⦿

    Chloe D'eimar de Jabrun

    During her studies in Bordeaux, France, in 2015, Chloe D'eimar de Jabrun designed Alphabet Cyrillique (a textured Cyrillic alphabet), Circuit Electrique (a circuit font), and Alwa (a font that only uses triangles). [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
    [Catharsis]

    [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 (Gerstner, Gredinger und Kutter) 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).
    • 1974-1980: Haas Unica (Haas Type foundry, Linotype, Autologic). In 2012-2014, Christian revived this digitally as Unica 77 at Lineto, one year before Toshi Omagari published Neue Haas Unica at Linotype.
    • 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.
    • He received an Honorable Mention in the Latin category for Newline in 2016 at the Morisawa Type Design Competition 2016.

    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, 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).

    Typefaces from 2015: Hexagonia, Kapow (a comic book font), Fauxreign (a Thai emulation font).

    Typefaces from 2016: Ziplock (art deco), Vexillum (maritime signal flags).

    Typefaces from 2019: Drop Cap (Lombardic), Fun with Cubes (3d). [Google] [More]  ⦿

    Christian Schwartz
    [Commercial Type (Was: Schwartzco)]

    [MyFonts] [More]  ⦿

    Christoph Dunst
    [Atlas Font Foundry]

    [MyFonts] [More]  ⦿

    Christoph Koeberlin

    Active type expert and type designer, who created FF Mark in 2013 together with Hannes von Döhren and the FontFont team. This 10-style font family spanning hairline to black is marketed as Ze new Germanetric sans. The FF Mark Ultra weight, published in 2015, is absolutely stunning. One of the weights of FF Mark is free.

    In 2016, he designed Fabrikat, which had creative input of Hannes von Döhren. This simple geometric sans serif family is based on the DIN style used in the 20th century by German engineers: It has a plain and precise appearance, and is a textbook example of a compass-and-ruler typeface. The monospaced almost-typewriter version Fabrikat Mono followed in 2017. In 2020, Fabrikat Normal was released at Hans von Doehren Fonts.

    In 2020, he released Pangea and Pangea Text at Fontwerk. He writes: Pangea is a symbol of not only living together but of global cooperation. While Gergo Kokai from Hungary supported him in the design of the upright characters, he brought Tanya George from India on board to work on the italics (work in progress). He consulted with Irene Vlachou from Greece and Ilya Ruderman from Russia to ensure the quality of the Greek and Cyrillic characters. The spacing and the kerning of the font would not have been possible without Igino Marini from Italy and his iKern tool. A broad foreign language extension seems obligatory for this omnicultural approach and in fact, extended Latin, Cyrillic, Greek and Vietnamese are already included. Arabic, Hebrew and other languages are to follow. In 2021, he added the free 20-style Pangea Afrikan family with coverage of most of Africa's languages.

    In 2016, he set up Sportsfonts, and promptly published the 24,000-glyph 49-font athletic lettering superfamily, Winner.

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

    Christoph Singer
    [Multilingual Unicode TrueType Fonts on the Internet]

    [More]  ⦿

    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
    [Cade]

    [More]  ⦿

    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.

    Typefaces from 2015: Armada CPC (a wide sans), Beach Ball CPC (a geometric solid font; Filled and Outline), Compass Rose CPC (a geometric sans family designed for web sites), Mutiny CPC (an angry all-caps brush typeface).

    Typefaces from 2016: Waves CPC (pixel fonts), Wave Blackletter CPC (pixel fonts).

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

    Christos Chiotis
    [Pixelogical (was: Unicorg)]

    [More]  ⦿

    Chuck Masterson

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

    Chukhin

    Russian designer of the marker pen font Romarker (2017). [Google] [More]  ⦿

    Church Slavonic Initiative
    [Aleksandr Andreev]

    As part of the Church Slavonic Initiative, we find a set of free church slavonic style typefaces at the CTAN site, with TeX support. Church Slavonic (also called Church Slavic, Old Church Slavonic or Old Slavonic; ISO 639-2 code cu) is a literary language used by the Slavic peoples; presently it is used as a liturgical language by the Russian Orthodox Church, other local Orthodox Churches, as well as various Byzantine-Rite Catholic and Old Ritualist communities. The fonts are designed to work with Unicode text encoded in UTF-8. The package is maintained (in 2016, at least) by Mike Kroutikov and Aleksandr Andreev. The main people of the Church Slavonic Initiative are Aleksandr Andreev, Yuri Shardt and Nikita Simmons. The fonts:

    • Acathist (2013-2020, by Aleksandr Andreev and Nikita Simmons).
    • Cathisma Unicode (2013-2020, by Aleksandr Andreev and Nikita Simmons). Cathisma Unicode is based on Kathisma UCS, designed by Vlad Dorosh. e typeface is used for titling in many 18th-20th century liturgical editions.
    • Fedorovsk Unicode. Fedorovsk Unicode is based on the Fedorovsk font designed by Nikita Simmons. It has been re-encoded for Unicode, with added OpenType and Graphite features by Aleksandr Andreev (2013-2015). The Fedorovsk typeface is supposed to reproduce the typeface of the printed editions of Ivan Fedorov produced in Moscow, for example, the Apostol of 1564. The font is intended primarily for typesetting pre-Nikonian (Old Rite) liturgical texts or for working with such texts in an academic context.
    • Indiction Unicode (1996-2017). By Vladislav V. Dorosh. e Indiction Unicode font reproduces the decorative style of drop caps used in Synodal Slavonic editions since the late 1800s. The original Indyction font was developed by Vladislav V. Dorosh and was distributed as Indyction UCS as part of CSLTeX, licensed under the LATEX Project Public License. It was reencoded for Unicode and edited by Aleksandr Andreev, and is now distributed as Indiction Unicode under the SIL Open Font License. It is intended for use with bukvitsi (drop caps) in modern Church Slavonic editions.
    • Menaion Unicode. This typeface is supposed to be used for working with text of Ustav-era manuscripts. It contains the full repertoire of necessary Cyrillic and Glagolitic glyphs as well as glyphs of Byzantine Ecphonetic notation of the kind used in Cyrillic or Glagolitic manuscripts. Menaion was originally designed by Victor A. Baranov at the Manuscript Project. It was re-encoded for Unicode by Aleksandr Andreev in 2013-2015 with permission of the original author.
    • Acathist (2013-2020, by Aleksandr Andreev and Nikita Simmons).
    • Monomakh Unicode (2011-2017). By Alexey Kryukov and Aleksandr Andreev. Monomakh Unicode is based on the Monomachus font designed by Alexey Kryukov. It has been modi ed with permission. Monomakh Unicode is a Cyrillic font implemented in a mixed ustav/poluustav style and intended to cover needs of researches dealing with Slavic history and philology. It includes all historical Cyrillic characters currently de ned in Unicode font also includes a set of Latin le ers designed to be stylistically compatible with the Cyrillic part.
    • Oglavie Unicode (2013-2020, by Aleksandr Andreev and Nikita Simmons). Oglavie Unicode is based on Oglavie UCS, designed by Vlad Dorosh. The typeface is used for titling in many 18th-20th century liturgical editions.
    • Pochaevsk Unicode (2019-2020; by Aleksandr Andreev and Nikita Simmons).
    • Pomorsky Unicode. The Pomorsky Unicode font is a close (idealized) reproduction of the decorative calligraphic style of book and chapter titles, which was most likely developed in the 1700s by the scribes of the Old Ritualist Vyg River Hermitage. It is seen extensively in the chant manuscripts, liturgical manuscripts, hagiographic and polemical works of the Pomortsy and Fedoseyevtsy communities, and is a traditional and organic style of lettering lacking any obvious influence from western European and Latin typography. The Pomorsky typeface was originally designed by Nikita Simmons in 1999-2000. It was edited and re-encoded for Unicode by Aleksandr Andreev in 2015. It is intended for use with bukvitsi (drop caps) and decorative titling.
    • Ponomar Unicode. Ponomar Unicode is a font that reproduces the typeface of Synodal Church Slavonic editions from the beginning of the 20th Century. It is intended for working with modern Church Slavonic texts (Synodal Slavonic). Ponomar Unicode is based on the Hirmos UCS font designed by Vlad Dorosh. The current version is by Aleksandr Andreev, Yuri Shardt, and Nikita Simmons (2011-2015).
    • Shafarik (2014-2020; by Aleksandr Andreev and Nikita Simmons). A specialized font intended for an academic presentation of Old Church Slavonic (OCS) texts wri en in both the Cyrillic or Glagolitic alphabets.
    • Triodion Unicode (2013-2020, by Aleksandr Andreev and Nikita Simmons).
    • Vertograd Unicode (2019-2020; by Aleksandr Andreev and Nikita Simmons). Based on Vertograd UCS by Vlad Dorosh, Vertigrad Unicode is a decorative drop caps and titling font. The typeface was commonly used in pre-revolution Russian liturgical editions.
    Home page. Github link. [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).
    [Google] [More]  ⦿

    Chuvashia
    [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]  ⦿

    Chuvfonts

    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]  ⦿

    Cirilica

    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]  ⦿

    cirilica.org

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

    Citkit.ru

    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 and at Open Font Library. Free download of Playfair Display Italic.

    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. Google Fonts link for Inknut Antiqua. Open Font Library link. Inknut Antiqua covers Latin and Devanagari.

    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]  ⦿

    client-bank

    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 Plus link. [Google] [More]  ⦿

    cmcyr
    [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]  ⦿

    cmcyralt

    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]  ⦿

    Cmeree
    [Tatiana Kovaleva]

    Illustrator and designer from Belarus who specializes in handcrafted typefaces for Latin and Cyrillic. In 2020, she released Apple Jam (monoline) and Haworthia. [Google] [MyFonts] [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]  ⦿

    Coen Hofmann

    Born in Amsterdam in 1939, Hofmann started out as a typesetter, and then morphed into a calligrapher and an author on calligraphy, and finally into a type designer.

    Designer at URW++/Fontforum of

    • Admira (2019). A revival of the striped all caps money font Admira (1940, Schriftguss).
    • Altrincham (2003).
    • Caxtonian Black (2012). A blackletter.
    • Globus Cursive (2015, +Cyrillic). This cursive font is a revival of a font by Friedrich Hermann Wobst (1932, D. Stempel AG).
    • Gothic Initials (2015). After an original from 1821 by Firmin Didot's foundry.
    • Holland Gothic (2012). A blackletter.
    • Jason Uncial (2012). A unicase uncial design.
    • Perugia Cursive (2003). A gorgeous calligraphic script based on the 19th century "Scrittura Rotonda Francese" and "Scrittura Italiana" developed by Italian calligrapher Cesare Silvestrini.
    • Pinel Pro (2014). A revival of a didone from 1899 by Joseph Pinel called French 10pt No. 2. URW++ writes: Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process.
    • Ramona (2004). A shaded typeface.
    • Revis (2011). A formal script based on Daphne, a typeface that was originally designed by German type designer Georg Salden. For some reason, that typeface was withdrawn from the URW++ library some time later.
    • Romeo (2004). A 3d beveled shadow face.
    • Sax (2008). A didone typeface family.
    • Seizieme Pro (2013). Based on the 1905 font Série 16 by Peignot, which was mainly used for scientific publications.
    • Signpainters Script (2013). A connected copperplate script.
    • Silvestrini (2003). A gorgeous Gando-style ronde. Based on the 19th century "Scrittura Rotonda Francese" and "Scrittura Italiana" developed by Italian calligrapher Cesare Silvestrini.
    • Sirius and Sirius Caps (2003). A garalde family developed together with British type designer Neville Brown.
    • Technotype (2011). A revival of Herbert Thannhaeuser's 1952 slab serif family Technotyp.
    • Thomas Schrift and Thomas Versalien (2015). Based on Friedel Thomas's Thomas Schrift and Thomas Versalien from 1956-1958.
    • URW Akropolis (2016, URW++). A revival of the cigar box open typeface Acropolis designed by the Ludwig Wagner foundry in Leipzig in 1940.
    • Pergamon (2016, URW++). A wonderful 10-style didone typeface family that revives, extends and modernizes Pergamon Antiqua first designed in 1937 at Ludwig Wagner in Leipzig by Alfons Scheider.
    • Marli (2016). A revival of the cursive typeface Korso by F. Schweimanns (1913).
    • Moewe (2017). An open typeface in the blackboard bold genre that revives Möwe (1929, Heinz Beck for Genzsch & Heyse).
    • Golf (2017). Golf was originally designed by Henry Reinhard Möller in 1935 for Schriftguss KG. Coen Hofmann redrew the capitals and then added lower case letter and Cyrillic alphabets.

    Klingspor link. View Coen Hofmann's typefaces. [Google] [MyFonts] [More]  ⦿

    COG Graphics
    [Ivan Ginev]

    Sofia, Bulgaria-based designer of The Elegant set (a free 187-icon set; 2020), and of a fat face style fat antiqua for Latin and Cyrillic (2020), which is based on specimen from Bulgarian artist Boris Angelushev which Ivan found in a typography book. [Google] [More]  ⦿

    Coji Morishita
    [M+ Fonts]

    [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 (1996, Monotype: based on letters drawn by Eric Gill in 1903-1907 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.

    Typefaces sold by them:

    • 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. Extended to Atlas Typewriter in 2012.
    • 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.
    • Produkt (2014, Christian Schwartz and Berton Hasebe). This is Graphik with slabs added on.
    • Sanomat (2013-2017). This custom typeface by Paul Barnes was originally commissioned by Sami Valtere in 2013 for his acclaimed redesign of Helsinging Sanomat in Finland. Sanomat is now available for retail via Commercial Type in two subfamilies, Sanomat (serif) and Sanomat Sans.
    • Schnyder (Commercial Type) was designed by Berton Hasebe and Christian Schwartz for the 2013 redesign of T, the New York Times Style Magazine by creative director Patrick Li and his team. Schnyder has the high contrast typical of a fashion typeface and has a large number of alternates. The stem thicknesses in each weight are identical across the widths, an unusual feature that allows the widths to be mixed freely in headlines, even within single words. It features three weights, four widths, and four optical sizes. Production assistance by Hrvoje Zivcic and Miguel Reyes.
    • The Commercial Classics series from 2019:
      • Brunel (Paul Barnes): Elegant and hardworking, Brunel is the Anglo variant of the high contrast Modern style. Based on designs that were cut first for Elizabeth Caslon at the end of the eighteenth century, we have expanded them to encompass a range of weights and sizes: from a roman to an emphatic black and from a text to a hairline for the largest sizes.
      • Caslon Doric (Paul Barnes): The sans was the natural progression of nineteenth-century innovations. From the pioneering faces of Caslon and Figgins in the second and third decades, they quickly became a phenomenon across Europe and the United States, but it was only in the second half of the century that the British foundries would embrace lowercase forms and make faces that could be used in multiple sizes. Caslon Doric is the synthesis of these styles, from narrow to wide and from thin to heavy.
      • Caslon Italian (Paul Barnes, Tim Ripper, Christian Schwartz): Perhaps the strangest and ultimate example of experimentation in letterforms during the early nineteenth century was the Italian. Introduced by Caslon in 1821, it reverses the fat face stress---thins becomes thicks and thicks become thins---turning typographic norms on their heads. This new version extends the forms into new territory: a lowercase, an italic, and another one of the more unusual ideas of the time, the reverse italic or Contra.
      • Isambard (Paul Barnes and Miguel Reyes): The boldest moderns were given the name fat face and they pushed the serif letterform to its extremes. With exaggerated features of high contrast and inflated ball terminals, the fat face was the most radical example of putting as much ink on a page to make the greatest impact at the time. These over-the-top forms make the style not only emphatic, but also joyful with bulbous swash capitals and a wonderfully characterful italic.
      • Caslon Antique (Paul Barnes and Tim Ripper): The slab serif or Egyptian form is one of the best letters for adding a drop shadow to. Its robust nature and heaviness support the additional weight of a prominent shading. First appearing in the 1820s, the style was pioneered and almost exclusively shown by the Caslon foundry, who introduced a wide range of sizes and, eventually, a lowercase.
      • Caslon Sans Serif Shaded (Jesse Vega and Paul Barnes): The addition of graphic effects to typefaces was one of the most popular fashions of the nineteenth century, with the most common being the shaded form. Fashionable throughout this period, they largely disappeared from the typographic landscape, but their simple graphic qualities offer much potential today.
      • Christian Schwartz collaborated with Richard Turley, the art director behind the famous redesign of Bloomberg Businessweek (for which Druk was initially commissioned), in 2019 on a custom typeface for the windows of Barneys, a near-century-old New York department store, which recently filed for bankruptcy. AIGA link.
      • In 2019, Christian Schwartz, Paul Barnes and Mark Porter were asked by the Nature journal to develop a new typeface, Harding.

    The crew in 2012 includes Paul Barnes (Principal), Christian Schwartz (Principal), Vincent Chan (type designer), Berton Hasebe (type designer, who worked at Commercial type from 2008 until 2013) and Mark Record (font technician). Miguel Reyes joined in 2013. Greg Gazdowicz joined in 2014. Hrvoje Zivcic helps with font production.

    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 the 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 (for Latin, Greek and Cyrillic). Heuristica was improved in 2014 by Andreas Nolda as Utopia Nova. Open Font Library link for Heuristica. Download site for Heuristica.

    Free download. Direct download.

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

    Connary Fagen

    Art director, designer and consultant who grew up in Colorado and is now based in Heber City (was: Park City and before that 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 Waverly (avant garde caps), Articulat CF (an 18-style Swiss sans typeface), Argent CF (a 13-style display serif family), Ironfield (bold husky brutalist display font), Visby CF (geometric sans), Visby Round CF, Quincy CF (a warm serif text face), and Manifold CF (a squarish cold utilitarian sans with 16 styles; extended to the corporate typeface Manifold DSA in 2017). See also Manifold Extended CF (2022; 16 styles).

    Typefaces from 2016: Vanguard CF (a strong ultra-compressed sans in 16 styles), Addington CF (a 14-style text typeface family), Cartograph CF (monospaced sans), Greycliff CF (sans), Turismo CF (a wide rounfded open sans inspired by midcentury motorsports, technology, and business).

    Typefaces from 2017: Gryffith (angular), Visby Slab CF, Filter v2 CF (hipster style), Couplet CF (humanist sans), Integral CF (an all caps titling font).

    Typefaces from 2018: Argent Pixel (free), Artifex CF (a 9-weight serif family), Artifex Hand CF (a flared version of Artifex), Criteria CF (a geometric sans with horizontal and vertical terminal endings), Roxborough CF (a sharp-edged roman typeface).

    Typefaces from 2019: Wayfinder CF (a sharp-edged display typeface).

    Gumroad site, where one can download free trial versions of many of his fonts, and purchase licenses for the other ones.

    Typefaces from 2020: Hexaframe CF, Olivette CF (a sharp-edged angular and contrast-rich typeface family), Ellograph CF (a rounded monoline sans in 16 styles).

    Typefaces from 2021: Mielle CF (a monolinear script), Greycliff Thai CF, Greycliff Arabic CF, Greycliff Hebrew CF, Quiverleaf CF (ten flared / lapidary styles).

    Typefaces from 2022: Quiverleaf Arabic CF.

    Interview by MyFonts in 2021. [Google] [MyFonts] [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, Plovdiv, 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 old Slavonic typeface Supralskija, the text typeface Sibila, and the commercial (and sometimes free) sans typefaces Tervel, Hemus, Repo, Omurtag, Gremi, Plovdiv (the project started as a part of the official programme of Plovdiv---European Capital of Culture 2019), Libra Sans (based on Liberation Sans), Font Night (an art deco project with Krassimir Stavrev for an event in Plvdiv), and Coval.

    In 2016, he designed the free Libra Serif Modern (based on Libra Serif), the free text typeface Pliska, the free Veleka (a modification of Charis SIL to cover Bulgarian Cyrillic and Greek), the free font Linguistics Pro (based on Andreas Nolda's Utopia Nova), Maritsa, Perun (a modification of Free Universal (Stephen Wilson, 2009) and SIL Sophia (1994-2008)), Arda (a condensed sans), Libra Sans Modern, HK Grotesk (he added Cyrillics to Pradil's Latin font), and Bogorov (Cyrillic font).

    In 2018, he designed the Cyrillic revival typeface Grazhdanskiy Shrift.

    In 2020, he released the manicured family Hebert Sans. and the condensed sans typeface Arda (which is in the orbit of Akzidenz Grotesk)

    Behance link. Open Font Library link. Fontsquirrel link. [Google] [More]  ⦿

    Contrast Type Foundry (or: CoFo)
    [Maria Doreuli]

    Contrast Type Foundry (London) was a joint venture of Maria Doreuli, Krista Radoeva and Lisa Rasskazova (Moscow). In 2019, now based in Moscow, the team members are Maria Doreuli, Lisa Rasskazova, Anna Khorash and Nikita Sapozhkov. They do custom and retail type design. Their client list includes Tretyakov Gallery, Strelka Institute, Théâtre de Belleville, The Art Newspaper, Mail.ru, Fader Magazine, Tsaritsino Museum, Weber Grills, Naked Heart Foundation, LaModa, Kaspersky, Rambler&Co, Gosha Rubchinsky, White Russian and Tsentsiper.

    Maria Doreuli (Moscow) earned her Masters degree in graphic design from Moscow State University of Printing. During that time she attended Alexander Tarbeev's type design workshop. During 2009-2012 she worked on RIA Novosti's corporate identity projects. Winner at the Letter 2 competition in 2011 with the serif text family William (2011), which was her graduation project. This contemporary interpretation of Caslon also won First Prize in the Cyrillic typeface category at Granshan 2011. William Headline won at New Cyrillic 2012. Finally, in 2016, William was published by Typotheque. It is available in three optical sizes, a Text version with a large x-height for smaller text from 7 to 12pt, a Subhead version for use at 14 to 30 points, and Display version for text larger than 36 points.

    In 2011 she was named a designer of the year by the Russian newspaper Akzia. In 2012, Maria started type design studies at the KABK in Den Haag. Her graduation typeface there was the reverse contrast display typeface Chimera (2013). Chimera won an award at TDC 2014. It won the Silver Prize in the Latin category at the Morisawa Type Design Competition 2014.

    In 2014, Maria Doreuli, Krista Radoeva, and Elizaveta Rasskazova co-designed 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. It won a Special Mention at the 2015 Granshan competition.

    Speaker at ATypI 2013 in Amsterdam: The contrast between Russian and Bulgarian Cyrillic.

    Fit (2017, by David Jonathan Ross and Maria Doreuli) is a tall black display family that runs from ultra-compressed to very wide. It screams Use me for the Oscars! Fit was first developed as a variable font. It won an award at Granshan 2017.

    CoFo Sans was designed by Maria Doreuli between 2016 and 2018.

    Lisa Rasskazova designed CoFo Robert between 2012 and 2018. Named after Robert Beasley, it is inspired by Clarendon.

    In 2019, Maria Doreuli and Anna Khorash released the variable font CoFo Peshka at Future Fonts. Inspired by the industrial and military lettering in the Soviet era, it is named after the Pe-2 aircraft also called the Peshka. CoFo Peshka features weight and width axes. CoFo Plusha (2020) is a creamy super-fat typeface for Latin and Cyrillic.

    In 2021, she published CoFo Kak, a Latin / Cyrillic sans family with a name that raises eyebrows in Belgium, South Africa and the Netherlands.

    Future Fonts link. [Google] [More]  ⦿

    Cool webmasters

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

    Cosimo Lorenzo Pancini

    Born in Firenze in 1969. Cofounder with Francesco Canovaro and Debora Manetti of the Italian design firm in Firenze called Studio Kmzero. He co-designed some typefaces there such as Arsenale White (2009). In 2002, Pancini developed Targa, TargaMS and TargaMSHand (for comic books?), basing his design on the peculiar sans serif monospace typeface with slightly rounded corners and a geometric, condensed skeleton that Italy had been using for its license plates. In 2022, Francesco Canovaro redesigned this font into a versatile multi-weight typeface, Targa Pro, which includes Targa Pro Mono (which keeps the original monospace widths), Targa Pro Roman (with proportional widths), both in five weights plus italics, the handmade version Targa Hand, and Targa Pro Stencil.

    The handwriting of Lord Byron led Pancini to develop the brush script typeface Byron (2013, Zetafonts).

    MyFonts credits him with the rounded avant garde sans family Antipasto (2007), but elswhere we read that this typeface is made by Matteo di Iorio, so there is some confusion. It was extended in 2017 by Pancini as Antipasto Pro.

    In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro co-designed Amazing Grotesk (+Ultra). He also designed the calm bold geometric rounded sans typeface Cocogoose (2014; replaced by Cocogoose Pro in 2017) and the stylish deco font Offensive Behaviour. Cocogoose Letterpress is free. Cocogoose is part of the Coco Gothic family, a collection of twelve typefaces each inspired by the fashion mood of every decade of last century, named after fashion icon Coco Chanel. Cocogoose is Coco Gothic for the 1940s. See also Coco Gothic Pro (2021).

    In 2015, Pancini published the grand family Coco Gothic. This Latin / Greek / Cyrillic typeface family features a small x-height and sligghtly rounded corners to make the avant garde and geometric sans typefaces in vogue in the 1970s come alive again, ready for 21st century fashion magazines. It comes with substyles that recreate many moods, including art nouveau and arts and crafts (Cocotte), Italian propaganda style and Italian deco (Cocosignum), hipster style (CocoBikeR), or Bauhaus (Cocomat). Coco Gothic was initially developed as a corporate font for Lucca Comics & Games Festival 2013. The rounded geometric sans family Cocomat (by Cosimo Lorenzo Pancini, Deborah Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of Italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia. Updated in 2019 as Cocomat Pro.

    Still in 2015, Cosimo and Zetafonts published the connected creamy baseball script Bulletto, the grungy handvetica Neue, and the calligraphic wedding typeface Hello Script. In 2015, at Zetafonts, Cosimo Lorenzo Pancini designed CocoBikeR (2015) to celebrate the hipster and bike cultures. CocoBikeR (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. In 2017, Pancini designed the 1930s Italian art deco typeface families Cocosignum Maiuscoletto and Cocosignum Corsivo Italico. In 2021, he published the 48-style (+variable) font family Coco Gothic Pro. This is a redrawn and expanded set of fonts: Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicita) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. [...] A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true typographic time machine, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties' minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century. There is also attention to Darkmode and there is coverage of Cyrillic and Greek.

    Typefaces from 2016: Adlery (a curly brush script), Kitten (Fat, Swash, Swash Monoline, Slant, Bold: signage script family), Adlibitum (a blackletter typeface by Cosimo Lorenzo Pancini and Francesco Canovaro), Morbodoni (a display didone by Cosimo Lorenzo Pancini and Francesco Canovaro).

    In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free. Still in 2016, Pancini designed Calligraphunk, an experimental typeface that mimicks polyrythmic calligraphy, by alternating two sets of lowercase letters to emulate handwriting.

    In 2016, Cosimo Lorenzo Pancini, Matteo Chiti, Luca Chiti and Andrea Tartarelli co-designed the retro connected brush script font family Advertising Script, which is based on an example from Ross George's Speedball 1947 Textbook Manual.

    Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima.

    Amazing Grotesk (2016) is based on a logo designed by Francesco Canovaro.

    Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita.

    Hello Script and Hello Sans can be used for layering and coloring. The Christmas-themed version is Hello Christmas.

    Pancini designed the 64-strong typeface family Body Grotesque and Body Text in 2017-2018, together with Andrea Tartarelli. It was conceived as a contemporary alternative to modernist super-families like Univers or Helvetica.

    In 2017, Cosimo Lorenzo Pancini and Andrea Tartarelli co-designed the sans typeface family Kabrio, which gives users four different corner treatment options.

    Anaphora (2018). Anaphora is a contemporary serif typeface designed by Francesco Canovaro (roman), Cosimo Lorenzo Pancini (italic) and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to heavy. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display size. Anaphora covers Latin, Greek and Cyrillic.

    Canovaro's Arista served as a basis for the 29-style monolinear rounded sans typeface family Aristotelica (2018) by Cosimo Lorenzo Pancini and Andrea Tartarelli. See also Aristotelica Pro (2020).

    In 2018, he designed the italics for Cosimo Lorenzo Pancini's Domotika typeface family. Between 2018 and 2021, Cosimo Lorenzo Pancini and Andrea Tartarelli developed the 8-weight humanist sans typeface Domotika for Latin, Cyrillic and Greek, further into the 18-style Domotika Pro (2021).

    In 2018, he published Radcliffe, with Andrea Tartarelli, a Clarendon revival with Text and Casual subfamilies. Radcliffe (a Clarendon revival by Cosimo Lorenzo Pancini and Andrea Tartarelli), and added the layerable condensed Cocogoose Narrows to the Cocogoose family. Codec (2018) by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli is a geometric sans typeface family in which all terminal cuts are horiontal or vertical. See also Codec Pro (2019).

    His Double Bass (2018) is a jazzy 4-style typeface family that pays tribute to Saul Bass's iconic hand lettering for Otto Preminger's The Man with the Golden Arm film title sequence and other movies, Bass's vibrating, almost brutal cut-out aestethics, and the cartoonish lettering and jazzy graphics of the fifties.

    In 2018, he published the sharp wedge serif typeface Blacker to pay homage to the 1970s. In 2019, that was followed by Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli, who write: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs). Still in 2018, he designed the swooping polyrhythmic calligraphic typeface Calligraphunk.

    In 2018, Cosimo Lorenzo Pancini and Andrea Tartarelli designed Holden, a very Latin cursive sans typeface with pointed brush aesthetics and fluid rhythmic lines.

    In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic, the sans family Aquawax Pro, and the condensed rounded monoline techno sans typeface family Iconic.

    In 2019, Cosimo Lorenzo Pancini, Andrea Tartarelli and Maria Chiara Fantini at Zetafonts published a slightly calligraphic Elzevir typeface, Lovelace.

    In 2019, the lapidary typeface family Beatrix Antiqua (Francesco Canovaro) was reworked by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini into a 50-style type system called Monterchi that includes Text, Serif and Sans subfamilies. Monterchi is a custom font for an identity project for a famous fresco in Monterchi, developed under the art directorship of Riccardo Falcinelli.

    Tarif (2019) is a typeface family inspired by the multicultural utopia of convivencia---the peaceful coexistence of Muslims, Christians and Jews in tenth century Andalusia that played an important role in bringing to Europe the classics of Greek philosophy, together with Muslim culture and aesthetics. It is a slab serif typeface with a humanist skeleton and inverted contrast, subtly mixing Latin zest, calligraphic details, extreme inktraps, and postmodern unorthodox reinvention of traditional grotesque letter shapes. The exuberant design, perfect for titling, logo and display use, is complemented by a wide range of seven weights allowing for solid editorial use and great readability in body text. Matching italics have been designed with the help of Maria Chiara Fantini and Cosimo Lorenzo Pancini, while Rania Azmi has collaborated on the design of the arabic version of Tarif, where the humanist shapes and inverted contrast of the Latin letters find a natural connection with modern arabic letterforms.

    Late in 2019, Cosimo Lorenzo Pancini released the fun typeface family Hagrid at Zetafonts, which writes: Crypto-typography---the passion for unknown, weird and unusual character shapes---is a disease commonly affecting type designers. Cosimo Lorenzo Pancini has celebrated it in this typeface family, aptly named Hagrid after the half-blood giant with a passion for cryptozoology described by R. K. Rowling in her Harry Potter books. Extreme optical corrections, calligraphic counter-spaces, inverted contrast, over-the-top overshoots: all the inventions that abound in vernacular and experimental typography have been lovingly collected in this mongrel sans serif family, carefully balancing quirky solutions and solid grotesque design.

    In 2020, Pancini released Stinger (2020, a 42-style reverse contrast family by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Maria Chiara Fantini) and Boring Sans (a typeface family designed along two variable axis: weight and weirdness). As part of the free font set Quarantype (2020), Cosimo Lorenzo Pancini designed Quarantype Embrace, Quarantype Hangout, Quarantype Hopscotch, Quarantype Joyride, Quarantype Sackrace, and Quarantype Uplift (with Maria Chiara Fantini).

    In 2020, Cosimo Lorenzo Pancini and Mario De Libero revived Nebiolo's Carioli (1928) as Cairoli Classic and Cairoli Now at Italian Type / Zetafonts. They extended the original weight and width range and developing both a faithful Classic version and a Now variant. The Cairoli Classic family keeps the original low x-height range, very display-oriented, and normalizes the design while emphasizing the original peculiarities like the hook cuts in curved letters, the high-waisted uppercase R and the squared ovals of the letterforms. Cairoli Now is developed with an higher x-height, more suited for text and digital use, and adds to the original design deeper inktraps and round punctuation, while slightly correcting the curves for a more contemporary look. Cairoli Variable has a weight and width axis.

    In 2020, Cosimo Lorenzo Pancini and Mariachiara Fantini---with the help of Solenn Bordeau---released Erotique at Zetafonts. Erotique evolved from Lovelace, an earlier Zetafonts typeface. Zetafonts describe this evil serif as follows: it challenges its romantic curves with the glitchy and fluid aestethic of transmodern neo-brutalist typography. Late in 2020, they added Erotique Sans, the sans version of Erotique, also designed by Cosimo Pancini and Maria Chiara Fantini.

    Late in 2020, he co-designed the 46-style font family Eastman Grotesque together with Francesco Canovaro and Andrea Tartarelli. This monolinear sans with a tall x-height comprises an interesting Eastman Grotesque Alternate subfamily with daring and in-your-face glyphs. The typeface evolved from Zetafonts' earlier Bauhaus-inspired typeface Eastman (2020). Later fonts in this family include Eastman Condensed (2021, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli).

    In 2020, Cosimo Pancini, Andrea Tartarelli and Mario De Libero drew the 60-style Cocogoose Pro Narrows family, which features many compressed typefaces as well as grungy letterpress versions.

    Sunshine Pro (2020, Zetafonts) was designed by Cosimo Lorenzo Pancini and Solenn Bordeau expanding the original Sunshine design by Francesco Canovaro, part of the Quarantype collection (2020), which in turn was designed as a typeface for good vibes against Covid-19. Sunshine Pro is an experimental Clarendon-style font with variable contrast along the weight axis---contrast is reversed in light weight, minimized in the regular weight and peaks in the bold and heavy weights.

    Coco Sharp (2021) is a 62-style sans feast, with two variable fonts with variable x-height, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli.

    Co-designer of Heading Now (2021), a 160-strong titling font (+2 variable fonts) by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Mario De Libero that provides an enormous range of widths.

    Keratine (2021, Cosimo Pancini, Andrea Tartarelli and Mario De Libero). A German expressionist typeface that exists in a space between these two traditions, mixing the proportions of humanistic typefaces with the strong slabs and fractured handwriting of blackletter calligraphy. Pancini, its main designer, writes that it explores the impossible territory between antiqua and blackletter.

    Geppetto (2021) is a frivolous Tuscan font that started out as a revival of a condensed Tuscan wood type family appearing in the 1903 Tubbs Wood Type catalog and which was probably derived from an 1859 typeface by William Hamilton Page. Pancini built a variable font on top of it and calls it a font for fake news.

    In 2021, Pancini added Coco Tardis as a variable font with a time travel slider to the Coco Gothic family.

    Millard Grotesque (2021) is a true "grot" in the Akzidenz Grotesque sense of the word. This typeface family was designed by Cosimo Lorenzo Pancini and Andrea Tartarelli.

    Pancini's Descript (2021) is a variable script font with two axes, slant and speed of writing.

    Milligram (2021) is a very tightly set grot by Cosimo Pancini and Andrea Tartarelli. [Google] [MyFonts] [More]  ⦿

    Cossack.jp
    [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). [Google] [More]  ⦿

    CoType Foundry

    CoType is the London-based type foundry of Mark Bloom and Joe Leadbeater, est. 2019. Their typefaces include

    • Aeonik and Aeonik Pro (2018). A 14-weight sans typeface family by Joe Leadbeater and Mark Bloom. Aeonik supports Latin, Greek and Cyrillic, and is accompanied by a variable font. Followed in 2022 by Aeonik Mono and Aeonik Fono.
    • Altform (2021). A low contrast sans family by Mark Bloom. Designed by mixing geometric and grotesque elements, it has many weights and is accompanied by a two-axis (weight, italic tilt) variable font.
    • Ambit (2019). A sans by Mark Bloom: Ambit is an eccentric and unique sans serif font inspired by early grotesques, but adapted for the 21st century. It is characterized by the misbehaving curly lower case f and r glyphs.
    • Coanda (2019). A techno typeface by Mark Bloom, who writes: Coanda: an ideology of the future, crafted from the past. Coanda honours the ambitious outlook of 20th century designers Wim Crouwel and Mimmo Castellano, and pays respect to the meticulous detail crafted by The Designers Republic.
    • Orbikular (2020). A 5-weight modern typeface by Mark Bloom.
    • RM Neue (2019). A sans by Mark Bloom. The first iteration of RM was released in 2011, followed by RM Pro in 2016. RM Neue is a completely redrawn and redesigned adaptation of RM Pro, previously available in only three weights. Bloom writes: Inspired by utilitarian neo-grotesques, RM Neue aims to be a timeless addition to each designer's font repertoire and has been designed to be clean and legible at all sizes.
    • Betatron (2021). Sci-fi.
    • Scandium (2021). a 14-style sans: Scandium is a contemporary sans with open shapes and a technical vibe inspired by the needs of the automotive industry---openness, performance, and style. With its modestly squared curves, high x-height, and vertical terminals, Scandium marries performance with purpose. It includes many icons and some emojis.
    [Google] [More]  ⦿

    Courier New KOI

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

    Craceltype
    [Joao Cracel]

    Type design studio in Lisbon, Portugal, founded in 2018 by type designer Joao Cracel. In 2019, Craceltype published the 18-style humanist sans typeface families Jano Sans Pro and Jano Sans Std. In 2020, they added Jano Round.

    Typefaces from 2021: Lydia Sans (a 24-style Latin / Greek / Cyrillic geometric sans in the Futura orbit; with two variable fonts).

    Amika (2020) is a 22-style low contrast tectonic sans typeface family. [Google] [MyFonts] [More]  ⦿

    Craf Tena

    Moscow-based designer of the Cyrillic constellation typeface Star Light (2019). [Google] [More]  ⦿

    Craig Kroeger
    [miniml]

    [More]  ⦿

    Creative Head Design Studio

    Studio in Moscow. In 2015, it created the fat rounded display sans typeface Smartfont for Latin and Cyrillic. It has Inline and Outline versions. [Google] [More]  ⦿

    Creative Toucan (was: Leo Supply Co)
    [Leonard Posavec]

    Cakovec, Croatia and Washington Park, WA-based designer (b. 1995) of preponderantly grunge typefaces. In 2013, he created Funny Classic, Lion Pro, Lover, War is in the Air (military stencil), Aussen (squarish), Ensione (outlined), Rangle, Gaon, Momgers, Escapea (athletic lettering), Campus A (athletic lettering), Zebraliner, The Alistaren, Goteros, Collegerion (athletic lettering face), Prestinia Pro (grungy serif face), Fast Ostrich, Funny Trip, Boro, Electric (grungy face), On The Left, Power Balloon, Heavy Bomb (grungy), Kid From Hell, Army Stamp (rough army stencil), Jump Party, Comic Type, Commy, Faster, Fati, Funny me, Hypnotize, Half Half, My Day, Totally Outline, First Day, Funny Kid, Waterline, Piranha, Fish (grunge face), Modern Sketch, Beboline (dymo label grunge), Metalic (sic), Moter (grungy outline face), Privjet, ShadowM (shaded typeface), Old Movie, Strong Boy, Russian Line, Long Leg, Cool Day, Jungle Tree, Funny Teca, End of Era, DeLeo, Buble Muble, Morris, Funky Monkey, Leonards (a scratchy typeface), Dead John (grunge), Square Baby (grunge), Handwriter, Outline Storm, Mejiko (grungy Western font), Bird Fly, Died, Close To (grungy dymo label font).

    Typefaces from 2014: Dabre, Handeer, Bad Land, Thron, 806 Typography (wood style didone), Rypote.

    Typefaces from 2015: Debeli Bridge (faded, grungy and gorgeous), Rustal, Madalen, Stiquez, Vallyns (grungy, stamped typeface), Falsthan (brush face), Areson, Summeron (brush script), Surpal Lovely (Victorian kitsch), Summer 2, Megeon (+Grunge), Dabre Grunge (textured caps).

    Typefaces from 2016: Taramda, Endless Script, Riot Ton, Dabre (grungy stamped style), La Tequila (Western font), Originals (painted letters), Originals is out, Avenue Drift, Amoky (sketched), Bastielle Script, Ipsum Script, Baroquey Script, Pomah Type (brush script), Vrown Fox (dry brush), Time Machino (dry brush), The Gohe Go, My Boquet Script, The Sellen, Baley Sun, Brushed Traveler, Salone Strand, Aple Time (brush), Bert Loch (brush), Brushed Car, Last and Chaos (brush), Thin Zeus (brush), Top Light (fat brush typeface), Summer Soul Script, Summter (connected script), Summdraw, Planine Script, Samtak Script, Astel Script, Rostek Old, Megiline, Sally Script, Rolley, Naila Script, Amoky (textured letterpress emulation typeface family), Reeld (dry brush typeface), Stamped Navy (textured).

    Typefaces from 2017: Musterion (brush script), Wolvos (rough brush), Xenos, Descolorido, Mushroom (an angulara children's book font), California Jackpot, Zondas, Codiac (rough brush), Gullias (signage script), California or California Jackpot (brush font), Rhinos Rocks (brushy), Quick Toy (inky brush script), Italiano (dry brush), Gode (thick brush), Ananas Lips, Kiwano Apple, Cup of Sea, Fly N Walk, Sign 45 (vintage grungy poster style), Jaoy, Gas Rock, Acids.

    Typefaces from 2018: Storehouse (a vintage all caps copperplate family with small wedge serifs; by Nicolas Massi and Leonard Posavec; it includes a stencil style), San Francisco, Quick Pick (brush), Mick's, Jumper, Alask (brush), Royal Twins, Clas (brush script), Yolloy, Scolarship (sketched).

    Typefaces from 2019: Planina, Athletica (letterpress style), Costa La Vista (font duo), Springs, Originals 2 (dry brush), Astana.

    Typefaces from 2020: Myla (a display typeface).

    Typefaces from 2021: Surfbars (a dry brush font for outdoors usage; also supports Cyrillic).

    Fontspace link. Creative Market link. Old URL. Another Creative Market link. Dafont link. Fontplanet link. [Google] [MyFonts] [More]  ⦿

    Cristian Tournier
    [Rostype]

    [More]  ⦿

    Cronyx

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

    Crowhouse
    [Darya Moroz]

    Darya Moroz (Crowhouse, Russia) designed the handcrafted typefaces Congrat (2016) and Crowpaw (2016). Creative Market link. [Google] [More]  ⦿

    Crystian Cruz
    [Promodesign]

    [More]  ⦿

    CSS Tips and tricks

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

    CSTM
    [Ilya Ruderman]

    CSTM Fonts is a digital type foundry in Moscow founded by Ilya Ruderman and Yury Ostromentsky in 2014. Educated as graphic designers, Ilya and Yury have created many custom typefaces and Cyrillic versions for a well-known Latin typefaces. Since 2008 Ilya Ruderman is curating the Type and Typography course at the British Higher School of Art and Design (Moscow).

    Closely associated with Commercial Type, Ilya Ruderman added Cyrillic versions to Paul Barnes's Austin (2003) typeface in 2009 and 2016.

    In 2015, Ilya and Yury published Kazimir, a didone typeface family for Latin and Cyrillic, taking as a model the typeface used in The History of Russian Philology by P. N. Polevoy (1900, A. F. Marx Publishing House). It was followed in 2016 by Kazimir Text.

    In 2017, they published the almost brutalist wayfinding sans typeface family Navigo (which was used by Gillibrand's presidential campaign in 2019 and 2020, and by Moscow's Zoloto Group), and the experimental (hipster) typeface CSTM Xprmntal 01.

    Pilar (2015) is a poster sans for Latin and Cyrillic. Giorgio Sans Cyrillic (2016, Ilya Ruderman) is a cyrillization of Christian Schwartz's condensed fashion didone typeface Giorgio Sans.

    In 2017, he published Stratos Cyrillic (at Production Type, with Yury Ostromentsky; a Cyrillic version of Yoann Minet's 2016 geometric grotesque typeface Stratos: it received a Type Directors Club New York Certificate of Excellence 2017).

    In 2020, Ilya Ruderman and Yury Ostromentsky released the variable sans typeface Normalidad, which started in 2019 as a custom design for MTS, a Russian mobile network operator.

    Type Today link for CSTM Fonts.

    In 2021, CSTM Fonts released the 42-style sans family Loos (Latin, Cyrillic, Georgian), a typeface designed by Yury Ostromentsky, Ilya Ruderman, and Daria Zorkina. Advisers on Georgian included Alexander Sukiasov and Lasha Giorgadze. Behance link. Type Network link. Future Fonts link. [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, based on insect antennae. Discussed here) and Rutager (2001). He was working on Palormak (2006, futuristic).

    Between 2006 and 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]  ⦿

    Cyanotype
    [Damian Guerrero]

    Damian Guerrero Cortes is the Mexico City-based designer of the 48-style multi-texture layerable pixel-based font families Dance Floor (2019) and 2nd Dance Floor (2020).

    Damian's take on Bookman is Bookseller Bk (2020): it has straightened serifs on the ascenders and features some ball terminals to distinguish it from the original Bookman. Damian's italic is totally different though. Damian says that Bookseller is based on a typeface found in a French book published between 1882 and 1893 and cites Didot, Scotch Roman and Clarendon as distant references. Bookseller covers Greek and Cyrillic and shows sturdiness for small print. See also Bookseller Cp (2020: a 12-style Scotch family).

    Typefaces from 2021: Sweetener (a sugary script), MultiType Brick, MultiType Rows (34 fonts with horizontal stripes as in retro video games), MultiType Brick (brick-textured), MultiType Glitch, MultiType Gamer (a 24-style retro gaming font family), MultiType Pixel. [Google] [MyFonts] [More]  ⦿

    Cyreal
    [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.

    Fonts:

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

    Cyril Mikhailov

    Based in Kaliningrad, Russia, Cyril Mikhailov created the free sans typeface Schist (2014, Latin & Cyrillic) and the free blackboard bold typeface Fakedes Outline (2014).

    In 2015, he made the fatty free bubblegum font Jazzball, which covers both Latin and Cyrillic, and the free handcrafted fat didone poster typeface Pelmeshka.

    Typefaces from 2017: Langendorf (a passport cover font), Krabuler (free; by Cyril Mikhailov and Misha Panfilov).

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

    Cyril Poluektov

    Or just Cyril Po. Saint Petersburg, Russia-based designer of the handcrafted Cyrillic typeface Plastilin (2017) and the Cyrillic display typeface Lathe (2017). [Google] [More]  ⦿

    Cyrill Golikov
    [Echad Type]

    [MyFonts] [More]  ⦿

    Cyrillic

    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 on Google Fonts: Humanist Sans

    Mikhail Strukov, Yury Ostromentsky and Ilya Ruderman render their verdict on the Cyrillic parts of the main humanist fonts on Google Fonts. Their summary recommendations in 2021:

    • Open Sans (Steve Matteson): Open Sans can be used when there is no need to save space. But you better avoid using its Cyrillic, especially in the bolder weights.
    • PT Sans (Alexandra Korolkova, Olga Umpeleva, Vladimir Yefimov): The typeface is well suited for long texts. Concise and compact, short ascenders and descenders are inducing tight leading. But keep in mind that PT Sans appears fairly light in typesetting and shall be balanced by enough white space, both around and between the lines.
    • Fira Sans (Erik Spiekermann, Ralph du Carrois): When choosing a font, don't forget that Fira Sans is very similar to FF Meta. It is not good or bad in itself--it's just that Meta has been widely used for thirty years now. And stay away from Cyrillic, please. Sad to say, it is a true failure.
    • Ubuntu (Dalton Maag): Be careful while choosing styles: each has its own set of problems when it comes to Cyrillic (even though such problems are slightly offset by the distinctive personality of Ubuntu).
    • Source Sans Pro (Paul D. Hunt): Source Sans Pro would be the right choice if you have to save space, but it's super light. So you have to be careful with small line spacings. And it might be best to avoid using Cyrillic at all.
    • Noto Sans (Google): The practical Noto Sans might be useful in multilingual situations, but you'd better consider alternatives for Cyrillic. Here, the very same mistakes reoccur in all styles.
    • Exo 2 (Natanael Gama): Exo 2 is optimized for small sizes. However, this Cyrillic fails to reflect the character of the font; not to mention how badly it was designed---with mistakes so grave, that it is hardly worth any recommending for use.
    • Alegreya Sans (Juan Pablo del Peral): Alegreya Sans works well in large, and medium sizes. Yet, its Cyrillic should be approached with great caution (because of technical errors, at the very least); and Cyrillic small caps shall not be used under any circumstances.
    • Arsenal (Andrij Shevchenko): It would be more appropriate to deploy Arsenal for headlines and in display typesetting. And this Cyrillic is indeed very decent.
    • Andika (SIL (former Summer Institute of Linguistics): Victor Gaultney, Annie Olsen): Decent Latin but you don't want to use this Cyrillic, especially for literacy training purposes. Eventually, those children will learn how to read---but they also risk spoiling their taste.
    • Istok Web (Andrey V. Panov): Pick a different font! Istok Web is a font of downright poor quality, both in terms of design and from the technical point of view.
    • Yanone Kaffeesatz (Yanone): Yanone Kaffeesatz is a vibrant, high-quality font, best used as intended, that is, for display typography.
    • M Plus 1p (Coji Morishita): A smart font for flexible typesetting and for the joint use of Japanese and Latin---not Cyrillic script, though. In M Plus 1p, it is of poor quality.
    • Ruda (Mariela Monsalve, Angelina Sanchez): Ruda is a typeface with an interesting approach to letterforms and a powerful Latin version. However, this Cyrillic is too messed up to be used.
    [Google] [More]  ⦿

    Cyrillica

    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]  ⦿

    Cyrillic.com

    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]  ⦿

    Cyrillicsly
    [Lisa Rasskazova]

    Maria Doreuli (Moscow) and Krista Radoeva (London) combined forces in Cyrillicsly, a site that deals with Cyrillic type and asks basic questions about it. They also organize type workshops.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.

    Later, Maria Doreuli and Lisa Rasskazova teamed up in Contrast Foundry, which is located in Moscow. Other team members include Anna Khorash and Nikita Sapozhkov.

    In 2014, Maria Doreuli, Krista Radoeva, and Elizaveta Rasskazova co-designed 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. In 2015, Sputnik Display received a Special Mention at the Granshan Non-Latin Typeface Design Competition.

    Liza Rasskazova designed CoFo Robert between 2012 and 2018 at Contrast Type Foundry. Named after Robert Beasley, it is inspired by Clarendon.

    In 2020, she designed CoFo Cinema1909 (Contrast Foundry) for exclusive use by Moscow's Khudozhestvenny Cinema until Autumn 2022. She was inspired by the Moscow Metro., and in partucular, by the art deco letterforms in the Komsomolskaya station of the Sokolnicheskaya line. [Google] [More]  ⦿

    Cyrillic-T1

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

    Cyr-RFX
    [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]  ⦿

    Daak.ru

    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]  ⦿

    Daap.ru

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

    Dada

    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]  ⦿

    Daiana Dorosieva

    During her studies at National Academy of Art in Sofia, Bulgaria, Daiana Dorosieva designed a Cyrillic art deco typeface (2016), a Cyrillic zebra-stripe typeface (2016), and an octagonal ironwork typeface (2016). [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] [MyFonts] [More]  ⦿

    Daisuke Suzuki
    [VL Gothic]

    [More]  ⦿

    Dalton Maag
    [Canonical Design]

    [More]  ⦿

    Damian Guerrero
    [Cyanotype]

    [MyFonts] [More]  ⦿

    Danee She

    Moscow-based designer of the decorative floral caps typeface Ghzel (2016), Daneehand (2017), Patch (2017: sketched, hatched), Pole Cho (2020: handwriting), and Benoti Grunge (2020: brush font). [Google] [More]  ⦿

    Dangels

    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 Grumer

    Born in 1985, Daniel Grumer studied at the Bezalel Academy of Arts and Design in Jerusalem. In 2015-2016, he studied type designat in the TypeMedia program at KABK in Den Haag.

    At Haaretz, we read: As can be seen in the road signs for Arab communities, to mention just one example, in Israel the Arabic language has been marginalized at the expense of Hebrew. This is further emphasized by the contrast between the square and aggressive Hebrew typefaces of official Israel and the softer and more rounded letters of typical Arabic typefaces, a difference that in fact reflects the balance of powers between the country's Jewish and Arab communities. To achieve visual coordination, equal visibility and presence and peaceful coexistence between these two languages that share a same space while taking a small step for peace, Grumer created Avraham-Ibrahim as his final project as a visual communications major at Jerusalem's Bezalel Academy of Arts and Design in 2014. Grumer, who learned Arabic in the army, got help (over the Internet) from a Jordanian calligraphy designer of Syrian descent. He found another source of inspiration for his typeface in the Hebrew signs written by Arab merchants that "simply make the Hebrew language dance and liberate it from the geometric pressure," he says.

    His graduation typeface at KABK in 2016 is the perfectly balanced tri-lingual (Latin / Arabic / Hebrew) typeface Abraham.

    In 2016, he fine-tuned Peter Bilak's November Hebrew: November is a rational, utilitarian typeface inspired by street signage. Unlike most signage types it also handles long texts with ease. It covers Hebrew script, but also Arabic, Cyrillic, Greek and Latin, and is accompanied by a set of wayfinding symbols. Daniel designed the Condensed and Compressed styles. [Google] [More]  ⦿

    Daniel Johnson

    Canadian type designer. His typefaces:

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

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

    Daniel Lyons
    [Lyons Type]

    [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. Typetype link. [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]  ⦿

    Daniel Vorobyov

    Almaty, Kazakhstan-based designer of the free squarish typeface Furore (2018), and of Cyrillic styles of Yanone Kaffeesatz (2018: free) and Trajan Pro (2018). Note: the Furore he claims as his is in fact made in 2009 by Daniel Pouzeot and Jovanny Lemonad, so there is an unexplained conflict. Also, his Behance name is Pouzeot, so probably it's a question of two aliases for the same designer---welcome to the web's chaos. [Google] [More]  ⦿

    Daniil Vidmich

    Designer at Art Lebedev Studio. In 2019, he released the deco typeface Echelon at Art Lebedev Studio and wrote: Echelon is the most Russian typeface of all. A monumental type that looks like a speeding train and fascinates with its enormous power and strict beauty. A manifesto of rethinking history and its heritage in today's mentality. [Google] [More]  ⦿

    Danil Plyutenko

    In 2014, Pavel Efremov, Danil Plyutenko and Aleksander Smolnikov (Saint Petersburg) co-designed 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]  ⦿

    Daniyar Shape
    [Daniyar Sharipov]

    Brand designer in Saint Petersburg, Russia. In 2021, he designed the inktrapped typeface Gropled for Latin and Cyrillic. [Google] [More]  ⦿

    Daniyar Sharipov
    [Daniyar Shape]

    [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

    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 Durova

    During her studies at RANEPA in Moscow, Daria Durova designed the artsy typeface Dura (2018) and the experimental Cyrillic font Dasha (2019). [Google] [More]  ⦿

    Daria Egorova

    Montenegro-based designer of a Latin / Cyrillic constructivist typeface that is Inspired by russian folk culture and modern technologies such as QR code. [Google] [More]  ⦿

    Daria Elyasova

    Krasnoyarsk, Russia-based designer of several music instrument pictograms (2017) and a thin all caps Cyrillic display sans typeface (2017). [Google] [More]  ⦿

    Daria Grigorieva

    Moscow-based designer of a pixelish typeface for Cyrillic in 2017. [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 Kwon

    Moscow-based designer of the free Latin / Cyrillic script typeface Lemon Tuesday (2016, with Jovanny Lemonad at Typetype). See also Dafont. [Google] [More]  ⦿

    Daria Makarova

    Krasnoyarsk, Russia-based designer of the display typefaces Makarova (2017: sans) and Caravana (2017: squarish), for both Latin and Cyrillic. [Google] [More]  ⦿

    Daria Miazhevich

    Moscow-based designer of the counterless handcrafted poster typeface Strange Party (2016) and the handcrafted typeface Black Rabbit (2018). [Google] [More]  ⦿

    Daria Nikolaeva

    Yekaterinburg, Russia-based designer of the Cyrillic cartoon typeface Decorative (2017). [Google] [More]  ⦿

    Daria Petrova

    Moscow-born type designer who first studied book design in Moscow and communication design in Berlin, and graduated from the Typemedia program at KABK, class of 2016, and is now working for LucasFonts in Berlin. Her graduation thesis, Ritual, is intended for use on gravestones, with sandblasting machines. The multi-style typeface family is German expressionist.

    At Future Fonts, she published the wedge serif display typeface Zangezi (2018), which began as a revival of Keystone Type Foundry's Salem. In 2019, she added Zangezi Sans, and wrote: A new take on the Grotesque genre that is neither cool and rational, nor friendly. Strong color, sharp endings, and an eccentric italic give Zangezi Sans a brutal yet elegant appearance, where "yet" doesn't mean a compromise. Its serpentinous, schizophrenic shapes are an expression of the pure joy of drawing. In 2020, she added Zangezi Sans Text.

    Typefaces from 2021: Zloy (Russian for evil, angry: this a wicked ultra-fat sharp-edged wedge serif poster typeface).

    Speaker at ATypI 2018 in Antwerp on grave markers. Interview. Future Fonts link. [Google] [More]  ⦿

    Daria Prokuda

    Daria Prokuda (Yekaterinburg, Russia) designed the elegnat super-condensed Skyline style Latin / Cyrillic typeface Theodore Glagolev Display (2016). Behance link. [Google] [More]  ⦿

    Daria Sheeborsee

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

    Daria Sinicina

    In 2017, she designed the free Cyrillic typeface Kurica Lapoi. [Google] [More]  ⦿

    Daria Volyanskaya

    After studies in saint Petersburg, Russia, and now located in Egypt, Daria Volyanskaya designed the funky hand-drawn fat poster typeface family Blue Bubblegum (2016). [Google] [More]  ⦿

    Daria Zalyatskaya

    During her studies at Kharkiv State Academy of Design and Art in Ukraine, Daria Zalyatskaya created the decorative typeface Point (2015) for Latin and Cyrillic. [Google] [More]  ⦿

    Daria Zorkina

    Daria Zorkina is a calligrapher and graphic and type designer based in Moscow. She graduated from British Higher School of Art and Design in 2009 and took a type design course from Ilya Ruderman. In 2017-18 was an intern at CSTM fonts type foundry. A talented calligrapher, she published the wavy Latin / Cyrillic variable typeface Flicker in 2020 at Tomorrow Type. Flicker is ideal for advertizing diarrhea medication. At the other end of the variable font spectrum, we find a tall bold condensed movie credit sans.

    In 2021, CSTM Fonts and Type Today released the 42-style sans family Loos (Latin, Cyrillic, Georgian), a typeface designed by Yury Ostromentsky, Ilya Ruderman, and Daria Zorkina. Advisers on Georgian included Alexander Sukiasov and Lasha Giorgadze. [Google] [More]  ⦿

    Darien Valentine
    [Fixedsys]

    [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]  ⦿

    Darina Gorbacheva

    Kiev, Ukraine-based designer of a colorful all caps Cyrillic typeface in 2017. [Google] [More]  ⦿

    Darius Samek
    [Elster Fonts]

    [MyFonts] [More]  ⦿

    Dariya Fonina

    Kiev, Ukraine-based designer of a Cyrillic typeface in 2018. [Google] [More]  ⦿

    Darja Deren

    Moscow-based designer of the warm curvy comic book font Baccello (2017) for Latin and Cyrillic. [Google] [More]  ⦿

    Darko Bogdanov

    Macedonian designer of the free handcrafted Latin / Cyrillic typeface family Darbog (2016). We learn from the information provided inside the fonts that the development was supported by the Ministry of Culture of the Republic of Macedonia. [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 Cherevkova

    Russian type designer. In 2021, Darya Cherevkova and Alexandra Valuikina co-designed the blocky experimental monumental font SK Quadratica (Latin and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Darya Fomicheva

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

    Darya Martynova

    Graphic designer in Moscow who created the straight-edged stick-shaped Cyrillic typeface Mynah (2015) and the experimental 3d typeface Altai (2015). [Google] [More]  ⦿

    Darya Moroz
    [Crowhouse]

    [More]  ⦿

    Darya Zharkova

    Russian designer of the experimental pixelish typeface SK Fillout (a grungy pixelish font) (2021: at Shriftovik) for Latin and Cyrillic. [Google] [MyFonts] [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) and the Cyrillic display typeface Ermilov (2015). [Google] [More]  ⦿

    Dasha Levchuk

    Kiev, Ukraine-based designer of the dry brush Latin / Cyrillic typeface Good Wine (2019). [Google] [More]  ⦿

    Dasha Yarzhambek
    [Yarzhombeck Kunst Group]

    [More]  ⦿

    Dastan Miraj

    Bishkek, Kyrgyzstan-based designer of the free lava lamp typeface Tangak (2016, Latin and Cyrillic).

    Typefaces from 2018: Borsok (a free plump sans typeface), Karabala (a poster typeface), Koyon (a soft brush style for Latin and Cyrillic), Kurut (a rough-edged script), Tez Type (dry brush), Kaimak (heavy upright script). [Google] [More]  ⦿

    Dataestradi Software Publishing Company

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

    Dave Rowland
    [Eclectotype (was: Schizotype)]

    [MyFonts] [More]  ⦿

    David Brezina

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

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

    His typefaces include

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

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

    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]  ⦿

    Dayana Dineva

    In 2015, Dayana Dineva (Sofia, Bulgaria) created a squarish Cyrillic font. [Google] [More]  ⦿

    DBSV
    [Vangelis Dim. Gardikiotis]

    DBSV Moulding Ideas is a creative agency and type foundry 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 and Artios Pro (a narrow techno family).

    In 2016, he designed the informal curvy display typeface Pentathlon Pro. In 2017, he published the Latin / Greek / Cyrillic typeface family Cyceon Pro, and in 2018 Eris Pro.

    Typefaces from 2019: Noema Pro.

    Typefaces from 2020: Saeta Pro (a display family in twelve styles). [Google] [MyFonts] [More]  ⦿

    Decor

    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]  ⦿

    Defaultess
    [Vasil Shishovski]

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

    De(-)fis

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

    Degarism Studio
    [Deni Anggara]

    Berlin, Germany and/or Medan, Indonesia and/or Bandung, Indonesia-based designer who set uo first Degarism Studio and, in 2017, Formatype Foundry.

    His typefaces from 2016: Formatif Std (sans), Fortika Display (first published by Regario), Mono RGO (an octagonal typeface family first published by Vial Work, it has one free weight), and Metrisch (first designed with Gumpita Rahayu). I have no clue as to who is who in this Indonesian conundrum. I suspect that Deni Anggara only did the artwork and not the fonts, but it would be great if he could say that up front. He designed Fold No.21 Mono and Neutrif Pro.

    Typefaces from 2017: Neutrif Studio (a geometric sans), Neurial Grotesk (published in 2018 by Indian Type Foundry), Biotif (grotesque), Folty (a geometric sans), Mono RGO Pro.

    Typefaces from 2018: Monorama (a squarish octagoinal caps only typeface family published at Indian Type Foundry), Alliance (an 28-style grotesk sans), Rileno Sans (geometric sans).

    Typefaces from 2019: Regio Mono (a great monospaced choice, even as a programming font), Folito (a stylish modernist sans at Indian Type Foundry), Blimone and Blimone Inktrap, Aktifo (a geometric sans by Deni Anggara and Boyan Nurdiansyah). Aktifo, in 28 styles, covers Latin and Cyrillic.

    Typefaces from 2020: Bombay Mono (an octagonal typeface at Indian Type Foundry), Fracktif (geometric and grotesk at the same time).

    Behance link. Another Behance link. Cargo Collective link. Creative Market link. Old studio Formika link. [Google] [MyFonts] [More]  ⦿

    DejaVu Fonts
    [Stepan Roh]

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

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

    Alternate download site. Wiki page with download information.

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

    Delicious Type
    [Ron Gilad]

    Delicious Type is an American type foundry, est. 2014 by Ron Gilad. Ron Gilad attended an Israeli technical college, began his career as a programmer, and has been doing commercial design work in his hometown of Haifa.

    Creator of the text typeface Nobilis (2012) at The Cooper Union. Ron's first commercial typeface is Zosimo (2014), a neo-grotesque typeface family. See also Zosimo Pro (2015) and Zosimo Cyrillic (2015). Zosimo Zosimo was created in cooperation with Oded Ezer based on Ezer's Alchemist typeface. [Google] [MyFonts] [More]  ⦿

    Delve Fonts (was: Delve Media Arts)
    [Delve Withrington]

    Delve Withrington (Alameda, CA; b. 1970, Asheville, NC) studied at Savannah College of Art and Design, designed signage, print projects and web pages in addition to designing custom typefaces, worked for Fontshop, and in 2004, joined the type team at Agfa Monotype, which morphed into Monotype Imaging, Redwood City, CA. From Asheville, NC, he moved around and ended up in San Francisco. In 1996, he founded Delve Fonts in Berkeley, CA (in fact, Delve Media Arts, and later renamed Delve Fonts). He has collected a virtually complete list of books on typography. Author index. MyFonts link. Designer of these typefaces:

    • Beleren (2015). A custom typeface for the trading card game Magic: The Gathering (Hasbro).
    • Blasphemy Initials: a free (and also commercial...) spooky font.
    • Blot Test (1999): a dingbat font inspired by the work of noted German psychologist Hermann Rorschach [1885-1922].
    • Cody (1999): an informal comic book face.
    • Continuo (1996): an all caps bilined outline face.
    • Cortina (2011). A futuristic family by Joachim Müller-Lancé.
    • Delve Hand (1996-2003).
    • Eucalyptus Regular.
    • Eulipia (1997-2003): organic.
    • Helfa (2011). Delve writes: Readability is baked in with a generous x-height, fine proportions that have a medium height to width ratio, and reasonable contrast in stroke weight variation.
    • Filmotype Washington (for Font Diner). Designer unidentified.
    • Muskeg. A combination of German expressionism and brush styles.
    • Oktal Mono (2012, a rounded octagonal modular typeface by Joachim Müller-Lancé and Erik Adigard of MAD studio in Sausalito).
    • Peso (1999): an octagonal family inspired by a parking sign discovered in Guanajuato, Mexico.
    • Quara (2009): a techno sans.
    • Smith & Nephew (2003) and Smith & Nephew Cyrillic (2015), rounded sans typefaces in the style of VAG Rounded.
    • Tilden Sans (2004-2009): low contrast, large x-height.
    • Tome Sans (2020). A 10-weight sans superfamily, with a variable font option.
    • Uppercut Angle (2011). A signage typeface by Joachim Müller-Lancé. It was originally developed for the Krav Maga training center of San Francisco.
    • Ysobel (2009; winner of an award at TDC2 2010). Delve co-designed the newspaper type family Ysobel (Monotype) with type designers Robin Nicholas, head of type design at Monotype, and Alice Savoie (Frenchtype, Monotype). The sales pitch: According to Nicholas, the idea for the Ysobel typefaces started when he was asked to create a custom, updated version of the classic Century Schoolbook typeface, which was designed to be an extremely readable typeface - one that made its appearance in school textbooks beginning in the early 1900s. See also Ysobel eText Pro (2013).
    His Art work often involves type. Bitstream's Type Odyssey 2 (2002) has Continuo, Blot Test, Peso, Peso Negative. In 2009, Steven Skaggs designed Rieven Uncial and Rieven Italic at Delve Fonts. Pic.

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

    Delve Withrington
    [Delve Fonts (was: Delve Media Arts)]

    [MyFonts] [More]  ⦿

    Deni Anggara
    [Degarism Studio]

    [MyFonts] [More]  ⦿

    Deni Deneva

    Plovdiv, Bulgaria-based designer of the Cyrillic typeface Modernist (2017). Behance link. [Google] [More]  ⦿

    Deni Todorova

    During her studies at New Bulgarian University in 2016, Deni Todorova (Bremen, Germany) designed a few Cyrillic sans typefaces. [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 Basevich

    Moscow-based designer of the free Latin / Cyrillic vector format font Noize (2018), later renamed to Noise. [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 Bunin

    Jerusalem, Israel-based designer (b. 1986) of the free Hebrew / Latin / Cyrillic pixel typeface Chava (2016) and Frank Ruhl Condensed Alef Revival (2017). Dafont link. [Google] [More]  ⦿

    Denis Disia

    Moscow-based designer of the wonderful Theropoda dinosaur-themed decorative alphabet (2015). [Google] [More]  ⦿

    Denis Ignatov

    Designer in Moscow, Russia, b. 1984. In 2018, he created the rounded sans typeface Coiny Cyrillic for Latin and Cyrillic. This appears to be a cyrillization of Marcelo Magalhães Pereira's Google font Coiny (2015).

    In 2020, he designed the free Latin / Cyrillic display sans typefaces Crosterian, Clickuper (with hexagonal shapes) and Cramaten, as well as the Cyrillic part of Catallina, a free all caps art deco sans typeface designed by Mariano Diez and published by Rostype. Similarly, he designed the Cyrillic part of Lkdown, a free all caps COVID 19-inspired typeface designed by Mariano Diez and published by Rostype. Open Font Library link. [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 Kara
    [Tag Design]

    [More]  ⦿

    Denis Kukushkin

    Ufa, Russia-based designed. In 2019, he added cyrillics to Iordanis Passas's sketched typeface Sanek. [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 free classical roman face. TeX support.

    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. TeX support for Poiret One.

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

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

    In 2017, Denis Masharov and Roman Shchyukin co-designed the custom squarish sans typeface Match TV for the Russian TV sports channel MachTV. Still in 2017, he designed TNT Sans for the Russian entertainment TV channel TNT (on commission for Elena Shanovich, Shandesign).

    Denis did the logo and typeface for the bakery brand Volkonsky in 2017.

    In 2019, he created the Elzevir style titling typeface Matilda Titling for Coronation, а historical TV seriеs by Alexei Uchil. It was inspired by typefaces from Georges Revillon's type foundry, ca. 1860.

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

    Denis Parfyonov

    Moscow-based designer of the Cyrillic display typeface Circus (2017), which combines Bodoni and PF Agora Slab. He also created the Cyrillic potato print typeface Soil (2017). [Google] [More]  ⦿

    Denis Petrov

    Denis Petrov (Ekaterinburg, Russia) created the Latin / Cyrillic typeface Rupster Script (2013). Ruspter, he says, stands for Russian hipster. In 2018, he designed Pigeon Script. [Google] [MyFonts] [More]  ⦿

    Denis Roegel
    [LaTeX Navigator]

    [More]  ⦿

    Denis Serebryakov
    [Serebryakov Type Foundry (or: Serebryakov TF, S TF; was Onetypethree Foundry, or: 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). In 2015, he published the squarish constructivist typeface family Snowstorm.

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

    Denis Smirnov

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

    Denis Volodin

    Russian designer of the angular Cyrillic display typeface Stuzha (2017). [Google] [More]  ⦿

    Denis Yatsutko

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

    Denis Zh

    Moscow-based designer of the octagonal Latin display typeface Cut Piece (2015). [Google] [More]  ⦿

    Dennis Ludlow
    [Sharkshock]

    [MyFonts] [More]  ⦿

    Deodamus Deos

    Art director in Moscow who created the rounded Cyrillic display typeface Pears & Berries Cafe (2015). Behance link. [Google] [More]  ⦿

    DePlictis Type (was: ESS Fonts)
    [Bogdan Balatchi]

    Graphic designer Bogdan Balatchi (DePlictis Type, and before that, ESS Fonts) graduated in 2004 from the Faculty of Arts of West University in Timisoara, Romania. Most of his work is inspired by old Slavic calligraphy.

    Bogdan created the display sans typeface Facebook Letter Faces (2011) and the medieval lettering typeface Kogaion ESS (2011), which are both free. Klauss (2011) and Pain in the sky (2011) are commercial soft techno typefaces.

    In 2012, Bogdan created the groovy typeface Best Party Of The Week-End.

    In 2020, he released BlinkHead (a modular typeface), Damasquine (an art deco-ish Greek enulation font), and Architype AD-2014.

    In 2021, he published Greuceanu (a decorative archaic typeface), Areon Flux (a modular typeface), Squadzone (an urban techno font) and the medieval font Monasterka (for Latin, Greek and Cyrillic). [Google] [MyFonts] [More]  ⦿

    DEPOTzNET

    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 typefaces 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. VLNL Agitka (2010-2020, 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 could originally be bought at Gestalten, but in 2020 the typeface was added to the Vette Letters collection.

    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.

    In 2021, he released VLNL Gindicate at Vette Letters. He explains: The alcoholic beverage Gin is drunk around the world, as far back as the 13th century. Originally distilled as a medicine, it draws its main flavour from juniper berries. Gin is colourless itself but a major ingredient in a long list of famous colourful cocktails. Gimlet, Singapore Sling, Negroni, Charlie Chaplin, French 75, Vesper, Tom Collins, White Lady, Aviation, Monkey Gland, Southside, Gin Gin Mule and New Orleans Fizz are but a few of them. That made us decide it simply cannot be missing from the Vette Letters font collection. Vette Letters designer Henning Brehm originally designed VLNL Gindicate for the 2015 action movie Hitman: Agent 47. It was specifically used for the logo and signage of the maverick Syndicate International organisation in the film. It lay dormant in a folder for a while, when it was reworked into this flashy 5 weight family. [Google] [MyFonts] [More]  ⦿

    DEsign--Moscow
    [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 Nagoya, Japan-based 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, in 2018 by Bebas Neue Semi Rounded and Bebas Neue Rounded, and in 2019 by Bebas Neue Pro. Bebas Neue can now be had for free at Open Font Library and at FontFabric, where new weights and a Cyrillic were added. Bebas Neue v2 is free at Github and Google Fonts. Dedicated web site.

    The connected signage typeface Sneaker Script and the 19th century set of ornaments Gothic Extras followed in 2012 and 2011, respectively. Great Victorian (2012) follows the prototypical Victorian style.

    In 2015, Dharma Type published the great ultra-black creamy signage script Piepie. In 2016, he published the powerful layered Mighty Slab.

    Typefaces from 2017: Pansy Bo (calligraphic), Nothing (script), Daisy Lau (calligraphic), Banana (script), Lily Wang (calligraphic), Calling Code (monospaced programming font), Commuters Sans (elegant wide sans), Mighty Slab, Rigid Square (octagonal), Taro (sans), Concrete Stencil.

    Typfaces from 2018: Victorian Orchid (a transitional text typeface characterized by a Victorian era A and a frolicking lower case g), Dr Slab (an extraordinary layerable and colorable rounded slab poster typeface), Code Saver (a condensed monospaced programming font), Sometype Mono (a free programming font family; MyFonts link).

    Typefaces from 2019: City Boys Soft, City Boys (sans), Slow Tempo (a relaxed sans family), Baby Baby (an experimental layerable font), Dharma Gothic Rounded. Like Dharma Gothic, it is an antiqued condensed sans serif designed inspired by 1800s-style wood type. It comes in 42 styles.

    Typefaces from 2022: Debugger (a 6-style octagonal monospaced programming font).

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

    Di Barros
    [Roberto Teixeira]

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

    Diai

    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 Maldonado
    [Notdef Type]

    [MyFonts] [More]  ⦿

    Diego Sanz Salas

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

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

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

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

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

    diffraction

    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]  ⦿

    Digital Type Company (DTC)
    [Volker Schnebel]

    Volker Schnebel is a German type designer, b. 1950. He started out in 1977 at URW. In 1981, he was consultant for Compugraphic, where he developed 800 bitmap fonts for DEC. With Fritz Renzo Heinze, he founded the Digital Type Company in 1985 in Hamburg. He digitized the 50 basic type families of Monotype, including Arial and Times. He developed the Latin portion of Hiragino Mincho. From 1990 until 1993, he developed 1000 Gravurfonts for Scripta, Paris. After that, he joined URW++, where he is type director and chief type designer. He also is a type designer for Profonts.

    Catalog of Volker Schnebel's typefaces.

    He designed Kronos-Trilogie, DTC Hermes, Imperial and Joker DTC (now at URW++). He digitized Hunziker's Siemens family, and made custom type for Swiss Re and ZF. He created FAZ-Fraktur (with G.G. Lange, at URW, the house font of the Frankfurter Allgemeine Zeitung based on Fette Gotisch; well, Times Ten and Eighteen are the other house fonts of that newspaper) and Biblica (with Kurt Weidemann). He created the Handelsblatt newspaper headline font and corporate type for Swiss Re, ZF, Fujitsu, A1 Easy, and other companies.

    At MyFonts, one can buy Black Market DTC, Hermes DTC and Imperial DTC as well as the SoftMaker families Dirty, Funky, Rough, which come in a total of 37 mostly grungy styles and are dated 1999.

    In 2010, he created Linda (hand-printed, Profonts), Marita Pro (Profonts), Manuel Pro (Profonts) and Martin (a sans; Profonts).

    In 2011, he published Justus Pro at URW, a modern Egyptienne with a humanist touch.

    In 2014, Profonts published his text typeface Martin Pro.

    In 2008, Volker Schnebel designed all the fonts in Nimbus Sans ME, the Middle East range of Nimbus Sans, including Arabic, Farsi, Cyrillic and Hebrew. It was published by URW Global at MyFonts in 2016.

    In 2016, URW++ published Schnebel's 48-style typeface family Kronos Sans Pro and Kronos Sans ME (covering Latin, Greek, Cyrillic, Hebrew and Arabic), and his 48-style URW DIN. Still in 2016, URW publised Bernd Möllenstädt's text typeface Classica Pro, which was unfinished when Möllenstädt died in 2013. The missing styles and details were filled in under the guidance of Volker Schnebel.

    Typefaces from 2017: URW Form (80 styles, based on Futura), and Schnebel Sans Pro (48 styles), actually designed in 2016, and perhaps his crowning achievement. He writes: It took me 12 years to bring this extensive font family to completion. A lot has been changed, transformed, peeled and developed in all those years. For many of my projects I used it as my quarry and so it might have become something like a synthesis of all my imaginations and experiences. To me Schnebel Sans represents the optimal design of a contemporary grotesque that perfectly unites dynamics with statics. For copy text the typefaces are very legible, neutrally and remain in the background, but despite this generate the necessary tension when set as headlines. It is available as a Pro Font, containing West, East Greek, and Cyrillic or as the Schnebel Sans ME, also containing Arabic and Hebrew. It is perhaps a renaming of Kronos Sans Pro.

    In 2018, he published the 36-style family Schnebel Slab Pro at URW.

    In 2019, Volker Schnebel (URW) and Arlette Boutros joined forces and published URW DIN Arabic.

    Catalog of DTC's typefaces. [Google] [MyFonts] [More]  ⦿

    Dima Buko

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

    Dima Karlov

    Graphic designerr in Moscow who made a colorful Cyrillic stencil alphabet dedicated to Neville Brody (2015). Other typefaces for Latin and Cyrillic include Hollow Pixels (2015), Adhesive Tape (2015), and Multicolore (2015, a rounded sans done for his graduation). He also designed the pictograms Olympic Gods (2015) and Sportsmen (2015). 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]  ⦿

    Dima Pole
    [Slovolitni de Grande Tartaria]

    [MyFonts] [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]  ⦿

    DimitriAna
    [Anastasia Dimitriadi]

    Athens, Greece-based designer of the free Latin / Greek handcrafted poster typeface Sunday (2014, Fontfabric) and the commercial poster typeface Silhouette (2014).

    In 2015, she and Iordanis Passas created the gorgeous Finos, which was inspired by Greek retro cinema (buy it here and check the free demo). Her second typeface of 2015 is the equally impressive deco script typeface family Magellan (in Deco and Script sub-styles). Marpesia (2015) is a connected calligraphic script typeface. Charming (2015) is a free spurred vintage tattoo typeface for Latin, Greek and Cyrillic. Adalberta (2015) is a great connected script typeface.

    Typefaces from 2016: Sketchbook Script (+Pro), Old Harbour (vintage lettering collection consisting of Blue waves, Blue waves striped, Captain's pipe, Captain's pipe Sans, Sailor's tattoo, Sailor's tattoo Sans, Old Ship, Old Anchor, Old Lighthouse, Seashells, Starfish, Old Harbour dingbats), Juvenile.

    Typefaces from 2017: Lady Marmalade (a textured, almost painted, coffee shop lettering font), Footbridge (brush script), Novaturient (Latin / Greek; a wild calligraphic font), Thirsty Heart.

    Typefaces from 2018: Hayao's Letters (fantastic drop caps that pay tribute to Hayao Miyazaki and his magical films), Chalky Letters (a multilayered font collection).

    Typefaces from 2020: French Armoire (a formal calligraphic typeface), Patmos Sans, Patmos Serif (an old Slavonic emulation typeface for Latin, Greek and Cyrillic).

    Typefaces from 2021: Folk Zodiac Signs. [Google] [MyFonts] [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). [Google] [MyFonts] [More]  ⦿

    Dimitry Ochakov

    Dimitry (or Dmitry) Ochakov is the Makhachkala / Rostov-on-Don, Russia-based designer of the circle-based Latin font Done (2014). In 2022, he released the circle-themed organic sans typeface Ring (16 styles) and its companions Ring Soft (a rounded circle-based sans with baby soft curves, just right for fluffy toilet paper commercials; 8 styles) and Ring Slab (16 styles). The ring family was inspired by the Bauhaus movement and cover Latin and Cyrillic. [Google] [MyFonts] [More]  ⦿

    Dinar Misochka

    Dutch designer of a grungy Cyrillic typeface in 2017. [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. [Google] [More]  ⦿

    Dino dos Santos
    [dstype]

    [MyFonts] [More]  ⦿

    DJR Type
    [David Jonathan Ross]

    DJR Type (Conway, MA, and before that, Deerfield, MA, and before that Los Angeles, CA, and before that, Lowell, MA) stands for David Jonathan Ross Type. Originally from Los Angeles, he was a student at Hampshire College in Amherst, MA, where he studied information design and typographic tradition. In 2007, he joined Font Bureau as a junior designer and was assisting with custom projects and expanding Font Bureau's retail library. Soon after that, het set up DJR Type. In 2016, DJR Type joined Type Network and pulled all his typefaces from MyFonts. He also runs Font of the Month Club.

    In 2018, he was the tenth winner of the Charles Peignot Prize. His typefaces:

    • Manicotti (2010). An ultra reversed-stress Western saloon style typeface that won an award at Modern Cyrillic 2014. DJR Manicotti won an award at TDC2 2007. For a free lookalike, see Plagiacotti (2009, Saberrider).
    • Lavinia.
    • Climax Text (2006) is a text and display series that was designed for Hampshire's student newspaper.
    • Trilby (2009, Font Bureau). Trilby is based on a 19th century French Clarendon of wood type fame.
    • Condor (2010, Font Bureau). This is a 60-style art deco family. By 2020, it had a 3-axis (weight, width, italic) variable version.
    • Turnip (2012) is an angular and manly text face, also published at Font Bureau.
    • In 2013, Ross and Roger Blcak revived Nebiolo's Forma for the redesign of Hong Kong Tatler, a fashion mag, supervised and commissioned by Roger Black, who was then based in Hong Kong. Read about the whole process in this piece by Indra Kupferschmid. Page specially dedicated to DJR Forma. In 2021, Belgian national broadcaster VRT picked DJR Forma for all its entire range of media.
    • Bungee (2013, Google Fonts) won an award at TDC 2014. This homeless typeface, which comes in Regular, Hairline, Inline, Outline and Shade versions, is free: Bungee is a font family that celebrates urban signage. It wrangles the Latin alphabet to work vertically as well as horizontally.
    • 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 and in the TDC 2015 Type Design competition. See also the proportionally spaced typewriter family Input Sans.
    • Gimlet (2016). A 112-style Opentype family loosely based on Georg Trump's 1938 typeface, Schadow, and advertized as funky and functional. Ross writes: Gimlet is half Schadow, half imagination, and nothing else. And like its namesake beverage, Gimlet is a little tart, a little sweet, and can really pack a punch. Gimlet Variable Bold Condensed followed in 2019. Gimlet XRay (2020) is an An experimental colorized version of Gimlet that exposes what goes on under the hood of a variable font, visualizing control points, bounding boxes, kerning, etc. Amazingly, this variable color font has six axes, weight, width, oncurve point size, offcurve point size, glyph utline weight and point outline weight.
    • Fern and Fern Micro (2014, Font Bureau). A Venetian typeface designed for screen.
    • Output Sans.
    • Fit (2017, by David Jonathan Ross and Maria Doreuli). A tall black display family that runs from ultra-compressed to very wide. It screams Use me for the Oscars! Fit was first developed as a variable font. It won an award at Granshan 2017.
    • DJR Lab, or Lab Variable (2017), is a free pixelish variable font.
    • Under miscellaneous, we find an untitled French Clarendon and an untitled semi-serif.
    • Font of the Month Club fonts from 2017: Nickel, Roslindale (Roslindale is a text and display serif that takes its inspiration from De Vinne, a Victorian oldstyle typeface named for the nineteenth century printer and attributed to Gustav Schroeder and Nicholas Werner of the Central Type Foundry), Zenith (blackboard bold), Crayonette (a revival of Henry Brehmer's scriptish Crayonette, 1890), Bild (a compressed headline font based on the American gothic type styles from the 20th century; a variable font followed in 2019), Pappardelle Party (spaghetti Western style), Roslindale Text, Klooster (followed in 2021 by Klooster Thin).
    • Font of the Month Club fonts from 2018: Bradley DJR (a revival of the blackletter typeface Bradley, 1895, William H. Bradley), Extraordinaire, Rhody (slab serif), Map Roman (an all caps vintage mapmaker font), Output Sans Hairlines, Rumpus Extended, Roslindale Light, Merit Badge (a variable color font).
    • A tech type virtuoso, he charmed me with his art deco variable font Extraordinaire (2018) that was influenced by the diamond-shaped forms found in the center of the city of Sao Paulo, Brazil.
    • Typefaces from 2019: Heckendon Hairline, a condensed Clarendon.
    • Typefaces from 2020: Dattilo (a variable style revival of Aldo Novarese's slab serif Dattilo (1974)), Pomfret.
    • Typefaces from 2021: Rustique (rustic capitals), Megazoid (a chunky geometric sans), Job Clarendon (with Bethany Heck, who wrote: Job Clarendon is an homage to job printing---display-heavy designs made for posters and flyers in the heyday of letterpress printing. This style of Clarendons was wildly popular in this genre of work, and I've always been interested in how adaptable they were. The style was fattened, squished and stretched to accommodate lines of text both short and long and type foundries across the globe each found their own unique features to contribute to the Clarendon stew. Ross pulled the design to both extremes but had his work cut out as he explained: The chasm between Hairline and Black was far too wide to interpolate across effectively, so I incorporated new drawings in the Extra Light, Regular, and Bold weights to act as additional tentposts to support the design).

    Speaker at ATypI 2016 in Warsaw and at ATypI 2017 in Montreal. Klingspor link. Home page. Adobe link. [Google] [MyFonts] [More]  ⦿

    Dmitri Kainov

    Russian graphic designer who created the futuristic Cyrillic typeface Gorod in 2019. [Google] [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).

    From 2007-2008, he cooperated with Carrois Type Design in the development of a Latin / Cyrillic angular typeface for the Russian Railways called Russian Rail. It consists of Antiqua, Bureau and Grotesque subfamilies.

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

    Dmitrii Belicov

    Russian designer of the handcrafted typeface Gabriell (2015) and the fat finger font Dmilid (2015). Creative Market link. [Google] [More]  ⦿

    Dmitrii Bychkov

    Tolyatti, Russia-based designer of the Cyrillic monoline sans typeface Slon (2017). [Google] [More]  ⦿

    Dmitrii Egorov

    Designer of the free pixel typeface Simple Pixels (2016). I covers Latin, Cyrillic and kana. [Google] [More]  ⦿

    Dmitrii Kaliasin

    Saint Petersburg, Russia-based designer of a custom handcrafted Latin typeface in 2015. Behance link. [Google] [More]  ⦿

    Dmitrii Vlasov

    Moscow-based designer of the pixel typefaces Eight Beats (2017) and Jeebz (2016). Creative Market link. [Google] [More]  ⦿

    Dmitrij Greshnev
    [Green Type]

    [MyFonts] [More]  ⦿

    Dmitriy A. Horoshkin
    [DX Type Foundry]

    [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 Annenkov

    Perm, Russia-based designer of the retro signage fonts Beauford (2015) and California Dreaming (2015), the connected script typeface Jennifer's Flowers (2015) and the heavy calligraphic typeface Magnificent (2015).

    In 2016, he designed the retro signage script fonts Hollywood and Berry Juice. Behance link. [Google] [More]  ⦿

    Dmitriy Chirkov
    [Media Lab (or: Dima Evans)]

    [MyFonts] [More]  ⦿

    Dmitriy Horoshkin's Library

    Dmitriy Horoshkin's library of Rusian books on type and typography include these downloadable texts:

    • Album of written and printed fonts, M.A. Netyksa, 1906
    • Font album of Zemsky typography, Simferopol, 1904-1910
    • Bibliography of Russian typographic fonts, V.Ya. Adaryukov, 1924
    • Bibliography of Russian typographic fonts, V.Ya. Adaryukov, 1924 (electronic book) Rab-book
    • The Art of the Book, A.A. Sidorov, 1922
    • The history of Russian ornament. Museum of the Stroganov School, 1868
    • Font file according to GOST-1947, VNITO Polygraphy and Publishing.
    • Book Proof, N.N. Filippov, 1929
    • Book font, M.V. Bolshakov, 1964
    • Brief information on printing business, P. Kolomnin, 1899
    • Typeface, T.I. Kutsyn, 1950
    • New Russian font V.Mashin, 1906
    • Model fonts of the Military Printing House, 1821
    • Samples of the writings of the Imperial Academy of Sciences, 1862
    • Samples of Slavic-Russian printing from 1491, 1891
    • Samples of the foundry of I. Shcherbakov in St. Petersburg, 1881
    • Samples of text machine fonts of the linotype, Leningrad, 1938
    • Samples of artistic fonts and frames, A.A. Kotlyarov, 1929
    • Piusa Bauer in Warsaw, 1888
    • Font samples (Printing and Bookbinding) Yu.A. Mansfeld, 1904
    • Font samples of the 4th printing house named after E. Sokolova, 1956
    • Font samples, General Staff of the Red Army, 1937
    • Font Samples, Graphic Workshops at Academic Publishing House, 1923
    • Samples of fonts and frames for drawings and plans, A.D. Demkin, 1924
    • Types of fonts and decorations of the printing house of I. Wilborg, B.G.
    • Samples of IAN fonts - "Our Father" and other texts in 325 languages and dialects, 1870
    • Font samples of the St. Petersburg Synodal Printing House, 1902
    • Types of typographic lithography fonts of the Siberian T-v Printing, bg
    • Samples of fonts of A.Transhel's printing house, 1876
    • Samples of fonts of the printing house of the Astrakhan provincial government, 1886
    • Samples of fonts of the printing house of the Moscow Union of Mozhaisk PEC, 1926
    • Samples of fonts of the Printing house of the Central Union, bg
    • Book Design - A Guide to the Preparation of a Manuscript for Printing, L.I. Hessen, 1935
    • Design of the Soviet book, G.G. Guillo, D.V. Konstantinov, 1939
    • Printing ornament B.1, Glagol, 1991
    • Printing ornament B.2, Verb, 1991
    • Font construction, Ya.G. Chernikhov N.A. Sobolev, 2005
    • Guide to the study of ribbon (Rondo) font, A.I. Pechinsky, 1917
    • Russian typographic font. Issues of history and application practice, A.G. Shitsgal, 1974
    • Tutorial of calligraphy and cursive writing, S. Volchenka, 1902
    • Collection of old Russian and Slavic letters, K.D. Dalmatov, 1895
    • Slovolitni O. I. Leman in St. Petersburg and Moscow, Font Catalog, 1915 (?) G. Moscow.
    • Slovolitnya O.O. Gerbek. Fonts and ornaments, 19 ?? g.
    • Collection of fonts. Compiled and published by Mikhail Maimistov, 1912
    • Modern Font, W. Toots, 1966
    • Art fonts, A.M. Jerusalem, 1930
    • Font, B.V. Voronetsky E.D. Kuznetsov, 1967
    • Font in visual agitation, S. I. Smirnov, Third Edition, 1990
    • Fonts and Alphabets, O.V. Snarsky, 1979
    • Fonts for inscriptions on drawings, M.D. Mikeladze, 1961
    • Fonts for projects, plans and maps, A.S. Shuleykin, 1987
    • Fonts and their construction, D.A. Pisarevsky, 1927
    • Fonts and type works, V.V. Grachev, B.G.
    • Typographic fonts, ONSH, ed. A.N. Strelkova, 1974
    • Fonts Development and use, G.M.Baryshnikov, 1997
    • Fonts The educational-methodical manual for cadets of LVTKU, N.A. Shashurin, 1981
    • Aesthetics of the art of font, A. Kapr, 1979

    Local download (with Horoshkin's permission). [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 Sychiov

    Aka Dmitriy Sychoff. Russian designer of many Latin / Cyrillic typefaces at FontStruct. These include Fontain (2021), Kabriolet (2021), High Platform (2021), Mortido (2020), Zpheres C (2020: a Cyrillization of a font by Elmoyenique), Gruz (2020), Fat Thin Co (2018), Kuliboni (2018: a dot matrix font derived from Bodoni), Underground C (2018), Chekhova (2018), Antodot sans (2017: dot matrix style), Chrysalide Old Face (2017: dot matrix font), Zychotropic C (2016: a Western / Italian font), Kirpich (2016: a Western font), Mainz C (2016: blackletter), Dry Heat Cyrillic (2016: a Cyrillization of Christian Munk's Arabic emulation typeface Dry Heat), and Belltower C (2016: a compressed all caps text typeface). [Google] [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 typefaces Invaders Must Die (2010) and Draff (2010).

    Dafont link. [Google] [More]  ⦿

    Dmitry Akindinov
    [Bersearch]

    [More]  ⦿

    Dmitry Alekseev

    Russian designer at Frog 1812 of Frog 1812 Sans (2021; with Vsevolod Syzdykov and Vladislav Zhuk). [Google] [MyFonts] [More]  ⦿

    Dmitry Astakhov

    Penza, Russia-based designer of the free font Pepsi Cyr-Lat (2017), a Cyrillic adaptation By Dmitry Astakhov of 2000 typeface by Jakub Degorski.

    In 2018, he designed the free font Astakhov Brush Hooliganism, the free font Astakhov First Simple, the free font Astakhov Access Degree, Astakhov Dished, the free font Astakhov First One Stripe, and the free font Astakhov First Two Stripes. [Google] [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 Elit

    Novosibirsk, Siberia-based designer of the free old Slavonic style typeface Veles (2017). [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 type foundry, est. 2014 by Dmitry Goloub, the Moscow-based codesigner with Lucas Perdidaão of the free grid-based art deco typeface Bobber (2012, in ai format) and of Alpine (2014). From 2009 until 2010 and again in 2012, he lived in Firenze, Italy.

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

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

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

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

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

    Dmitry Idanov

    Yakutsk, Siberia-based designer of Vintage Handwritten Font (2014). [Google] [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).

    In 2018, Albert Kapitonov and Dmitry Kirsanov revived the early 20th-century typeface Lehmann Egyptian from the Berthold and Lehmann type foundries in St. Petersburg, and published it at Paratype.

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

    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 Liogenky

    Dmitry Liogenky (Vologda, Russia) created the free Cyrillic display typeface Chehov (2015). Behance link. [Google] [More]  ⦿

    Dmitry Loshkin

    Moscow-based designer of the handcrafted Victorian typeface Snake End (2015) and a handcrafted outline font simply called Handdrawn Font (2015). Creative Market link. [Google] [More]  ⦿

    Dmitry Mankoff
    [Artcoast Design (was: Mankoff)]

    [MyFonts] [More]  ⦿

    Dmitry Manoshin

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

    Dmitry Mikhaylov

    Barnaul, Siberia-based designer of the free handcrafted typeface Star Fall (2017). [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 also works at Dancor advertising in Sumy, Ukraine, since 1997. Very prolific, his work includes a substantial number of commissioned typefaces for magazines and companies.

    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, for 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, for the nmagazine Variety), DR Agu (comic book face), DR Agu Sans (2013), DR Agu Script (2016), DR Trafaret (army stencil face), DR Vixi, DR UkrGotika Sans, DR UkrGotika Serif, Tsar Peter, Pelican (for Esquire magazine), Fugue.

    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.

    In 2016, he designed the op-art typeface family DR Lineart.

    In 2017, he published the military stencil font DR Zhek.

    In 2018, he designed DR Ukrainka, which is inspired by the lettering works of these Ukrainian artists of the 1920s: Vasyl Yermilov, Vasyl Krychevscky, Heorhiy Narbut. He also designed Sumy for the branding type for the city of Sumy, Ukraine.

    Rastvortsev won an award in the kanji category at the 22nd Morisawa Type Design competition in 2019 for DR Kruk Single.

    In 2019, on commission for Banda for the National Art Museum of Ukraine, Dmitry Rastvortsev designed the Cyrillic (and Latin) family Namu, which has substyles according to various eras, from 1400 until today. On commission for Vinnytsia, he designed the free typeface family Vinnytsia ((a lapidary) Serif, Sans, City). He finished 2019 with the free sans-serif-display superfamily Kyiv Type, which consists of KyivType Variable, KyivType Sans, KyivType Serif, and KyivType Titling.

    Typefaces from 2020: DR Krapka Rhombus, DR Krapka Round, DR Krapka Square (a set of dot matrix typefaces).

    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 Romanovich

    Moscow-based designer of squarish constructivist L:atin / Cyrillic typeface Groetsque (sic) (2016). [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 Sivukhin

    Moscow-based designer of the Cyrillic part of Matt Cole Wilson's free typeface Anvyl (2017). Behance link. Another URL. [Google] [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 Tektov
    [Tektov Dmitry Type]

    [MyFonts] [More]  ⦿

    Dmitry Vygovsky

    Kiev, Ukraine-based designer of the Cyrillic script typeface Ukraine (2018). [Google] [More]  ⦿

    Dmitry Yu. Bolkhovityanov
    [Cyr-RFX]

    [More]  ⦿

    Dmitry Yu. Bolkhovityanov

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

    Dmytro Dutka

    Graphic designer in Lviv, Ukraine, who created the fat handcrafted Cyrillic poster font Soroka (2017). Named after Bogdan Soroka, it is offered free of charge but the download link does not work. [Google] [More]  ⦿

    Dmytro Iarynch
    [Huh Type Foundry]

    [MyFonts] [More]  ⦿

    Doffdog
    [Alexey Potapov]

    Voronezh, Russia and/or Berlin, Germany-based designer of the (Latin) tattoo typeface Old School (2016).

    In 2017, he designed the calligraphic brush typeface Roseline.

    Typefaces from 2018: Girl Power, Vision, Marker Tag, Ink Master (tattoo font), Stay True.

    Typefaces from 2019: Violet (brush script), King of Rock, Metal, Lisa.

    Typefaces from 2020: Big Fish DD (a handcrafted typeface that screams mental health breakdown).

    Typefaces from 2021: Monster DD (a grungy serif). [Google] [MyFonts] [More]  ⦿

    Dominik Skrabal

    Graduate of Hochschule für Gestaltung und Kunst Zürich, class of 1992. Designer of Method Bold (1994: Cyrillic), Copy (1995) and Cross (2004, a dot matrix typeface). [Google] [More]  ⦿

    Donna Wearmouth

    Designer and art director at The Northern Block in Newcastle upon Tyne, UK. The Northern Block is confusing or totally silent about who designed what, so the information below may be erroneous. Her typefaces:

    • Pablo Balcells, Mariya Vasiljevna Pigoulevskaya and Donna Wearmouth co-designed the industrial sans typeface Ordax (2018).
    • With Jonathan Hill, she co-designed the information design sans typefaces Loew Next (2018, for Latin and Cyrillic) and Loew Next Arabic (2018).
    • Roag (2019). Roag is an industrial geometric sans paying homage to mechanical designs of the 1930s. On Behance, it appears that she designed this font but MyFonts credits Jonathan Hill.
    • Scharf (2019).
    • Frederik (2019).
    • Mynor (2019).
    • Nuber (2019).
    • Spencer (2019).
    [Google] [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; co-designed 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, Diet Didot (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 Linotype Bariton (1997: a great poster typeface in the Zeitgeist of the 1930s).

    In 2014, he designed these typefaces at Paratype: Suvenir Rus (inspired by (psychedelic) artwork of Grigory Klikushin; the original at Double Alex is from 1994), Demosfen (Greek simulation font). Still in 2014, Chekulaev and Akira Kobayashi (Monotype) won a Granshan 2014 award for the Cyrillic typeface SST.

    Typefaces from 2021: Ice Cream (a supermarket font), Altruiste (a ten-style decorative slab serif), Postulat (a 16-style geometric slab serif).

    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. In 2020, the CTAN package was being maintained by Niranjan Vikas Tambe. Gitlab link. [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 typefaces 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
    [Pesic]

    [MyFonts] [More]  ⦿

    Dream Up

    Moscow-based illustrator who designed the vintage typeface Zeppelin Up (2016), the Poetry & Fiction font duo (2016), the thin arts-and-crafts typeface Sublime Up and the brush typefaces Rosemary and Snow Up in 2016. Creative Market link. [Google] [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]  ⦿

    dstype
    [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. Klingspor link. Author of A Letra Portuguesa, a book about Portuguese calligraphy. 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. Acta Var (2020) has two axes, weight and optical size.
    • 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.
    • Apice (2022). A highly structured calligraphic typeface with five optical sizes.
    • Apud and Apud Display (2010): a high-contrast serif family.
    • Aquila (2004).
    • Ardina (2016). Done with Pedro Leal, this text typeface family has three optical sizes.
    • 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.
    • Cimo (2017). A distinguished condensed sans.
    • Cultura, and its improved version Cultura New (2013), a text book typeface family.
    • Decline (1996).
    • Denso (2019). By Dino dos Santos and Pedro Leal: a great condensed variable font with weight, serif and optical size axes.
    • Digno (2022). A fuzzy text typeface family.
    • Dione (2003): a sans; redone in 2009 as Dobra at TypeTrust. See also Dobra Slab (2009).
    • Enorme (2020). Ultra massive and modular 3000-glyph mastodont of a constructivist font, by Pedro Leal and Dino dos Santos.
    • 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 classic 7-style text typeface.
    • Isento and Isento Slab (2017). Both are loosely based on ATF's Times Gothic.
    • Lucius (Sans, Serif) (2022). The Lucius type family began as an attempt to reproduce the Principios Methodicos para as Letras Aldina e Roman---Typo Portuguez, but went went way beyond that in its multi-faceted execution.
    • The Quase family (2017): Quase is a very free interpretation of the types found in the Specimen of Printing Types by William Caslon from 1785. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Subfamilies: Quase Headline (12 styles), Quase Poster, Quase Display, Quase Text.
    • Idem and idem Display (2021).
    • Dino dos Santos and Pedro Leal published Jules in the summer of 2015---a fat fashion mag didone 45-style family inspired by several plates from Portuguese calligrapher Antonio Jacintho de Araujo; it comes in Big, Colossal and Epic. They followed up in 2017 with Jules Text.
    • Kartago (2005): based on Roman inscriptions from Cartago.
    • Keiss (2017) and Keiss Text (2021). A Scotch roman with a lot of contrast. Keiss Text comes in twelve styles and features short descenders and ascenders, along with three very distinct optical sizes. It was designed with contemporary newspapers in mind. In 2021, he added Keiss Title, Keiss Condensed, Keiss Big (14 styles) and Keiss Condensed Big.
    • Large (1999) and Large Pro (2006).
    • In 2020, Dino dos Santos and Pedro Leal designed Larga, which was inspired by the typefaces shown in the specimens of the Fundiçãao Typographica Portuense from 1874. Larga is a wide all caps family and comes with a variable opentype format.
    • Leitura, Leitura Headline, Leitura News, Leitura Sans, Leitura Symbols, Leitura Display (2007): the 31 styles were all made in 2007.
    • Logica (2016). A classical text typeface.
    • Maga (2012). A text family.
    • Methodo (2005): calligraphic penman typefaces.
    • Missiva (2004).
    • Monox and Monox Serif (1998-2000): a monospaced family.
    • Ni Sans, Ni Slab, Ni Serif (2018).
    • Musee (2006): a transitional family with ornaments and borders.
    • Nerva (2004). A subdued Trajan typeface with flaring.
    • Nitida (2017). A 114-font family with five optical sizes.
    • Nyte (2012). A serifed text family.
    • Otite (1995).
    • Outside (1996): grunge.
    • Parco (2021). A compact headline typeface with large x-height.
    • 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).
    • Pratico UI and Pratico Slab UI (2022).
    • 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 originally 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 typefaces.
    • Recita (2019). A sturdy oldstyle text typeface family.
    • Resea (2004) and Resea Consensed: Bank Gothic style typefaces.
    • 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. In 2020, a variable font was added to Solido. Codesigned with Pedro Leal.
    • Synuosa (1999): an experimental typeface showing only the top half of the characters.
    • Tecla (2018). After Printype, a typeface developed in the early twentieth century for the Oliver Typewriter.
    • 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 (2007): 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).
    • Viska (2015, by Dino dos Santos and Pedro Leal) is designed for small print.
    • Volupia (2005): a connected advertising face.

    DS Type also has typefaces by other type designers, such as Pedro Leal. They worked with leading companies, world scale events and well-known design agencies including: Appetite, Banco CTT, Banco Economico, BBDO, CondéNast, CTT Correios de Portugal, Electronic Arts, Errea Communicacion, Erste Bank, ESPN, Expo 2020 Dubai, Fifa World Cup 2018 Russia (the Ducha typeface), Garcia Media, Gatorade, Gruner + Jahr, Hearst, Innovation, King Games, McCann-Erickson, Meredith, Palmer Watson, Pentagram, Sagres, Starbucks, The New York Times (the Nyre typeface), Vox Media and Wolff Olins.

    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 sold OpenType, truetype and Type 1 fonts on CDs or via downloads for just about every platform. It seems that they developed the East European and Cyrillic additions for the DTC font collection of Jon Stern's Minnesota-based Digital Typeface Corp. One of their products was called ProFonts Library. An earlier name of the Hungarian 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. Old defunct MyFonts link. [Google] [MyFonts] [More]  ⦿

    Dual Type
    [Zrinka Buljubasic]

    Originally from Croatia, she studied Visual Communication Design Bachelor and New Media Design Masters at Art Academy of Split, after which she pursued typographic education by attending Type@Cooper Condensed Program in New York and later at TypeMedia Masters of the Royal Academy of Art, The Hague, The Netherlands. She worked for a decade as a graphic and digital designer. Zrinka runs the type and graphic design studio Dual Type with Gen Ramirez.

    Her graduation typeface in the TypeMedia program at KABK was Dalma (2018). Dalma is a carefully manicured roundish display typeface for Latin, Greek and Cyrillic.

    In 2019, Martin Grasser and Zrinka Buljubasic co-designed 188 Sans for And Repeat / Future Fonts. They write: The Regular weight, based loosely on Frank Hinman Pierpont's Monotype Grotesque, calls to mind early 20th century workhorse sans-serifs.

    Co-designer of Sunnyside (2021, Martin Grasser and Zrinka Buljubasic), a slab serif rooted in the aesthetic language of 70's California. Dribble link. [Google] [More]  ⦿

    Dubina Nikolay
    [Intertype Studio]

    [More]  ⦿

    dubna.su

    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 typefaces Saxophone Soprano and Saxophone Baritone.
    • Debelly (2011), one of the best typefaces 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. Followed in 2017 by the gorgeous Kamenica Texture typeface family.
    • 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 and Lumier Rounded (2018).
    • 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.
    • Manzello (2015: a workhorse text typeface).
    • Pleyo (2015). Hand-crafted, perhaps for children's books.
    • Dusan Script (2015).
    • Fartitudo (2015). Just for the name alone, this typeface deserves a medal. Fartitudo is a 3-style handcrafted all caps poster family in a genre that was kickstarted by Pintassilgo in Brazil.
    • Avram Sans (2016).
    • Dambera (2016) and Dambera Retro (2016). A connected script, perhaps suitable for children's books. Crazymond (2016). Hand-crafted semi-connected script.
    • Lunatino (2016). A poster script.
    • Plonker (2016). An all caps hand-printed typeface.
    • Fine New Bonbons (2016). A quaint candy store script.
    • Napolitanka (2016). A delicate high-fashion hifgh-contrast didone.
    • Businessland (2016). A rough handcrafted poster typeface.
    • Escondida. A high-contrast connected script.
    • Alonga (2017). A serif family with considerable contrast characterized by sharp triangular serifs.
    • Nula (2017). A 22-style humanist sans typeface family.
    • Mymoon (2017: a geometric sans in 22 styles), Mymoon Stencil, Mymoon Stencil Texture.
    • Landsick (2018). An intense script.
    • Blond (2018). A sans family that tends towards the humanist side.
    • Penfriend (2018). A script typeface.
    • Modny (2018). A fashion mag Peignotian sans family with a gorgeous inline style.
    • Stropha (2018). A compact slab serif family.
    • Hlad (2018). A distinguished 5-weight incised / lapidary typeface family.
    • Masny (2019). A no-nonsense modern sans family in 22 styles.
    • Connectica (2019). A retro connected script.
    • Dietal (2019). A condensed squarish military parade slab serif. Accompanied by Dietal Sans (2019).
    • Mondish (2019). A stylish sans family, perhaps best suited for fashionable environments.
    • Edicia (2019). A charming serifed typeface family.
    • Plaisir (2020). A serifed text family that oozes style.
    • Roanne (2020). a 44-style sans family characterized by a yawning lower case a.
    • Prego (2020). A 23-style Peignotian sans.
    • Prelom (2020). A retro wedge serif family in 15 styles.
    • Hartia (2020). A 10-style serif.
    • Silqa (2020). An art deco typeface on Novichok.
    • Finoteca (2020). A beatnik font.
    • Kondes (2020). A 20-style condensed squarish sans with variable styles.
    • Lupio (2021). In 20 styles: a variable and static geometric sans family.
    • OK Moral (2021). A Western font.
    • Ragazzi (2021). A 21-style with a didone skeleton but dwarfed serifs and sharper terminals.
    • Metropola (2021). A Victorian era sans accompanied by a variable font.
    • Stray (2021). An 18-style geometric sans for Latin and Cyrillic, with pinched connections.
    • Ancress (2021). A wide geometric sans in 14 styles.
    • Klaud (2021). A 14-style slab serif of Clarendon pedigree.
    • Fabular (2021). A twelve-style display serif.
    • Cat Fight (2021).
    • Bottled Moon (2021). A Victorian serif.
    • Povetarac (2021) and the superfamily consisting of Povetarac Didone, Povetarac Display, Povetarac Sans (2022). Each subfamily has 6 or 12 styles and contains a variable font.
    • Poruka (2022). A monolinear script.
    • King of August (2022). A retro signage script.

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

    Dusan Tomic
    [Protium Design]

    [More]  ⦿

    Dusko Joksimovic
    [Fontex]

    [MyFonts] [More]  ⦿

    DX Type Foundry
    [Dmitriy A. Horoshkin]

    Russian type designer specializing in historical revivals of old Cyrillic typefaces. creator of these Latin / Cyrillic typefaces:

    • DX Akademisch Historisch (2017) and DX Akademisch Schmalfett (2017). Based on Academic narrow bold by the foundry of G. Berthold (St. Petersburg), which in turn is based on the bold, narrow type Sorbonne, 1905-1908 (H. Berthold, Berlin).
    • DX Ampir Border.
    • DX Angelus Mediaval (2017), which is a revival of Angelus Mediaval (H. Berthold, before 1904).
    • DX Cicero (2016).
    • DX Decoration and DX Decoration Two
    • DX Doklad10M
    • DX Egyptian Fett (2017). A revival of a Latin / Cyrillic slab serif typeface from ca. 1870.
    • DX Egyptian Tight
    • DX Elsevier Book
    • DX Grazhdanskiy1710
    • DX Halbfette Mediaval
    • DX Kirillovskiy (2016). Based on font samples in the catalogs of the O.O. Gerbek foundry and the Imperial Academy of Sciences, 1852, 1870.
    • DX Kometa (2017, after the art nouveau typeface Komet by Benjamin Krebs, 1907).
    • DX Lateinisch and DX Lateinisch Book (2013-2015). Based on Lateinisch (1899, Peter Schnorr for H. Berthold, Berlin). The original Cyrillic version goes back to 1901 at Berthold in St. Petersburg.
    • DX Malachite Ornament.
    • DX Medieval Book
    • DX Modern Grotesk (2016). Based on New Grotesque from the foundry of Otton Osipovich Gerbek, which is a Cyrillic version of the Mediaval-Steinschrift font, released in 1908 by J.G. Schelter & Giesecke, Leipzig.
    • DX Old Standard Condensed, DX Old Standard Grotesk No2 (2020), DXOldStandard Condensed No2 (2020), DX Old Standard Revilion and DX Old Standard Wide.
    • Ornament DX Classic Bold.
    • DX Orpheus Ornament (2016).
    • DX Palmyra (2014-2015). O.I. Lehman's Cyriilic font on which DX Palmyra is based was released in 1910 and is in turn based on Ingeborg-Antiqua (1909, Friedrich Kleukens for D. Stempel, Frankfurt).
    • DX Poster
    • DX Rossico Border (2016). Based on a design by O.I. Lehman from 1914.
    • DX Rublenyi
    • DX Russian 1812
    • DX Sprigs Border.
    • DX WolffElsevier (2016).
    • DX Yunost
    [Google] [MyFonts] [More]  ⦿

    Echad Type
    [Cyrill Golikov]

    Russian civil engineer with experience in technical drawing and graphic design. His typefaces:

    • The technical font Alpaim (2020).
    • Kumo Sans (2021). A hand-printed typeface in seven styles.
    • Kantarell, (2022). A sans typeface for Latin and Cyrillic inspired by calligraphy.
    • Gmbh Sans (2022). A 7-style geometric sans advertized as an architectural sans.
    [Google] [MyFonts] [More]  ⦿

    Eclectotype (was: Schizotype)
    [Dave Rowland]

    Type foundry in Sheffield, UK, first called Schizotype, and in 2021 renamed Eclectotype because this is not a foundry that likes to stick to trends or expectations. Its designer, Dave Rowland (b. 1982, Chesterfield) grew up in Sheffield, UK, but was based in Japan, the Philippines, Liverpool, Surat Thani, Thailand, and Koh Samui, Thailand [where he presently lives]. MyFonts Interview.

    He created these fonts in 2009: Quesadilla (signage type, Mexican simulation face), Quesadilla Shadow, Schizotype Scrolls, Quiff, Toothpaste, Astroboy (connected script), Decolletage (art deco), Kazumi Sans, Acid Haus, Dr. Black, Dr. Eric, Soyo Gogo, BMX radical (brush), Team, Miami Hopper, and Tubularis (multiline face), Sickle, Klique (futuristic display face), Uncle Eric (a cartoon face), Praline Smooth (connected script in the style of Mistral), Kwaktur, (blackletter typeface based on the logo of Belgium's Kwak beer), Blackball (another blackletter) and Modulogue (a modular display family).

    Additions in 2010: Christmas Tuscan (a modular Tuscan), Masonic Lodge, Mook (a retro, unicase, bubble font), Toothpaste 2, Gaden Sans (organic monoline typeface that includes a hairline weight), Sizemore (all caps slab headline face), Quickscript (signage face), New Wave.

    Fonts designed in 2011: Brag Pro (like Brag, a Cooper Black alternative), Brag Stencil Pro, Chestnut (curly, hand-printed), Brag (a fat round face in Cooper Black style), Gelato Script (a connected signage face), Brag Stencil (2011), Streetscript (2011, brushy signage face).

    In 2011, he created a quaint text family, Vulpa, with quirky foxtail terminals.

    Typefaces from 2012: Margot (a rounded slab serif described as a lovechild of American Typewriter and Cooper Black), Range Serif (an angular typeface), Pastiche Brush (a brushy connected script inspired by the titles of the 1959 movie Imitation of Life (Wayne Fitzgerald)), Quayside (a bulbous baseball or signage script).

    Typefaces from 2013: Alight Slab (hairline slab), Anultra Slab (a heavy bold slab serif), Ollie (a connected baseball or signage script), Urge Text (an extensive modern text family with ample language support and plenty of mathematical symbols, and large ball terminals).

    Typefaces from 2014: Range Sans (a grotesque sans family with the quirky angular cutouts inherited from Range Serif), Samui Script (upright connected script), Streetscript Redux (signage script), Price Didone (created for setting elegant price tags).

    Typefaces from 2015: Oldskool Script (a connected signage script; one of many quite different commercial fonts with the same name), Hazel Script (a great flowing calligraphic script designed around the time of the birth of his first child, Hazel; the name may create confusion as there is a famous BB&S metal font with the same name), Mastadoni (a fat didone for headlines and fashion mags), Kake (a great creamy sign-painting font), Bali Script (creamy signage script), Flat Sans.

    Typefaces from 2016: Cinema Script (retro movie script), Chill Script (a retro non-brush signage script), Blanket (a soft cursive font, ideal for children's books), Schizotype Grotesk (a very original angry geometric grotesk, with bucketloads of pizzazz), Astrid Grotesk, Asterisk Sans Pro (a versatile humanist sans family for Latin, Greek, and Cyrillic), Strelka Ultra (a retro space age typeface), Revla Serif (beatnik style, emulating randomly positioned handlettering).

    Typefaces from 2017: Duckie (a bubblegum or creamy signage script), Tusque (a layered decorative Tuscan typeface), Ekamai (a tight non-connected creamy signage script), Quinella (seventies script), Delfino Script (retro signage script), Tchig Mono (a special, almost hipster monospace typeface family), Revla Sans (beatnik style), Revla Sans Text, Eroika Slab (a robust wedge serif family).

    Typefaces from 2018: Aziga (descrived by Dave as a high (occasionally reversed) contrast, postmodern, deconstructed-reconstructed, serifless (mostly), fashion didone), Revla Slab (bouncy, beatnik), Galix (subdue futuristic sans family), Gelato Luxe (an update of his earlier Gelato Script), Engria (an angular brush-inspired text typeface).

    Typefaces from 2019: Gelato Fresco (a warm flowing script), Amica Pro (a stocky part humanist part geometric workhorse sans), Galix Mono, Backstroke, Gigantic (an exercise in ultra-fatness).

    Typefaces from 2020: Gelica (a 14-style retro soft serif family influenced by Cooper Black, Goudy Heavyface and Ludlow Black), Capsule (a reverse-stress high-contrast rounded sans-serif), Sausage (a friendly fat rounded typeface that is is unapologetically bold and bulbous. Influenced by magnetic fridge letters, hot dogs and 70s phototype fonts, it is retro, but not cloyingly so).

    Typefaces from 2021: Revla Round (a child-friendly version of Revla Sans), Megumi (a formal hairline fashion mag script), Yink (a bulbous psychedelic experiment).

    Klingspor link. Behance link.

    Showcase of Schizotype's typefaces at MyFonts. Fontspring link. MyFonts interview. [Google] [MyFonts] [More]  ⦿

    Ectaco

    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]  ⦿

    Ed Ashby-Hayter

    During his studies in Falmouth, UK, Ed Ashby-Hayter created the Latin / Cyrillic / Gree sans typeface EAH Rounded (2015). [Google] [More]  ⦿

    Edik Ghabuzyan
    [Armtype]

    [MyFonts] [More]  ⦿

    Eduard Talov

    Rostov, Russia-based designer of the constructivist Curillic typefaces Rostov Velikij and Vologda in 2019. [Google] [More]  ⦿

    Eduardo Manso
    [Emtype]

    [MyFonts] [More]  ⦿

    Eduardo Omar Rodríguez Tunni

    Buenos Aires-based graphic designer and prolific type designer who runs Graphic Design Firm. Since 2005, he has been teaching typography together with Marcela Romero and Pablo Cosgaya at the Centro Cultural Ricardo Rojas. Behance link. Klingspor link. Fontspace link. Google Plus link. Interview by MyFonts. His typefaces, haphazardly organized:

    [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]  ⦿

    Ege Esin
    [Esintype]

    [MyFonts] [More]  ⦿

    Egor Cherkasov

    Egor Cherkasov (Radost Design, Novosibirsk, Russia) created a Cyrillic sans typeface for the identity of Pir Candyr in 2017. Behance link. [Google] [More]  ⦿

    Egor Gorbachev

    Graphic designer in Kharkiv, Ukraine, b. 1994, who created the inspirational rectangle-themed Ukrainian typeface Kilby in 2016. In 2018, he added the eerie script typeface Limbo. [Google] [More]  ⦿

    Egor Myznik

    Codesigner with Jovanny Lemonad in 2008 of Suwi Kisu, a free Latin/Cyrillic display typeface which is pieced together by rocks and stones. Aka GBand. This font was reissued in 2016. Typetype link. [Google] [More]  ⦿

    Egor Pas

    Moscow-based designer. With Peter Bankov at the Prague School of Design, he created an experimental stick font (2016). He also made the Latin / Cyrillic stencil typeface Modul (2016). [Google] [More]  ⦿

    Egor Stremousov

    Novosibirsk, Siberia-based designer. In 2017, he created Memesique, which was announced as a unicase grotesk from the 1960s, and is in true piano key style.

    In 2020 he published FE Planking 2020 (a font for drunks, with letters fighting to stay upright; Latin and Cyrillic), FE Sector (a horizontally segmented font), FE Wrong (a font with deliberate flaws), FE 5 Cent (a pixelish typeface), FE Blacking Out (a dingbat font with blotches for blacking out text), FE Gigant, a typeface that evokes supremacy and Soviet era government buildings. Its massive proportions convey the spirit of Soviet constructivism. [Google] [MyFonts] [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]  ⦿

    Egor Tulin

    Designer, with Ivan Gladkikh (Jovanny Lemonad) of the free typeface Epool (2009), published by Typetype in Russia. [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. Magnel Display followed in 2016.

    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.

    In 2015, Eimantas designed the free German expressionist typeface family Varna.

    In 2017, he designed Signato, a free signature font with loads of alternates. It is based on the manuscript of the Act of Independence of Lithuania, dated 1918.

    Grandis (2019) is a large sans family with a techie feel originally intended for video games. Eimantas writes: The font had to be readable while maintaining sci-fi feel and also to not rely on kerning (most video games don't support it). This meant a large x-height, steep diagonals and squared bowls to reduce the amount of white space between letters.

    Cargocollective link. Old Cargocollective 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 Kishkurno

    Vilnius, Lithuania-based designer of Clip Type (2016) and Ribbon Font (2016, origami style Cyrillic typeface). [Google] [More]  ⦿

    Ekaterina Kochkina

    Originally trained as a journalist in 2009, Ekaterina Kochkina became Art director of the DesignDepot group in Moscow, art director of the Kak magazine and tutor at the British Higher School of Art & Design, also in Moscow. In the TypeMedia program at KABK in Den Haag, Ekaterina Kochkina (Moscow) designed Samsa (2015), an angular display typeface family that has a fat stencil style. [Google] [More]  ⦿

    Ekaterina Malinina

    At the British Higher School of Art and Design in Moscow in 2015, Ekaterina Malinina designed the Latin/Cyrillic text typeface Jurgen and the condensed fashionable Latin/Cyrillic didone typeface Matthias. [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 Tinmey

    Graphic designer in Moscow who made an experimental Cyrillic typeface in 2017. [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]  ⦿

    Ekaterine Novikova

    Russian designer of the Latin / Cyrillic script typeface Basil (2016). [Google] [More]  ⦿

    Ekatherina Galuyan

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

    Ekke Wolf
    [Wannatype (was: Typic)]

    [MyFonts] [More]  ⦿

    Eldesign

    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.

    Jason Koxvold wrote to me in 2017: I knew Edward back in 1990 or so, when I was 13, and he mentored me to a great degree. For a while I worked an internship of sorts at EFF, and then one day, my mother came to see what I was up to---he gave her the job of office manager. He was a tremendously helpful and meaningful person to me then as a very young man with a passion for typography.

    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
    [Blackmoon Foundry (was: La Letteria, or: Anatole Type Foundry)]

    [MyFonts] [More]  ⦿

    Elena Alexandrovna Trofimova

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

    Elena Alexeeva

    Russian designer of Sapiens, a handcrafted 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). This font was developed as a part of a corporate identity project for a pillow shop on the basis of an existing logo. Klingspor link. [Google] [More]  ⦿

    Elena Kowalski
    [Glen Jan]

    [MyFonts] [More]  ⦿

    Elena Kuraeva

    Moscow-based designer of a handcrafted set of Latin typefaces while studying at the British Higher School of Art & Design. [Google] [More]  ⦿

    Elena Maslova

    Moscow-based designer of the Latin / Cyrillic brush script typeface Helena (2017). [Google] [More]  ⦿

    Elena Myshelova

    Saint Petersburg, Russia-based designer of Surrealismus (2015). [Google] [More]  ⦿

    Elena Novoselova

    Born in Ioshkar-oila in 1984, Elena Novoselova graduated from the Moscow State University of Printing Arts in 2006. She also teaches at the British Higher School of Art and Design in Moscow. From 2006 until 2011, she designed type and worked as a calligrapher 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 Bingley (2012, a wonderful transitional text face based on a tombstone script in Oxford), and ALS Mirta (2007-2008), a mild slab serif family that is easy on the eye. Co-designer with Ksenia Erulevich and Taisiya Lushenko of Yandex (2013), a corporate typeface done for Art Lebedev Studio.

    She designed NWT Bodoni (2016).

    MyFonts interview. Art Lebedev link. [Google] [MyFonts] [More]  ⦿

    Elena Paletskaya
    [Hellokisdottir]

    [More]  ⦿

    Elena Saharova

    Elena Saharova (Altaisk and Moscow, Russia) is a graphic designer and art director. She created a cyrillicized version of Nexa Bold in 2013. In 2018, she published the free Latin . / Cyrillic typeface Nexa Replica RU Bold. [Google] [More]  ⦿

    Elena Schneider

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

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

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

    Cargo Collective link.

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

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

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

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

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

    Elena Shkerdina

    Russian codesigner with Jovanny Lemonad of the free Latin / Cyrillic hipster typeface Accuratist (2015). [Google] [More]  ⦿

    Elena Tzaregorodtseva

    Or Yelena 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 typefaces, TextBook excepted.

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

    Elena Voynova

    Moscow-based designer of the free rune emulation typeface Runa (2019) and the handcrafted typefaces Chapa (2019) and Karton (2014, for Latin and Cyrillic). [Google] [More]  ⦿

    Elena Wershinina

    Saint Petersburg, Russia-based designer of the wide connected script typeface Lorraine (2016) and the handcrafted typeface 5Hours (2016). [Google] [More]  ⦿

    Elena Zaitseva

    Moscow-based designer of the handcrafted Cyrillic typeface Eagles and Flies (2016). [Google] [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] [MyFonts] [More]  ⦿

    Eleonora Petrova
    [Rabbit and Pencil]

    [More]  ⦿

    Elisaveta Kalinina

    Russian designer of the spiky techno display typeface SK Coisa (2021) for Latin and Cyrillic. [Google] [MyFonts] [More]  ⦿

    Elitsa Dimitrova

    Sofia, Bulgaria-based student-designer of the thin Cyrillic sans typeface Nomay (2018). [Google] [More]  ⦿

    Elizabeth Kopay-Gora

    Moscow-based designer of a scribbly Cyrillic handwriting typeface that is inspired by Paul Pepperstein's art (2015). [Google] [More]  ⦿

    Elizabeth Moroz

    Clawson, MI-based graphic designer, b. Michigan. In 2015, she created a full set of Cyrillic drop caps. [Google] [More]  ⦿

    Elizaveta Korabelnikova

    Moscow-based designer of a couple of handcrafted Cyrillic typefaces in 2018. [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]  ⦿

    Elro

    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]  ⦿

    Elsa Baussier

    Graphic and type designer based in Paris. Her typefaces:

    • Dixit (2020). A text typeface based on a font by Johannes Enschedé. Dixit covers Latin, Greek and Cyrillic.
    • Salford Sans (2020). An 8-weight headline sans family developed in collaboration Lewis Guffie (Latin, Greek, Cyrillic) and Dave Williams (Latin and Arabic). Elsa did the symbols,
    [Google] [More]  ⦿

    Elster Fonts
    [Darius Samek]

    German designer of:

    • Kontext Dot (2021). A halftone printing font. Still in 2021, this was followed by Kontext H and Kontext V (an experimental font family that plays with optical effects).
    • Billund (2021). A textured marquee font emulating letters made with Lego pieces. Billund covers Latin, Greek and Cyrillic.
    • The six-style gaspipe font Magpie (2021), which comes with additional stencil styles.
    [Google] [MyFonts] [More]  ⦿

    Elvina Gafarova
    [Elvina Studio (was: Elvi Nova)]

    [MyFonts] [More]  ⦿

    Elvina Karimova

    Saint Petersburg, Russia-based designer of Capsula (2019: a Cyrillic piano key stencil font) and Speaker Icons (2019). She also cyrillicized the didone typeface Elephant (2019). [Google] [More]  ⦿

    Elvina Studio (was: Elvi Nova)
    [Elvina Gafarova]

    Russian graphic designer who loves soft tones. Creator of these typefaces:

    • In 2019: Magic (a hand-drawn text typeface in color SVG format) and Father (2019: a script typeface).
    • In 2020: Beatty (an all caps display serif), Bohemy (font duo), C'est Chic (a stylish font duo), Chic Sans, Crush (a fat finger font), Dreamy Bird (handcrafted, SVG format), Fine Art (a font duo), Jefferson (an SVG-format decrative didone), Little Bee (SVG), Magnolia (a stylish serif; caps only), Quotable (handcrafted, SVG style), Boho Icons, Space SVG (handcrafted).
    • In 2021: The Dreamer, Artisa, Desert Dreams (sans), Adore (an ephemeral display serif), Farmhouse (hand-printed), Moonchild (font duo), Collage (a ransom note or collage font in SVG format), Gallery Serif (a stylish serif), Liber (intestinal).
    • In 2022: Adore Serif (a fashion mag serif).
    [Google] [MyFonts] [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]  ⦿

    Elya Baibikova

    As a student at British Higher School of Art & Design in Moscow, Elya Baibikova designed the Scream-style typeface Morkva (2015). [Google] [More]  ⦿

    Embe Studio
    [Malgorzata Bartosik]

    Graphic designer in Warsaw, Poland, who created the cosmic family Solanum (2019) and deco typeface Bohemaz in 2019.

    Typefaces from 2020: Aligant (Peignotian), Kidcut (paper-cut glyphs), Prymityv (a blocky Latin / Cyrillic typeface inspired by East European brutalist architecture), Milky Bar.

    Typefaces from 2021: Kwadrat (a 5-style squarish display family). [Google] [MyFonts] [More]  ⦿

    Emil Karl Bertell
    [Fenotype]

    [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]  ⦿

    Emilia Yankova

    Sofia, Bulgaria-based designer of the Cyrillic display typeface Horo (2019). [Google] [More]  ⦿

    Emma Marichal
    [Minitype]

    [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]  ⦿

    Emmanuel Besse

    Emmanuel Besse holds a degree in typographic design from the Ecole Estienne in Paris. He works on projects ranging from web design and publishing, to typeface design. He co-founded Large with Leo Carbonnet, a design group based in Brussels and Paris. Emmanuel is in charge of Production Type's graphic design.

    In 2018, his road signage typeface Signal PK was published by Production Type. The pictograms in the font were drawn by Donald Choque. Art direction by Julien Lelièvre. Production Type explains: Signal is a typeface that leans on a significant part of the French typographic landscape, the "Caractès" for road signage. These alphabets made by norm, with obscure origins, are present all across the French road network since the 1970s, and are emblematic of its typographic identity. Signal fulfils the broken promise that these alphabets used to make: until now, Caractères existed only in their normative shape (4 incomplete styles named L1, L2, L3, and L4: two of uppercase-only, two of italics only). The few digital fonts available are equally incomplete and mediocre digitization attempts, with poor execution. Specifically designed with urban signage, interface and exhibition design, in mind, this new series (Signal) completes and extends the existing typefaces. The current palette consists in previously unseen romans in two weights and their matching italics, a complete set of accents for multilingual typesetting, numerous arrows and pictograms, and characters for mathematical typesetting. An extra style, Condensed, deformed and excessive, wittily tops the typeface family. As a new ensemble, its demultiplies the potential uses of Caractères, beyond their original purpose, making them notably suited for interface design. In 2020, Production Type launched Signal Mono, and advertized it as a straightforward bureaucratic typeface. It was made by Emmanuel Besse, who was assisted by Julien Lelièvre (art direction), Hugues Gentile (Cyrillic) and Laurane Perrot.

    Together with the Production Type team of Quentin Schmerber and Hugues Gentile, he designed the severe-looking mechanical typeface family Kreuz, which is also a sign of the times---the rise of threatening right-wing dictators in Europe and America.

    Designer of Enduro (2020, Production Type), a sturdy 44-style no-nonsense sans having a Cyrillic that was designed by Marion Sendral.

    Typefaces at Large Projects include Principal (sans) and Norman (condensed sans). [Google] [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]  ⦿

    Emtype
    [Eduardo Manso]

    Emtype is the foundry in Barcelona that was founded in 1997 (in Buenos Aires) by Eduardo Manso. Eduardo was born in Buenos Aires in 1972 and studied graphic design at the Escuela de Artes Visuales Martín A. Malharro and at the Universidad Nacional de Mar del Plata, both in Mar del Plata. Art director of the Argentinian graphic design mag "el Huevo". He currently lives in Barcelona. His typefaces include the pixel font family Dixplay (2003, Emtype), the grunge font Eroxion (1997) and Rina Linea and Rina (2001), all at Bitstream, the Scotch roman text family Bohemia (2004), Andromeda ([T-26]), Garadonis, Fluxus, Ovalus (2005, free dot matrix face), Relato (2005, advertised as a muscular serif family), Relato Sans (2005, which won an award at TDC2 2006), Merss (2000, ITC), Argot (2004, winner of an award at TDC2 2004), Flour, and Flour Inline.

    Argot was renamed Bohemia (published in 2004 with Linotype), and won an award at the Linotype International Type Design Contest 2003. EMT Lorena won an award at TDC2 2007.

    He custom designed Sunday Times Modern (2008) for the Sunday Times.

    Still in 2008, he published Geogrotesque, a semimodular geometric display typeface in 7 styles. Geogrotesque won an award at Tipos Latinos 2010. This was followed in 2009 by Geogrotesque Stencil and in 2015 by Geogrotesque Stencil Italic, Geogrotesque Compressed, Geogrotesque Condensed, and Geogrotesque Extra Compressed. In 2016, he added Geogrotesque Slab, in 2018 Geogrotesque Cyrillic, in 2019 Geogrotesque Expanded and in 2020 Geogrotesque Sharp (98 styles, and a variable font).

    He created the custom typeface La Grilla.

    Periodico (Text, Display) was originally commissioned by the Spanish daily newspaper 'ABC', and was published as a 30-font family with lots of old Spanish ingredients in 2011.

    In 2012 the London agency GBH commissioned Emtype to develop a custom typeface for the Puma football teams for use in the Brazil World Cup 2014 as well as in the national competitions.

    Ciutadella (2012) was originally commissioned by Mario Eskenazi's studio. It is a versatile geometric sans serif, a simple, clean and direct family. In 2015, Emtype published Ciutadella Rounded and in 2016 Ciutadella Slab and Ciutadella Display.

    Typefaces from 2014: Shentox. This squarish nearly monoline typeface family started out from British license plates.

    Camber (2015) is a workhorse sans typeface, slightly squarish and on a geometric base.

    Eduardo's keen eye strikes again in the variable width grotesque typeface family Akkordeon (2017), whose black weight will give Impact serious competition. Akkordeon Slab< (2017) is equally impressive.

    Other typefaces from 2017: Isotonic (a rounded almost monoline sans typeface based on Ciutadella).

    Corporate typefaces: Sunday Times, Lorena Serif (newspaper type; certificate of excellence in TDC2 2007).

    Typefaces from 2018: Steradian (a geometric sans), Aribau Grotesk (a low contrast geometric sans).

    Typefaces from 2019: Approach (a low contrast sans in the style of the earliest grotesques, with slightly angled terminals and plenty of elbow pipes, and a characteristic snub nose "1").

    Typefaces from 2020: Approach Mono (a typewriter or programming font family derived from Approach), Majorant (a stocky monoline avant-garde geometric sans).

    Typefaces from 2021: Classike (a 13-style high contrast squarish display typeface inspired by art deco), Chiaroscura (Eduardo writes: inspired by an art technique, Chiaroscura is a display typeface that conveys elegance and finesse; it has high contrast, sharp terminals and compact vertical proportions that makes it ideal for headlines), Inklination (a low x-height neo-grotesque with five romans, ten italics, five monospaced versions and 50 fun fists and icons).

    Interview in 2013. Myfonts page. Linotype page. Behance link. FontShop link. Klingspor link.

    Catalog of Eduardo Manso's typefaces. View Eduardo Manso's typefaces. View even more of Eduardo Manso's typefaces. [Google] [MyFonts] [More]  ⦿

    Energy

    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]  ⦿

    Erewhon
    [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 Mourier

    Danish graphic designer, b. 1939, who was trained as a lithographer in 1961 at The Graphic College and in 2008 at Denmark's Media and Journalism College, specializing in graphic design. He then taught at the Grafische Højskole between 1966 and 1981 and set up his own drawing room with his wife Mette Mourier.

    His type designs include the labyrinthine alphabet Mourier in 1971, which was revived by Sébastien Hayez in 2002 and published at the open source type foundry Velvetyne in Paris in 2011. Then, in 2020, Ukraininan designer Alex Ash (Alexander Kondratenko) proposed a Cyrillic alphabet expansion of the font, of which he had imagined the capitals. Ariel Martin Perez took this opportunity and developped lowercase letters for Latin and Cyrillic scripts (with feedback from Alex Ash for the Cyrillic), added diacritics and symbols, mastered the font and also created several sets of alternates. [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 (2001, by Ole Schaefer and Erik Spiekermann).
    • 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. Later extensions by Ralph du Carrois and Botio Nikoltchev.
    • 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). Developed jointly with Christian Schwartz and Josh Darden.
    • 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. Open Font Library 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. CTAN link. Google Web Fonts download page. Google web Fonts published Fira Sans Condensed (2012-2016) and Fira Sans Extra Condensed in 2017.
    • 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.
    • In 2015, Fontfont published FF Real, in 13 weights each for FF Real Text and FF Real Head. This typeface family by Erik Spiekermann and Ralph Olivier du Carrois is influenced by the German grotesques from ca. 1900 by foundries such as Theinhardt and H. Berthold AG.
    • In 2022, Erik Spiekermann, Anja Meiners, and Ralph du Carrois published the neo-grotesque superfamily Case at Fontwerk. It includes Micro and Text subfamilies.

    Picture of Eric Spiekermann shot by Chris Lozos at Typo SF in 2012.

    FontShop link.

    View Erik Spiekermann's typefaces. [Google] [MyFonts] [More]  ⦿

    Erin Meekhof

    As a student at Maryland Institute College of Art, Baltimore, MD-based Erin Meekhof designed the didone Cyrillic typeface Shamshyna (2016). Behance link. [Google] [More]  ⦿

    Erken Kagarov

    Art director. Designer of the op art font Opticum at Paratype in 2009. In 2016, he designed a sports shirt font, CSKA, at Art Lebedev for the CSKA ice hockey club.

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

    Erté

    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 my pages, you find an elegant set of capitals and numerals in which the glyphs are formed by elegantly drawn naked women, from The Alphabet Suite (Chicago, 1976).

    Wikipedia. [Google] [More]  ⦿

    Esa Anttikoski
    [Minority languages of Russia on the Net]

    [More]  ⦿

    escort@chat.ru

    Arial and Times Cyrillic families (truetype). [Google] [More]  ⦿

    Esintype
    [Ege Esin]

    Esintype (Turkey) was founded in 2020 by Ali Riza Esin and Ege Esin. In 2020, they co-designed the heavy mechanical industrial all caps slab serif typeface Paverify, which covers Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

    Essqué Productions
    [Stephen M. Knouse]

    Stephen Knouse (Essqué Productions) is the Alaskan designer in Wasilla (b. 1976) of several free fonts. These include the display typeface Petal Glyph (2007), Avante Go (2008, avant-garde) and Avante Return (2008, avant-garde). He also created the free comic book fonts Happy Sans (2009, beatnik style) and Happy Serif (2008), Diagano (2012, monoline avant-garde sans), the trekkie typeface Dark Future (2011), and Neon 80s (2010, a rounded sans in the style of VAG Round but more so a faux neon font).

    Spyced (2012) evokes Arabian nights, lava lamps, and Indian mystery. In 2014, Stephen designed Geo Grid 9 (a kitchen tile font) and Tall & Lean. In 2016, he added the octagonal trekkie font Commander Edge.

    Typefaces from 2021: Power Talks (a bold tuxedoed art deco sans for Latin, Hebrew, Greek and Cyrillic).

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

    estrella1974

    Designer in 2008 at FontStruct of Queen Mab CE, which was cloned from Ben Hamm's Queen Mab. [Google] [More]  ⦿

    ETC Type
    [Mateo Broillet]

    Geneva, Switzerland-based graphic and type designer, b. 1990, who studied at ECAL in Lausanne. Designer of the Trajan column-inspired display serif typeface Nero Alto (2019, published by Typeverything).

    Mateo also designed the free fonts Seymaz (2020; a variable condensed octagonal sans family inspired by the Grecian wood type style from the 19th century) and Sabir Mono (2018; a monospaced programming font with support for Latin, Greek, Cyrillic and Hebrew developed as a student project). Fontesk link to his free typefaces. Github link for ETC Type, where one can also download some of his typefaces. [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).

    Typefaces from 2015: FS Pentagale (a marker pen font). [Google] [More]  ⦿

    Ethan Cohen

    Typeface designer and calligrapher from New York City, where he worked at Mucca and studied typeface design at The Cooper Union's Type@Cooper Extended Program. Graduate of the Type Media program at KABK in Den Haag, The Netherlands, class of 2019. Presently located in Berlin. His typefaces:

    • Sig (2018). An update and extension of Rudolf Koch's blackletter typeface, Wallau. Sig won an award at the Type Directors Club's Type Design Competition 2019. It covers Latin and Cyrillic and features a Basque capital A.
    • His KABK graduation typeface, Decibel (+Text, +Display) (2019). He writes that Decibel embodies the ethos of 1960's and 1970's American funk music: it is quirky, flavorful and syncopated. He writes that Decibel Text was inspired by the charming but naive 19th century British slab serif designs of Caslon, Figgins and Thorowgood.
    • Contrakt (2017). A text typeface family for contracts. He writes: Contrakt is a warm, but sturdy and authoritative, text typeface family inspired by the limited palette of typefaces that were available to me in my former life, when I worked in the legal department at a NYC record label. Contrakt was my final project for the 2016-2017 Type@Cooper Extended Program.
    • Melantius (2016). A revival of Bulmer as it appeared in Cheshire House's 1932 edition of Beaumont & Fletcher's The Maide's Tragedy. Melantius was Ethan's first semester project for the Type@Cooper Extended Program.

    Future Fonts link. [Google] [More]  ⦿

    Eti Vassileva

    Graphic designer and illustrator in Sofia, Bulgaria. Creator of Capitalis Monumentalis (2017, a Cyrillic version of the roman capital style) and Penta Type (2017, an octagonal typeface---unclear why the name refers to a pentagon). [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 Bunin

    Graphic designer based in Kyrgyzstan. In 2020, Eugene Bunin and Christine Beginskaya released the futuristic partly stencil typeface family Gluon.

    In 2020, Eugene released Kellion (a cyberpunk typeface), Hellebore (inspired by the logo and the game Mortal Shel), the dystopian typeface Dredger, the futuristic typeface Akrux, the retro-modern all caps sans typeface Inlow and Esm (a 6-style low contrast Swiss sans for Latin, Greek and Cyrillic).

    Typefaces from 2021: Interite (a modern typeface with didone elements), Covenante (a display serif), Tp1972 (futuristic), Cradock (a 10-style almost monospaced sans), Razorback (techno), Metal Morphosis (octagonal), Neuromancer (a glitch font), Monumentum (a squarish monumentalist typeface), Dissidia, Arkham (an all caps tattoo font), Transmetropolitan (a piano key typeface), Aurelac (a sharp-edged display font).

    Typefaces from 2022: Np1972 (a futuristic font that looks like a matrix), Robert Moore (a comic book typeface family). [Google] [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

    Eugene Yukechev is a designer, typographer and type designer who drifts between Berlin and Moscow. He was born in Novosibirsk, Russia, in 1980. After obtaining a degree in philology and independent practice in editorial and graphic design, Yukechev moved to Moscow to study type design. He graduated in 2010 from the British Higher School of Design in Moscow (Type and Typography program). Since 2013, he runs a Moscow-based Publishing Schrift and Type Journal online (typejournal.ru) with his colleagues. He created typefaces for magazines and books (Kommersant, Financial Director, Intersection, Barcode). Eugene gives lectures and workshops on type design, lettering and typography. He cooperates with Paratype and Fontshop.

    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.

    In 2016, he designed the 12-style text typeface FF Casus for Latin and Cyrillic. When used large, details such as its cut ball terminals and occasionally bracketed serifs make the type friendly and memorable.

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

    Eugenia Tiurikova

    Inspiring graphic design talent in Moscow. During her studies at the British School of Arts and Design in Moscow, she created the hairline Latin / Cyrillic display typefaces Folio (2015) and Liquid Secession (2015). [Google] [More]  ⦿

    Eugeniy Baranov

    Ukrainian designer of the dot matrix font (Latin/Cyrillic) Matricha (1999). [Google] [More]  ⦿

    European Space Agency

    Free custom-designed fonts for the European Space Agency:

    • The original set: ESAProgramme (1995), ESASubtitle (1996), ESATitle (1996). The designers are anonymous. I am hosting these here.
    • NotesESA: the corporate font, used for titles, subheads and some special text. Developed between 2004 and 2008 by Ole Schaefer.
    • Notes Style: A logo font by Ole Schaefer published in 2005.
    • Din Pro Bold and Regular (Albert-Jan Pool for FontShop, 2005) which cover Latin, Greek and Cyrillic.
    • The Sans (1994-2006): Four free weights by Lucas DeGroot.
    • Reykjavik One (2001, Stefan Kjartansson) for captions.
    • Verdana and Georgia used as system fonts.
    [Google] [More]  ⦿

    Eurotype

    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]  ⦿

    Eva Parkhomenko

    As a student at TypeType Education in 2016-2017, she designed the sharp-edged book typeface Aurora. [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]  ⦿

    Evgeniia Zakharova

    Moscow-based designer of the creamy calligraphic typeface Burger (2016) for Latin and Cyrillic. [Google] [More]  ⦿

    Evgenij Dobrovinskii
    [DEsign--Moscow]

    [More]  ⦿

    Evgeniy Agasyanc

    Izhevsk, Russia-based designer of a brush pen set of numerals in 2015. Behance link. [Google] [More]  ⦿

    Evgeniy Agasyants
    [Overtype]

    [MyFonts] [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 Kulkin

    Pyatigorsk, Russia-based designer of the bilined typefaces Caucasus (2019) and Spring (2019). [Google] [More]  ⦿

    Evgeniy Tarasenko

    Moscow, Russia-based designer who made the free piano key stencil typeface Promplate Stencil (2016), the ultra black counterless typeface Blot (2011), the Italian typeface Utug (2015), and the free constructivist art deco typeface Eleventh Square (2015, published by Typetype). He also made nice Transport pictograms (2011, FontStruct).

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

    Evgeniy Voronin

    Saint Petersburg, Russia-based creator of the ink splatter typeface P1 for Latin (2013). [Google] [More]  ⦿

    Evgeniya Klimova

    Moscow-based designer of the connect-the-dots typeface Cosmic (2015). She also designed several sets of smilies and icons. Behance link. [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 Brum

    Samara, Russia-based designer of the free Latin / Cyrillic sans typeface My Frends (sic) (2016). [Google] [More]  ⦿

    Evgeny Bulash
    [Design Station]

    [More]  ⦿

    Evgeny Dneprovsky
    [Fractal Font Factory]

    [MyFonts] [More]  ⦿

    Evgeny Domnikov
    [Hightower.Ru]

    [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
    [Rentafont]

    [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).

    In 2016, together with FontFabric, he designed the great free rough-edged script typeface Resphekt (Latin/Cyrillic).

    Another alias is Robot Smith.

    Behance link. Behance link for ET Lettering Studio. Dribble link. [Google] [MyFonts] [More]  ⦿

    Evgeny Zotov

    Russian designer of the elegant Latin / Cyrillic script typefaces 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]  ⦿

    Experimental Page

    Moscow-based designer of a few compass-and-ruler Cyrillic fonts in 2016. [Google] [More]  ⦿

    Explogos
    [Steve Gardner]

    Suffolk, UK-based creator of many free typefaces. Designer of the free sans typefaces Smiley (2013, a hairline circle-based sans), Larke Sans (2013), Statement (2013), Formation Sans (2013) and Creativ Zoo (2013, +Serif), and the free serif typefaces Formation Serif (2013) and Edmundsbury Serif (2013), and its sans companion Edmundsbury (2013). As Cute As (2013) is a hand-drawn typeface.

    Typefaces from 2014: Larke Neue (sans family), Explogos (a free organic sans typeface, and a 778-glyph commercial extension that covers, e.g., Greek and Cyrillic besides all Latin-based European languages), Squarea (squarish), Cirqua (circle-based sans), Chapaza (transitional text typeface, +Italic), Plateia (a sans typeface for Latin, Greek and Cyrillic), Coughy Machine, Kalypsa (free sans with 2300 glyphs and coverage of Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, IPA Extensions, Spacing Modifying Letters, Combining Diacritical Marks, Greek & Coptic, Cyrillic, Cyrillic Supplement, Latin Extended Additional, Greek Extended, General Punctuation, Superscripts & Subscripts, Currency Symbols, Letterlike Symbols, Number Forms, Mathematical Operators, Coptic), As Cute as Comic, UFont Sans Medium, Bedric's Worth, Pragma Sans, Bold As Cute As, As Cute As Comic.

    Typefaces from 2015: Tretton, Baqacents (sic), Reformation Sans.

    Typefaces from 2016: Tretton Serif, Qaranta Bold.

    Typefaces from 2018: Calamity Wayne (a reverse-contrast slab serif for Latin, Greek and Cyrillic, inspired by the wild west French Clarendons and Italians of the late-1800s).

    Typefaces from 2022: Caliventa (a flared angular text typeface). [Google] [MyFonts] [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]  ⦿

    Extezy

    Orel, Russia-based designer of the Victorian display typeface Decorus (2017). [Google] [More]  ⦿

    Fábrica de tipos
    [Vicente Lamónaca]

    Uruguayan foundry, est. 2011, which also acts as an open forum and blog, on which active participation is welcomed. Their first fonts (which used to be at TipoType) are both by Vicente Lamónaca. They are

    Other fonts in progress: El Tano (2011, a delightful and funky didone experiment by Lamónaca). Rodolfo Fernández Alvarez (who is from Montevideo, Asunción and Málaga) developed EzquerraCursiva (2010), a brush and signage face, based on the work of anarchist painter and letterer Francisco Ezquerra, who was active in Uruguay from ca. 1950 until ca. 1970, after fleeing Spain before World war II.

    View Vicente Lamonaca's typefaces. [Google] [MyFonts] [More]  ⦿

    Faberfonts
    [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 Haag Type (was: ByType, and: Foco Design)
    [Fabio Luiz Haag]

    Fabio Haag Type is Fabio Haag's type foundry in Brazil. Earlier, he ran ByType, the type subdivision of Foco Design, and worke for Dalton Maag's Brazilian division. Fabio Luiz Haag (b. 1981, Taquara, Rio Grande do Sul) is 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 new Creative Director of 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: 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.

    Setimo (2015) was co-designed by Fernando Caro, Ken Gitschier, Fabio Haag and Lukas Paltram at Dalton Maag, and won an award at Tipos Latinos 2016.

    In 2016, Fabio Haag published Lembra (a sans that was created specifically for branding, characterized by tapered terminals) at his new type foundry, Fabio Haag Type, set up after he left Dalton Maag after eight years. Fabio Haag Type grew in 2020 to a team of four, now also including Ana Laydner, Henrique Beier and Eduilson Coan. In 2019, a variable font option was added top Lembra.

    In 2017, he designed the 28-unit legible humanist sans variable font family Margem (Fabio Haag Type), which includes a yummy Rounded subfamily. Still in 2017, he developed the sans typeface Sua, which as a variable option.

    In 2018, he published pictograms for SporTV, a forceful constructivist font for the World Cup 2018 also for SporTV and Furacão (for Atletico Paranaense).

    Typefaces from 2019: Suzano Sans (a commissioned rounded branding typeface done for Suzano).

    Typefaces from 2020: Margem (a fine 7-style rounded sans family by Henrique Beier, Ana Laydner and Eduilson Coan).

    Typefaces from 2021: Seiva (by Henrique Beier, Eduilson Coan and Fabio Haag: a distant relative of Didot, this exotic sans family is partitioned into Text, Display and Poster subfamilies, and welcomes variable font technology), Salva (2021, Fabio Haag Type). A versatile workhorse sans family: Eduilson Coan was the lead designer. He was assisted by the Fabio Haag Type team of Henrique Beier, Ana Laydner and Fabio Haag himself.

    View Fabio Haag's typefaces. Fabio Haag Type. [Google] [MyFonts] [More]  ⦿

    Fabio Luiz Haag
    [Fabio Haag Type (was: ByType, and: Foco Design)]

    [MyFonts] [More]  ⦿

    Fabio Servolo

    Co-founder of Panama. Turin, Italy-based designer of the free ultra-condensed fashionable retro display typeface Granfondo (2018).

    In 2019, he released the free all caps angular headline wedge serif typeface Amagro Bold. The Cyrillic part of that font was designed by Raphael Alegbeleye.

    Fontsquirrel link. [Google] [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 and/or Riga, Latvia-based designer of the pleasingly rough brush typeface Bronks Script (2015) and of the handcrafted typeface Marshmallow (2015). In 2016, she made the dry brush font Density (2016), the brush scripts Firecracker, Caricia, Pepper, Lady in Red (a fine brush script), Asparagus, Siberia (crayon style), Newport (marker font), Emerald and Haiti, Ambrosia Script, the wide calligraphic font Lancaster, the curly watercolor brush script typeface Candyland, Fallen Angel, the Treefrog-style script Lemon, Penelopa, Cutout, and the creamy brush script Marmaris.

    Typefaces from 2017: Cutout, Mucho Gusto (Script+Doodles), Scandinavian (textured, patterned), Golden Boy, Rotterdam (dry brush font), Soft Spot (thick soft brush font), Kaleido (a spectcular brush script), Silentium, Big Brush, Sydney (brush), Woodland, Gizmo (marker font), Typetop (dry brush style). [Google] [More]  ⦿

    Fedor Balashov

    Designer (aka Opex) who used FontStruct in 2008 to create the typefaces 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 Ryabinkina 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
    [russbacks]

    [More]  ⦿

    Fenotype
    [Emil Karl Bertell]

    Fenotype, a Finnish type foundry, 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 typefaces). 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 typefaces), 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 (ultra-condensed), 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: HMS Gilbert (a collection of 14 hand-crfated vintage types), Lager (a signage script family with adaptable swashes and other opentype goodies), Vanilla Shot, Journey (a smooth and elegant vintage script family of four weights and a matching ornament set, packed with alternate characters, and, in Bertell's style, perfect connections between glyphs), Tea Biscuit (signage script), Skipper, Skipper (connected script), Frost (a signage typeface that is just right, a sure award winner), Monday (sign apinting typeface).

    Typefaces from 2016: Jazz Script, Fragola (sign painting font), Syrup (sign painting font), Cosmopolitan (monoline connected script), Bluebell (copperplate calligraphic script), Inkston (vernacular brush script together with the standard handcrafted sans and text styles), Beaujolais (brush script), Black Script (a heavy signage script), Beaujolais (an organic brush script), Cold Brew (signage script), Inkheart (tattoo style).

    Typefaces from 2017: Camper (monoline script, accompanied by Camper Print), Aether Rain (thin script), Thang, Big Fish, Bolton (Bolton Script and Bolton Script, and the degraded Bolton Print pack), Vodka (Slab, Sans, Pen and Brush), Poster Brush, Fresh Press (signage style), Praktika (grotesk), Praktika Rounded, Blossoms, Kitchen (sign painting brush), Letterpress Studio, Takeaway, Aether Rain, Pitcher (baseball script), Karu (a workhorse sans), Bluebell (calligraphic), Roster (signage script), Dog Days, Catsy, Alfons (in Script, Display, Sans, Serif, Tiki, Extras and Ornaments subfamilies), Cosmopolitan (monoline script and sans pair), Snooker (retro signage script), Salty (a creamy brushed signage typeface).

    Typefaces from 2018: Aster Script, Audrey (a monoline script and sans duo), Galatea (a 48-style sans family by Erik and Emil Bertell), Double Porter (an 18-style font collection with scripts, sans, and grunge faces thrown in the mix), Matchstick, Fruitos, Corner Deli (a layerable set of fonts in script and sans styles), Bayamo (a brush script done for Monotype), Sidecar (a connected monoline neon sign script, and a matching sans), Ginger John, Brush Marker, Shirataki (monoline soft pen script), Ash (a crayon font), Breakfast Script, Dallas Print Shop (a display family by Teo Tuominen and Emil Karl Bertell), Capital (a sans and serif family by Teo Tuominen, Erik Jarl Bertell and Emil Karl Bertell). Elixir, Maestri (a classical connected scrupt by Teo Tuominen and Emil Karl Bertell), Popcorn (brush script), Cherry (signage script), Goodwater, Signature Script, Kingfisher (a beer botle signage script), Sonder (brush script).

    Typefaces from 2019: Taurus (an all caps logotype family by Emil Bertell, Erik Bertell and Teo Tuominen), Ex Libris (a high contrast flared serif titling font), Riley (a retro sign painting script), Allison Script, Milky (a sign-painting brush script), Portland (a reverse contrast typeface by Emil Bertell, Erik Bertell and Teo Tuominen), Zeit (a transitional text typeface by Emil Bertell, Erik Bertell and Teo Tuominen), Boardwalk Avenue Rough (a monoline script and a weathered all caps sans), Avion (a sans family by Emil Bertell, Erik Bertell and Teo Tuominen), Yes Script, Gainsborough (script), Florian (a roman typeface with crisp edges and some contrast), Vogue Sans (a haute couture all caps contrast sans), Fabrica (a decorative frilly didone by Emil Bertell, Erik Bertell and Teo Tuominen), Chai (an expressive sans / serif hybrid), Rainmaker Script (monoline), Aequitas (a stylish sharp-edged roman typeface family), Tapas (by Emil Bertell, Erik Bertell and Teo Tuominen: a Serif, Sans, Deco and Script collection), Lawrence (a stylish roman typeface), Kallio Brush (a signage brush script), Morison (a great 32-style wedge serif typeface by Erik and Emil Bertell and Teo Tuominen), Felicity Serif (a juicy bold high-contrast serif), Las Palmas (Brush, Pen, Slab, Condensed), Honey Drops, Explorer, Boardwalk Avenue (a sans/script font duo), Skye (a heavy decorative didone), Leftfield (a retro baseball script), Steak And Cheese, Agile Sans (a humanist sans by Emil Karl Bertell, Erik Jarl Bertell, and Teo Tuominen), Punk Rocker, Silverline, Perfume (Pen, Brush and Sans), Hops And Barley, Allison.

    Typefaces from 2020: Laurel (by Teo Tuominen, Emil Bertell and Erik Bertell: a 4 style sans with amnay wedge elements), Omnipop (Sans, Brush, Script), Paper Tiger (a Victorian Script accompanied by a condensed flared serif in two weights and a chunky sans serif), Resolve Sans (by Teo Tuominen, Emil Bertell and Erik Bertell: an extensive grotesk super family of 124 fonts: from compressed to extended, thin to black), Gambler (a 14-style display type collection), Rockford Sans (2020: an 8-style geometric sans with large x-height and slightly rounded corners; Emil Bertell, Erik Bertell and Teo Tuominen), Slacker (a brush script), Grand Atlantic (a vintage display package), Magnolia (Brush, Serif), Walden (a heavy rustic serif typeface by Emil Bertell, Erik Bertell and Teo Tuominen), Klik (a geometric sans family with Bauhaus influences, by the dynamic trio of Emil Bertell, Erik Bertell and Teo Tuominen), Rose Garden Deluxe (a font duo), Felicity (a heavyweight display sans).

    Typefaces from 2021: Alonzo (a 24-style Peignotian sans by Emil Bertell, Erik Bertell and Teo Tuominen), Imagist (a 12-style sharp-edged serif by Emil Bertell, Erik Bertell and Teo Tuominen), Maine (a 12-style modernized book antiqua by Emil Bertell, Erik Bertell and Teo Tuominen), Briston (a bold creamy serif in the Windsor genre), Lagom (a 16-style slab serif with some Clarendon charm; by Emil Bertell, Erik Bertell and Teo Tuominen), Skillet (a chubby Cooper Black-genre typeface full of hedonism and joie de vivre), Kings Valley (a decorative serif), Shaker Script (monolinear), Wonder (a 12-style rounded serif in the style of Windsor; by Emil Bertell, Erik Bertell and Teo Tuominen), Ellie Script (a signature script), Dirty Sundae (a casual font), Grand Cru (a refined serif family with 36 styles; by Emil Bertell, Erik Bertell and Teo Tuominen), Kiosk (a 4-style vintage headline typeface family in Script and Sans versions).

    Typefaces from 2022: Blood Orange (in the Cooper Black / Windsor / Souvenir genre), Tomato Ketchup (supermarket kitsch in the fat rounded Windsor genre).

    Dafont link. Behance link. Creative Market link. MyFonts interview.

    View the Fenotype typeface library.

    View Emil Bertell's typefaces. [Google] [MyFonts] [More]  ⦿

    Ferdie Balderas
    [Indieferdie]

    [More]  ⦿

    Fernando Díaz
    [TipoType]

    [MyFonts] [More]  ⦿

    Fernando Haro

    Las Palmas de Gran Canaria, Ampuero and Laredo, Spain-based designer (b. 1971) who set up deFharo. Creator of the monoline sans typeface Depez (2011), Fabada (2011), and the free monoline geometric sans typeface La Chata (2011). La chatte, in French? Maybe not.

    In 2011, he made the monoline organic sans typeface Lerótica (free at OFL).

    In 2012, he created Nabatea (stone chisel typeface), V de Vacia (a grungy outline face), Sabática (organic), the straight-edged data style typeface Gabardina, the grotesk typeface A Bebedera, the shadow typeface B de Bonita, D Puntillas, and the deconstructed Qebrada.

    In 2013, he designed Yacarena Ultra, H.H. Agallas, Nacimiento (a dymo label font), J Airplane Swash (a psychedelic typeface named after Jefferson Airplane), CA Garrutas (grunge), CA Gatintas (grunge), I Am Telefono (the largest phone dingbat and scanbat typeface on earth), Wach Op-Art (kaleidoscopic icons), K.O. Activista, I Am Hueca, X Template (stencil), H.H.Samuel (rounded sans), U2 Metalona (a beautiful white-on-black display face), M F Plexus Italic, J.M. Nexus Grotesque (an "thin inline" fat grotesque), Wachinanga, Tabaquera, Pabellona (grunge), El Pececito (video game font), the poster typeface Hobby of Night (OFL), H2O Shadow (outline version of Fabada), Zabatana Poster (a didone-inspired poster font), Oaxaquena Tall, Yacimiento (wood style wedge serif), and Rabanera.

    Typefaces from 2014: Babalusa Cut, A Cuchillada, Sabandija (a plump round display typeface), F2 Tecnocratica, F1 Secuencia Quad (pixel face), La Pejina FFP (bilined), Tabaiba Wild, Gabachita (ultra-condensed rounded sans).

    Typefaces from 2015: Tabarra Pro (Swiss style sans family for Latin, Cyrillic and Greek), A Sogra Ruth (ultra-condensed art deco), Gaban (an outline version of Tabardo), Tabardo (a heavy blocky font), Wacamoler Caps (a Tuscan typeface inspired opening credits of the Western movie Winchester '73 directed by Anthony Mann in 1950), Ubicada (condensed geometric sans), Rabiosa (neurotic font), Zacatecas (condensed shaded sans), F3 Secuencia Round, La Babaca (a powerful black condensed sans in the style of Impact), Obcecada Sans + Serif (condensed with almost disappearing descenders), Eacologica Round Slab (a nice commercial font with an incomplete set of numerals), Palim Script (curly), Vacaciones (signage face), de La Cruz.

    Typefaces from 2016: Yugoslavia (calligraphic), Love Box (stencil), Cienfuegos (connected retro script named after the Cuban her Camilo Cienfuegos), Gaitera Ball (round fat script), The Black Box (a retro banner font), Durum Kebab (shadow sans), Jolgoria In Town (script), Yerbaluisa (signage script), Escobeta One (brush script), Posteratus Rex, Bastardilla (a cursive font), Rotulona Hand, The Juke Box (retro juke box lettering), Angelique Rose (connected monoline script), Promenades, Bucanera (a swashbuckle font), Lucemita, Panama Road (a casual calligraphic font), Deslucida, Disoluta, Sucesion Slab, Tabarra Pro Round, Qebab Pro Shadow, Monserga (white on black), Indulta SemiSerif.

    Typefaces from 2017: Partizano Serif (a retro poster font; free demo), Jack Stanislav (a great condensed movie poster font), Fontanero (rounded fat sans), Yonky (fat slab serif), Zigzageo, Libertatus (manual serif fonts based on a Czech poster from 1935), Libertatus Duas (slab serif), Flamante Sans, Flamante Serif, Flamante (Round, SemiSlab, Stencil, Seca, Cairo, Roma), Seisdedos Dead (rough stencil fonts), Neo Latina (stencil), Carta Magna (blackletter), La Sonnambula (signature script), Bola Ocho (an eightball font), Clandestina (textured, layered), Acratica (signage script), Penitencia Inline, Autarquica (outlined vernacular style), Caminata One (shaded signage typeface), Sin Razon (wedge serif), Glotona Black and White (a layered tattoo style font duo), Glotona Dots (the textured versions of Glotona), 6th Aniversario, Tribal Box (squarish sans, with tattoo ornaments and a great environment for borders), Candy Pop (bubblegum font), Sargento Gorila (army stencil font), Libertinas + co (a curly calligraphic script; the free version has no numerals).

    Typefaces from 2018: Gudariak (a free color SVG font: Vicente Ballester Marco (Valencia 1887-1980) was a graphic designer and Valencian poster artist affiliated with the CNT (Confederacion Nacional del Trabajo) who created political propaganda posters of clear modernist and post-cubist influence during the Spanish Civil War. The Gudariak typeface is inspired mainly by one of the posters he made for the Government of Euskadi and also in others where the author continues to explore this particular typographic style. ), Farisea Fraktur, Octuple Max (techno), Ordeal Eroded, Panfleta Stencil, Secuela (free), Fragua Pro (condensed sans family), Getho (a geometric semi-sans), Cowboya Tuscan (a curly Tuscan circus font), Txuleta Deco (a striped art deco typeface), Coltan Gea (slab serif), Getho Semi Sans, Cowboys (a Tuscan typeface), Drystick Geo Grotesk, Diezma, Grifa Slab, Coltan Gea (slab serif family), Paloseco (geometric and grotesk), Stoica (a color SVG font), Letrera Caps (a rounded square style layered and color font that pays homage to the sans serif inline genre), Enagol Math (a condensed rounded slab serif based on carefully applied mathematical ratios), Heptal, Velocista, Octagen Condensed, Octagen Black, Sextan Serif, Sextan Cyrillic, Quickat (signage script), Octagen (condensed sand with short descenders), Wolframia Script (flowing handwriting), Pentay Slab, Pentay Sans, Pentay Book, Cuatra, Judera (Flat and Ring: monospaced, unicase and totally sqaurish), Quotus (slab serif), Tripleta Grotesk (a 16-style geometric sans family).

    Typefaces from 2019: Pervitina Dex (sci-fi), Megalito Slab, Obesum Caps, Jane Roe (sans), Icons Opentype, Felona (stencil: a variable font), Neo Fobia, Bocartes Fritos (food icons), Red Thinker (a squarish monoline sans), Pena Caldaria (blackletter).

    Typefaces from 2020: Anoxic (a squarish monoline sans).

    Typefaces from 2021: Humato (a sturdy font for weightlifters), Probeta (a squarish techno sans family in 42 styles), Speeday (a speed emulation sans).

    Creative Market link. OFL link. Behance link. Dafont link. Devian tart link. Abstract Fonts link. Fontspace link. [Google] [MyFonts] [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]  ⦿

    Filip Sotirov

    Belgrade, Serbia-based designer of the Latin / Cyrllic typeface Crux (2017). [Google] [More]  ⦿

    Finder

    Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese. [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]  ⦿

    Fixedsys
    [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:

    • Bodoni Flnk.
    • CNR lineare: athletic lettering.
    • Didot Flnk.
    • Doppio Senso: inspired by the 1992 traffic signal typeface in Italy, Transport D.
    • Elettra (2013). A transitional typeface with extra long serifs and several didone traits. For display work.
    • Flanker: classical roman face.
    • Flanker Garaldus (2012). Based on a 1956 font by Aldo Novarese.
    • Griffo Flnk: A multistyle family after typefaces like Bembo.
    • Imperator: a classical roman face.
    • Italian Typewriter (2012). A family of monospaced typewriter typefaces based on Italian typewriters of the thirties and forties.
    • Lello: another classical roman face.
    • Magnificat (2011): after Friedrich Peter's ornamental font from 1975. Free download at Dafont.
    • Marantz: fat art deco face, after the logo of the sound system company.
    • Marlboro Flnk: ultra condensed and tall.
    • Poliphili (2017). This is a serious attempt at a revival of the elegant typeface used in Hypnerotomachia Poliphili (1499, publ. Aldus Manutius) that was cut by Francesco da Bologna. That roman font in turn was a revised version of the type used in 1496 for Pietro Bembo's De Aetna.
    • Flanker Ruano (2013). Based on a chancery typeface by Raffaelo Bertieri (1926).
    • Selene (2013). A monoline sans. Followed by Selene Book (2021: a 14-style geometric sans with art deco influences in some styles).
    • Semplicità (2014-2015): a remake of the art deco sans by Butti and Novarese in 1930.
    • Shock to the system: an original in the cyberpunk style.
    • Sony: after the Sony logo letters.
    • Flanker Tanagra (2022). Leonardo writes about this condensed vintage serif: In order to give new imput to the art of typeface design in Italy, Nebiolo Company held, in March 1910, an artistic competition for a new alphabet conception, so the best-ranked design would be transformed into a real new typeface. 42 competitors participated and, although the first prize was not technically awarded, "Ancora" resulted as the best typeface, created by the designer-typographer Natale Varetti of Turin. Nonetheless, the new alphabet was transformed into a full-fledged metal typeface in 1924, renamed "Tanagra" in honor of the Greek city in the center of Boeotia.
    • There's nothing money can't buy: a sans.
    • Titano: an original art deco sans family.
    • Total Eclipse: futuristic.
    • Traiano: Trajan column style.
    • Travertino: a sans workhorse family.

    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.

    View Leonardo Di Lena's typefaces. [Google] [MyFonts] [More]  ⦿

    Fleha Type
    [Teja Smrekar]

    Participant in the TipoRenesansa workshop in Slovenia in 2010, who designed the angular typeface Arkadika (2010). She also made the pixel typeface Piksna (2010). Her first degree in fine arts was from the University of Maribor. She also has a degree from the Academy of Fine Arts and Design in Ljubljana.

    Arkadika was further developed at tipoRenesansa, 2nd international type design workshop in 2011. At tipoRenesansa, 4th international type design workshop (2012), she created the contemporary serif typeface Paradigma.

    In 2013, Teja received the 2013 Monotype Studentship at the University of Reading. At Reading, her gradaution typeface was Mirna (2014): Mirna is a text typeface for continuos reading with a playful stencil display style. It is suitable for editorial text settings in lifestyle, fashion and health magazines. Display stencil style is suitable for branding and packaging. The typeface is meant to be read on paper printed with high-quality offset printing technology, as well as on high resolution screens and reading devices. Mirna has Greek, Cyrillic and Khmer family extensions.

    In 2019, she set up Fleha Type and promptly published the handcrafted typeface Katka.

    In 2020, Fleha Type released the experimental modular script typeface Trico Script by Mitja Miklavcic and the weathered stencil typeface Linoma.

    In 2022, Teja Smrekar designed Grato Marker at TypeMates. [Google] [MyFonts] [More]  ⦿

    Flëve
    [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]  ⦿

    Font archive

    Russian mini-archive and link site for old slavonic typefaces. In Russian. Many bad links. [Google] [More]  ⦿

    Font Bud
    [Mikolaj Grabowski]

    During his studies in Warsaw, Poland, Mikolaj Grabowski designed the interesting stackable typeface family Epilepsja (2015) and Epilepsja Round (2015). There is a hint of Escher-style 3d effects hidden in this beauty.

    In 2015, he set up his own commercial type foundry.

    Typefaces from 2018: URLOP (a 14-layer color font, with some SVG styles, and covering many multiline and stencil styles).

    Typefaces from 2019: Antifa (for anti-fascist---an ironic use of the blackletter style used by neonazi / fascist groups in Poland), Fushar and Fushar Arabic (a Latin / Arabic colorable and layerable comic book font family).

    Typefaces from 2020: Achtung (an extension of Epilepsja, covering Cyrillic as well). [Google] [MyFonts] [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 cover Latin and Cyrillic:

    All font names starting with "City of" are identical to those starting with "Gorod", the Russian word for city.

    Font City was 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.

    View Font City's typefaces. Klingspor link. MyFonts link for Katherine Shipovsky. [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]  ⦿

    FontaZY
    [Zakhar Yaschin]

    Russian designer (also spelled Zahar Yaschin) of some fonts at Paratype. In 2014, he set up his own commercial type foundry, 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 (2006-2007, a sans family), Zwoelf (2008, with Oleg Pashchenko and Irina Smirnova), ALS Tongyin (2006, an 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 angular Guenter (2001-2009, ParaType: inspired by East German calligrapher Guenter Gnauck), the script typefaces Rondo Script, Treasure (as in signatures), the hand-printed typefaces Art Brush, Art Pencil, Auktyon Z (2001, ParaType, hand-printed), Auktyon Dot Z, Kapelka (2005, ParaType, connected brush lettering), KvadratZ (2001, ParaType: fun sharp-edged typeface; includes dingbats), KvadratWoodZ, KvadratPictZ, the futuristic typefaces Astra, Avangard, the display typefaces MainStormZ, Harry Plotter (2003, ParaType), Elektro_Mech, Elektro_DC, Elektro_AC, the slab typeface Egypt, the comic book typeface Comicz, and the delicate sans typeface Solovets (2008).

    In 2014, Zakhar created the fat paper cutout typeface New Year Poster, Korobok Soft, and Korobok Edgy.

    In 2015, he made the creamy signage script typeface Kapelka New (Paratype).

    Typefaces from 2016: Barberry (script for Latin and Cyrillic).

    Typefaces from 2017: Armavir (a full suite of grunge fonts), Mojito (a vibrant bold script; some additional styles were created by Alexander Lubovenko).

    Typefaces from 2018: Lorna (an upright connected script).

    Typefaces from 2020: Allamare (vbrush script).

    Alternate URL. Behance link. Home page. Art Lebedev link. [Google] [MyFonts] [More]  ⦿

    Fontbilisi (was: Germán León)
    [Germán León]

    Fontbilisi was established by German Leon (b. Madrid, Spain) in 2013. For a while, he was located in Tbilisi, Georgia. Since 2014, he is in Lima, Peru. In 2017, his MyFonts page places his origins in Ukraine. He explains: He was born in Madrid, but crisis and love brought him to Tbilisi, Georgia, from where he is currently designing.

    His first typeface is the quaint Latin slab serif Miraflores (2012). 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.

    In 2017, Leon published GL Parla (a decorative, even playful, typeface derived from didones). Linkedin link. [Google] [MyFonts] [More]  ⦿

    FontBlast
    [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 typefaces).

    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]  ⦿

    Fontef
    [Yanek Iontef]

    Yanek Iontef is a typeface designer and typographer. Born in the USSR in 1963, he emigrated to Israel at the age of 16 and studied graphic design at Bezalel Academy of Arts and Design, graduating there in 1989. He has worked in London and Tel Aviv (for MetaMark International design studio), and taught typography and type design at the Bezalel Academy and at Shenkar College of Engineering and Design. An award-winning type designer, Yanek runs Fontef, his own foundry specializing in Hebrew type design.

    His commercial fonts include FF Cartonnage (2003, a sans family with dingbats thrown in for cardboard boxes), New Cast, CaseSeraSera, Erica Sans, Hadasah Friedlaender, Mandatory. Atzmaut (Independence), and Next Exit, are two of his typefaces that won awards at Bukvaraz 2001.

    In 2016, he designed the free Google Font Frank Ruhl Libre for Latin in Hebrew. The original Frank Rühl was designed in 1908 by Rafael Frank in collaboration with Auto Rühl of the C. F. Rühl foundry of Leipzig. A final version was released in 1910. Many Israeli books, newspapers and magazines use Frank Rühl as their main body text typeface. Iontef's extension and modernization has five styles.

    Neue Frutiger Hebrew (2018), created by Yanek Iontev and a team of designers and font engineers from the Monotype Studio, under the direction of Monotype type director Akira Kobayashi. Yanek Iontef collaborated with Akira Kobayashi and Monotype Studio on Avenir Next Hebrew (2021).

    IBM Plex Sans Hebrew (2019, by Mike Abbink, Paul van der Laan, Pieter van Rosmalen and Yanek Iontef) is a free typeface family at Google Fonts.

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

    Fontello

    Iconic font scissors. This free tool can be used to combine icons into a single font. There is, for example, a tool called svg2ttf. The authors are Roman Shmelev, Vitaly Puzrin and Aleksey Zapparov.

    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

    Github link for Fontello. [Google] [More]  ⦿

    Fontex
    [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]  ⦿

    Fontfabric
    [Svetoslav Simov]

    Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. They design highly innovative typefaces that have lots of style and flair. Most fonts cover both Latin and Cyrillic. Until 2022, their fonts were sold through MyFonts, but gradually they switched to their own independent shop.

    • 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: Uni Sans (first called United Sans), 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 typefaces), 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 typefaces), 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 in the Futura style) 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: Bronn Rust, Bronn Script and Bronn Rust Extras is a handcrafted collection of 22 typefaces created on the coat tails of the hugely popular Nexa Rust and other typefaces in the grungy worn letterpress and layering vogue. The roundish tightly set broad-ranged sans typeface family Panton is sure to make waves for years to come---it is the typeface for mobile devices. Sensa (2015, Radomir Tinkov and Svetoslav Simov) is a handcrafted 21-style family divided into the subfamilies Sensa Brush, Sensa Pen, Sensa Wild, Sensa Sans, Sensa Serif and Sensa Goodies.

    View Fontfabric's typefaces. In 2015, Ani Petrova, Svetoslav Simov and Radomir Tinkov co-designed the 214-style mammoth font system Intro Rust, a rough version of Fontfabric's Intro. The fonts are partitioned over Intro Rust, Intro Script, Intro Head and Intro Goodies. Still in 2015, we find Nexa Script.

    In 2017, Plamen Motev and Svetoslav Simov co-designed Uni Neue, a total remake of Fontfabric's earler typeface Uni Sans (2009). Svetoslav Simov, Plamen Motev and the Fontfabric team (Vladislav Jordanov, Stan Partalev, Mirela Belova, Jacklina Jekova, Nikolay Petroussenko) produced Zing Rust, Zing Sans Rust and Zing Script Rust in the same year: it consists of 521 handmade typefaces.

    In 2018, Mirela Belova and Svetoslav Simov co-designed the 20-style geometric sans typeface family Mont. Svet Simov and Svetlin Balezdrov co-designed the humanist sans family Squad, and Simov published the free all caps flared terminal font Colus in 2018. Gilam was designed in 2018 by Ivan Petrov, Plamen Motev and Svetoslav Simov---it is based on DIN, but is more geometric and has obliquely cut terminals.

    In 2019, Svet Simov, Radomir Tinkov and Stan Partalev designed the 72-strong Noah family of geometric sans typefaces, which is partitioned into four groups by x-height from small (Noah Grotesque) to medium (Noah and Noah Text) to large (Noah Head). Codesigner of Mozer (2019, by Svetoslav Simov, Ani Petrova, Mirela Belova and Nikolay Petrousenko: a condensed headline sans family that covers Latin, Greek and Cyrillic; Mozer SemiBold is free).

    In 2021, Svetoslav Simov and Vika Usmanova dusted off the 18-style update of Mont called Mont Blanc. It has very short descenders and medium-sized ascenders, two variable styles, and some redesigned glyphs. Its biggest problem will be the name---surely, the famous Swiss pen maker Mont Blanc will complain sooner or later about its trademark. I am puzzled about MyFonts, which did not catch this problem when they announced the typeface. In 2021, Simov also co-designed Code Next (a 20-style geometric sans by Svetoslav Simov, Mirela Belova and Stan Partalev; it includes two variable fonts).

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

    Fontforfree.com

    Archive with over 9000 free fonts. The Russian counterpart is FontDarom.cwx.ru. [Google] [More]  ⦿

    Fontmania

    Russian font archive. Has mostly Latin fonts. Blackletter subpage. Cyrillic subpage. Display font subpage. Cyrillic script subpage. [Google] [More]  ⦿

    Fontodrom

    Large Russian font archive. See also here. [Google] [More]  ⦿

    FontShow 98

    Balda Dumbs' free font manager (handles Cyrillic too). [Google] [More]  ⦿

    Fontsmith
    [Jason Smith]

    Jason Smith is the British corporate typeface designer who founded Fontsmith in 1997, where he retailed his own designs from his office in London. He has created a typographic identity for the Post Office in the UK. Phil Garnham was one of the in-house type designers. In January 2020, Fontsmith was acquired by Monotype.

    Smith's custom typefaces include Casey, Seat, Tractebel, PPP Healthcare, Powergen, Allied Irish Bank, UUnet, Channel 4, and Saudi Aramco, Champions (2009: for the UEAFA Champions League), 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), Severstal (2009), and Moto GP (2020: a custom techno / sports font).

    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.

    Most of Jason Smith's typefaces are now at MyFonts, after Monotype's take-over in 2020:

    • FS Albert (2002). A soft-edged sans family by Jason Smith, Mitja Miklavcic and Phil Garnham. Followed by Emanuela Conidi's FS Albert Arabic. In 2007, Jason Smith designed the custom typeface Xerox Sans (+Condensed) as a modification of his FS Albert, to which Greek and Cyrillic alphabets were added as well.
    • FS Aldrin (2016). A rounded sans by Phil Garnham.
    • FS Alvar (2007, Jason Smith and Phil Garnham). A modernist utilitarian headline font family inspired by the work of Alvar Aalto.
    • FS Benjamin (2018). A flared sans serif by Stuart De Rozario.
    • FS Blake (Emanuela Conidi). A sans with some inherent tension.
    • FS Brabo (2015, Fernando Mello). Named after Brabo in Antwerp, FS Brabo was inspired by the Plantin Moretus museum and the garalde styles (Bembo, Garamond, Plantin). FS Brabo won an award at Tipos Latinos 2016.
    • FS Clerkenwell (2004, Jason Smith and Phil Garnham). A slab serif.
    • FS Conrad (2009). A multiline display face by Phil Garnham.
    • FS Dillon. Influenced by the Bauhaus quest for simplicity.
    • FS Elliot (2012). By Nick Job.
    • FS Emeric (2013, Phil Garnham). A large humanist slightly angular sans family. Dedicated web site.
    • FS Hackney. An assertive sans typeface family by Nick Job.
    • FS Industrie (2018). A 70-style techno / mechanical sans family by Fernando Mello and Phil Garnham.
    • FS Ingrid. A humanist sans family by Jason Smith.
    • FS Irwin (2017). An incised typeface inspired by New York, FS Irwin is a sans serif with calligraphic roots.
    • FS Jack (2009, Jason Smith and Fernando Mello). A confident sans family that was awarded at Tipos Latinos 2010.
    • FS Joey (2009, Jason Smith and Fernando Mello). An organic sans typeface family.
    • FS Kim (2018). A joyful display typeface family by Krista Radoeva.
    • FS Kitty (2007, Jason Smith and Phil Garnham). In the Japanese kawaii style.
    • FS Koopman (2018). A sans family designed by Andy Lethbridge and Stuart De Rozario. A hybrid sans workhorse that takes inspiration from Swiss grotesks, American gothics and early British grotesques
    • FS Lola (2006). Originally designed for Wechsler Ross&Portet by Phil Garnham, it is advertised by Fontsmith as a transgender type.
    • Lost + Foundry (2018, Pedro Arilla and Stuart de Rozario). The Lost & Foundry family of seven fonts includes FS Berwick, FS Cattle, FS Century, FS Charity, FS Marlborough, FS Portland and FS St James. The campaign was developed by Fontsmith, M&C Saatchi London and Line Form Colour. The crumbling typefaces of Soho were recovered to be sold online as a collection of display fonts, to fund the House of St Barnabas's work with London's homeless. Fontsmith's designers Stuart de Rozario and Pedro Arilla worked with M&C Saatchi London to develop the fonts.
    • FS Lucas (2016). A geometric sans by Stuart de Rozario.
    • FS Maja. A curvy display typeface.
    • FS Matthew. A sans family.
    • FS Me. 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. Codesigned by Jason Smith, Mitja Miklavcic and Phil Garnham.
    • FS Meridian (by Kristina Jandova). A rhythmic geometric sans family with circular forms.
    • FS Millbank (2015). A wayfinding typeface family by Stuart de Rozario.
    • FS Neruda (2018, by Pedro Arilla). A transitional storytelling text family named after Chilean poet Pablo Neruda.
    • FS Olivia (2012). An angular poetic text typeface family by Eleni Beveratou.
    • FS Ostro (2018, Alessia Mazzarella). A modern typeface family in text and display versions. It brings warmth and fresh air to the cold Italian didones. Its more subdued and less contrasted text version was influenced by Scotch romans. There are also genetic elements of Spanish display types.
    • FS Pele (2007). An ultra fat typeface by Jason Smith and Phil Garnham.
    • FS Pimlico (2011, Fernando Mello). A humanist display sans.
    • FS Rigsby (2005). A sans.
    • FS Rome (Mitja Miklavcic and Emanuela Conidi). An all caps Trajan typeface.
    • FS Rufus (2009). A slab serif by Mitja Miklavcic, Jason Smith and Emanuela Conidi. Described by them as benevolent, quirky, peculiar, offbeat, jelly beans and ice cream, a retro eco warrior.
    • FS Sally (Jason Smith and Phil Garnham). FS Sally Pro won an award at Granshan 2016.
    • FS Sammy (Satwinder Sehmi, Jason Smith). A script typeface.
    • FS Shepton (2015). A calligraphic brush script by Andy Lethbridge.
    • FS Siena (2016). A luxurious fashion mag typeface given a new life in 2016 by Krista Radoeva. Jason Smith had started drawing Siena 25 years earlier. It is delicate, oozes style, and shows touches of Peignot in its contrast.
    • FS Silas Sans (2008, Jason Smith, Bela Frank, Fernando Mello and Phil Garnham).
    • FS Silas Slab (2015, Bela Frank).
    • FS Sinclair (2007-2008). A rounded octagonal typeface by Jason Smith and Phil Garnham.
    • FS Sophie (2004). A feminine sans typeface.
    • FS Split Sans and FS Split Serif (2019, Jason Smith and Fernando Mello). Has a variable type option.
    • FS Truman (2012, Jason Smith and Fernando Mello). A sans family.
    • FS Untitled (2016, Jason Smith and Fernando Mello). Developed for screens.
    [Google] [MyFonts] [More]  ⦿

    Fonts.org.ua
    [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.

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

    Homenko (2020) by Viktor Kharyk, Henadij Zarechnjuk and Konstantin Golovchenko is an update and extension of Vasyl Homenko's metal Ukrainian typeface from 1963-1967.

    Open Font Library link. Old URL. [Google] [MyFonts] [More]  ⦿

    Fontworld
    [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 typefaces. 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 typefaces 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: based on Marek Sigmund's 1975 font, Drogowskaz). He also made the commercial typefaces 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 typefaces), 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]  ⦿

    Fontype
    [Viktor Pesotsky]

    During his studies in Saint Petersburg, Russia, Viktor Pesotsky designed the free modular typeface Eskos Display (2019), the free sans typeface Drab (2019), the free razor-sharp barbed wire font Gusset (2019: for Latin and Cyrillic), the free artsy Latin / Cyrillic variable opentype typeface Brozas (2019) and the free font Koysan (2019).

    Typefaces from 2020: Oskal (a wedge serif in the pointy sendse of the word), Engin (a futuristic font for Latin and Cyrillic), Dulya (an experimental and delightfully irrational font), Krays (a hairline display typeface), Eskos, Drab, Koysan, Fluse (a thin squarish display sans; + Cyrillic).

    Typefaces from 2021: Quasar, Azest (a display sans).

    Type Department link. [Google] [MyFonts] [More]  ⦿

    Forest Diver

    Lviv, Ukraine-based designer of the Cyrillic typeface Derevo (2015). Behance 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]  ⦿

    Forme Type
    [Jeremy Johnson]

    London-based graphic and type designer (b. 1975) who studied at The Royal College of Art, The University of Brighton, and was taught at the Royal College of Art by Margaret Calvert, Malcolm Kennard and Alan Kitching. Creator of the sans typeface family Forme One (2014) and the related typefaces Forme Signage (2015, for wayfinding), Forme Furniture (2015, pixelized), Forme Type Block (2015), Forme Type Ornaments and Geometric Patterns (2015), Forme Pixel Type (2015) and Forme Stencil (2015), a layered typeface family that was carefully crafted based on compass and ruler. Jeremy writes: This typeface derived from a three dimensional stencil with two characters, made from wood manually rotated to create letter shapes.

    In 2017, he designed the 3d pixel font Furniture Type.

    In 2018, he created TextFace Type.

    Graduate of the MATD program at the University of Reading, class of 2020. His graduation typeface was called Forme Grotesque. It comes with a three-axis variable font (weight, slant, optical size). It explores the richness of the 19th century British Grotesque genre, performs remarkably well both on screen and in print, and shines at very small sizes. It also covers Arabic, Cyrillic and Greek. Forme Grotesque was published by Colophon in 2022. [Google] [MyFonts] [More]  ⦿

    FORTECH

    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]  ⦿

    Forth.org

    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]  ⦿

    Fotonija

    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. [Google] [More]  ⦿

    Fox Owl

    Russian designer of the Cyrillic Treefrog-style typeface Igolka (2019). [Google] [More]  ⦿

    Fractal Font Factory
    [Evgeny Dneprovsky]

    Chita, Russia-based designer of the Latin typefaces Halloween (2016, vector format), Angular (2016) and Linear Style (2015).

    Typefaces from 2017: Virgil (a Latin/Cyrillic label font), Fractal (a minimalist sans). In addition, he drew several vector format vintage alphabets.

    In 2019, he published the vintage typeface family Vitage.

    Typefaces from 2020: Bakeryhouse (a vintage layerable font), Black Crow (an 8-style geometric sans family).

    Typefaces from 2021: Angry Monkey (a vintage layered font), Black Beer (a beer bottle blackletter font), Tomahawk (a tattoo font?), Yummy Delivery (a font for food pacakging), Yo ho ho (a pirate font), Yummy Delivery (a cartoon font), Flame Rider (a spiky tattoo or motorcycle gang font), Old Bikers (a multilayer vintage blackletter or tattoo typeface), Scarytale (a spurred typeface), Pirates Rum (a spurred typeface), Fire Needle (a layerable tattoo font). [Google] [MyFonts] [More]  ⦿

    François H. Villebrod
    [Typiko]

    [More]  ⦿

    François Rappo

    Swiss designer (b. 1955) located at Lake Geneva. Recipient of the 2012 Jan Tschichold prize. He is Head of the Master in Art Direction at ECAL/University of Art & Design Lausanne. His typefaces:

    • The gorgeous revival family Didot Elder (published at Optimo, 2004), which is based on work by Pierre Didot from 1819.
    • The stylish typewriter family CEO (2005, Optimo).
    • At B&P Foundry, the serif family LaPolice BP (2007-2008).
    • The Theinhardt family (2009, Optimo), which was named after the (generally accepted) designer of the first sans. It covers Latin, Greek and Cyrillic. An update was issed in 2018.
    • At B&P Swiss Typefaces, he published New Fournier (2011) based on the typography of Pierre-Simon Fournier. It comes in 24 styles.
    • Genath (2011, Optimo). Erik Spiekermann twitters: Best Caslon alternative yet. The typeface is based on a baroque type from the Genath foundry in Basel, and is based on a specimen from 1720 that is most likely Johann Wilhelm Haas's first design in Basel.
    • Clarendon Graphic (2015, Optimo). Comprehensive, perfect, all-encompassing, a new standard for Clarendon. It has 26 styles including some stencil cuts.
    • Plain (2014), Apax (2016) and Rand (2019), a trilogy of grotesque typefaces. Rappo writes: As Plain investigated the rational simplicity of modernism and Apax re-evaluated the visual grammar of constructivism, Rand explores the shapes that brought a certain spirit and warmth to the rigidity of modern design---emerging notably from The New York School. While some glyphs like the a inherit the clarity of Swiss rationalism, other glyphs borrow from design icons such as the from the Westinghouse logo by Paul Rand. Rand also features a nice Rand Mono subfamily.
    • Practice (2016). A typeface family for magazines.
    • JJannon (2019). A revival of Jean Jannon's type from 1641. This 16-style family is crisp and sharp-edged.

    Swiss Type Design link. Pointypo piece on him. [Google] [More]  ⦿

    Francesco Mistico Canovaro
    [Zetafonts (or: Studio Kmzero, or: ZeroFont)]

    [MyFonts] [More]  ⦿

    Franciscus Skaryna

    Also Francysk Skaryna, Francisk Skaryna and Franciscus Scorina de Poloczko, b. 1486 Polazk (white Russia), d. 1541 Prague. Scientist and educator from Polotsk (current Belarus). 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.

    Digital revivals of his typeface include Skaryna 2017 Title (2020, Aliaksei Koval). [Google] [More]  ⦿

    Franck Jalleau

    French type designer, calligrapher, and stonecutter, b. 1962. Franck Jalleau studied at the Ecole des Beaux-Arts de Toulouse and at the Atelier national de Création typographique (ANCT), where he subsequently worked as an instructor until 1990. A type designer, he works primarily in the publishing field and on French administrative documents (the General Tax Code, passports, identity cards, car registration documents, etc.). Since 1990, for the Imprimerie Nationale, he oversees the adaptation of the typographic holdings for digital typesetting. For this effort, the Imprimerie's Garamond was one of the first typefaces he rehabilitated, along with the grecs du Roi. Currently, Franck Jalleau teaches at Ecole Estienne in Paris.

    Franck designed several typefaces for Agfa, Editions Magnard, city of Brive-la-Galliarde, for the NGO ATD Fourth World Movement, etc. In 1987, he engraved the Movement's message in stone, which was installed first at the Place de Trocadéro in Paris, and then at the United Nations in New York, the European Parliament in Strasbourg, the Basilica of St. John Lateran and in Reims Cathedral. Franck Jalleau won the Prix des Graphistes in 1988 and has received several international awards, including the Morisawa Award (Japan) in 1987 and 1996. He has taught type design at the École Estienne since 1991, and he offers training courses in character design in art schools both in France (Toulouse, Caen, Amiens) and abroad. 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 Venetian 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. Interestngly, it features random counter shapes to give that 15th century look. Among Francesco's historical sources is the famous Hypnerotomachia Poliphili printed in 1499 by Aldus Manutius. Subsequently, Francesco was republished by Production Type.
    • 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.
    • In 2016, he designed the monospace sans typeface family Aubusson. Initially designed as a custom typeface by Franck Jalleau for the Cité internationale de la tapisserie d'Aubusson, the monowidth proportions are linked to pattern and tiles arrangements used in tapestry. The retail version of Aubusson offers four weights with matching italics. It was published by Black Foundry.
    Linkedin link. Fascinating interview (in French). FontShop link. Production Type link. [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
    [Faberfonts]

    [MyFonts] [More]  ⦿

    Frantisek Storm
    [Storm Type Foundry]

    [MyFonts] [More]  ⦿

    Franziska Hubmann

    Franziska Hubmann was born in Vienna, Austria, and studied graphic, communication and type design there. She has worked as typographer and type designer ever since. She is associated with Schriftlabor. In 2017, she graduated from the typeface design program at the University of Reading. Her typefaces:

    • The Kurrent style school script font Herlinde (2017).
    • Some revivals based on shop and building signs found in Vienna, such as Kohler Weber, Gemeinde Wien and Thalia Apotheke, all done in 2017.
    • The nicely balanced text typeface family Romanze (Typejockeys), 2015-2017.
    • The provocative angularly disturbed Femme Fatale.
    • Bynx (2017). Her graduation typeface at the University of Reading for Latin, Greek and Cyrillic. It was crafted for editorial design and won an award at Granshan 2017.
    • Plantago (2014). Viktor Solt-Bittner drew logo sketches for an insurance company. After they rejected the design, he turned the sketches into a font family. Later, in 2018, Plantago was expanded, developed and completed by Schriftlabor's type directors Franziska Hubmann and Lisa Schultz.
    [Google] [More]  ⦿

    Frédéric Rich

    French designer (b. 1984) who s based in Montelimar. He 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 (shaded 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. Behance 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]  ⦿

    Free-fonts-ttf.org

    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]  ⦿

    freetype.newmail.ru

    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.type.org.ua

    Free font link collection pointing to Latin and Cyrillic fonts. [Google] [More]  ⦿

    Frere Jones Type
    [Tobias Frere-Jones]

    Celebrated type designer, born in 1970 in New York City. Frere-Jones received a BFA in Graphic Design from the Rhode Island School of Design in 1992. He moved to Boston, where he worked at the Font Bureau until 1999. He joined the faculty of the Yale University School of Art in 1996 and has lectured throughout the United States, Europe and Australia. From 1999 until 2014, he worked for and with Jonathan Hoefler in New York. In 2015, he set up his own type foundry, Frere Jones Type. His old Font Bureau typefaces can be bought since 2020 at Frere Jones / Type Network. His work is in the permanent collections of the Victoria & Albert Museum in London and the Museum of Modern Art in New York. In 2006, The Royal Academy of Visual Arts in The Hague (KABK) awarded him the Gerrit Noordzij Prijs, for his contributions to typographic design, writing and education. In 2013 he received the AIGA Medal, in recognition of exceptional achievements in the field of design.

    His Font Bureau typefaces:

    • Armada (1987-1994). A rigid elliptical sans in many styles. This is a surprisingly beautiful family despite its self-imposed design restrictions. The Compressed Black is a piano key typeface in the style of Wim Crouwel. Font Bureau: An experiment in algorithmic design, Armada follows the verticals and flat arches so often to be found in the architectural geometry of cast iron and brickwork in 19th century American cityscapes.
    • Asphalt (1995). Font Bureau: Who hasn't admired the energy of Antique Olive Nord? All other ultrabolds seem sluggish in comparison. Nord exudes Excoffon's animation and Gallic impatience with the rules. Tobias Frere-Jones cross-bred the weight, proportion, and rhythms of Nord with the casual grace of his own Cafeteria, gaining informality and a dancing vitality on the page.
    • Benton Sans (1995-2003). Created by Tobias frere-Jones and Cyrus Highsmith, it is a revival of Benton's 1903 family, News Gothic, and one of Font Bureau's bestsellers. It is a very complete family, ranging from regular widths to Condensed, Compressed and ExtraCompressed subfamilies. The Small Caps set is complete as well.
    • Benton Modern (1997-2001). Benton Modern was originally undertaken by Tobias Frere-Jones to improve text at The Boston Globe. Widening the text face for the Detroit Free Press, he returned Century's proportions to Morris Fuller Benton's turn-of-the-century ATF Century Expanded, successfully reviving the great news text type. The italic, based on Century Schoolbook Italic, was designed by Richard Lipton and Christian Schwartz, who also added the Bold.
    • Cafeteria (1993). Font Bureau about this cartoonish font: The irregularities normally found in script can enliven sans-serif letterforms. In Cafeteria, Tobias Frere-Jones took special care to balance activity with legibility on the paper napkin that served as his sketchpad, drawing a freeform sans-serif that is condensed but in no way stiff.
    • Citadel (1995).
    • CochinOldstyle (1992), CochinBlack (1991).
    • Eldorado (1993-1994).
    • Epitaph (1993). Drawn around 1880 at the Boston Type Foundry (the Boston branch of American Type Founders), Epitaph was modeled on a graceful Art Nouveau letterform that was bringing a new vitality to gravestone inscriptions at the time. The energy and life of the Vienna Secession alphabet drew the attention of Tobias Frere-Jones, who digitized the original set of titling capitals and added alternate characters for its Font Bureau release.
    • Garage Gothic (1992). In three weights, it is based on parking garage ticket lettering but very reminiscent of license plate characters.
    • Grand Central (1998). Grand Central was designed for 212 Associates from late-twenties capitals hand-painted on the walls of Grand Central Station. Font Bureau writes: The design is a distinguished Beaux Arts descendant of the great French Oldstyle originated by Louis Perrin in Lyons in 1846, known across Europe as Elzevir and in the U.S. as De Vinne.
    • Griffith Gothic (1997-2000). A revival of Chauncey Griffith's telephone book directory typeface, Bell Gothic (1937-1938).
    • Hightower (1994-1996). A Venetian typeface originally done for the Journal of the American Institute of Graphic Arts. Font Bureau: Dissatisfied with others' attempts to bring Nicholas Jenson's 1470 roman up to date, Frere-Jones prepared his version of this calligraphic roman, with his own personal italic.
    • Interstate (1993, Font Bureau). Done for the United States Federal Highway Administration, but later released as a type family by Font Bureau. Interstate Mono (done with Christian Schwartz) followed in 2000, also at Font Bureau. The family is a reinterpretation of Highway Gothic, which has been the official typeface for American highway signage for decades. Its design is ultimately based on signage alphabets developed in the late 1940s by Dr. Theodore Forbes, assisted by J.E. Penton and E.E. Radek.
    • Miller. A Scotch Roman finished in 1997 together with Matthew Carter and Cyrus Highsmith at Font Bureau.
    • Niagara (1994). Almost a skyline typeface. Contains Niagara engraved.
    • FB Nobel (1993). An exquisite geometric sans family based on old ideas of De Roos at Amsterdam who explored alternative character sets to enliven basic Futura forms. Frere-Jones views Nobel as Futura cooked in dirty pots and pans. FB Nobel showcased. The Extra Lights were added by Cyrus Highsmith and Dyana Weissman.
    • Pilsner (1995). A beer bottle typeface. Font Bureau: Sitting in a Paris cafe with a bottle of beer, Tobias Frere-Jones gave his attention to the label. It was set in a roman design wearing blackletter-like clothes, probably to suggest an origin in Alsace or points to the East. Unable to forget the design, with its blocky, straight line emphasis, Tobias designed Pilsner, an exercise in straight lines in an angle-centered scheme.
    • Poynter Old Style (1997, Font Bureau).
    • FB Reactor (1996). This was first a FUSE7 font in 1993). Reactor destroys itself as it is put to use.
    • Reiner Script (1993). Based on a 1951 brush script by Imre Reiner (ATF).
    • Stereo (1993). After a typeface by Karlgeorg Hoefer, 1963 (Font Bureau says 1968).

    At FontFont, he designed the children's fonts FF Dolores (1991) and FF Dolores Cyrillic.

    At FUSE 15, he designed Microphone (1996). At FUSE 10, he published Fibonacci, a font consisting just of lines.

    His custom work includes WorthGothic (1996), WorthLogo1996 (1995), WorthText (1995), GQGothic (1995), Halifax, Commonwealth (1995), Belizio-TwentySix (Font Bureau), HermanMillerLogo (1999, Font Bureau). Cassandra, Vitriol (1993), Quandry (1992-1994) and Chainletter (1993).

    Retina Agate (2001, specially made for small-print stock listings at the Wall Street Journal) netted him a Bukvaraz 2001 award and an AIGA 2003 Design Award.

    From 1999 until 2014, he designed for the Hoefler Type Foundry, which he joined as an equal partner (and the new company became Hoefler & Frere-Jones (in 2004), or H&FJ). He claims that he brought with him to H&FJ a lot of typefaces including Whitney, Whitney Titling, Elzevir, Welo Script, Archipelago (Shell Sans), Type 0, Saugerties, Greasemonkey, Vive, Apiana, and Esprit Clockface. It is not expicitly stated at the H&FJ site which typefaces he had a hand in, but one can safely assume that it must have been nearly every typeface made since he entered into the partnership. In 2014, Tobias sued Jonathan for half of the company in a 20-to-80 million dollar lawsuit since he claims that Hoefler reneged on his promise to give him his half. The typefaces at H&FJ he had a hand in include:

      Archer (2001, by Jonathan Hoefler and Tobias Frere Jones). A humanist slab serif originally designed for Martha Stewart Living. It has a great range of features, including a classy hairline style. Some say that Archer is just Stymie with some ball terminals. Nevertheless, it became a grand hit, and has been used by Wes Anderson in The Budapest Hotel, and by Wells Fargo for its branding. David Earls on Archer: with its judicious yet brave use of ball terminals, and blending geometry with sexy cursive forms, all brought together with the kind of historical and intellectual rigour you fully expect from this particular foundry, Archer succeeds where others falter.
    • HTF Retina (2002). For use in the Wall Street Journal.
    • Gotham (2001). A sans serif done with the help of Jesse M. Ragan. In fact, the orignal design in 2000 was for GQ magazine. Read about it here. In 2007, he published the rounded version Gotham Round. Gotham was used in 2008 by Obama in his presidential campaign. Joshua Brustein (Business Week): Gotham is one hell of a typeface. Its Os are round, its capital letters sturdy and square, and it has the simplicity of a geometric sans without feeling clinical. The inspiration for Gotham is the lettering on signs at the Port Authority, manly works using "the type of letter that an engineer would make," according to Tobias Frere-Jones, who is widely credited with designing the font for GQ magazine in 2000. Critics have praised Gotham as blue collar, nostalgic yet exquisitely contemporary, and simply self evident. It's also ubiquitous. Gotham has appeared on Netflix (NFLX) envelopes, Coca-Cola (KO) cans, and in the Saturday Night Live logo. It was on display at the Museum of Modern Art from 2011 to 2012 and continues to be part of the museum's permanent collection. It also helped elect a president: In 2008, Barack Obama's team chose Gotham as the official typeface of the campaign and used it to spell out the word HOPE on its iconic posters. Hoefler produced versions in 2016 such as Gotham Office and Gotham Narrow Office.
    • Cyclone (2003).
    • In 2010, he and Jonathan Hoefler designed the sans family Forza.
    • Giant (2003).
    • Knoz (2003).
    • Topaz (2003).
    • Verlag (2006). Developed together with Jonathan Hoefler.
    • Whitney (2004). This is an amazing 58-style sans family designed for the Whitney Museum, but now generally avalaible from Hoefler, and touted as a great family for infographics. A derivative, Whitney-K, is the house font of Kodak. Whitney's sales blurb: While American gothics such as News Gothic (1908) have long been a mainstay of editorial settings, and European humanists such as Frutiger (1975) have excelled in signage applications, Whitney bridges this divide in a single design. Its compact forms and broad x-height use space efficiently, and its ample counters and open shapes make it clear under any circumstances.
    • With Hoefler, he collaborated on projects for The Wall Street Journal, Martha Stewart Living, Nike, Pentagram, GQ, Esquire, The New Times, Business 2.0, and The New York Times Magazine. In all, he has designed over five hundred typefaces for retail publication, custom clients, and experimental purposes. His clients have included The Boston Globe, The New York Times, The Cooper-Hewitt Museum, The Whitney Museum, The American Institute of Graphic Arts Journal, and Neville Brody. He has lectured at Rhode Island School of Design (from which he graduated with a BFA in 1992), Yale School of Art, Pratt Institute, Royal College of Art, and Universidad de las Americas. His work has been featured in How, ID, Page, and Print, and is included in the permanent collection of the Victoria&Albert Museum, London.

    Interview. Interviewed by Dmitri Siegel. He created Estupido Espezial for fun, but it actually made it into an issue of Rollingstone. Catalog of his typefaces at Font Bureau. Keynote speaker at Typecon 2014.

    View typefaces designed by Tobias frere-Jones. Another page with typefaces created by Tobias Frere-Jones. [Google] [MyFonts] [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. Open Font Library link. Site dedicated to Vollkorn.

    In 2014, he published the thin but striking fashion mag and all caps titling typeface Uberschrift at FDI.

    In 2020, he released the variable font CoronaFaceImpact, which has three axes, Effects from wearing a face mask, Change of look due to closed hairdressers, and Results of home schooling.

    Behance link. Kernest link. Old URL. Interview with Friedrich Althausen. Google Plus link. Github link. [Google] [MyFonts] [More]  ⦿

    Frog 1812

    Russian internet technology company. In 2021, Vsevolod Syzdykov, Vladislav Zhuk and Dmitry Alekseev released the geometric sans typeface Frog 1812 Sans for Latin and Cyrillic. [Google] [MyFonts] [More]  ⦿

    FTP

    KOI8 fonts: 8 Cyrillic TrueType fonts archived here. [Google] [More]  ⦿

    ftp.cocos.ru

    Russian mini-archive with 8 Cyrillic TrueType fonts. [Google] [More]  ⦿

    ftp.gu.net

    Archive with 650 mostly Cyrillic truetype fonts. [Google] [More]  ⦿

    Fuentes

    Spanish font archive. The A-Fonts file has some nice Cyrillic beauties such as NadejdaBold, NewDeli, Stylo-Bold, AntiDecor-Bold-Italic. [Google] [More]  ⦿

    FUENTES

    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]  ⦿

    Fuentes.rar

    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]  ⦿

    Futura PT

    Futura was designed for Bauer company in 1927 by Paul Renner. A geometric sans serif, it is representative of the German Bauhaus school of the 1920s and 1930s. Issued by the Bauer Foundry in a wide range of weights and widths, Futura became a very popular choice for text and display. The original Cyrillic version had eight styles and was developed at ParaType (ParaGraph) in 1995 by Vladimir Yefimov. Additional Cyrillic styles were developed in 2007-2009 by Isabella Chaeva. Simultaneously the old eight styles were partly revised to match the whole family. Now the new Futura is a uniform type system consisting of seven weights with corresponding obliques plus eight condensed styles.

    Four free styles are here. [Google] [More]  ⦿

    Fyristorg

    Danube (accented font by Ralph Hancock, 1994), and the Cyrillic font Pravda (Translation Experts Ltd, 1994). [Google] [More]  ⦿

    fys.uio.no

    About 1MB worth of Cyrillic fonts (ER-Bukinist, ER-Kurier) in all basic encodings. Truetype. [Google] [More]  ⦿

    Gabriela Popstoyanova

    Sofia, Bulgaria-based designer of two experimental Cyrillic typefaces in 2018. [Google] [More]  ⦿

    Gahee Park

    Type designer associated with Heumm Design in North Korea.

    Typefaces from 2021: HU Big Round (a techno typeface by Rumi Kim, ByoungHeon Park and Gahee Kim), HU Rosette (a cursive display serif by Haerin Lee, Rumi Kim, ByoungHeon Park and Gahee Kim). [Google] [MyFonts] [More]  ⦿

    Gala Studio
    [Lilia Chak]

    Gala Studio (Israel) was founded by Galina Bleikh and Lilia Chak. Lilia Chak is an artist and designer, b. Saint Petersburg, Russia. She graduated from the Stieglitz St. Petersburg State Academy of Art and Industry. Since 1990, she lives in Jerusalem. In 2015, Lilia created the acrylic brush typeface Pink, 3D Ink, the crayon fonts Orange Oil Pastel and Red (based on watercolors), the sketched typeface ABC Handwritten, the watercolor brush typefaces Red Handdwritten, Black Handwritten, Blue Handwritten and Green Handwritten, Bold, the brush typeface Ink, and the sketch font Chalk Expressive.

    Typefaces from 2017: GS Candy Melt (by Galina Bleikh and Lilia Chak), GS Slim One (by Galina Bleikh and Lilia Chak: a great font for in-store advertizing), GS Slim One Bestiary (by Galina Bleikh and Lilia Chak), Escapism, Candy Melt (a colourful candy store / bubblegum / children's book font).

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

    Galeb

    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]  ⦿

    Galin Kastelov
    [Kastelov]

    [MyFonts] [More]  ⦿

    Galina Andreevna Bannikova

    Russian type designer, 1901-1972 (d. Moscow). Her typefaces 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 Nikolaeva
    [Hala]

    [More]  ⦿

    Galina Vodopyanova

    Designer in Saint Petersburg, Russia, who created Organika (2012), a Cyrillic typeface that is based on shapes of chairs. [Google] [More]  ⦿

    Galynka Boychuk

    Lviv, Ukraine-based creator of the Cyrillic blackletter typeface Melanzh (2015). Behance link. [Google] [More]  ⦿

    Gamma Productions

    Outfit in San Diego, CA, which used to 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]  ⦿

    Garkavets

    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
    [MunchFonts]

    [MyFonts] [More]  ⦿

    Gaslight (or: Valery Zaveryaev)
    [Valery Zaveryaev]

    Gaslight-type-foundry is collaboration between three type designers---Valery Zaveryaev, Maria Luarvik, 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 co-designed 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.

    Typefaces from 2015: Mx and My (Peignotian caps typefaces).

    Typefaces from 2016: Fada (by Roman Shchyukin), Pleinair, Rawer (sans, +stencil, +outline), Misty (by Valery Zaveryaev), Agio (by Valery Zaveryaev).

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

    Gatis Vilaks
    [RIT Creative]

    [MyFonts] [More]  ⦿

    Gavin Helf
    [ER Univers]

    [More]  ⦿

    Gavin Helf
    [Lemkos]

    [More]  ⦿

    Gayaneh Bagdasaryan
    [Brownfox]

    [MyFonts] [More]  ⦿

    Gayaneh Bagdasaryan
    [Cyreal]

    [MyFonts] [More]  ⦿

    Genadij Zarechnjuk
    [Fonts.org.ua]

    [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]  ⦿

    Genilson Lima Santos

    Genilson Lima Santos is the Salvador, Brazil-based designer (b. 1985, Bahia) of Stilu (2015, sans), Jenelson (2006), the stroked font Styllo (2007), the brushy Carybe (2011), the all caps sans typeface Linna (2016), the display typeface Victorine (2016), the rounded sans family Baldini (2016), the high-contrast all caps Cellophane (2016), the text typeface Petralina (2016), the rounded Bauhaus-inspired sans typeface family Rosa Maria (2016), the multicolor layerable rounded poster typeface Buba (2016), the free wide unicase sans typeface family Urucungo (2016), and the semi-didone display typeface Salinas (2016).

    Typefaces from 2017: Hibiscus, Blackye (a delicious black rounded sans for Latin, Greek and Cyrillic), Somma (geometric sans), Tryal (formal calligraphic), Love Moon, Urbanpolis (sans).

    Typefaces from 2019: Dynamo (a retro-futuristic typeface), Hellen (a revival of the flared classic Koch Antiqua from 1922).

    Typefaces from 2020: Auster (a serif family), Giovanna and Giovanna Sans (a luxurious roman caps typeface).

    Typefaces from 2021: Yacht (a ligature-themed display serif), Milagre (by Edileno Capistrano Filho and Genilson Santos; a free party font based on text seen on azulejos [tiles] at Fundação Casa de Jorge Amado in Largo do Pelourinho, Salvador, Brazil, with text by writer James Amado, lettering by artist Floriano Teixeira and engraving on the tiles by ceramist Udo Knoff in 1987), Arienne (a frivolous all caps font), Mirabela (a fashion mag serif), Serafina (a decorative serif).

    Typefaces from 2022: Kolbo (a pure wedge serif display typeface), Amabella (a sharp-edged serif). [Google] [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 Latin and Cyriilic. 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.

    In 2017, Octavio Pardo entered the EB Garamond project. The fonts can now be downloaded from Github. For Valentine's Day, a certain Bryn replaced the o and the tittles by hearts, and called the font Better EB Garamond (2017).

    Designer of the free font OMW Ayembedt (2013): Ayembedt is a font aiming to recreate the symbolic typeface called Daedric, found in the Elder Scrolls video game series, most notably in The Elder Scrolls III: Morrowind.

    Klingspor link. Open Font Library link. CTAN download of EB Garamond. Google Plus link. Duffner's Github link. [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. In 2016, he designed the mechanical / octagonal typeface John Tape and the scribbly script font Johnend.

    In 2017, he published John Tapextra (tape or duct tape font).

    Are Georg John and Georg Kugler one and the same?

    FontShop link. Klingspor 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
    [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 typefaces cover Greek and Cyrillic He currently works for Parachute. [Google] [MyFonts] [More]  ⦿

    George Ryan

    American designer, b. Rockville Centre, NY, 1950. George Ryan held senior positions at Linotype and Bitstream since 1979, where he has been involved in the production of over 2500 fonts. In 2004, Ryan joined Agfa Monotype, and is now a Monotype typeface designer. Creator of these typefaces:

    • The amazingly beautiful text font Kennedy GD (1995, Galapagos).
    • Other Galapagos fonts: McLemore (2002), Geis (2002), Jorge (2002), Culpepper (2002, an extension and interpretation of Rudolf Koch's Neuland, 1923), the elegant formal script font Tiamaria (2002, connected script), the fat art nouveau font Robusto (2002, based on letters found in a book about Oswald Cooper), Prop Ten (2002).
    • The hand-printed comic book style typeface ITC Kristen (1995).
    • The legible Nikki New Roman GD (1996).
    • The handwriting font MohawcsNote GD.
    • The Bitstream font Oz Handicraft BT (1991). This was created by George Ryan in 1990 from a showing of Oswald Cooper's hand lettering found in The Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago). A refresh was done in 2016.
    • Migrate GD (now ITC Migrate).
    • ITC Eborg.
    • The fine dingbat font Web-O-Mints GD.
    • The clean sans serif Wyle GD.
    • Established in 2003 by George Ryan in Arlington, MA, Bilt Fonts (Aruban Font Foundry) sells revivals and original designs through MyFonts. Typefaces include Pietin, Geo Sans, Netto, Rescue, Jingle, Geo Tablet, Lottsa Lotta, Big Stuff, Rainman, Depth Charge, Sansand, Bulla Bulla, Kappa Nappa, Kappa Sappa, Sarabella (2004, calligraphic), Marcus Texus (fun informal), Marcus Displaeus, and Spio Beo.
    • Semaphore (Bitstream, with Dave Robbins).
    • In 2007, at Monotype, he made Givens Antiqua, named after Robert Givens, the co-founder and first president of Monotype Imaging---it is a soft and elegant serif family in 16 styles.
    • In 2012, he published the comic book felt tip marker typeface Koorkin (Monotype).
    • In 2013, he worked on an Ethiopic typeface at Monotype.
    • In 2015, Monotype set out to remaster, expand and revitalize Eric Gill's body of work, with more weights, more characters and more languages to meet a wide range of design requirements. As part of that effort, George Ryan extended the popular Gill Sans from 18 to 43 fonts in his Gill Sans Nova (2015). Several new display fonts are available, including a suite of six inline weights, shadowed outline fonts that were never digitized and Gill Sans Nova Deco that was previously withdrawn from the Monotype library. Greek and Cyrillic coverage.

    FontShop link. Klingspor link.

    View George Ryan's typefaces. [Google] [MyFonts] [More]  ⦿

    George Thomas
    [Liberty Type Foundry]

    [More]  ⦿

    George Toumbalis

    Giorgos 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]  ⦿

    George Triantafyllakos
    [Backpacker]

    [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]  ⦿

    Georgy Narbut

    Or Heorhiy Narbut, b. 1886, Narbutivka, Ukraine, d. 1920, Kiev. Recognized as the most important Ukrainian graphic designer of the twentieth century. He is known for designing the Coat of arms of Ukraine, banknotes and postage stamps. Narbut designed many illustrations in books and magazines, as well as a few typefaces, such as Abetka.

    The main digital revivals of his typefaces are by Henadij Zarechnjuk, who created the free typefaces Narbut Abetka, Narbut Classic, Narbut Extra Wide, Narbut Narrow Contrast, and Narbut Whirl between 2001 and 2011. See also Abetka (2016) by Veronica Sinyavskaya and Narbutivka (2016) by Viktoriia Basiuk. [Google] [More]  ⦿

    Gerard Unger

    Dutch type designer, born in Arnhem, The Netherlands, in 1942, d. 2018. 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. Until the end of his career, he taught at Reading and Rietveld. Unger designed stamps, coins, magazines, newspapers, books, logo's, corporate identities, annual reports and many other objects. But he was best known for his typefaces:

    • Markeur (1972), not available as digital type. Unger's first typeface, designed for Enschedé's Pantotype system.
    • 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 (done together with Monotype's Linda Hintz and dan Reynolds) at Linotype.
    • Praxis (1976, Linotype). Revived in 2017 as Praxis Next, also at Linotype. Linotype writes that the design is by Gerard Unger, Linda Hintz and the Monotype Design Studio.
    • 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 sturdy transitional typeface is his most popular design. It is used by many Dutch and Scandinavian newspapers, and got Unger the Gravisie-prijs in 1988. In 2009, Linotype published Neue Swift (a 1995 design by Unger), i.e., 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 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 typefaces 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 ("romanesque") 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). He cooperated with Tom Grace for the Cyrillic letterforms. Alverata was published by Type Together in 2014 and 2015. It appears to have Vesta's skeleton and dimensions. Alverata won the type design prize at Tokyo Type Directors Club 2016. PDF file.
    • Sanserata (2016, Type Together). The blurb: Sanserata is an articulated sans that mirrors Alverata's creativity and concept. Its bright and unflappable nature make it perfect for positive and casual brands, and its accentuated terminals improve legibility in text, especially on screens where light emission tends to round off the endings of glyphs.

    Gerard Unger lived 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), the Maurits Enschedé-Prize (1991), the 2009 SOTA Typography Award and the TDC Medal (2017).

    Author of Terwijl Je Leest (Amsterdam, 1997) and Theory of Type Design (2018).

    Books about Gerard Unger include Gerard Unger Life in Letters (2021, by Christopher Burke, De Buitenkant).

    Interview by John L. Walters. At ATypI 2004 in Prague, he spoke about type for dailies, and also on Neue Demos and Neue Praxis. At ATypI 2008 in St. Petersburg, he spoke about letterforms in inscriptions from the 10th, 11th and 12th centuries. 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

    At TU Graz, Austria, in the late nineties, Gernot Stangl designed abc, an experimental Roman-Cyrillic font. [Google] [More]  ⦿

    Gerry Powell

    Type and industrial designer, b. 1899, New York. He had his own design studio and became director of the American Type Founders company, commonly known as ATF. His typefaces:

    • Onyx (1937, ATF). Onyx was designed by Gerry Powell for ATF in 1937. It is a modernization of Modern Roman Bold Extra Condensed, and is virtually an extra condensed version of Ultra Bodoni. Mac McGrew: Linotype classifies the typeface with Poster Bodoni, their equivalent to Ultra Bodoni. Onyx Italic was designed by Sol Hess for Monotype in 1939, and is made as mats only by that company. Onyx is also cast by the [Lettergieterij] Amsterdam foundry as Arsis.

      Digital versions include Onyx (Bitstream), Onyx (Monotype), Onyx (Tilde), OPTI Onyx (Castcraft), and Onyx MT (Adobe). Arsis is now marketed by Linotype and URW. 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.

    • Stymie (ATF, 1935-1937, with Sol Hess). This was a Morris Fuller Benton design from 1931 created in reaction to the popular slab serif Memphis. Now available at Bitstream.
    • Stencil (ATF, 1937). Versions of this rounded stencil typeface exist at Bitstream, Linotype (1997, a Cyrillic version by Alexey Chekulaev), URW++, Adobe and Elsner&Flake. Mac McGrew: Stencil is a heavy roman letter with white breaks in the thinner strokes as though done with the traditional cut-out stencil. There are two versions of the type, both issued in 1937. The one drawn by R. Hunter Middleton for Ludlow appears to have reached the market first, having been advertised in June of that year. Its basic letter is much like a Clarendon (compare Craw Clarendon). The ATF version by Gerry Powell was ready the following month; it is narrower but has a bolder effect. Neither font has lowercase, but the ATF typeface is cut in a range of sizes, while Ludlow offers only one size.
    • Daily News Gothic (1938, ATF). Cut for the Daily News newspaper.
    • Spartan Bold Condensed (1940, ATF).

    FontShop link. Klingspor link.

    View Gerry Powell's typefaces. [Google] [MyFonts] [More]  ⦿

    Gese.ru

    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]  ⦿

    GetVoIP
    [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
    [Intertype]

    [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]  ⦿

    Gjorgji Stankovski

    Bogdanci, Macedonia-based designer of the thin Cyrillic typeface Slavjanka (2018). [Google] [More]  ⦿

    Glagolitic

    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]  ⦿

    Glagolitic

    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]  ⦿

    GlasNet

    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 Gutenberg 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 humanist 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 Bastarde 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; a Lombardic typeface 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), inspired 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.
    • GLC 1619 Expédiée (2015). A grungy Civilté.
    • 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 typefaces 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).
    • 2010 Dance of Death (2010): based on Hans Holbein's Alphabet of Death.
    • 2009 Primitive (2016).
    • 2009 GLC Plantin Pro (2016).
    • 2010 Pipo Classic: a grungy typewriter slab serif family.
    • 2010 Cancellaresca Recens (2016).
    • 2011 Slimtype (2011, +Italic) and 2011 Slimtype Sans (2011): an old typewriter typeface.
    Creative Market link. Fontspring link. [Google] [MyFonts] [More]  ⦿

    Gleb Fedotov

    Moscow-based designer of the spurred typeface Cyrillic Hetfield (2015). [Google] [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.

    Typefaces from 2015: Leto Text Sans (a neutral sans family).

    Typefaces from 2017: Asket (sans).

    Typefaces from 2018: Morpha (by Elena Kowalski and A. Ego), Certa Serif.

    Typefaces from 2019: the sans typeface Atenta (2019, with A. Ego).

    Typefaces from 2020: Alter Biom (by Elena Kowalski and A. Ego), Alter Aves (by Elena Kowalski and A. Ego), Minor (a 12-style grotesk by Elena Kowalski and A. Ego).

    Behance link. Open Font Library link. [Google] [MyFonts] [More]  ⦿

    Gliphmaker.com
    [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 typefaces. 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 Mendoza

    Englewood, NJ-based designer (b. Colombia) of a squarish Latin / Cyrillic typeface in 2017. [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 Luksza]

    Aka Grzegorz Luk and just Gluk, Grzegorz Luksza is a Polish type designer (b. 1973) who specializes in ultra-decorative and experimental typefaces.

    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 typefaces Odstemplik (2009), promocyja (2008) and Konstytucyja (2008).

    He published the elegant serif family Foglihten (2010), which includes the inline typefaces 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 typefaces, 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: Prida 36, Sudegnak No. 3 (script), Vecfont Sudegnak (cartoonish), PridaEn (a vector font for color), Prida S4, Prida01, Prida02 Calt.

    Typefaces from 2016: BroshN, Tofimpelik (+Candy), Prosh3, Digitalt, Agreloy (a lovely curly Victorian typeface), Gluk Mixer (ransom note font), Fogtwo No 5.

    Typefaces from 2017: Prosh 4B (a variable color font), BroshK2 (an origami style color font, in OpenType SVG format), Fuetargio (a multiline bejeweled typeface).

    Typefaces from 2018: BroshK, Rostef (all caps titling typeface), Fogthree.

    Typefaces from 2019: ResotE, ResotE-Pastels (a color font), ResotYc (a decorative unicase font), Resot Yg, Liserif (a kinetic SVG font).

    Typefaces from 2020: Digico M (a color font), Resotho (a wide all caps geometric sans).

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

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

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

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

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

  • gnu.org

    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]  ⦿

    Godspeed Graphics

    Moscow-based designer of the commercial typeface 30 Knots (2016), based on a popular German geometric / octagonal slab serif from the 1930s. Behance link. [Google] [More]  ⦿

    Goglus

    Designer at FontStruct in 2008 of goglus_urodz. In 2009, he made Urodz, and in 2010 Goglus Menu. Seems to be Russian. [Google] [More]  ⦿

    Gohar Ketoyan

    During her studies at HSE Art and Design School in Moscow, Gohar Ketoyan designed the very modular, yet stunning, Cyrillic typeface Frozen Music (2018). [Google] [More]  ⦿

    Gokhman

    Archivette with 5 Cyrillic truetype fonts (ER-Kurier, ER-Bukinist). [Google] [More]  ⦿

    Golova

    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]  ⦿

    Gonzalo Murillo

    Santiago, Chile-based designer of the Latin / Cyrillic display typeface Velove (2017), which takes inspiration from the 1970s. In 2011, Gonzalo Murillo and Sebastian Hanson co-designed the psychedelic typeface Copihue for a school project. [Google] [More]  ⦿

    Gradient (was: Mindburger Studio)
    [Milos Mitrovic]

    Milos Mitrovic's foundry in Bergen, Norway, is called Gradient. Before that, he set up Mindburger Studio in 2015 in Nis, Serbia, before relocating to Norway.

    His early typefaces included the 1920s style sans family Bambino (2014), which was influenced by Futura. In 2015, he published Bambino New.

    Typefaces from 2016: Bergen Sans (a modern geometric sans advertized in this manner: [...]clean and stylized Scandinavian geometry, partnered with explosive post Bauhaus type aesthetics[...]), Noir (based on early 20th century geometric sans models; in 12 styles, for Latin, Greek and Cyrillic).

    Typefaces from 2017: Bergen Mono, Bergen Text (a great geometric sans family).

    Typefaces from 2019: Radial (a variable sans), Linear Sans.

    Typefaces from 2020: Poly Sans (+Mono).

    Village link.

    Typefaces from 2021: Okay Serif (a decorative didone for Latin, Greek and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Granshan 2010

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

    [Google] [More]  ⦿

    Granshan 2011

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

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

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

    Granshan 2012

    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]  ⦿

    Graviton
    [Pablo Balcells]

    Graviton is a small type foundry based in Buenos Aires, Argentina. It was founded by Argentinian type designer Pablo Balcells in 2013.

    Balcells created these typefaces in 2012, most of which cover both Latin and Cyrillic: Engranajes (bike gears), Eslava Inline, Eslava Double Line, Eslava Stencil, Eslava Solid, Eslava Outline, Solida (10-style sci-fi blocky sci-fi typeface), Pixelar, Armadura (a monoline octagonal typeface with a stencil style), Oboe (an ultra-fat blocky typeface), Cuantica (sci-fi) and Led.

    In 2013, he published Gubia (a condensed elliptical techno sans), Mensura (a gaspipe sans), Mensura Slab, Mensura Titling (all caps titling typeface family that includes outlined and stencil styles), Mensura Slab Titling, Herradura (an 8-style wide wood type slab serif), and LED.

    Typefaces from 2014: Necia (modular), Necia Stencil, Tecnica Stencil, Tecnica Slab Stencil, Aguda (modular geometric sans), Aguda Stencil, Cintra (gaspipe sans, +Stencil, +Inline, +Outline), Cintra Slab, Tecnica, Tecnica Slab.

    Typefaces from 2015: Violenta Slab (+Stencil, +Unicase, +Inline), Violenta (+Inline, +Unicase, +Stencil).

    Typefaces from 2016: Citadina (techno sans family). Still in 2016, Jeroen Krielaars and Pablo Balcells co-designed the animated pixel typeface Pixelar.

    Typefaces from 2017: Estricta (a slightly elliptical techno typeface), Ruda (+Ruda Unicase, +Ruda Stencil), Ruda Slab.

    Typefaces from 2018: Binaria (an octagonal family), Ordax (an industrial sans typeface by Pablo Balcells, Mariya Vasiljevna Pigoulevskaya and Donna Wearmouth).

    Typefaces from 2019: Electronica, Intensa, Masiva (a geometric sans).

    Typefaces from 2020: Holgada, Densa (an 8-style condensed sans), Nebulosa (a sci-fi typeface), Naftera (a squarish typeface).

    Typefaces from 2021: Tuerca (an 8-style octagonal typeface), Oxima (an 8-style technical sans).

    Fontsquirrel link. [Google] [MyFonts] [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 2014-2015: Trali-Vali (a children's book or party font family), Moveo Sans (with Condensed and Extended subfamilies, 80 fonts in all covering Latin, Greek and Cyrillic), Artica Pro (a flared all-caps typeface family for Latin, Greek, and Cyrillic that is based on classical roman (Trajan) letterforms) and Artica Rough Pro (2015).

    Typefaces from 2016: Festa (a brush typeface for Latin, Greek and Cyrillic).

    Typefaces from 2017: Festa Classica (a happy all caps hand0crafted typeface family), Normative Pro (a neutral techno sans with glyphs tending towards the rectangular), Normative Lt.

    Typefaces from 2018: Streetline.

    Typefaces from 2019: Hubba (a modular squarish typeface family; has a variable font).

    Typefaces from 2020: Danger Neue (a military stencil).

    Typefaces from 2021: Fason (a flared fashion mag typeface family).

    Typefaces from 2022: Esquina Rounded (an octagonal typeface), Esquina College (an octagonal varsity typeface), Esquina Outline, Esquina Stencil (12 styles).

    Behance link. Creative Market link. Hellofont link. MyFonts link. Klingspor link.

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

    Grigorij Gushchin

    Russian designer of the all caps sans typeface Enthalpy 298 (2020), the upright monoline script typeface Kholodos (2020) and the all caps art deco typeface Sverdlovsk (2020) for Latin and Cyrillic. [Google] [MyFonts] [More]  ⦿

    Grigorij Zaitsev

    Moscow-based designer of the (Latin / Cyrillic) mini-stencil typeface Sensor (2013). [Google] [More]  ⦿

    Grigoriy Martynenko

    Graduate of Pedagogical Academy in Nizhny Tagil. Yekaterinburg, Russia-based designer of the extravagant Latin / Cyrillic typeface Seriff (2020, Paratype). [Google] [More]  ⦿

    Grzegorz Klimczewski
    [Fonty PL]

    [More]  ⦿

    Grzegorz Luksza
    [Gluk Fonts]

    [MyFonts] [More]  ⦿

    guests.iip

    Eight Cyrillic truetype fonts. [Google] [More]  ⦿

    Gulya Dautova

    Moscow-based designer of Cone (2015, a decorative Cyrillic typeface), Aesthete (2015, a hairline all-caps circle-based typeface, done at BHSAD) and Bad George (2015, a hybrid created at BHSAD using Bad Script and Georgia as models, in honor of George Clooney). Behance link. [Google] [More]  ⦿

    Gulya Yeap
    [Peach Creme]

    [MyFonts] [More]  ⦿

    Gumpita Rahayu
    [Toko Type (was: Formika Labs, or: Studio Formika, or: Absolut Foundry)]

    [MyFonts] [More]  ⦿

    Gustavs Andrejs Grinbergs

    Born in Riga, Latvia, in 1943, he has mainly cooperated (since 1990) with Tilde in the font development of East-European languages, and has created the AG fonts collection for Cyrillic. He specializes in Cyrillic and East-European extensions of prominent typefaces (such as the ones in the Bitstream collection). His typefaces:

    FontShop link. Linotype link. Klingspor link.

    MyFonts collection. View Grinbergs's typefaces. [Google] [MyFonts] [More]  ⦿

    Guy Buhry

    French creator of the great heavy comic book typeface Grobold (2006). Later, he added Cyrillic and Greek versions called Groboldov and Groboldopoulos, respectively. Guy Buhry is currently working on Guy Script. [Google] [More]  ⦿

    Guzel Salikhova

    Saint Petersburg, Russia-based designer of the (Cyrillic) Arabic simulation fonts Arabica Serif (2017), Arabica (2017) and Arabica Flower (2017). [Google] [More]  ⦿

    Gydrop

    Russian pixel artist (b. 1984) who created Psyleave (2004), Microtronix (2004), d-gen (2004, a squarish face), d-mek (2004, a futuristic pixel face), Needle (2004, a hairline version of Bank Gothic). Alternate URL. [Google] [More]  ⦿

    Gyula Zsigri
    [Fontboard (was Nyelvészeti Fontok)]

    [More]  ⦿

    h11.ru

    Russian font archive. [Google] [More]  ⦿

    Haerin Lee
    [Heummdesign]

    [MyFonts] [More]  ⦿

    Haiku Monkey
    [Alec Julien]

    Commercial foundry, est. 2007 in Burlington, VT, by Alec Julien (b. 1965). Fonts sold through MyFonts include Doctor Cyclops (2009), Grundlagen (2009, retro display sans), I Am A Bird (2009), Yacht (2009, a 1930s movie poster style family), Predicate (+Rounded) (2008, sans), Steel Sedan (2008, a condensed slab serif family), Monumint (2008, comic book style), Aerohop (2008, a sans family), Chittenden (2008, an artsy blackboard math style face), Rany (2008, hand-printed), Ashbery (2008, Asian jungle look stick font), Banyan (2007, brush typeface with a jungle look), Loge (2007, a high-contrast sans), Joules (2007, hand-printed family, whose development is described here), Tara (2007, a jungle-look face), Sinn (2007), Set Theory (2007), Bad Marker (2007), Counterfact (2007), Sharp Nine (2007), Good Robot (2007), Groovin Up Slowly (2007), Fractal Caps (2007), Classy Diner (2007), Anthem (2007), Zooey (2007), Imagination Theory (2007), 89 (2007), Skrawl (2007), Zerega (2007), AJ Hand (2007), Scandal (2008), Zone 52 (2008, techno), Gno (2008, techno), Gno Serif (2008), Abbott (2008, a cool hand-printed script). Most of these fonts resulted from drawing or doodling experiments.

    Free fonts: Lavoisier (2009, sans), Skritch (2008, handwriting), Geekium (2008, a math symbols font based on Gentium), 36 Dots (dot matrix face), Teacher Sez (2007, blackboard script). Devian Tart carries these free fonts/demos: Skritch, Rany, Teacher Sez, Steel Jalopy (2008, based on Steel Sedan), Insolent (2009), I Am A Bird (2009, slab serif family), Myrna (2009). Lavoisier (2009) is a free monoline font, later cyrillicized by Sergey Tkachenko. Working on Modus (2009).

    Additions in 2010: Lockwood (a strong all-caps sans display face), m7 (a slab serif typewriter face), Blues Vity (condensed display face), m13 (fat slab serif), Mineola, Hunk (fat all-caps display face).

    Creations from 2011: Zurdo (hand-printed).

    Typefaces from 2012: Shockproof (a tall display face).

    Typefaces from 2013: Arcation (techno).

    In 2014, Alec Julien published the skyline typeface family Lexave.

    Typefaces from 2015: Gilmour (a sturdy slab serif, +Cyrillic).

    Typefaces from 2016: Gama (octagonally cut Star Trek font).

    Typefaces from 2018: Syd, Sid.

    Interview by Seven Days. Fontsquirrel link. Klingspor link. Kernest link.

    View Alec Julien's typefaces. [Google] [MyFonts] [More]  ⦿

    Hala
    [Galina Nikolaeva]

    Vorone, Russia-based designer of the Latin / Cyrillic display typeface Cacti (2019). [Google] [More]  ⦿

    Halyna Holubova

    Wroclaw, Poland-based designer of Amerikana (2016, a Cyrillic version of Richard Isbell's Americana) and Bell Cyrillic (2016, a Cyrillic version of Richard Austin's Bell). [Google] [More]  ⦿

    Hamizan
    [Ari Budi Setiawan]

    Indonesia-based designer (b. 1986) of the fat finger font Hold (2020). In 2021, he released Grooker (a flawed sans), the monolinear sans typeface Elmono Pro (for Latin and Cyrillic) and the calligraphic text typeface Matchout, which features seven styles. [Google] [MyFonts] [More]  ⦿

    Hamster Type foundry

    Moscow-based foundry. Site in Russian. Offers some free Cyrillic fonts. [Google] [More]  ⦿

    Hana Tegeltija

    Hana is a graphic designer from Belgrade. She made a nice typographic poster called Neandertal (2010). I guess that this goes with her simplistic and almost constructivist squarish typeface Neandertal (2009). She also created Kuka (2010), a simple display sans with both Latin and Cyrillic alphabets. [Google] [More]  ⦿

    Hanna Branouskaya

    Minsk, Belarus-based designer of the monoline circle-based typeface Lime Font (2014, Cyrillic). [Google] [More]  ⦿

    Hanna Donker

    Dutch freelance graphic designer who works as font designer at Dalton Maag in London since 2012. Behance link. Graduate of the University of Reading in 2011. Her graduation typeface, Foxhill (2011), was designed for small sizes. It has Greek and Latin styles and has the angularity necessary for agate typefaces. Foxhill won Third Prize in the Greek text typeface category at Granshan 2011. She wrote a dissertation about Dutch typeface designer Sjoerd Hendrik de Roos.

    Dalton Maag, Tom Foley, Mary Faber, Stuart Brown and Hanna Donker won a Granshan 2014 award for Intel Clear Cyrillic. Dalton Maag's Hanna Donker and Spike Spondike won an award at Granshan 2016 for Intel Clear Thai.

    Typecache link. [Google] [More]  ⦿

    Hanna Hakala

    Hanna Hakala is a type and graphic designer from Helsinki, Finland. She has studied graphic design at University of Art and Design Helsinki and type design at the Type and Media masters program at the Royal Academy of Arts in The Hague, The Netherlands. She has an MA in developmental genetics and has worked in Minneapolis and Helsinki as a research scientist. She has been involved with the design of several visual identities, magazines and books. In 2008, she started working for the design agency Hahmo. She is particularly interested in information design, multilingual projects and the design of Latin-Cyrillic typefaces.

    Hanna designed and released the text typeface family DTL Valiance (2007-2017) at Dutch Type Library. Speaker at ATypI 2011 in Reykjavik. [Google] [More]  ⦿

    Hans J. Simon Verlag

    Commercial font vendor offering fonts such as Kyrillisch Romance, Polnisch Alpina, Lautschrift Metrik, Altgriechisch, Neugriechisch, Hebraisch, Turkisch Courier, Tschechisch/Slowakisch Romance, Kroatisch Romance, Mergensymbole. Between 90 and 390DM per font. [Google] [More]  ⦿

    Harmony Type (was: Roman Joki, or:(was: Holytramp)
    [Roman Kalabaev]

    Roman Kalabaev (or Roman Jokiranta, or Holytramp, and now, Harmony Type) is the Perm, Russia-based designer of these typefaces in 2015: the weathered rounded typeface Bronson, the vintage script typefaces Pathfinder and Insomnia Script, the weathered Blizzard, the spurred vintage typeface Westmorland, the Latin display typeface Mountain, the script typefaces Authentic (monoline), Filson, Burning Daylight, Rosemary and Blueberry, and the handcrafted sans typefaces Habitat, Horizon and Voyageur (Latin and Cyrillic).

    Typefaces from 2016: Mallory Script, Independent Script (monoline), Independent Sans, Delorean (brush script), Merina Sans, Merina Script, Paramount Script & Sans, Signature Script, Signature Sans.

    Typefaces from 2017: Summer Vibes, Guatemala, Tangier Script, Mellow Script, Superdry (dry brush script), Brushery.

    Typefaces from 2018: Holubar Script, Willabong (connected monoline script). [Google] [More]  ⦿

    Harris Darmawan

    Jakarta-based designer, b. 1990. He created the spike-serifed typeface family Symmetre (2012) for Latin, Greek and Cyrillic.

    Dafont link. [Google] [More]  ⦿

    Harrisson
    [Open Source Publishing (or: OSP)]

    [More]  ⦿

    Hartwig Poppelbaum
    [K. u. K. Hof-Schriftgiesserei Poppelbaum]

    [More]  ⦿

    Hector Barroso

    Santiago, Chile-based designer at Rodrigo Typo of the fifties funk typeface LolapeluzaLolapeluza (2015, Latin and Cyrillic) and Lolapeluza Sucia (2016). In 2003, he conceived the modulated sans typeface Quirihue, which was finished ten years later. Behance link. [Google] [MyFonts] [More]  ⦿

    Hector Ramirez
    [Socker One]

    [More]  ⦿

    Hein Boekhout
    [OTC (Odyssey Type Company)]

    [MyFonts] [More]  ⦿

    Helen Bykova

    Moscow-based graphic designer. Behance link. Her first font is a Latin/Cyrillic blackletter (2011). [Google] [More]  ⦿

    Helen Resko

    Russian designer of Sleeping Alphabet (2011, glyphs made from sleeping monsters). [Google] [More]  ⦿

    Helena Benskaya

    Moscow-based designer of the deco typeface Wave (2016) and the grungy modular typeface Splash (2016). [Google] [More]  ⦿

    Helga Guru

    Graphic designer in Saint Petersburg, Russia, who created the great experimental typeface Somnium (2015), the connect-the-dots typeface Saturn (2015) and the artsy steampunk typeface Clock (2015). [Google] [More]  ⦿

    Helios

    The Cyrillic typefaces Helio and Helios Condensed by Type Market, Moscow, 1993. Created by A. Kustov. [Google] [More]  ⦿

    Hellokisdottir
    [Elena Paletskaya]

    Saint Petersburg, Russia-based designer of the runic emulation typeface Nordica (2016). Behance link. [Google] [More]  ⦿

    Henning Brehm
    [Design Tourist]

    [MyFonts] [More]  ⦿

    Henry Warwick

    New Jersey native who lives in San Francisco. He states: "Over the years I've had the good fortune to be very involved with photolettering and type design. In the 1980's I set headlines, letter by letter by letter, on a VGC Typositor at Phil's Photolettering in Washington DC. The desktop computer quickly destroyed that entire industry, and that is how I became involved with computer graphics. In the early 1990s, I designed type for FontBank, and consulted for several other type companies, including Microsoft and Galoob Toys. It's nearly impossible to make a living in type design these days, as the industry was basically done in by a combination of legal precedents and rampant piracy. Having worked on "conventional" / Wester / Roman fonts for so long, I've acquired a preference for unusual or obscure fonts or alphabets. I am always available for type design work or consulting." His designs (not downloadable) include Coptic Chelt, Fruthrak Sans, Ojibway Futurae, Cyrillic-Helv-Flash-8pt, KTR-katakana10, Celestia, Daggers, Enochian Times and Nugsoth. [Google] [More]  ⦿

    Herman Miller

    Herman Miller made several typefaces for Kolagian languages (runes): Kisuna, MizarianUni, OlaeUni, ZireenUni, CispaNormal, OlaetyanNormal, Thryomanes, Zirinka (font used for Zireen languages including Zírí:nká and Zharranh), Lhoerr (font used for Jarrda and Jaghri), Pintek (Braille-type font), Velika, Minza, Lindiga, Teamouse VS, Tirelat (2001), Ludireo, Tilya, Czirehlat.

    TIPANormal, ThrIPANormal and ThrSAMPANormal are fonts designed for phonetics. Livagian (2003) has a reasonable character set. TeamouseLX, TeamouseVS, TeamouseVS (all 2001) are Miller's versions of Times Roman.

    He also made the unicode font Thryomanes (fully accented Times, with Greek, Latin, Celtic/uncial and Cyrillic).

    FTP source. Direct link. Older alternate URL. Fontspace link. Dafont link. [Google] [More]  ⦿

    Hermann Hoffmann

    German type designer, b. 1856, Hildesheim, d. 1926, Berlin. He settled in the 1890s in Berlin and founded Maschinenfabrik Heidenheim & Hoffmann. In 1895 he became head of H Berthold AG in Berlin. His designs:

    • Bloc (Berthold, 1908). Digitization and Cyrillization by Tafir Safayev, 1997 as Bloc (Paratype). See also Bloc Berthold at BertholdTypes, and FB Hermes (1995, Matthew Butterick at Font Bureau). FB Hermes was extended by Butterick in 2010. Bloc was similar to Hermes at Schriftguss and Woellmer. Bitstream's Gothic 821 (1990) is based on Bloc. The Softmaker version is called Boulder. Grauna (2018, Gabriel Figueiredo at Typeoca) revives Bloc Heavy, but has smoother outlines.
    • Herold Reklameschrift (1901, Berthold (Berlin)). An art nouveau advertising typeface developed until 1907 with schmal, fett and Kontur substyles. Digitizations of this:
    • Kaufhaus-Fraktur (1906, Berthold).

    Books: Das Haus Berthold 1858-1921 (1921, Berlin) and Der Schriftgiesser (1927, Leipzig).

    FontShop page. Klingspor link. FontShop link.

    Oddity: The names Heinz Hoffmann and Hermann Hoffmann are used by two subcommunities. MyFonts, Font Bureau, etc. use Heinz, while Erik Spiekermann, Klingspor, and the German media use Hermann. [Google] [MyFonts] [More]  ⦿

    Hermann Zapf

    Prolific master calligrapher and type designer, born in Nuremberg in 1918. Most of his life, he lived in Darmstadt, where he died in 2015. He is best known for Palatino, Optima, Melior, Zapf Dingbats, Zapfino, and ITC Zapf Chancery. He created alphabets for metal types, photocomposition and digital systems.

    He studied typography from 1938 until 1941 in Paul Koch's workshop in Frankfurt. From 1946 until 1956, he was type director at D. Stempel AG type foundry, Frankfurt. In 1951 he married Gudrun von Hesse. From 1956 until 1973, he was consultant for Mergenthaler Linotype Company, Brooklyn and Frankfurt. From 1977 until 1987, he was vice president of Design Processing, Inc., New York (which he founded with his friends Aaron Burns and Herb Lubalin), and professor of Typographic Computer Programs, Rochester Institute of Technology, Rochester, New York. Students at RIT included Kris Holmes and Charles Bigelow, who together created the Lucida type family. Other prominent students include calligrapher/font designer Julian Waters and book designer Jerry Kelly. From 1987 until 1991, he was chairman of Zapf, Burns&Company, New York. He retired in Darmstadt, Germany, but consulted on many font projects until a few years before his death. In the 1990s, Zapf developed the hz program for kerning and typesetting. It was acquired by Adobe who used ideas from it in InDesign.

    Awards:

    • 1969 Frederic W. Goudy Award, Rochester Institute of Technology, Rochester, New York.
    • 1973 Gutenberg Prize, City of Mainz.
    • 1975 Gold Medal, Museo Bodoniano, Parma.
    • 1985 Honorary Royal Designer for Industry, Royal Society of Arts, London.
    • 1987 Robert Hunter Middleton Award, Chicago.
    • 1994 Euro Design Award, Oostende.
    • 1996 Wadim Lazursky Award, Academy of Graphic Arts, Moscow.
    • 1999 Type Directors Club award for Zapfino (1998), New York.
    • 2010 Bundesverdienstkreuz 1. Klasse.

    Some publications by Hermann Zapf:

  • Feder und Stichel (1949, Trajanus Presse, Frankfurt)
  • About Alphabets (1960)
  • Manuale Typographicum (1954 and 1968). Only 1000 copies were printed of the original.
  • Typographic Variations (1964), or Typografische Variationen (1963, Stempel), of which only 500 copies were printed.
  • Orbis Typographicus (1980)
  • Hermann Zapf and His Design Philosophy (Chicago, 1987)
  • ABC-XYZapf (London, 1989)
  • Poetry through Typography (New York, 1993)
  • August Rosenberger (Rochester, NY, 1996).
  • Alphabet Stories (RIT Cary Graphic Arts Press, Rochester, 2008). Review by Hans Hagen and Taco Hoekwater.
  • My collaboration with Don Knuth and my font design work [just an article], TUGboat 22:1/2 (2001), 26-30. Local download.

    List of his typefaces:

    • Alahram Arabisch.
    • Arno (Hallmark).
    • Aldus Buchschrift (Linotype, 1954): Italic, Roman. Digital version by Adobe.
    • Alkor Notebook.
    • Attika Greek.
    • Artemis Greek.
    • Aurelia (1985, Hell).
    • AT&T Garamond.
    • Book (ITC New York). Samples: Book Demi, Book Demi Italic, Book Heavy, Book Heavy Italic, Book Medium Italic. The Zapf Book, Chancery and International fonts are under the name Zabriskie on the SoftMaker MegaFont XXL CD, 2002.
    • Brush Borders.
    • Comenius Antiqua (1976, Berthold; see C792 Roman on the SoftMaker MegaFont XXL CD, 2002).
    • Crown Roman and Crown Italic (Hallmark).
    • Chancery (officially called ITC Zapf Chancery): Bold, Demi, Italic, Light, Liht Italic, Mediu Italic, Roman.
    • Civilité (Duensing). Mac McGrew on the Zapf Civilité: Zapf Civilite is perhaps the latest typeface to be cut as metal type, having been announced in January 1985, although the designer, Hermann Zapf, had made sketches for such a typeface as early as 1940, with further sketches in 1971. But matrices were not cut until 1983 and 1984. The cutting was done by Paul Hayden Duensing in Kalamazoo, Michigan. The first Civilité typeface was cut by Robert Granjon in 1557, based on a popular French handwriting style of the time. Other interpretations have been made from time to time, notably the Civilité (q.v.) designed by Morris Benton in 1922 for ATF. The new Zapf design has the same general character but with a more informal and contemporary feeling. A smooth flow between weights of strokes replaces the stark contrast of thick-and-thin in older interpretations. There are several ligatures, and alternate versions of a number of characters, including several terminals. Only the 24-point Didot size is cut or planned.
    • Charlemagne (Hallmark).
    • Digiset Vario (1982, Hell): a signage face.
    • Edison (Hell), Edison Cyrillic. Scans: Bold Condensed, Book, Semibold Italic, Semibold, Book Italic.
    • Euler (American Mathematical Society). Zapf was also consultant for Don Knuth on his Computer Modern fonts. In 1983, Zapf, Knuth and graduate students in Knuth's and Charles Bigelow's Digital Typography program at Stanford University including students Dan Mills, Carol Twombly, David Siegel, and Knuth's computer science Ph.D. students Scott Kim and John Hobby, completed the calligraphic typeface family AMS Euler for the American Mathematical Society (+Fraktur, Math Symbols, +script). Taco Hoekwater, Hans Hagen, and Khaled Hosny set out to create an OpenType MATH-enabled font Neo-Euler (2009-2010), by combining the existing Euler math fonts with new glyphs from Hermann Zapf (designed in the period 2005-2008). The result is here. The Euler digital font production was eventually finished by Siegel as his M.S. thesis project in 1985.
    • Firenze (Hallmark).
    • Festliche Ziffern (transl: party numbers).
    • Frederika Greek.
    • Gilgengart Fraktur (1938, D. Stempel). Some put the dates as 1940-1949. It was released by Stempel in 1952. Revivals include RMU Gilgengart (2020, Ralph M. Unger), and Gilgengart by Gerhard Henzel.
    • Heraklit Greek (1954). A digital revival was first done by George Matthiopoulos, GFS Heraklit. Later improvements followed by Antonis Tsolomitis and finally in 2020 by Daniel Benjamin Miller.
    • Hunt Roman (1961-1962, Pittsburgh). A display typeface exclusively designed for the Hunt Botanical Library (Hunt Institute for Botanical Documentation since 1971), situated on campus of Carnegie Mellon University in Pittsburgh, to accompany their text typeface Spectrum. Review by Ferdinand Ulrich.
    • International (ITC, 1977). Samples: Demi, Demi Italic, Heavy, Heavy Italic, Light, Light Italic, Medium, Medium Italic.
    • Janson (Linotype).
    • Jeannette Script (Hallmark).
    • Kompakt (1954, D. Stempel).
    • Kalenderzeichen (transl: calendar symbols).
    • Kuenstler Linien (transl: artistic lines).
    • Linotype Mergenthaler.
    • Melior (1952, D. Stempel; see Melmac on the SoftMaker MegaFont XXL CD, 2002). Samples: Bold, Bold Italic, Italic, Roman.
    • Michelangelo (1950, D. Stempel, a roman caps face; a digital version exists at Berthold and at The Font Company).
    • Marconi (1975-1976, Hell; now also available at Elsner&Flake and Linotype; according to Gerard Unger, this was the first digital type ever designed---the original 1973 design was intended for Hell's Digiset system; Marconi is a highly readable text face).
    • Medici Script (1971).
    • Musica (Musiknoten, transl: music symbols; C.E. Roder, Leipzig).
    • Magnus Sans-serif (Linotype, 1960).
    • Missouri (Hallmark).
    • Novalis.
    • Noris Script (1976; a digital version exists at Linotype).
    • Optima (1955-1958, D. Stempel--Optima was originally called Neu Antiqua), Optima Greek, Optima Nova (2002, with Akira Kobayashi at Linotype, a new version of Optima that includes 40 weights, half of them italic). Samples: Poster by Latice Washington, Optima, Demibold Italic, Black, Bold, Bold Italic, Demibold, Extra Black, Italic, Medium, Medium Italic, Regular, Italic. Digital clones: Zapf Humanist 601 by Bitstream, O801 Flare on the SoftMaker MegaFont XXL CD (2002), Opus by Softmaker, Columbia Serial by Softmaker, Mg Open Cosmetica, Ottawa by Corel, October by Scangraphic, CG Omega by Agfa compugraphic, Chelmsford by URW, Classico by URW and Optus by URW.
    • Orion (1974).
    • Palatino (1948, D. Stempel; the original font can still be found as Palazzo on Softmaker's XXL CD, 2002), Palatino Nova (2005, Linotype), Palatino Sans (2006, Linotype, with Akira Kobayashi), Palatino Greek, Palatino Cyrillic. Palatino was designed in conjunction with August Rosenberger, In 2013, Linotype released Palatino eText which has a larger x-height and wider spacing. Palatino samples: black, black italic, bold, bold italic, italic, medium, roman, light, light italic. Poster by M. Tuna Kahya (2012). Poster by Elena Shkarupa. Poster by Wayne YMH (2012). Zapf was particularly upset about the Palatino clone, Monotype Book Antiqua. Consequently, in 1993, Zapf resigned from ATypI over what he viewed as its hypocritical attitude toward unauthorized copying by prominent ATypI members.
    • Phidias Greek.
    • Primavera Schmuck.
    • Pan Nigerian.
    • Quartz (Zerox Corporation Rochester, NY).
    • Renaissance Antiqua (1985, Scangraphic). Samples: Regular, Bold, Book, Light Italic, Swashed Book Italic, Swash Italic.
    • Saphir (1953, D. Stempel, see now at Linotype).
    • Sistina (1951, D. Stempel).
    • Scriptura, Stratford (Hallmark).
    • Sequoya (for the Cherokee Indians), ca. 1970. This was cut by Walter Hamady and is a Walbaum derivative.
    • Linotype Trajanus Cyrillic (1957).
    • Textura (Hallmark).
    • URW Grotesk (1985, 59 styles), URW Antiqua, URW Palladio (1990).
    • Hallmark Uncial (Hallmark).
    • Virtuosa Script (1952, D. Stempel). Zapf's first script face. Revived in 2009 as Virtuosa Classic in cooperation with Akira Kobayashi.
    • Venture Script (Linotype, 1966; FontShop says 1969).
    • Winchester (Hallmark).
    • World Book Modern.
    • ITC Zapf Dingbats [see this poster by Jessica Rauch], Zapf Essentials (2002, 372 characters in six fonts: Communication, Arrows (One and Two), Markers, Ornaments, Office, based on drawings of Zapf in 1977 for Zapf Dingbats).
    • Zapfino (Linotype, 1998, winner of the 1999 Type Directors Club award), released on the occasion of his 80th birthday. This is a set of digital calligraphic fonts. Zapfino Four, Zapfino Three, Zapfino Two, Zapfino One, ligatures, Zapfino Ornaments (with plenty of fists). Poster by Nayla Masood (2013).

    Books and references about him include:

    Pictures of Hermann Zapf: with Lefty, with Rick Cusick, in 2003, with Frank Jonen, with Jill Bell, with Linnea Lundquist and Marsha Brady, with Rick Cusick, with Rick Cusick, with Stauffacher, a toast, with Werner Schneider and Henk Gianotten, with Chris Steinhour, at his 60th birthday party. Pictures of his 80th birthday party at Linotype [dead link].

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

  • Herzberg Design
    [Matthijs Herzberg]

    Aka BaronHerzberg. Illustrator, letterer and type designer, who was born in the Netherlands, moved to New Orleans in 2013, and set up Herzberg Design, a commercial type foundry, in 2019. His typefaces include:

    • Libido (2021). A funky unicase psychedelic typeface based upon Wes Wilson's style. It has a traditional smooth or curvy style, and a ragged style with only straight edges, and is designed in variable format with a width axis and an optical size axis.
    • Bonkus (2020). A six-style geometric sans-serif typeface with a funky touch that was inspired by similar wide open organic typefaces from the 1970s such as Blippo and Ronda.
    • Wanchy (2020). A psychedelic typeface.
    • Yardbird (2020). A stencil typeface.
    • Cloisterfuch (2019). A blocky modern blackletter.
    • Psychblock (2020). A variable art nouveau font with two axes (width and optical size), inspired by the psychedelia of Wes Wilson. For Latin and Cyrillic.
    [Google] [More]  ⦿

    Heshke
    [Purev Khishigbayar]

    Ulaanbaatar, Mongolia-based designer of the 6-style Latin / Cyrillic headline sans typeface Buyan (2019). [Google] [MyFonts] [More]  ⦿

    Heter publisher

    Free Tatar truetype font. [Google] [More]  ⦿

    Heummdesign
    [Haerin Lee]

    Heummdesign is a Seoul, South Korea-based type foundry (according to Dafont) or a North Korean type design cooperative (according to MyFonts), started in 2009. By 2020, they produced well over a hundred typefaces for Latin, Greek, Cyrillic and Hangul. Haerin Lee appears to be the main person but that remains unclear.

    Haerin Lee designed HU Cookie (2020, with Rumi Kim and ByoungHeon Park), HU Bubble (2020, with SangHyeon Park), HU Hand Serif (2020: with Yehyeong Lee and ByoungHeon Park), HU Wind Sans (2020: a 15-style sans for Latin, Greek and Cyrillic by Haerin Lee, SangHyeon Park and ByoungHeon Park) and HU The Game (2020, with ByoungHeon Park), a typeface with mini-spurs and odd terminals that is designed for display.

    Typefaces from 2021: HU Battery (a sci-fi typeface by Haerin Lee, SangHyeon Park and Yehyeong Lee), HU Rosette (a cursive display serif by Haerin Lee, Rumi Kim, ByoungHeon Park and Gahee Kim), HU Green Tea (with Yehyeong Lee), HU Ketchup (with Yehyeong Lee: an informal supermarket typeface for Latin, Cyrillic and Greek). [Google] [MyFonts] [More]  ⦿

    H.H. Thorpe

    Typographer in the 19th century, whose work from 1883 was an inspiration for David Nalle's Acadian (1994). It was cyrillicized by Lurex Design in 2003. [Google] [More]  ⦿

    Hightower.Ru
    [Evgeny Domnikov]

    Evgeny Domnikov (Hightower.Ru) designed many free pixel fonts, including Copyright, Copyright Bold, Dots, BigDots and Terminal, all with Cyrillic versions. FON format only. He cyrillized Jeffrey N. Levine's font Festival Nights JL in 2002. [Google] [More]  ⦿

    HiH (Hand in Hand)
    [Tom Wallace]

    Tom Wallace's foundry, HiH (est. 2005), was first located in Woodbridge, CT. Subsequently, Tom Wallace (b. 1944) moved from Woodbridge to Naugatuck to Waterbury and finally in 2009 to New Britain, CT. His type designs are based on historical letterforms:

    • Augsburger Initialen and Augsburger Schrift (2001), an art nouveau pair found in Ludwig Petzendorfer's Treasury of authentic art nouveau alphabets, decorative initials, monograms, frames and ornaments (1984, Dover). Augsburger Schrift is originally due to Peter Schnorr (1901, Berthold). In 2007, Wallace added Augsburger Ornamente.
    • Figgins Tuscan (2005) is based on the first metal Tuscan typeface by Figgins in 1817.
    • Freak, based on Bamboo (1889, The Great Western Type Foundry). HiH explains: Great Western became Barnhart Brothers & Spindler in 1868. At some point, prior to 1925, Freak was renamed Bamboo by BB&S. It was delisted when BB&S was absorbed by ATF in 1929. Compare with Dan Solo's Bamboo (2004).
    • Gradl Initialen (2005): based on caps designed by Max Joseph Gradl ca. 1900 for engraving on his art nouveau jewelry in Germany. Samples are in Petzendorfer.
    • Huxley Alt (2005), an alternative to the ultra-condensed Lutherian church font Huxley Vertical (or Aldous Vertical) by Walter Huxley (ATF). Huxley Amore (2006) is a major extension of this, and Huxley Cyrillic (2008) adds Russian characters.
    • Künstler Grotesk (2005): a simple blackletter caps typeface based on a design seen in Petzendorfer's book.
    • Page No. 508 (2006): Page No. 508 was designed by William H. Page in 1887 as one of a series of designs for die-cut wood types for the firm of Page & Setchell of Norwich, CT. Page & Setchell was the successor to The William H. Page Wood Type Company and was sold to the Hamilton Manufacturing Company of Two Rivers, Wisconsin in 1891.
    • Pekin (2005): first designed by Ernst Lauschke in 1888 at the Great Western Foundry under the name Dormer.
    • Schnorr Dekorativ, Demi Bold and Initialen (2007), all due to Peter Schnorr (ca. 1900), as well as Schnorr Gestreckt (2006), an art nouveau typeface from 1898.
    • Rundgotisch (2005): based on a design by Schelter and Giesecke, ca. 1900.
    • Edison (2005) is based on Edison Swirl SG, a Spiece Graphics digitization of a late 18-th century design of the Bauersche Giesserei.
    • Bethlehem Star (2005) is based on the typeface Accent with the permission of URW++: HiH only added stars to the glyphs.
    • Antique Tuscan No. 9 (2006). One of the earlier wood-type designs by William Hamilton Page. It was first shown among the specimens produced in 1859, shortly after Page entered into a new partnership with Samuel Mowry, owner of the Mowry Axle Company. Antique Tuscan No.9 is an extra-condensed version of the tuscan style that had been released in moveable type by Vincent Figgins of London in 1817.
    • Secession (2006): a sans family with art nouveau twists.
    • French Plug (2007): A sign painters font based upon work of Frank H. Atkinson, a popular Art Nouveau sign painter in Chicago, who worked for Cadillac, and published Sign Painting in 1908.
    • T-Hand Monoline (2007): a printed script family.
    • Figgins Antique (2007): an all-caps black slab serif headline typeface based on Figgins, ca. 1815.
    • Mulier Moderne (2007): Based on a font designed ca. 1894 by E. Mulier, a French art nouveau era artist.
    • Regina Cursiv (2007): an art nouveau design that revives a typeface published by H. Berthold Messinglinienfabrik und Schriftgiesserei around 1895.
    • Edelgotisch (2007): a bold Jugendstil design (with caps), based on a design released by Schelter & Giesecke of Leipzig, Germany about 1898 and is very similar to Eckmann-Schrift released by Rudhard'schen Giesserei (later Klingspor) during the same period.
    • Teutonia (2007), a revival of Teutonia by Roos & Junge, a squarish art nouveau face. HiH writes: There are many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923, Joost Schmidt at Bauhaus in Weimar took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. And in 2008, HiH itself published Baltimore Geometric.
    • Austin Antique, based on Richard Austin's 1827 antique typeface.
    • Morris Gothic, Morris Ornaments and Morris Initials One and Two (2007): The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called Troy Type and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called Chaucer Type for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions.
    • Larisch (2007): a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift Examples of Artistic Writing).
    • Patent Reclame (2007): an art nouveau typeface first cast around 1895 by Schriftgeisserei Flinsch, and then by Stephenson Blake, ca. 1896.
    • Jugendstil Initials (2007): an all caps decorative blackletter typeface designed by Heinrich Vogeler around 1905.
    • Wedding (2007): a multi-style English blackletter family, based on a Morris Fuller Benton original called Wedding Text.
    • Brass (2007): two blackletter typefaces from the early 1500s described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY, 1959) as initials and stop ornaments from brasses in Westminster Abbey.
    • Auchentaller (2007), a monoline art nouveau typeface inspired by a travel poster by Josef Maria Auchentaller (b. Vienna, 1865, d. Grado, 1949; studied at the Vienna Academy, professor in Munich, member of the secession from 1898, artist) in 1906.
    • Phinney Jenson (2007): a Venetian by Nicolas Jenson from the 15th century, about which Wallace writes: In 1890 a leader of the Arts & Crafts movement in England named William Morris founded Kelmscott Press. He was an admirer of Jensons Roman and drew his own somewhat darker version called Golden, which he used for the hand-printing of limited editions on homemade paper, initiating the revival of fine printing in England. Morris' efforts came to the attention of Joseph Warren Phinney, manager of the Dickinson Type Foundry of Boston. Phinney requested permission to issue a commercial version, but Morris was philosophically opposed and flatly refused. So Phinney designed a commercial variation of Golden type and released it in 1893 as Jenson Oldstyle. Phinney Jenson is our version of Phinneys version of Morris' version of Nicolas Jensons Roman.
    • Advertisers Gothic (2008): based on Robert Wiebking's tasteless 1917 design for Western Type foundry. HiH writes: Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline.
    • Publicity Headline (2006): an allcaps version of Sidney Gaunt's advertising typeface, Publicity Gothic (1916, Barnhart Brothers & Spindler). Its heavy weight and robust strength allows it to be used against complex backgrounds or reversed out on dark backgrounds without getting lost.
    • Herold (2008): a revival of Berthold Herold Reklameschrift BQ (Hermann Hoffmann, 1901), an art nouveau advertising typeface.
    • Yes Dear (2008) is a funny hyper-curly blackletter face.
    • Besley Clarendon (2008) is the HiH version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. This condensed typeface was very popular in the 19th century, and was copied by most foundries of that era. It was followed by Gutta Percha (2008), a Clarendon in which the upper case letters are dropcaps.
    • Waltari (2008): a revival of Walthari (1899, Heinz König for the Rudhardsche Giesserei), a Jugendstil type.
    • Hispania Script (2008): revival of a pirate map script typeface called Sylphide by Schelter & Giesecke (1896) (and not Schelter & Giesecke's Hispania).
    • Cloudy Day (2008), an alphading.
    • HiH stumbled on a 1902 publication by Bruno Seuchter called Die Fäche, in which he found the art nouveau typeface that HiH revived in 2008 as Seuchter Experimental.
    • Petrarka ML (2006). HiH writes: Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer's Bernard Roman Extra Bold and ATF's Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (1906, Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the H particularly. See also Nick Curtis's Petrushka NF (2012). Footnote: Fonts in Use refer to the metal typeface Petrarka by Schelter & Giesecke (1900) and Milton (by Societa Augusta). The Solotype catalog has a related typeface, Ophelia.
    • Haunted House (2008), Halloween-themed fonts.
    • Gothic Tuscan One (2008) is an all-caps condensed gothic with round terminals and decorative Tuscan center spurs. It was first shown by William H. Page of Norwich, CT, among his wood type specimen pages of 1859.
    • HiH Firmin Didot (2008) is a one-style didone based on an 1801 version of Didot. It led to a combined alphabet/stick people alphading called Gens de Baton (2008) after a lower case alphabet that appeared in the Almanach des Enfants pour 1886 (Paris, 1886) under the title Amusing Grammar Lessons.
    • Shout (2008), a Compacta-like fat headline sans about which HiH writes: Its lineage includes the Haas Type Foundrys 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as extended sans serif and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a shout, as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black.
    • The heavy art deco typefaces Guthschmidt and Guthschmidt Condensed (2008) are based on a 1924 KLM Royal Dutch Airline poster designed by Anthonius Guthschmidt. The poster draws on the imagery of the legend The Flying Dutchman.
    • Cherub and Cherub Caps (2008) are based on Phinney Jenson. Not to be confused with the many fonts that already existed with that name, such as Cherub from House of Lime, Twopeas, Graph Edge Fonts, and Fuelfonts.
    • HiH Large (2009) is a poster sans.
    • Mira (2009) is an art nouveau / Victorian typeface patterned after a font by the Roos & Junge Foundry in Offenbach, ca. 1902.
    • Thorowgood Sans (2009): A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street's own Grotesque Shaded of 1834 (with light and shadow reversed).
    • Fantastic ML (2009): an art nouveau typeface originally released as "Modern Style" by Fonderie G. Peignot & Fils, Paris, France some time before 1903.
    • Gundrada ML (2010): a medieval style typeface inspired by the lettering on the tomb of Gundrada de Warenne, who was buried at Southover Church at Lewes, Sussex, in the south of England in 1085.
    • Wedge Gothic (2010). HiH writes: Wedge Gothic ML is the original name of this font released by Barnhart Bros. and Spindler of Chicago in 1893. [...] The typeface was dropped for awhile -- it does not appear in the 1907 catalog for example -- but reappeared in 1925 as Japanette. McGrew says that the new name was Japanet. It was recast by ATF in 1954.
    • Norwich Aldine ML (2010) is an all caps typeface with enlarged serifs, designed and produced in wood by William H. Page of Norwich, CT in 1872.
    • Rodchenko Constructed ML (2010) is constructivist (Latin and Cyrillic).
    • Cruickshank ML (2012): a decorative typeface from the late Victorian period. The typeface was designed by William W. Jackson and released by MacKellar, Smiths and Jordan Type Foundry of Samson Street, Philadelphia, Pennsylvania in 1886.
    • Habana Deco ML (2013).
    • Chicago Ornaments (2015). a collection of decorative cuts cast by the Chicago Type Foundry of Marder, Luse & Co. of Monroe Street in Chicago, Illinois. This collection was shown in their 1890 catalog. Some of them were designed by William F. Capitain. Included in the font are a set of Victorian caps inspired by Ernst Lauschke's Dormer (or Pekin, 1888).

    View Tom Wallace's fonts. View the typefaces designed by Tom Wallace. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Hillel Glueck
    [Tamar Fonts]

    [MyFonts] [More]  ⦿

    Hilti

    A corporate URW studio sans family published in 2009. The 6-font family sells for over 5000 dollars and covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. [Google] [More]  ⦿

    Hiroya Sato
    [Cossack.jp]

    [More]  ⦿

    Hi-Type
    [Thorsten Schraut]

    German designer Thorsten Schraut designed several original pixel fonts at HI-TYPE. These include HI-Airport, HI-Login, HI-Webt. Cyrillic version of HTAirport.

    See also here and here. Dafont link. [Google] [More]  ⦿

    Holy Black Cat

    Russian designer of the 12px / 9pt monospaced octagonal Latin / Cyrillic raster font CatV 6x12 9 Normal (2015, free at Open Font Library). [Google] [More]  ⦿

    Hotam
    [Hotam Mahmadiev]

    Dushanbe, Tajikistan-based designer of the circle-based monoline rounded sans typeface family Metricor (2019) for all Latin languages, Cyrillic, and Greek. [Google] [MyFonts] [More]  ⦿

    Hotam Mahmadiev
    [Hotam]

    [MyFonts] [More]  ⦿

    HS Fonts (was: HermesSoft Type Library)
    [Ivan Neytchev]

    Company and font vendor run by Ivan Neytchev from Plovdiv, Bulgaria, which was founded in 1989. The fonts are designed by a team of Bulgarian type designers who used to work for Monotype in the 1980s. Makers of high quality (expensive) Cyrillic, Western, Greek, Central European, and Baltic typefaces, plus multiple master fonts.

    Discussion of some typefaces: Universum MM: Free demo of a limited character set of the new Universum multiple master font, developed by HermesSoft. They also made the sans serif font Grotesk MM.

    Note: Most fonts were made in 2004 and 2005. Some can be found now on standard font archives, such as Helen BG (a Helvetica clone by Vassil Nikolov).

    The font list: Bell House Bg, Brilliant Bg (a very nice didone; closest to Berthgold or URW Bodoni), Egyptian Bg, Erika Bg, Fresco Bg, Grotesk Bg, Helen2 Bg, Helen Bg (2004), Hermes Bg, Helen Pro, HS Compact Bg (close to Nimbus Sans Cond Black by URW++), HS Garamond Bg, KK3045 Bg, M06 Bg, Platinum Bg, Renault Bg, School Bg, Tempora Bg, Universum Bg, Viol Bg.

    In 2020, they started selling fonts via MyFonts. The fonts there include KK3045 Pro by Kuncho Kunev. [Google] [MyFonts] [More]  ⦿

    Hubert and Fischer
    [Sebastian Fischer]

    Founded by Philipp Hubert (based in New York) and Sebastian Fischer (based in Stuttgart), Hubert & Fischer is a design studio with offices in New York and Stuttgart, Germany with a global client base. The studio specializes in creating editorial design, type design, visual identity, print, application, websites and e-commerce design from concept to production.

    Google Creative Lab approached them to design a typeface for the branding of the Rubik's Cube Exhibition "Beyond Rubik's Cube" the Liberty Science Center, Jersey City. They designed a slightly rounded heavyweight font (Rubik, 2015, Rubik One, 2014, and Rubik One Mono, 2014) in which the letters fit perfectly in a single cubelet of the Rubik's Cube. The font was expanded to include Cyrillic and Hebrew characters for the exhibition. Free downloads at Google Web Fonts (see also here), Github and Open Font Library. Rubik One was created by Elvire Volk Leonovitch under the art direction of Hubert and Fischer. Bickerton (2014) is a rhombic typeface.

    Other commissioned typefaces: Dumpling Grotesk (based on a hand-painted sign of a Chinese restaurant in New York and characterized by a two-legged m), Bickerton (based on the work of artist Ashley Bickerton), Akzidenz Grotesk Mono, Unterwirt Regular, Cold Comfort (2010, a sharp-edged typeface for the exhibition catalogue Cold Comfort of artist Rudolf Reiber), Stripe (by Sebastian Fischer: A signage system typeface developed for the high school Quinta das Flores in Coimbra, Portugal), EDP (by Sebastian Fischer: a thick geometric sans for Latin, Chinese, Hindi and Cyrillic), Oberkofler (a pixel script for the publication Blut im Schuh for artist Gabriela Oberkofler), Tiptop (a sans designed as headline for the publication Jugend Forscht), Morus (a hipster typeface family), Swollen.

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

    Hubert Jocham

    German über-type designer (b. 1965, Memmingen) who studied graphic design in Augsburg (Germany) and Preston (England). His degree project dealt with the history of the italic type of the renaissance and the relationship between roman and italic. In 1998 he moved to London to work for Henrion, Ludlow and Schmidt in corporate branding. He worked at one point for Frank Magazine in London. Today Hubert Jocham is a freelance designer located once again in Memmingen, Germany. He develops brandmarks and logotypes for leading brand agencies like Interbrand, Landor, Enterprise and Futurbrand. He designs text and headline systems for international magazines like GQ London, Vogue Moscow, Vogue France (2010), Vogue Turkey, L'Officiel Paris, and New York and German publishers like Milchstraße and Gruner&Jahr. He is responsible for the corporate type of Bally in Switzerland, the Kunsthaus Graz and Agfa Photo. He set up Hubert Jocham Type in 2007. MyFonts link. FontShop link. His typefaces:

    • Adonis.
    • The ecccentric serif families Alida Text and Display (2007).
    • Becca (2018). An extensive slab serif family.
    • Bent (sans family).
    • Bravery. A curvy wedge serif. Accompanied by Bravery Sans.
    • The Contra Sans and Contra Serif families.
    • Contura. Inspired by Jakob Erbar's Feder Grotesk, and designed with the fashion industry in mind.
    • The Crema family (2012) has various flowing thick signage script styles.
    • Debra. A modern grotesque.
    • Dolce.
    • Element.
    • Elsner&Flake fonts: EF Havanna (1996), EH Herbert (1996), EF Panther, EF Sahara, EF Keule and EF Tabard.
    • Esquina. An open and attractive sans.
    • The TV-screen-curved Fernseher family.
    • Fire.
    • The signage brush script typeface Flavour (2004).
    • Flow. A sharp-edged sans.
    • Glanz (2018). A high contrast fashion mag typeface family.
    • Glenda (2009). A script face.
    • Granat (2009). A 14-style rounded sans family related to Jocham's own Teleplu and Teleneue.
    • Jocham (2012). A fat connected signage script family that won an award at TDC 2013.
    • June, New June and New June Serif (1999, after the large x-heighted June, used in W-magazine and Harvey Nichols magazine).
    • Keks (2009). A broken angular type.
    • The industrial sans family Konsens (with related Konsens Stencil).
    • Leaf. A playful serif.
    • Legau (2007). A sans with lots of stroke modulation.
    • Libris, Bally Libris.
    • LTA Identity.
    • Madita (2011). An upright connected script family.
    • Magazine.
    • Matrona (2010). An ultra fat rounded family, awarded at TDC2 2011.
    • The display serif typeface Mighty.
    • Mommie (2006) was originally designed as a display typeface for L'Officiel magazine in Paris in 2003. It won a display typeface award at TDC2 2008, and was followed in 2008 by MommieBrush. Boris Bencic, the art-director asked Jocham to design a script with high contrast in the stroke, in the tradition of Spencerian Hand.
    • The wide basic sans family Monday.
    • Motora Sans (2011). A simple sans family which according to Hubert is pure gasoline and sweat.
    • Narziss (a beautiful high-contrast ornamental didone headline typeface, winner at TDC2 2010). Followed in 2012 by Narziss Pro Cyrillic. See also Narziss Grotesk and Narziss Text.
    • Neopop (2009). A circular type experiment.
    • New Libris Sans. This is a multi-weight extension of Libris, the corporate typeface of Bally, Switzerland, designed by Jocham in 1999. New Libris Serif.
    • Oktober.
    • Other Sans, Other Oldstyle.
    • Perfetto (2008). A classic serif family based on a typeface penned by Giovanni Francesco Cresci with an x-height of 8 mm, and published in his book Il perfetto Scrittore in 1570 (also seen in Tschichold's Meisterbuch der Schrift).
    • Polia (2014).
    • Ramon (2014).
    • Riccia (2010). A grotesk family with schizophrenic "a" and "g".
    • The angular serif typeface Rudolph.
    • Safran (2009). A solid 18-style sans family.
    • In 2005, he made the brush script headline typefaces Schoko and Drop.
    • In 2008, he added the brush signage families Schwung and Milk.
    • September.
    • Softedge.
    • Spring Sans (2008).
    • Susa (2009). A connected script face.
    • Tantris Sans (2014). Created for the book about the famous restaurant Tantris in Munich.
    • The comic book family Tasty (2005).
    • Teleneue.
    • Televoice (2018). A sans with elliptocal curves.
    • Venturio (50s diner face).
    • Verve Sans and Serif (2006-2007) are a pair of fun birds, especially the frivolous serif originally planned for a women's psychology magazine called Emotion. A few days after their publication, they were renamed Verse Sans and Verse Serif, probably because the name Verve clashed with Adobe's VerveMM font made in 1998 by Brian Sooy (by the way, there is also a Verve type family by Dieter Steffmann, dated 2000).
    • Vivid (2009).
    • Voice (2004-2005, elliptical sans). Subfamilies include Voice Edge, Voice Sans and Voice Shoulder, all done at URW. In 2007, Voice was removed from URW and is solely available at Hubert Jocham Type&Design. The family was extended and now includes many styles, subdivided in Voice (sans), VoiceEdge, VoiceShoulder, VoiceSerif, Voice Heavy, Voice Medium, Voice Ultra Bold, and TeleVoice.
    • The very interesting asymmetrically rounded Volt (2007), a sans family he claims improves on similar typefaces such as Bernhard Gothic, Barmeno, Dax, Prokyon, Voice Shoulder, and Phoenica.
    • Weekend.
    • Work ahead: this serif face (2005).
    • Xmas Rudolph (2006). A free display serif face.
    • Yuri (2017). A predominantly didone typeface with gently sloped serifs.

    View Hubert Jocham's typefaces. Another view.

    Klingspor link. MyFonts interview. Volcano Type link. [Google] [MyFonts] [More]  ⦿

    Huerta Tipográfica
    [Sol Matas]

    Argentinian type foundry and coop that unites Juan Pablo Del Peral, Carolina Giovagnoli, Sol Matas and Andrés Torresi. They bring high quality text typefaces, both serif and sans, to the table. In 2011-2013, Sol Matas published the free slab serif family Bitter, which was optimized for reading on screens and covers Latin, Cyrillic and Devanagari. It won an award at Tipos Latinos 2012, and is free at Google Fonts and CTAN.

    In 2014, they published the free text typeface family Caladea which was designed by Carolina Giovagnoli and Andrés Torresi. Caladea is based on Lato and Cambo, and is metric-compatible with Microsoft's Cambria.

    In 2020, Julieta Ulanovsky ans Sol Matas co-designed the monoline signage typeface Confiteria, which was influenced by the lettering in the Saint Moritz tea shop in Buenos Aires. It was published by Sudtipos.

    Google Fonts. Github link.

    Fontsquirrel link. Fontspace link. Behance link. Adobe link. [Google] [More]  ⦿

    Hugo Cavalheiro d'Alte

    Born in Porto, Portugal, in 1975. From 1994 until 1999 he studied graphic design at the Escola Superior de Artes e Design. In 2000 he became a postgraduate student at the KABK where he wrote a Masters thesis entitled "Type&Media". He joined Underware in the same year. At ATypI 2005 in Helsinki, he spoke on On the edge of legibility, which in fact is a talk about blackletter. Affiliated since 2002 with Underware. He lives in Finland. Also doing business at Incubator at Village Type.

    Cargo collective link. Link at Underware. Alternate URL: This is playtime.

    His typefaces:

    • For Thirstype, he made Kaas (2005), a blackletter typeface for the 21st century, with Latin, Cyrillic, and Hebrew alphabets.
    • Still in 2009, he created a transitional type, Rolland (+Rolland Text, Rolland Small, Rolland Text Italic), about which he writes: Rolland is a digital interpretation of some of the printing types used at the "Typografia Rollandiana" in Lisbon at the end of the XVIII century. The printing and publishing house was established by Francisco Rolland after he moved to Lisbon (from France) in the second half of the XVIII century becoming one of the most successful publishers of his time.
    • Kalevala (2009): a custom sans type family for Finnish jewelry brand Kalevala Koru. The starting point for this project was a book printed and published by Francisco Rolland in 1797: "Escolha das Melhores Novellas e Contos Moraes; Escritos em Francez por MM, d'Arnaud, Marmontel, Madama de Gomez, e outros".
    • In 2009-2010, he made a DIN-like corporate font for Centro Portugues de Design, CPD Sans. This was accompanied by the CPDSerif family, which evolved from Rolland.
    • In 2009, he created the squarish unicase typeface Flexibility: Custom typeface commissioned by the portuguese design studio R2 for the identity of an exhibition that took place in Torino (Italy) in 2008 (World Design Capital 2008).
    • Kaas (2005, Incubator) is a modern geometric/constructed blackletter with a historically-accurate set of titling capitals, a large collection of accents, and Cyrillic and Hebrew alphabets.
    • Arabia (2015) is a custom typeface for Arabia Finland (for the identity renewal work by Ilkka Kärkkäinen).
    [Google] [MyFonts] [More]  ⦿

    Hugo Chargois

    French designer of Gohufont (2010): Gohufont is a monospace bitmap font well suited for programming and terminal use. It is intended to be very legible and offers very discernable glyphs for all characters, including signs and symbols. Free, in BDF and PCF formats. Github link by Guilherme Maeda, who created truetype versions of Chargois's fonts in 2015. The pixel fonts cover Latin, Greek, Hebrew, Cyrillic, Braille and mathematical symbols. [Google] [More]  ⦿

    Huh Type Foundry
    [Dmytro Iarynch]

    Dmytro Iarynch (or Yarynych) runs Huh Type Foundry in Kiev, Ukraine. He created the hand-drawn unicase Latin / Cyrillic poster typeface family Kuppa in 2013.

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

    Hungarumlaut (was: Cila Design)
    [Adam Katyi]

    Adam Katyi, who hails from Sopron, Hungary, has three degrees. He has a BA from the University of West Hungary at Institute of Applied Arts, Sopron in 2010, and an MA from Moholy-Nagy Art and Design University, Budapest in 2012. In 2013, he graduated from the Type & Media program at KABK in Den Haag. In 2014 Adam founded his own type foundry, Hungarumlaut. Between 2015 and 2016 he worked for Miles Newlyn at Newlyn Ltd, as a part time font engineer and type designer. Since 2014, he teaches at the Moholy-Nagy Art and Design University. He is currently located in Graz, Austria. His typefaces:

    • In 2009, he created 9Pixel.
    • In 2010, he designed a typeface called Ringua, and the great Totfalusi Sans Serif, his BA final project at Sopron's Institute of Applied Art.
    • In 2012: Ursin (techno, octagonal), Ursin Rounded.
    • His KABK graduation typeface is a large sans typeface family, Westeinde, which has caption, text and display subfamilies, and weights going from hairline to black. The geometric family shows influences from Bauhaus and constructivism. In addition to being drop-dead gorgeous, this family has optical sizes as well.
    • In 2013, Adam Katyi created Gewaard, an interpretation of Halfvette Aldine, shown in the Lettergieterij Amsterdam specimen of ca. 1906. This didone with bracketed serifs was a revival project at KABK under the guidance of Paul van der Laan.
    • Also in 2013, he published Infinity Space Icons.
    • Nubu (2014). A thin fashion mag sans custom made for the fashion design group NUBU.
    • Telkmo: A Custom font by Adam Katy and Miles Newlyn for Telkom South-Africa.
    • In 2015, he designed the monospaced typeface Menoe Grotesque for Latin, Greek and Cyrillic, which was inspired by an old Continental typewriter. Menoe can be used as a programming font.
    • Ost (2016). A custom typeface for Ost Konzept, is a clothing brand established in 2016 in Hungary by Aron Sasvari and Oliver Lantos, and named after the German word for East, as a symbol of the formerly isolated Eastern-European reality, the results a disorted viewpoint of fashion.
    • Magen. Magen is a one-style, headline typeface with translation contrast, based on sketches with a broad-edged pen. A custom design for The Revere, a bi-weekly, student-run, foreign affairs periodical.
    • For the Laszlo Moholy-Nagy Design Grant (named after Bauhaus artist Laszlo Moholy-Nagy), he created the ink-trapped custom typeface Mohol in 2017.
    • Kleine Titel is a custom typeface for the Styrian Kleine Zeitung daily newspaper.
    • Laslo (2018) is a sans typeface with variable widths. It was inspired by the letter a of a Bauhaus Tapetenmusterbuch from 1934.
    • Amen Display (2018). This didone grew out of Gewaard: I made the first sketches and digital files at my Type and Media studies as a revival project under the name Gewaard. Project leader: Paul van der Laan. The Medium weight is an interpretation of Halfvette Aldine, shown in the Lettergieterij Amsterdam specimen of c.1906. I have found the original typeface in an old prayer-book, from Butzon and Bercker, Kevelaer, 1904. The type was set in large size, in 24 pt. Since 2013 I have redrawn the letters several times, but I've found its clear voice only five years after the first sketches. In 2018 I redesigned all the characters with more geometric details and a comletely new italic style.
    • Supergravity (2018-2020).

    Behance link for Cila Design. Cila Design. Behance link for Hungarumlaut. Type Today link. Yet another Behance link. [Google] [MyFonts] [More]  ⦿

    Hurufatfont Type Foundry
    [Oguzhan Cengiz]

    Istanbul-based art director. Designer of Elen Sans (2002-2020: started in 2002 as a student, and finally finished in 2020, this 18-style display sans was influenced by Friz Quadrata and Eras) and the Latin / Cyrillic text typeface Milas (2018). In 2019, he published Kontras (a fashionable typeface), Apron (a 42-font sans family with the vertical roundness of airplane windows), ApronSoft, and Grosen (a 14-style grotesk).

    Typefaces from 2020: Masifa (a neutral condensed grotesque in 90 styles), Masifa Rounded (another 90 styles), Masif (dead link; a neutral sans with little contrast; 90 styles; renamed Masifa most likely after a complaint from Monotype which markets a Steve Matteson font called Massif), Kanyon (a 54-style low contrast geometric sans), Salda (a 40-style sans family), Gevher (a 48-style grotesque family with deep ink traps), Tonus (an 84-style superfamily with Sans, Slab, Text, Display and Contrast subfamilies), Salin (a 20-style semi-geometric sans), Nema (sans), Kaunos (by Mustafa Eren).

    Typefaces from 2021: Rapor (a 20-style grotesk), Mazot (a 19-style sans with almost no contrast, and vertical or horizontal terminal endings; includes a variable font), Berina (a 6-style display family), Mersin (a 20 style sans and a two-axis variable font), Bahar (an 18-style sans inspired by Souvenir and Cooper Black), Stadiona (a heavy condensed organic sans that was inspired by Bauhaus), Ancyra (a 48-style sharp-edged and thorny-serifed serif family), Salda Soft (a 20-style rounded sans family).

    Typefaces from 2022: Multipa (a 22-style condensed rather formal sans). [Google] [MyFonts] [More]  ⦿

    Hypertext Plus

    Commercial Cyrillic fonts. [Google] [More]  ⦿

    I & O Media (or: Iset and Osiri, or: Imagine and Ordain)
    [T. Christopher White]

    American designer of these fonts:

    • Gowa (2020). A free sci-fi typeface.
    • The FontStruct fonts Hjet (2018) and Khnum (2018).
    • The free font Tehuti (2015, Open Font Library), which was originally planned as a font family related to Dwiggins's Electra, but took on a life of its own. Each of Tehuti's styles (Book and Italic) had 4078 characters, including Latin, Greek and Cyrillic. Tehuti, itself discontinued, evolved into the free font Dehuti in 2016-2017, and into the commercial Dehjuti in 2019, and Dihjauti in 2020.
    • Ptah (2015, Open Font Library). A display typeface updated in 2016 and 2017.
    • Seshat (2016, Open Font Library: an artificial language font). Seshat was discontinued and replaced by Zeshit Sans (2016). The designer explains: Zeshit Sans is a font of the Galactic tongue, which is called Irden Las, or Esteemed Tongue. It is the language of the felines (lions), the dolphins, and the whales, who are mankind's uplifters. It was transliterated, through meditation, by Northern Amerindians from numerous crashed spacecraft.

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

    Iakov Georgievich Chernikhov

    A Russian architect and artist, Iakov Chernikhov was born in 1889 in Pavlograd, Yekaterinenskav Gubernia, Ukraine (now Dnepropetrovskay Oblast). He died in 1951 in Moscow. He studied at the Odessa Art School, a branch of the St. Petersburg Academy of Arts. In 1914, having graduated from the Art School, he moved to St. Petersburg and entered the Academy of Arts. In 1916 Chernikhov transferred from the painting faculty to the architecture department and graduated in 1925. He became a successful architect, and taught at the Leningrad Institute of Transportation Engineers (after 1933 LIIZhT) in the school of architecture (1928-45), at the Industrial Academy (NKTP) in the course for factory and plant construction (1930-32), at the Stalin Transportation Academy (NKPC) (1930-32), and at the Institute of Engineers of Water Transportation (1929-31). He published Fundamentals of Modern Architecture (1929-1930), Construction of Architectural and Machine Forms (1931), and Architectural Fantasies. 101 Compositions (1933). These classics are all about architectural fantasies. The last work of Iakov Chernikhov, which remained uncompleted, was the book An Analysis of the Construction of Classical Typeface (written in 1945-1951). It was published in 1958, seven years after his death. Iakov Chernikhov used for construction of the types some principles taken from the theory of architectural forms having much in common with the type forms that obey the same regularities. Some of his work looks like the early attempts at regularization by Duerer and Tory, or as found in the Romain du Roi.

    In 2009, Dmitry Yakovlevich Chernikhov (editor), Uta Keil (German translation) and Heike Maria Johennig (English translation) published the Russian / German / English text Graphic masterpieces of Yakov Georgievich Chernikhov : the collecton of Dmitry Yakovlevich Chernikhov (DOM Publishers, Berlin).

    Wiki page. Scans: I, II, III, IV. Image of his Cyrillic Trajan (1945-1951). [Google] [More]  ⦿

    IBM OS--2 fonts in BDF format

    Fonts extracted by Vadim Belman and Anton Berezin from the IBM OS/2 distribution and put in BDF format, with KOI8-R encoding (Latin/Cyrillic). [Google] [More]  ⦿

    IBT

    International Business Translations: commercial Cyrillic software and fonts. [Google] [More]  ⦿

    Iconbazaar

    Small Cyrillic font set in the Fonts.zip file: Aksent, AksentNormal, AstronCyrillic, BetinaScriptC, BetinaScriptCBold, Boyarsky-Bold-Italic:00?, Boyarsky-BoldItalic:00, BrushType-SemiBold-Italic, ChicagoPlain, Corrida-Bold, CorridaCyrillic, CyrillicChancellor, Decor-Bold, Decor-Italic, Decor, Derby, Domkrat, DomkratBold, DomkratBoldItalic, DomkratItalic, DomkratNormal, Electron, ElectronBold, ElectronPlain, Electron_cyr, Freestyle, FuturaEugenia-Italic, FuturaEugenia, FuturaEugeniaHo, FuturaPressPress, GoodBadUgly, InformCBold, Izhitza, Jikharev, KladezPlain, Latin, MegenPlain, Moon-Phases, Parsek, Romic, Serpentin, TaurusLightNormal, Tiff-Heavy. [Google] [More]  ⦿

    idit.bg

    Bulgarian type blog. [Google] [More]  ⦿

    iFONT.RU

    Big Russian font archive, nicely categorized and organized. New things. [Google] [More]  ⦿

    Igor Borisenko

    Moscow-based typographer and art director. Creator of the fat rounded outline typeface Bolshoi (2008). [Google] [More]  ⦿

    Igor Deev

    Korolyov, Russia-based designer of the sturdy poster typeface Wooden (2018; for Latin and Cyrillic). [Google] [More]  ⦿

    Igor Dekhtiarenko

    Illustrator and designer in Düsseldorf, Germany, b. Ukraine. Katja Renko and Igor Dekhtiarenko co-designed the following stunning typefaces:

    • The ultra-fat poster typeface Contrast (2018) for Latin and Cyrillic.
    • Solomka Sans (2018). They write: Solomka is a playful sans serif typeface with a huge range of special ligatures and different uppercase letters. It comes with a classic and rounded version as well as beautiful illustrations and patterns. The combination between condensed lowercase and wide uppercase letters is modern and playful at the same time.
    [Google] [More]  ⦿

    Igor Evgrafov

    Designer in Kazan, Russia, of the stitching font Fabrika (2012). [Google] [More]  ⦿

    Igor Freiberger

    Type and graphic designer in Porto Alegre, Brazil. In his first big commercial typeface project, he published the multilingual text typeface Sapiens (2014), and writes: Contemporary serif typeface with support to Latin, Cyrillic, Greek and Phonetic scripts. Includes full sets of small caps and petite caps, combining diacritics, superiors, inferiors, superscript, subscript, arrows, bullets, Math operators, and a wide number of additional symbols. Punctuation and figures are variable accordingly to the set in use. The font brings several language alternate glyphs respecting cultural variations, as long as design alternates to let the user choose optimal typesetting.

    Behance link. [Google] [More]  ⦿

    Igor Kiselev

    Russian creator in Moscow of the free icon typeface Web Symbols (2011, OFL).

    Just Be Nice Studio in Moscow. Fontsquirrel link. Fontspace link. Russian link. [Google] [More]  ⦿

    Igor Kosinsky
    [Kosinsky]

    [MyFonts] [More]  ⦿

    Igor Kuznetsov

    For Ivan Klimov's Design Klimov in Moscow, Igor Kuznetsov designed the free Latin / Cyrillic display typeface Arkhip (2014). Dafont link for Design Klimov. Ivan Klimov was born in 1991 and lives in Moscow. Dafont link. [Google] [More]  ⦿

    Igor Labudovic
    [IL Fonts]

    [MyFonts] [More]  ⦿

    Igor Lemeshkin

    Perm, Russia-based designer of the clean, natural and energetic typeface Vocal (2016). [Google] [More]  ⦿

    Igor Mekhtiev

    Graphic designer in Paris who created the squarish modular Latin / Cyrillic typeface Nevsky (2013). Behance link. [Google] [More]  ⦿

    Igor Mustayev
    [Igor Mustayev]

    Moscow-based foundry of Igor Mustaev (also written Mustayev), est. 2010. Designer of Ivan (2011, constructivist---Latin and Cyrillic), Juan (2011) and Now Grotesk (2011). At Art Lebedev Studio, he published the curly script typeface Neuch (2009). [Google] [MyFonts] [More]  ⦿

    Igor Mustayev
    [Igor Mustayev]

    [MyFonts] [More]  ⦿

    Igor Mustayev

    Also written Igor Mustaev. Born in 1982 in Khabarovsk, Mustayev was first an architect. In 2009, he finished the Type and Typography course at the British Higher School of Art and Design, supervised by Ilya Ruderman. Home page. Typoholic link. Behance link.

    Designer of the Latin/Cyrillic art deco typeface Oster-Poster (2009), which was part of his diploma work at the Moscow Department of Higher British Design School. He is currently living in Moscow and working as a freelancer in graphic design, lettering and type design.

    At Art Lebedev, he created the curly handwritten typeface ALS Neuch (2009). He also designed Zifferblatt (2009, old watch figures) and Now Grotesk (2010, a retro-futuristic unicase).

    At Hot Russian Pancakes, he made Juan (2011), Ivan (2011, slightly constructivist) and Now Grotesk (2011). [Google] [MyFonts] [More]  ⦿

    Igor Nastenko
    [SPSL]

    [More]  ⦿

    Igor Pashigorov

    Russian designer of an untitled Latin script typeface in 2015. In 2016, he made the vector format brush font Moonstone, the textured typefaces Ghost and Ghost Torn, and the EPS format calligraphic Breath Wind. Creative Market link. [Google] [More]  ⦿

    Igor Polovodov

    Russian type and graphic designer. He lectures on typography at North-West Printing Institute of Saint-Petersburg State University of Technology and Design. Since 1994 he is engaged in type design. Polovodov developed more than 60 types, including: White, Roton, DipMandi, MacUser, Kha Khantin, Kha Nenets, Kha Nganas, Kha Mansi (the last four types were developed for nations of Far North, Siberia and Far East); Cyrillic versions of Latin types: Chicago, Charcoal, Textiles, Techno, Capitals, Template Gothic (2003), Scott Makela's Dead History (2003) and Barnbrook's Exocet (2003). His MetaC family (1997) is here. ParaType link. [Google] [MyFonts] [More]  ⦿

    Igor Stepanchenko
    [ISTF]

    [MyFonts] [More]  ⦿

    Igor Tkachuk

    Tiraspol, Moldova-based designer of Colla Brush (2017) for Latin and Cyrillic. [Google] [More]  ⦿

    Igor Varenov

    Komi Republic, Russia-based creator of the speed emulation techno typefaces Line World (2015) and Speed World (2015). [Google] [More]  ⦿

    Igor Zhikharev

    Russian designer at Polygraphmash, where he designed "Zhikharev" in 1953 (later digitized by Gennady Baryshnikov and Vladimir Yefimov at ParaType in 1989). [Google] [More]  ⦿

    Igor Zhikharev

    Russian type and book designer, and graphic artist. He worked for VNII Polygraphmash as a staff type designer. He is the creator of Zhikharev (1953), a slanted monoline script, based on his own handwriting. The digital version was developed in 1989 by Gennady Baryshnikov, with the assistance of Vladimir Yefimov.

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

    Igor&Kate Shipovsky
    [Font City]

    [MyFonts] [More]  ⦿

    Ihar Suvorau

    Graduate of the European Humanitarian University (Visual Media and Design Program), 2008-2010, Vilnius (Lithuania). Multi-disciplinary designer who created the typefaces Slim (2009, Cyrillic sans) and Banksy (2010, Latin). [Google] [More]  ⦿

    ihateyouare

    Russian graphic designer who "created" Avatar, a Latin/Cyrillic typeface based on Chris Costello's overused Papyrus. Avatar is free. [Google] [More]  ⦿

    Ike Ku

    Moscow-based designer, who created the free fat geometric typeface Amende (2012). [Google] [More]  ⦿

    IL Fonts
    [Igor Labudovic]

    Vienna-based type designer who joined Schriftlabor in 2015, and started his own type foundry, IL Fonts, in 2019. He made the stencil type family Brilliant in 2010 at Facetype.

    Still at Facetype, he cooperated with Michael Hager on Stanley Slab (2012), which is an interpretation of wood type combined with the idea of modern stencils. Stanzer (2010, a unicase typeface done with Michael Hager) is an interpretation of wood type combined with the idea of modern stencils.

    Vendetta (2011) is a multilingual sans & serif text type family that supports Latin and Cyrillic.

    Wiener is an upright italic created with a bamboo-pen.

    Typo Passage is a high-contrast piano key display typeface. This is a modification of an original typeface by Mischa Zog at Erwin Bauer's office.

    In 2013, he graduated from the MATD program at the University of Reading. His graduation typeface was Salom [peace]: Salom is a type family for complex, yet lively typography, supporting Arabic, Hebrew and Latin. The purpose of this typeface is to balance all three scripts in equal harmony, keeping in mind their individual cultural heritage. Salom is designed to bridge challenging typography with the outspoken voice of the streets. The family comes in Light, Regular, Semi Bold, Bold and Black, every weight in three styles, Roman, Italic and Stencil. Salom was published at Schriftlabor as a retail typeface in 2018.

    In 2014, Hans Renzler, Dmitrij Ritter and Igor Labudovic co-designed the sans serif and slab serif pair of typefaces Donau Neue and Donau Alte.

    In 2016, Manuel Radde and Igor Labudovic joined forces for the development of the multiline OCL family of fonts and icons, where OCL stands for Open Commons Linz. These were developed for the city of Linz, and are distributed freely: The use, reproduction, alteration, or adaptation of the digital resources is expressly allowed. Still in 2016, he published the custom creamy signage typeface Almdudler and the 1930s style display typeface Schatzhauser.

    Typefaces done at IL Fonts:

    [Google] [MyFonts] [More]  ⦿

    Ildar Kinyabulatov

    Moscow-based creator of the pixel typeface Dupix (2012).

    Dafont link. [Google] [More]  ⦿

    Ilia Baranov

    Moscow-based designer of several untitleddecorative Cyrillic alphabets (2013). He also created the experimental typeface Dotmaster (2013). [Google] [More]  ⦿

    Ilia Gruev
    [Moire]

    [More]  ⦿

    Ilia Musaelov

    Moscow-based designer of a Cyrillic piano key typeface in 2016. Behance link. [Google] [More]  ⦿

    Ilija Dimkowski

    Skopje, Macedonia-based designer of the Latin / Cyrillic anthroposophic typeface Ego (2013). [Google] [More]  ⦿

    Iliya Limberg

    Moscow-based graphic designer. He made the display typeface Ayosmonika (2010). [Google] [More]  ⦿

    Illarion Gordon

    Moscow-based designer who published the following playful Cyrillic fonts at Letterhead: Strelochnik (1996, irregular hand, Paratype), Probbarius (1996), Monte Summa (1997). He is also part of Letterhead with Yuri Gordon, where he published in addition Rahit (1998, kid's handwriting), Rough (2000, blotchy hand), Simpel (kid's hand), St. Valentin (2001), Accept (1998), Kartofel (2000, irregular handwriting), LangobardR (1999), Ospa (1997, funky handwriting), pLatinum (1999, informal script). [Google] [More]  ⦿

    Illarion Gordon
    [Letterhead Studio IG Fonts]

    [MyFonts] [More]  ⦿

    Illuminaut Design
    [Jesse Smith]

    American designer who works under the motto Every font we design is guaranteed to bring humanity one step closer to an Immanentized Eschaton. Fnord. In 2022, he released the chunky condensed sans typeface Cohoba and the Latin /Cyrillic sans typeface Cubenzis (monospaced and squarish). [Google] [MyFonts] [More]  ⦿

    Ilse Innire

    Aka Lupus Es. Russian designer of the thin calligraphic typeface Elegance (2016) and the beautiful handwriting font Departure (2017). [Google] [More]  ⦿

    Ilya Aesthetics

    Located in Moscow, Ilya Aesthetics designed an unnamed experimental Cyrillic alphabet in 2013 ina project called Code Red. [Google] [More]  ⦿

    Ilya Bazhanov

    Artist and type and graphic designer. His fascination with street art has led him to typography and visual arts. Ilya received a diploma in graphic design from the Russian-British Institute of Management (Chelyabinsk, Russia). He graduated from the Faculty of Arts and Design at UJEP (Usti nad Labem, Czechia). He also studied at the HSD University of Applied Sciences in Düsseldorf, Germany, and at the Graduate School of Applied Arts in Prague, UMPRUM. His typefaces cover Latin and Cyrillic:

    • Thaw. Awarded by Modern Cyrillic 2019.
    • At Type Tomorrow, he published the variable dot matrix typeface Dusseldot (2020) together with Maks Barbulovic.
    • FUD Grotesk (2020, Type Tomorrow). Described as Closed (sometimes completely closed) narrow brutalist sans serif with wild ligatures.
    [Google] [More]  ⦿

    Ilya Chalyuk

    Graphic and type designer from Moscow, b. 1985. Since 2005 he has been working in international advertising and creative agencies. Creator of the geometric typeface Discoteque (sic) (2012, +Poster, +Gold, +Hypnosis---a multiline version). [Google] [MyFonts] [More]  ⦿

    Ilya Davidovich Krichevskiy

    Russian type designer, b. 1907. [Google] [More]  ⦿

    Ilya Ioj

    Illustrator and designer from Niort, France. Creator of the experimental typefaces Lift (2008, geometric), Bgame (2011), Pen (2011) and Conceptualisation (2008), and of David's Font (2011). Zfont (2011) is an experimental excess done in a moment of mental weakness.

    In 2013, Ilya designer Ioj Illustration Type (2013, Latin / Cyrillic) and Trait Gras.

    Old URL. Behance link. Another Behance link. [Google] [More]  ⦿

    Ilya Kazakov

    Illustrator in Moscow. Behance link.

    Creator of the floriated caps typeface De Flore (2012). [Google] [More]  ⦿

    Ilya Lazarevic

    Graduate of the Faculty of Applied Arts in Belgrade. Creator of the Cyrillic text typeface Ivica Bold Italic (2012). [Google] [More]  ⦿

    Ilya Mecin-Poliakov

    Russian type designer (1904-1942), who died in Auschwitz. [Google] [More]  ⦿

    Ilya Naumoff

    Also Ilya Naumov, b. Russia. Paris-based graphic and type designer, whose typefaces are fabulous. His typefaces:

    • During a summer course called Type@Paris (2015), Ilya Naumov designed a contemporary redesign of Caslon called Belka (+Stencil,+Italic).
    • Kawai is a modern serif typeface started by Ilya at the University of Reading in 2014 under the supervision of Gerry Leonidas and Gerard Unger.
    • Vesterbro (Jeremie Hornus, Alisa Nowak, Ilya Naumoff, Black Foundry, 2017) is a high-contrast Latin / Cyrillic typeface with a Viking feel that won an award at Granshan 2017.
    • Troy (2017), Troy Sans (2017). A pair of inscriptional all caps roman typefaces published in 2019 by Indian Type Foundry.
    • Clother (Jeremie Hornus, Julie Soudanne, Ilya Naumoff, 2017, at Black Foundry). This geometric sans workhorse covers also Cyrillic, Hebrew and Arabic.
    • Ekster (2018). A geometric sans typeface family.
    • Ulm Grotesk (2018, Indian Type Foundry). A simplified almost futuristic geometric sans typeface family. Ilya explains the name Ulm: In the 1950s and 1960s, The Ulm School of Design was hailed as a successor to the Bauhaus, and it set important impulses for international graphic and product design. These Ulm aftershocks were felt for the next several decades.
    • In 2019, Ilya Naumoff and Benjamin Blaess co-designed the variable font Grtsk at Black Foundry. Its three axes, weight, width and slant, combine for 126 styles, that are all captured in one variable font. Mini-site.
    • Screen Sans (2020). A 14-style sans by Jérémie Hornus and Ilya Naumoff published by Indian Type Foundry.
    • Stravinsky (2020). This is an experiment in fashionable contrast. Ilya writes: The typeface fuses the 18th century Didot vertical contrast and squarish counters with the contemporary sans-serif Grotesk form.
    • Factor A (2020). A variable geometric sans typeface at Type Tomorrow.
    • Supreme (2016-2021, by Jérémie Hornus and Ilya Naumoff at Fontshare). A 14-style engineering sans with straight-sided almost monolinear letters.

    Type Tomorrow link. [Google] [MyFonts] [More]  ⦿

    Ilya Nikitenko

    During his studies at the School of Type design in Saint Petersburg, Russia, Ilya Nikitenko designed the slab serif typeface Pozolota (2016-2017), which covers Latin and Cyrillic. [Google] [More]  ⦿

    Ilya Nowa
    [Ilya Smirnov]

    Ilya Smirov (or: Ilya Nowa of Nowa Design, Leiria, Portugal; originally from Russia) created the free fat brush typeface Big Splash (2016) and the sans typeface family Galaxy (2016). Home page. [Google] [More]  ⦿

    Ilya Pazderin
    [Not Bad Typeface]

    [MyFonts] [More]  ⦿

    Ilya Ruderman
    [Daily Type]

    [MyFonts] [More]  ⦿

    Ilya Ruderman

    Russian type design graduate of the Moscow State University of the Printing Arts (2002) and Type & Media at KABK in Den Haag, The Netherlands. Cofounder in 2005 of Daily Type. Type professor of considerable influence, who teaches at the British Higher School of Art and Design in Moscow since 2008. In 2014, Ilya Ruderman and Yury Ostromentsky founded CSTM. Creator of these typefaces:

    • Praline Pro (Paratype, 2006-2007). A retro script. Award winner at Paratype K2009.
    • Big City Grotesque. This also won an award at Paratype K2009.
    • Best Life Serif. Codesigned with Yuri Ostromentsky. This typeface won an award at Paratype K2009.
    • Beetlejuice Script. Also an award winner at Paratype K2009.
    • Ilya Ruderman and Paul Barnes published Austin and Austin Cyrillic in 2007-2009 at Commercial Type, and write: 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.
    • In 2010, Ilya Ruderman spearheaded an extensive project for traffic signage and information in Moscow called Permian for the city of Perm. The Permian family has slab, sans and serif components. Permian won Second Prize in the Cyrillic typeface competition at Granshan 2011, and won an award at Modern Cyrillic 2014. Free download at Open Font Library and Art Lebedev Studio.
    • Ilya's Meteor Script (2011) won Third Prize in the display text category at Granshan 2011.
    • Cyrillic versions of Austin (mentioned above), Dala Floda, Graphik, Marlene, Moscow Sans (as a consultant), Typonine Sans, Thema.
    • In 2015, Ilya Ruderman and Yury Ostromentsky published Kazimir, a didone typeface family for Latin and Cyrillic, taking as a model the typeface used in The History of Russian Philology by P. N. Polevoy (1900, A. F. Marx Publishing House). It was extended in 2017 to Kazimir Text.
    • In 2016, Ilya Ruderman and Olga Pankova published Big City Grotesque Pro at CSTM Fonts. Ilya Ruderman created the first version of (the humanist sans) BigCity Grotesque for Bolshoi Gorod magazine (Big City). It was the first magazine sans serif with Cyrillic ligatures, and won an award in 2009 in the international competition, Modern Cyrillic 2009. In the 2016 version, by Olga Pankova, the shapes of the letters have been updated, and there are new upright and italic styles, small capitals and new ligatures and non-alphabetic symbols.
    • In 2020, Ilya designed the Cyrillic component of Atlas Grotesk and Atlas Typewriter, a typeface family by Susan Carvalho and Kai Bernau at Commercial Type, originally done in 2012.
    • Co-designer with Yury Ostromentsky and Nikita Kanarev at CSTM Fonts of the 18-style exprimental typeface family Lurk (2020). It is based on an earlier version that was specially designed for the Russian youtuber Yury Dud.
    [Google] [MyFonts] [More]  ⦿

    Ilya Ruderman
    [CSTM]

    [MyFonts] [More]  ⦿

    Ilya Smirnov
    [Ilya Nowa]

    [More]  ⦿

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

    [More]  ⦿

    Ilya Trofimovich Bogdesko

    Russian designer who won an award at Bukvaraz 2001 for Cursiv Bogdesko. [Google] [More]  ⦿

    Ilya V. Zalomakin

    In 1994, Zalomakin took credit for LegendeC, the cyrillization of F.H. Ernst Schneidler's Legende (1937). [Google] [More]  ⦿

    Ilya Vydysh

    Sevastopol, Ukraine-based designer of the free vector format experimental 3d Cyrillic typeface Len (2016). [Google] [More]  ⦿

    Ilya Yudin

    Designer of the Latin/Cyrillic slab family called Podkova (Horseshoe) (2010) while he was a student at the British Higher School of Art and Design in Moscow. Podkova was published by Cyreal Type Foundry, and can be downloaded at Google Web Fonts and Fontspace. [Google] [More]  ⦿

    Ilya Zakharov
    [Ziel Graphic]

    [More]  ⦿

    Ilya Zherikov

    Moscow-based designer of the free avant garde Latin / Cyrillic typeface Oks (2016). Behance link. [Google] [More]  ⦿

    Ilyas Yunusov
    [Kulturrrno]

    [MyFonts] [More]  ⦿

    I.M. Grhgorioy

    Designer of the Cyrillic / Old Slavonic font ALBXHR Normal (1994). [Google] [More]  ⦿

    IMHOBLog.ru

    Cyrillic font archive. [Google] [More]  ⦿

    IMOR

    The Cyrillic fonts LcdD, MACCSwiss, MACCSwissBold, MACCSwissBoldItalic, MACCSwissItalic, MACCTimes, MACCTimesBold, MACCTimesBoldItalic, MACCTimesBoldItalic, MACCTimesItalic. [Google] [More]  ⦿

    Imperator Kot
    [Liudmila Riumina]

    Moscow-based designer of the decorative caps typefaces Gothic Ornamental (2016: this blackletter typeface also has lowercase letters, and is based on "Gems of Penmanship" by Williams&Packard, 1867) and Vintage Ornamental (2016, also based on "Gems of Penmanship" by Williams&Packard, 1867). All fonts are in vector format. [Google] [More]  ⦿

    Impuls-L

    Two Russian truetype fonts from ParaGraph, PragmaticaCTT Regular and Bold (1992), and a Cyrillic pixel font, LCD matrix 5. [Google] [More]  ⦿

    Incomible

    Russian illustrator who created the Latin sans display typefaces Little Dolly, Nikita and Incomible One in 2013. [Google] [More]  ⦿

    Indestructible Type
    [Owen Earl]

    Owen Earl (Indestructible Type, Seattle, WA) takes a new look at old classics. He reinvents them from scratch, and redesigns each glyph very carefully. Some of his work is completely free, and other typefaces are commercial. His fonts:

    • Besley (2017). A redesign of Robert Besley's Clarendon. For modern times, the x-height has been increased, and a totally new italic has been added. Buy it at FontSpring. A Fatface weight was added in 2020, and the font family is now entirely free.
    • The free sans typeface Geo (2013).
    • The free sans typeface Quizzical (2015).
    • Renner (2017). A revival, from scratch, of Paul Renner's Futura. Totally free! Github link. FontSpring link. Open Font Library link. A major update, Renner 3.0, followed in 2018---it includes a variable font, a blacker Black and the thinnest Hairline ever. And due to a trademark dispute Renner became Jost in August 2018. In 2019, Cyrillic characters were added to Jost. Google Fonts link. See also the derived family Venryn Sans (2020).
    • Bodoni (2015). With Bodoni 6 and Bodoni 12 subfamilies. Includes a delicious Bodoni 6 Fatface. Extended in 2020 to amny optical sizes (6, 11, 16, 24, 36, 48, 72, 96), and a variable font. Github link. Google Fonts link for Bodoni Moda (2020; 64 styles). Bodoni Moda has optical choices in the static fonts, and is accompanied by a 2-axis (weight, italic) variable font. Github link.
    • Jones (2016).
    • Miedinger (2015). A clone of Helvetica. Only two weights were ever finished. Github link.
    • Umbra (2017). A variable Opentype font with two sliders---distance of the shadow, and time of the day.
    • Gnomon (2017). A free variable font: Gnomon is the first font ever to respond to the user's actual time. The shadow of Gnomon changes location throughout the day in relation to the time.
    • Copperplate CC (2020, at the Cowboy Collective).
    • Railroad Gothic CC (2020, at the Cowboy Collective).
    • Engraving CC (2020, at the Cowboy Collective).
    • Tiffany Gothic CC (2020, at the Cowboy Collective).
    • Drafting Mono (2021). A typewriter-like font but in which slabs are added not just to the lower case i and l as was the practice in the past. In eight styles.

    Aka Ewon Rael. Github link. Another Github link. FontSpring link. Facebook page. Fontsquirrel link. [Google] [More]  ⦿

    Index.ru

    Major Russian design and links page. [Google] [More]  ⦿

    Indian Summer Studio
    [Alexander Bobrov]

    Alexander Bobrov (Indian Summer Studio, or simply Indians, Moscow) designed the vintage didone typeface family Dodo (Latin and Cyrillic) from 2008-2012. This beautiful typeface is in a style similar to Nick Shinn's scotch Modern and Alexey Kryukov'sOld Standard but was developed independently based on old books from 1930s (printed with 1860s to 1910s metal type). His web site shows lots of calligraphic work, but also a few typefaces such as Oriental Font (2015), Photon Display (2014) and Trafareta (2015, stencil).

    Typefaces from 2016: Historical Stencil Font USSR 1980 (2016), Geometric Sans Serif, Tanuki, Curly Cyrillic Sans, Historical Geometrical Art Nouveau Study, Indian Stylized Cyrillic, Historical USSR (constructivist), IBM Selectric Typewriter, 1966 Olympia SF DeLuxe Cursive (typewriter font), Moscow Metro, Cynzel (cyrillization).

    Typefaces from 2019: Funny Toons (a rounded cartoon family by Ekke Wolf and Alexander Bobrov), Selectric Century (a Scotch Modern / Schoolbook typeface modeled after the famous IBM Selectric golfball font), Aldo New Roman (a modern version of the typeface cut by Francesco Griffo for Venetian printer Aldus Manutius around 1490AD).

    Typefaces from 2020: Air Force 30 Stencil (the official US military fonts/lettering used in U.S. Air Force, U.S. Army, U.S. Navy, U.S. Marine Corps, based on their technical specifications), Oriental Kaishu (all caps, oriental simulation), Selectric Melt, Air Force (the official US military fonts/lettering used by US Air Force, US Army, US Navy and US Marine Corps, designed based on the Military Standards and Technical Manual; covers Latin, Cyrillic and Greek), Stone Age (a neolithic font), Selectric Pyramid (a typefwriter font based on Rudolf Wolf's Memphis from 1929), Selectric (a 1315-glyph (!) revival of IBM's famous golfball typeface, Selectric), Dymond (a dymo label font).

    Typefaces from 2021: Science Fiction (rounded, squarish), USSR (a squarish Russian cold war propaganda font; Latin and Cyrillic), Age (squarish and rounded; for Latin and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Indieferdie
    [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]  ⦿

    Indrek Hein
    [Letter Database]

    [More]  ⦿

    IndUni Fonts
    [John D. Smith]

    Free Indic/Latin fonts by John D. Smith, which used to have names like NCS IndUni or Courier IndUni, and resemble Courier, New Century Schoolbook, Times-Roman, Helvetica and Palatino. The fonts are based on fonts originally designed by URW++. The last update took place in 2009 and includes IndUni-C-Bold, IndUni-C-BoldOblique, IndUni-C-Oblique, IndUni-C-Regular, IndUni-CMono-Bold, IndUni-CMono-BoldOblique, IndUni-CMono-Oblique, IndUni-CMono-Regular, IndUni-H-Bold, IndUni-H-BoldOblique, IndUni-H-Oblique, IndUni-H-Regular, IndUni-N-Bold, IndUni-N-BoldItalic, IndUni-N-Italic, IndUni-N-Roman, IndUni-P-Bold, IndUni-P-BoldItalic, IndUni-P-Italic, IndUni-P-Roman, IndUni-T-Bold, IndUni-T-BoldItalic, IndUni-T-Italic, IndUni-T-Roman. The letters C, H, N, P and T stand for lookalikes of Courier, Helvetica, New Century Schoolbook, Palatino and Times, respectively. Cyrillic glyphs added by Valek Filippov. As well as a comprehensive set of "Indian" characters, all the letter forms required for Avestan and for the Pinyin representation of Chinese, a set of Cyrillic characters and a basic set of Greek letters, the fonts implement almost the whole of the Multilingual European Subset 1 of Unicode. The IndUni-T fonts also contain versions of j-underdot, used for some Dardic languages. [Google] [More]  ⦿

    Inessa Mitrozor

    Graphic designer who graduated from the National Design Institute in Moscow. As a student at TypeType Education in 2016-2017, she created the high contrast modern antiqua typeface Capella. Co-designer of TT Barrels (2018: a Scotch modern typeface by Inessa Mitrozor, Vika Usmanova, Marina Khodak, Nadezhda Polomoshnova and the TypeType Team).

    In 2019, TypeType published TT Tsars, a 20-style font family with five subfamilies. It is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century and seen on book title pages in Russia. A reference for the development was Abram Shchitsgal's book Russian Civil Type. The fonts were designed by Marina Khodak, Inessa Mitrozor, Nadezhda Polomoshnova and the TypeType Team. [Google] [MyFonts] [More]  ⦿

    Infonta
    [Vera Evstafieva]

    Or Vera Evstafeva. Infonta is Vera Evstafieva's foundry in Moscow, est. ca. 2011. Born in Moscow to a family of artists and architects in 1980, Vera Evstafieva graduated from the Moscow State University of Printing Arts, the Faculty of Graphic Arts Technology, in 2003. She created the Rossica typeface in 2003 as her final project under the direction of Alexander Tarbeyev. After graduation she went to the Netherlands to continue her type design studies by attending the famous Type & Media course at the KABK in Den Haag. Her final work there was the Basileus typeface that included Cyrillic, Latin and Greek character sets. Another project at KABK saw her design a cursive pixel face, aafje. During 2004 and 2005 she completed a number of type design projects for Typotheque. In 2005 she started lecturing at the Moscow State University of Printing Arts, and went on to give lectures at the Institute of Modern Arts. Vera has been working as type designer and calligrapher at Art. Lebedev Studio since July 2005. She has been working as a freelance type designer and calligrapher since November 2007. Her live journal (in Russian). Another URL. Typedia link. MyFonts link. Vera now lives in Cambridgeshire, England.

    Her typefaces:

    • She was working on a Latin-Greek-Cyrillic version of Civilité.
    • The gorgeous upright connected Cyrillic/Latin script ALS Dulsinea (2007, Art Lebedev).
    • Apriori (2009, script).
    • The text family ALS Mirta (2008).
    • The text family ALS Direct (2008, sans family, Art Lebedev Studio).
    • Amalta (2010, Infonta). A round calligraphic typeface for Latin and Cyrillic. It won an award at TDC2 2011 and at Modern Cyrillic 2014.
    • Rossica (2003). A typeface created for her final project under the direction of Alexander Tarbeyev at the Moscow State University of Printing Arts, the Faculty of Graphic Arts Technology.
    • Basileus is a typeface done while studying at KABK. It covered the Cyrillic, Latin and Greek character sets.
    • Another project at KABK saw her design a cursive pixel face, Aafje.
    • In 2015, Vera Evstafieva and Taisiya Lushenko co-designed the antiqua typeface Flai at Art Lebedev.
    • In 2014 and in collaboration with TypeTogether, Vera designed the Cyrillic for Literata, the custom typeface for the Google Play Books App.
    • With Veronika Burian, she designed Bree Cyrillic for Type Together's vast multiscript typeface family Bree.

    Type Together link. [Google] [MyFonts] [More]  ⦿

    Ingo Krepinsky
    [Typonauten]

    [MyFonts] [More]  ⦿

    Ingo Zimmermann
    [Ingofonts]

    [MyFonts] [More]  ⦿

    Ingofonts
    [Ingo Zimmermann]

    Ingofonts is a foundry in Augsburg started by Ingo Zimmermann (b. 1967) in 1994. It offers Fraktur fonts, handwriting fonts, sans serif fonts, Antiqua fonts and some pixel fonts. Full fonts go for 50 USD a piece and up. Some fonts are free. Many fonts are adaptations or revivals of historically important fonts. Ingo also practices calligraphy, and in particular, calligraphy for wine labels. The list:

    • Absolut Pro (2008) is a classy sans family that comes in Regular, Licht, Thin and Schmuck.
    • Amhara (2009): An experimental font inspired by the Ethiopic writing system.
    • Analogue (2010).
    • Anatole France (1997-2021). An art deco font in the style of Plakat Schrift by the munich-based printer Georg D. W. Callwey.
    • August Sans (2013).
    • Auxerre. A wedge-serifed text typeface. Ingo writes: Auxerre is a precursor of Etienne, which later became popular as an advertising script of the 19th century.
    • Banknote 1948 (2010).
    • Behrens Schrift (2008) is based on Behrens' famous 1902 Jugendstil typeface for Rudhard'sche Giesserei. Behrensschrift iF Plus (+Schmuck) followed in 2021.
    • Biró Script is a handwriting font (2007-2012, +Biro Script Plus, 2020) named after the inventor of the ballpoint pen, Laszlo Joszef Biro, 1899-1985.
    • Boule Plus (2020). A fat round circle-based bubblegum font family in Gras, Contour and Brilliant styles.
    • CharpentierBaroqueIF, CharpentierClassicItaliqueIF, CharpentierClassicistiqueIF, Charpentier Renaissance Pro (1996 and Pro version from 2020; modeled on Roman Capitalis). Charpentier Classicistique Pro (2020; earlier called Classicist) is an absolutely charming didone display typeface family with an award quality Black. In 2014, he added Charpentier Sans Pro for Latin, Greek and Cyrillic with the Pro version following in 2020.
    • Chiq Pro. After Apple's Chicago.
    • Conté Script (2014). A phenomenal effort towards the creation of a typeface that emulates real handwriting. It even has three-letter ligatures to achieve the desired reality. Based on Ingo's own hand, it also achieves a crayon effect. See also Conte Script Plus (2020).
    • Countries of Europe (2008). Outlines of countries. Free download.
    • DeBorstel Brush Pro (2009): brush face.
    • De Display (2010). A gridded type system.
    • De Fonte (1995): a grungy blurred overexposed Helvetica. See also De Fonte Plus (2020).
    • Déformé: a grungy Clarendon.
    • Deko-Blakk, Deko-Yello (art deco typefaces from 2007).
    • DeKunst (1995, deconstructivist). DeKunst Initialen (2007) is Bauhaus-inspired.
    • DePixel (1999: based on Apple's Geneva and Chicago; and Illegible DePixel).
    • Deutsche Schrift Callwey (1998). A free Sütterlin script that is based on a script sample from around 1920/30 by Karl Schäffer. DeutscheSchriftCallwey (1998): a free handwriting typeface in the style of the 1800s that was later taught in German schools under the generic name of "Sütterlin type".
    • Rudolf Diesel Rudolf (2008-2009): Based on the handwriting of the inventor of the Diesel motor, Rudolf Kristian Karl Diesel (1858-1913).
    • Die Überschrift (1998): headline sans.
    • EconoSans Pro (2020). A 28-style sans that is meant to save space by squishing the letters together.
    • Faber Eins, Faber Zwei (1996, legible sans family), Faber Drei, Faber Gotic (2002, +Text, +Gothic, +Gotic Capitals; a Textura based on Gutenberg's blackletter from 1450), Faber Fraktur (1994), Faber Sans Pro (2011). This comes with a great all caps Deko style.
    • Façacde Pro (2007). An art nouveau brush typeface found in a 1900 booklet by Karl Otto Maier (a publisher in Ravensburg) entitled Schriften-Sammlung für Techniker Verkleinerte Schriften der wichtigsten Alphabete. Cyrillic version.
    • Fixogum (1998, scratchy handwriting).
    • Fundstueck (2021). A simplified squarish typeface.
    • Graz2006 (1994, a sans family for the 2006 OlumTypographerpic Games in Graz; later renamed by Linotype to Olympia).
    • Guhly (2011). An organic family.
    • Gutenberg (1995, a textura).
    • Handschrift (2007). Expressionist and rough.
    • Hedwig Pro (2021). A tall condensed sans; 12 styles.
    • Hero (angular handwriting).
    • Josef (2000), Josefov (2003, slab serif for Josef), JosefPro (2006, a free sans family), Josefa Rounded Pro (2020: a rounded sans family).
    • Klex Plus (1997): a calligraphic or watercolor brush font.
    • Koch Schrift (1998-2021). A Schwabacher used by the Deutsche Reichsbahn and first developed by Rudolf Koch in 1909, first known as Neudeutsch and later as Koch Schrift. An earlier version of Zimmermann's Koch Schrift was called Schwabacher Deutsche Reichsbahn.
    • Lech Sans (2020). A humanist sans family.
    • LeDrôle Lettering Pro (2020).
    • LettreCivilitdeGranjon (1997, a reworking of S. Moye's font by that name).
    • Maier's No. 8 (2002) and Maier's Neue No. 8 based on forms found in work of Karl O. Maier from before 1914, which already has the geometrical simplicity characteristic of the Weimar period. Maiers No. 21 (2006) and Maiers Nr 21 Pro (2021) are based on a script found in the magazine Schriften-Sammlung für Techniker: Verkleinerte Schriften der wichtigsten Alphabete (Karl O. Maier, Otto Maier Publishing House, Ravensburg, ca. 1910)---a hand-crafted font for technicians. Finally, Maiers Nr. 42 Pro (2020) is a brush-painted art nouveau typeface based a pamphlet of script samples from around 1900 that was issued by Otto Maier's publishing house in Ravensburg, Germany.
    • Marleen Script (2011, with over 400 ligatures).
    • Menschenalphabet (1997), based on Peter Flötner's alphabet from 1534.
    • Novello Pro (2009): The serifed counterpart of his Absolut Pro family.
    • OlympiaBuchIF, OlympiaFettIF, OlympiaHalbfettIF, OlympiaLeichtIF, OlympiaSemiSansBuchIF
    • Palmona Plus (2008). A German expressionist blackletter after Karl Schaeffer (1939). Palmona Plus was published in 2020.
    • Saeculum (1996, cursive connected handwriting).
    • Rudolf Diesel (2008-2009): Based on the handwriting of the inventor of the Diesel motor.
    • Toby Font (2006(. A 3d doodle font for children.
    • Wendelin Pro (1996). A grotesque family. The Pro was released in 2020.
    • Whole Europe (2008, outlines of countries), now called Countries Of Europe. Pick it up, togeter with many suppoirt files for TeX by Herbert Voss, at CTAN.
    Dafont link. Fontsy link. Klingspor link. Dafont link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

    Ink and Honey
    [Irina Vascovet]

    Chisinau, Moldova-based calligrapher. Designer of the handcrafted Latin / Cyrillic typeface Ricotta (2017) and the free handcrafted Latin / Cyrillic typeface Amalfi (2017).

    In 2018, she designed the brush script typeface Lindore. Still in 2018, Irina and Vova Vascovet co-designed the hand-lettered typeface Barila. [Google] [MyFonts] [More]  ⦿

    Inna Gorina

    Moscow-based designer of the Cyrillic sans typeface Ezhevika (2016). [Google] [More]  ⦿

    Inna Grishchuk

    Boise, ID-based designer of the textured techno Latin / Cyrillic typeface Boldrus (2017). Behance link. [Google] [More]  ⦿

    Inna Kovalchuk

    Moscow-based designer of a decorative blackletter alphabet in 2013. She also made an unnamed Cyrillic typeface in 2013. [Google] [More]  ⦿

    Innokentiy Keleynikov

    Russian type designer. His typeface Gosizdat New won an award at Paratype K2009. His Apostol won at Kyrillitsa '99. [Google] [More]  ⦿

    Innokenty Keleinikov

    Russian designer who won an award at Bukvaraz 2001 for Letopis. [Google] [More]  ⦿

    Innokenty Keleynikov

    Russian creator of Apostol (1999). Winner at K2009 type competition for Gosizdat New. [Google] [More]  ⦿

    Intelligent Design
    [Alexandr Kalachëv]

    Russian codesigner (with Ivan Gladkikh (Jovanny Lemonad) and Aleksey Maslov) of the free Latin / Cyrillic typeface Days and Days One (2009, a display sans face). Behance link. Days is also here. Kernest link. Fontsquirrel link. [Google] [More]  ⦿

    Intelligent Design (was: Intelligent Foundry)
    [Kostas Bartsokas]

    Kostas Barstokas is a designer and illustrator in Thessaloniki, Greece, and in Leeds, UK. He set up Intelligent Foundry and later Intelligent Design in Leeds. He graduated from the MATD program in Type Design at the University of Reading in 2016. He worked as a senior typeface designer at URW in Hamburg and offered consultation in Greek script design for other foundries too. In 2021, Kostas Bartsokas, Mohamad Dakak and Pria Ravichandran set up Foundry 5 Limited.

    In 2011, he used FontStruct to make the counterless typeface UglyKost.

    In 2012, he created Kafalan Serif, a square-serifed typeface, and the accompanying Kafalan Sans, which are both available from Ten Dollar Fonts.

    Typefaces from 2013: Zona Black (a Latin-Greek geometric sans-serif black display typeface that was inspired by posters from the late 1920s), Zona Black Slab.

    In 2014, still in the same style, we find Zona Pro in weights from Hairline to Black. Ridewell (2014) is a wood type inspired 1800-glyph typeface with many opentype features including foremost interlocking pairs of characters. It comes with Ridewell Print, which emulates the degradation of letterpress.

    In 2015, he designed the geometric sans typeface family Averta and Averta Standard. Averta CY won an award at Granshan 2017 in the Cyrillic category.

    He writes about his University of Reading graduation typeface, Eqil (2016): Eqil is a multiscript type family for extensive texts. It is conceived as a typographic system wise enough to respond to complex publishing challenges. It consists of a range of styles and its quiet personality transforms and gets louder as the intended sizes increase. Eqil identifies as an elegant contemporary take on transitional types. It does not intend to be a showstopper, instead it aspires to be the lever that silently elevates the content. The combination of straights and curves creates a dynamic yet fluid character and the relatively low contrast gives it a slightly dark and warm texture on the page. The four scripts, Latin, Arabic, Cyrillic, and Greek, were designed to work harmoniously together without compromising each scripts historical and individual characteristics. Eqil won an award at Granshan 2016 in the Latin / Cyrillic category.

    His super-fat free typeface Oi (2017) is described as a Clarendonesque on steroids. Commercial version of Oi!. Oi won an award at TDC Typeface Design 2018. In 2021, it became a free Google font. Github link.

    His big project in 2019 is the free 4-axis (weight, slant, flair, volume) variable font Commissioner. Google Fonts link. He writes: Commissioner is a low-contrast humanist sans-serif with almost classical proportions, conceived as a variable family. The family consists of three voices. The default style is a grotesque with straight stems. As the flair axis grows the straight grotesque terminals develop a swelling and become almost glyphic serifs and the joints become more idiosyncratic. The volume axis transforms the glyphic serifs to wedge-like ones. It supports Latin, Greek and Cyrillic. For an extension, see Heraclito (2020).

    Co-designer of Peridot Latin (2022: a 121-strong sans superfamily by Kostas Bartsokas and Pria Ravichandran) and Peridot PE (2022: a 121-style sans superfamily by Kostas Bartsokas and Pria Ravichandran designed for branding, display, corporate use, editorial and advertising; it covers Latin, Greek and Cyrillic).

    Buy at Ten Dollar Fonts, Hellofont, Creative Market, or MyFonts.

    Behance link. The Designers Foundry link. Github link. [Google] [MyFonts] [More]  ⦿

    Intermicro

    Russian foundry that produced fonts between 1991-1996. Its designers included Isay Slutsker, Svetlana Ermolaeva, Emma Zfcharova, M.G. Rovensky, N.N. Kudrashov, Z.A. Maslennikova, P. Kusanian. Its fonts include ArbatC, BruskovayaC, CaslonC, GymnasiaC, LidiaC, LiteraturnayaC (co-copyright with Poligrafmash), Mysl Narrow, Granit, Kudryashev, KudryashevSans, NewspaperSansC, and OptimusC. [Google] [More]  ⦿

    International Type Design Competition Modern Cyrillic

    This competition was held by ParaType and dedicated to the Tercentenary of Russian Civil Type (Peter the Great's historic reform of Russian typography). Cyrillic typeface projects and completed typefaces created and/or released after January 1, 2006 were eligible. There was no admission fee. The jury consisted of Vladimir Yefimov (chair, ParaType), Yuri Gordon (LetterHead), Alexander Konoplev (Moscow State University of Printing Arts), Artemy Lebedev (Art. Lebedev Studio), Vladimir Muzychenko (Stroganov University), Tagir Safayev (Higher Academical School of Graphic Design), and Maxim Zhukov (ATypI). In September 2009, the winners were announced:

    Display designs

    Text designs Text/Display type systems Type superfamilies The ParaType Selection
    • Display designs: Alfavita: Valery Golyzhenkov, Russia
    • Text designs: Chift: Vasily Biryukov, Russia, and Kuzma: Anton Geroev, Russia
    • Text/Display type systems: Apriori: Vera Evstafieva, Russia, Ladoga: Viktor Kharik, Ukraine, and Skolar Pro: David Brezina, Czech Republic
    [Google] [More]  ⦿

    International Vegetarian Union

    Cyrillic/Bulgarian versions of Times and Courier. [Google] [More]  ⦿

    Intertype
    [Gilbert Powderly Farrar]

    Defunct foundry. One of its typographic directors was Gilbert Powderly Farrar (1886-1957), who designed Bert Black. Intertype's typefaces include Monterey (1958, Rand Holub, its "version" of Murray Hill; available from Bitstream now), Imperial (designed by Ed Schaar; now a Bitstream font), Intertype Vogue (ca. 1930, see Am Sans by Volker Busse for a free digital version), Stuyvesant (1940, now available from Bitstreeam), and Nuptial Script (now an Adobe font).

    MyFonts writes: Harris inherited the Harris-Intertype library, made up of the typefaces cut by Intertype to compete with Mergenthaler from the First World War. A small group of original typefaces centers on newspaper typefaces and scripts. In the thirties C.H. Griffith at Mergenthaler believed the linecaster to be unsuitable for the development of scripts, which led Ed Schaar at Intertype to claim this market as their own. Intertype became Harris-Intertype ca. 1960, and Harris ca. 1975.

    Cyrillic typefaces in their library, ca. 1930. The firm still exists as Harris Corporations in Melbourne, FL, but is no longer producing fonts.

    Leonard Spencer, in his article Linotype / Intertype Linecasting Machines How They Differ writes: Intertype started as International Typesetting Machine Company in 1911. Many of first machines were rebuilt Linotype bases with improvements patented by the new company. When World War I broke out, International Typesetting Machine Company was reorganized as the Intertype Corporation, and by 1917 had three machines for sale: Model A one magazine, Model B two magazine, Model C three magazine. Intertype was first in cold type with its Fotosetter in 1950. This machine continued the circulating matrix principle but had film image instead of the punched character. Stuart Sandler adds this piece of information: The Harris-Intertype Fotosetter was the first photo typesetting machine invented. It marks the beginning of the Cold Type era and is the machine responsible for it . . . Incidentally this is the machine that inspired the creation of the Filmotype by its inventor Allan Friedman when he saw it unveiled to US audiences in 1948. Instead of lead slugs, the Intertype which was a Linotype machine had replaced them with small film negatives and proceeded to set type as you would imagine the bastardization of a lead type and photo type machine only could. There are many reasons Cold Type caught on and it became the standard some time after that period till digital typesetting machines like the Alphatype came into their own. It wasn't until the release of the first MacIntosh in 1984 when Cold Type was eclipsed by desktop publishing.

    Mac McGrew: Ideal (originally called Ideal News) was designed by Herman R. Freund for Intertype in 1926, for the New York Times. It has much the appearance of Century Schoolbook, but with shorter ascenders and squattier capitals. The italic is a little closer to Century Expanded Italic, providing more contrast with the roman. Sturdy serifs, substantial hairlines, and open loops make it a practical typeface for the demanding production requirements of high-speed newspaper use. Ideal Bold is heavier than the Century bold typefaces.

    View a few digital typefaces with roots in the Intertype collection.

    Another famous type is Cairo. Mac McGrew: Cairo is Intertype's adaptation of Memphis, originally designed by Rudolf Weiss for Stempel in Germany about 1929, and first imported into the United States as Girder. Except for Litho Antique, this was the first of the modern square-serif typefaces, which are revivals of older typefaces known as Egyptians. The Intertype typefaces appeared in 1933 to 1940. Lining Cairo features several sizes of caps on 6- and 12-point bodies in the manner of Copperplate Gothic. Compare Memphis, Stymie, Karnak.

    Farrar is also the author of The Typography of Advertisements That Pay (1917, D. Appleton and Co., New York). Local download. [Google] [MyFonts] [More]  ⦿

    Intertype Studio
    [Dubina Nikolay]

    Russian company which sells CDs with ornaments (not in font format though) designed by Dubina Nikolay. There is also a free font archive. All fonts designed or co-designed by Dubina Nikolay, and most are Cyrillizations of well-known Latin fonts. A partial list: AirportCyr, Anarchy-Normal, BMspiralCapCyr, BMstampCyr-Normal, CranberryCyr, DPix_8pt, DS-Diploma-Bold, DS-Diploma, DSArabic, DSArmyCyr, DSAyaks-Normal, DSBroadBrush, DSBrushes-Normal, DSCenturyCapitals, DSComedyCyrBold, DSCoptic, DSCrystal, DSCyrillic, DSDiploma-Bold-Outline-DBL, DSDiplomaArt-Bold, DSDots-Medium, DSDownCyr, DSEraser2, DSEraserCyr, DSFlashSerif, DSGoose, DSGreece, DSHiline, DSIzmir-Normal, DSJapanCyr--Normal, DSJugendSCDemo, DSKolovrat, DSKork, DSMechanicalBold, DSMoster, DSMotionDemo-Italic, DSMotterStyle, DSNarrow-Extra-condensedMedium, DSNote, DSNova-Black, DSOlymPix, DSPoddCyrLight, DSPoster, DSPosterPen, DSProgress-SemiBold, DSQuadro-Black, DSRabbit-Medium, DSRada, DSRada_Double, DSReckoningCyr, DSRussiaDemo, DSSharper, DSSholom-Medium, DSShowBill, DSSofachrome-Italic, DSSonOf-Black, DSStain, DSStampCyr, DSStamper, DSStandartCyr, DSSupervixenCyr, DSThompson, DSUncialFunnyHand-Medium, DSUstavHand, DSVTCoronaCyr, DSVanish-Medium, DSYermak_D, DSZombieCyr, DS_Cosmo-Semi-expandedSemiBold, DefWriter|BASECyr, DisneyPark, Eh_cyr, Etude, Frant-Bold, InavelTetkaCyr, Matrix_vs_Miltown, MicroTech, MisirlouCyr, Nadejda-Bold, NewDeli, PixelCyr-Normal, QuakeCyr, Runic, RunicAlt, RunicAltNo, Scrawl, SeedsCyr-Medium, StillTimeCyr, Stylo-Bold, ZrnicCyr-Normal, hooge05_55Cyr2, supercarcyr. [Google] [More]  ⦿

    Into the Type
    [Slavka Jevcinova]

    Or Slava Jevcinova. Designer from Bardejov, Slovakia, now located in Nice, France, whose first degree was an MA from J.E. Purkyne University in Czechia. She interned at Mota Italic in Berlin, and then started working for Fontwerk, a company specicializing in TrueType hinting. Since 2013 she is a freelancer and she regularly collaborates with the Rosetta Type foundry.

    Graduate of the Type & Media program at KABK in Den Haag in 2014, where she created Kin, an unconventional serif type family which explores distinctive styles while maintaining consistency. It has phonetic support and a drop-dead gorgeous black.

    In 2015, the 72-font family Skolar Sans (see also, Skolar Sans PE, 2016), codeveloped by David Brezina and Slava Jevcinova at Rosetta Type Foundry, won a silver medal at the European Design awards.

    In 2017, Slavka Jevcinova published Avory Latin at Rosetta Type Foundry. Calling it retro-chic, she writes about this sturdy Latin / Greek / Cyrillic sans typeface family: Avory is a gently condensed sans that challenges convention. Tall, with broad shoulders, easily spotted from afar. Inspired by the lettering work of Czech designer Jaroslav Benda.

    In 2019, she released the fashionable sans typeface Clarette at Future Fonts. Clarette pays special attention to Vietnamese.

    In 2019, at Rosetta Type, together with William Montrose and David Brezina, she released the variable font Adapter (with three axes, for Latin, Greek and Cyrillic).

    Typefaces from 2020: Wilmer (a multilayered three-dimensional ornamental Tuscan type family), Polaire (a monoline cursive stencil). Future Fonts link. [Google] [MyFonts] [More]  ⦿

    Intrans

    Links for basic Cyrillic and Azerbaijani fonts for all platforms. Plus about 24 Azerbaijani fonts (Latin and Cyrillic versions). [Google] [More]  ⦿

    io ii

    A student at Saint Petersburg State University who designed the experimental typeface Mobtsea (2016). [Google] [More]  ⦿

    Ioann Kahniel

    Russian designer of the Latin / Cyrillic display typeface Gensek (2020). [Google] [More]  ⦿

    Ioanna Hristova

    Sofia, Bulgaria-based designer of several Cyrillic calligraphic alphabets (2014). [Google] [More]  ⦿

    Ira Koreshkova

    Moscow-based designer of the rounded modular typeface Factory (2016). [Google] [More]  ⦿

    Ira Lensberr

    Talented lettering artist, calligrapher and type designer in Volgograd, Russia, who graduated from BHSAD in Moscow in 2014. Ira's typefaces include Stuff (2014), Filum (2014, thin, techno face), Koolhaas (2014: inspired by architect Rem Koolhaas; renamed Gebouw), Staket (2014, a war movie font), Bodler (2014, named after Charles Baudelaire, this inky calligraphic typeface is exceptionally beautiful). All fonts cover Latin and Cyrillic.

    In 2014, Ira finished Manola, an expressive flared lapidary sans typeface family with applications in stone carving, developed under the guidance of Alexander Tarbeev. [Google] [More]  ⦿

    Iraida Chepil

    Designer of the open engraving fonlinedt Lidia (1967) at Polygraphmash type design bureau. A digitization is due to Viktor Kharyk (2006, Paratype). She also created Oktiabrskaya (1966). [Google] [MyFonts] [More]  ⦿

    Irina Alexandrovna Guseva

    Russian type designer, b. 1936, Moscow. [Google] [More]  ⦿

    Irina Anashkevich

    Minsk, Belarus-based designer of a geometric display typeface for Cyrillic in 2016-2017. She also designed a cool set of icons in 2016. [Google] [More]  ⦿

    Irina Batkova

    Moscow-based illustrator and digital artist.

    In 2010, with the help of Dick Pape, she created an ornamental caps alphabet called HRG that was inspired by the sexy surrealist drawings of Swiss Oscar-winning artist H.R. Giger [wiki]. Behance link. Scans: Logo, illustration, more illustrations, HRG's letter F, HRG's letter E. The full HRG alphabet: A, B, C, D, E, F, G, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, X, Y, Z.

    In 2012, she published Lettercats, an all caps alphabet of cats.

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

    Irina Bolshakova

    Kaluga, Russia-based designer of the Cyrillic typeface Irch (2019). [Google] [More]  ⦿

    Irina Burtseva

    Siberian designer of the handcrafted Latin typeface family First Steps (2016). [Google] [More]  ⦿

    Irina Chukina

    At TypeType in Saint Petersburg, Russia, Irina Chukina designed the free typeface Ardeco (2015). [Google] [More]  ⦿

    Irina Dvilyuk

    Or Ira Dvilyuk. Ivano-Frankivsk, Ukraine-based designer of the heavy brush script Alanta Script (2017), the brush font Senorita (2017), and the paper cutout typeface Scandinavian Kids (2017).

    Typefaces from 2018: Spaghetti, Rainbow Chalk (a children's font), My Sister Pamela (Script + Sans), Soul Adventures (signature font), Donna Lucia (connected script), Miss Katherine (a Cyrillic version was developed by Cherry Vishnya in 2019), Lady Boss (a great natural handwriting script), Rosamund (watercolor brush; followed in 2021 by Rosamund Cyrillic), Costa Blanca.

    Typefaces from 2019: Buongiorno Rastellino (a signature script), Milky River (a delightful alphabet).

    Typefaces from 2020: Sadlyne Cyrillic (wild, calligraphic), Miss Katherine Cyrillic (wild calligraphy), West Byanetta (an inky signature script for Latin and Cyrillic), Monggirella Script, Golden Night, Hello January Cyrillic (a monolinear signature script).

    Typefaces from 2021: Petite Annagri (a connected monoline script), Senorita Cyrillic Script, Scandinavian Cyrillic, Rainbow Chalk, Milky River Script (a playful font), Soul Adventures Cyr (script), Golden Night Cyrillic, Spaghetti Cyrillic, Forest Glade Cyrillic (script), Sister Pamella Font Duo (an artistic brush script), Monggirella Cyrillic (a calligraphic script), Donna Lucia Cyrillic, Lady Boss Cyrillic (script), Buongiorno Rastellino Cyr (an elegant cursive script for Latin and Cyrillic, with a great set of leafy ornaments).

    Typefaces from 2022: Zull Wettis Cyrillic (a powerful dry brush script), Agretta Hills Cyrillic (a dry brush script). [Google] [MyFonts] [More]  ⦿

    Irina Kildiushova

    Moscow, Russia-based designer of Tribal Alphabet (2017). [Google] [More]  ⦿

    Irina Kliusova

    During her Masters studies in Saint Petersburg, Russia, Irina Kliusova designed an award-winning film poster called Cvet Granata (2016), and a multilined typeface, Aim (2016). She also designed several alphabets in 2016 that are based on the shapes of funky sunglasses. [Google] [More]  ⦿

    Irina Kopytina

    Graphic design student at ArtEZ school in Arnhem, Netherlands, who is originally from Moscow. She created the italic typeface Arnhemse jochies (2010) and the experimental typeface Breadclip (2012).

    In 2014, we find her in Brussels, Belgium, where she created a gridded octagonal typeface.

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

    Irina Krivosheeva

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

    Irina Mir
    [Irina Miroshnichenko]

    Aka Sudowoodo. This designer shares the same name as a famous Russian movie actress, Irina Petrovna Miroshnichenko. MyFonts locates her in Chile, while Megapixl (a clipart site) places her in Valdivia, Russia, which makes no sense at all as Valdivia is a city in Chile.

    In 2020, she released the ustav-inspired Latin / Cyrillic typeface Kirillik. [Google] [MyFonts] [More]  ⦿

    Irina Miroshnichenko
    [Irina Mir]

    [MyFonts] [More]  ⦿

    Irina ModBlackmoon

    Minsk-based Belarussian, b. 1987. Creator of "gothic" and "broken" Latin and Cyrillic fonts like Wings of Darkness (2015), Bad Behaviour (2015), Ancient Runes (2015), Last Words from Earth (2015, ink splatter script), Blood Blocks (2015, a dripping blood font), Gothic Spell (2015, blackletter/tattoo font), MB Thin Worms (2013, a spiked horror black metal font), MB Think Twice (2012, gothic face), MB Demonic Tale (2012), MB Underground (2012), MB Forever Raw (2012), MB Element (2012, +Brutalized: horror fonts), MB Real Grinder (2011), MB Evil Ghost (2010), MB Slavonic Minsk (2010), MB An Old Witch (2010), MB Before The End (2010), MB Horror House (2010), MB Poisoned Type (2010), MB Gravitation (2010), MB-Alien Report 72 (2010), MB-Graveyard-Designs (2010), MB-TheGreatReaper (2010), MB Arcane Gothic (2009), MB-Back for Death (2009), MB-Lords of Evil (2010), MB-BlackBookType (2009), MB-ElvenType (2009), MB-GothicDawn (2009), MB-InDigit (2009), MB-RustyIron (2009), MB TyranT (2009), MB-DigitalReality (2009).

    Devian Tart link. Dafont link. Another link. Home page. Old link. Abstract Fonts link. [Google] [More]  ⦿

    Irina Shtoler

    Saint Petersburg, Russia-based designer of the soap bubble display font Lop (2015, for Cyrillic only). [Google] [More]  ⦿

    Irina Smirnova

    Graduate of the Masters program in type design at KABK, 2010. Before that, she studied type design at the Moscow State University of Printing Arts and graduated in 2001. She worked as free-lance designer for ParaType Inc under Tagir Safayev. During 2002-2006 she taught courses on type design and lettering at the Institute of Modern Art in Moscow. She was also affiliated with the British Higher School of Design (2008-2011) in Moscow. Irina worked as type designer at Laterica and Art Lebedev Studio (until 2008). Currently she is a freelance designer in Moscow, whee she teaches calligraphy.

    She created Inder (2011), which can be downloaded at Google Web Fonts and Fontsquirrel, where it was published by Sorkin Type.

    Her fonts at Art Lebedev Studio include Zwoelf (2008, with Oleg Pashchenko and Zakhar Yaschin), ALS Kraft (2008, an octagonal face) and ALS Klinkopis (2008, calligraphic). The latter fdont was named after Yana Klink (an illustrator at Art Lebedev Studio).

    Designer of Museo Sans Cyrillic (2012), a Cyrillic extension of Jos Buivenga's Museo Sans. She also made Cyrillic extensions of Museo and Museo Slab.

    Free fonts in 2012 at Google Web Fonts: Denk One [Download link], Fjalla One [Download link].

    Designer of Parmigiano Cyrillic (2012-2014), as part of the larger Parmigiano Typographic System of Riccardo Olocco and Jonathan Pierini.

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

    Irina Suchkova

    Moscow-based designer of a hybrid Latin typeface (2016) based on Garamond Italic and New Courier Italic. She also created a set of Olympic pictograms and a Cyrillic military stencil typeface called Ulichnyj in 2016. [Google] [More]  ⦿

    Irina Vascovet
    [Ink and Honey]

    [MyFonts] [More]  ⦿

    Irina Vinnik

    Saint Petersburg-based illustrator and designer. She drew an ornamental Cyrillic initials alphabet in 2010. [Google] [More]  ⦿

    Iris CRM

    Russian FontStructor who made the LED style numbers typeface Iris CRM Zip Codes (2011). [Google] [More]  ⦿

    Iryna Baranova

    Odessa, Ukraine-based creator of the Cyrillic font Nordika (2015) that was inspired by Scandinavian runes. [Google] [More]  ⦿

    Iryna Rud-Volha

    Iryna Rud-Volha (Kiev, Ukraine) created the angular Latin / Cyrillic typeface Malanka (2013) for the documentary film Krasna Malanka. [Google] [More]  ⦿

    Iryna Trigubova
    [Red Ink]

    [More]  ⦿

    Isabella Chaeva

    Russian type designer called Olga Chaeva at MyFonts. She graduated from Moscow Academy of Print (former Moscow Printing Institute, now Moscow State University of Printing).

    Staff type designer of ParaType, where she worked on Pragmatica. Paratype writes: The typeface was designed at ParaType (ParaGraph) in 1989-2004 by Vladimir Yefimov and Olga Chaeva. A spin-off from Encyclopedia-4 type family of the Polygraphmash type design bureau (1987, Vladimir Yefimov and Isay Slutsker). Inspired by Helvetica (Neue Haas Grotesk) of Haas type foundry, 1957 by Eduard Hoffman and Max Miedinger. Based on the 19th century Grotesque designs, Helvetica brought a new level of mathematical accuracy to the sans serif category. Widely used for many applications, from magazines and books to advertising and headlines. Four basic styles of Pragmatica were developed in 1989 by Vladimir Yefimov. Eight additional styles were developed in 2003 by Olga Chaeva. Condensed styles were developed in 1993-2004 by Vladimir Yefimov, Alexander Tarbeev and Manvel Shmavonyan, with participation of Dmitry Kirsanov. Extended styles were developed in 2004 by Olga Chaeva and Manvel Shmavonyan.

    She made the Cyrillic version of Licko's Quartet (2003).

    She also created Engravers Gothic, an extended grotesque family (Paratype) based on the Bitstream original. In 2003, Isabella Chaeva added a Bold version. Other cyrillizations include FF Meta, ITC Officina Sans and Serif, and Bell Gothic (1999; after Bell Gothic, 1938, Chauncey H. Griffith). About Pragmatica, Paratype writes: The typeface was designed at ParaType (ParaGraph) in 1989-2004 by Vladimir Yefimov and Olga Chaeva. A spin-off from Encyclopedia-4 type family of the Polygraphmash type design bureau (1987, Vladimir Yefimov and Isay Slutsker). Inspired by Helvetica (Neue Haas Grotesk) of Haas type foundry, 1957 by Eduard Hoffman and Max Miedinger. Based on the 19th century Grotesque designs, Helvetica brought a new level of mathematical accuracy to the sans serif category. Widely used for many applications, from magazines and books to advertising and headlines. 4 basic styles of Pragmatica were developed in 1989 by Vladimir Yefimov. Eight additional styles were developed in 2003 by Olga Chaeva. Condensed styles were developed in 1993-2004 by Vladimir Yefimov, Alexander Tarbeev and Manvel Shmavonyan, with participation of Dmitry Kirsanov. Extended styles were developed in 2004 by Olga Chaeva and Manvel Shmavonyan. In 2006, she created the jagged script Jaggy (Paratype). In 2007, she added Vermicello (Paratype).

    Textbook New (2008, 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. It was developed for primers and the first level school textbooks. An early sans serif (Grotesque) with half-closed static letterforms.

    Kuenstler 165 (2008, Paratype) was extended by Isabella Chaeva: Two weights of Cyrillic version including alternative lc characters were developed by Isabella Chaeva and released in 2008 by ParaType.

    In 2010, Vladimir Yefimov and Isabella Chaeva extended and cyrillicized Kuenstler 480 (Bitstream) at Paratype, which in turn was the digital version of Trump Mediaeval (Georg Trump, 1954-1960).

    In 2011, she created the lovely curly swashy script typeface Rosabella (ParaType).

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

    In 2013, Isabella Chaeva and Vladimir Yefimov created a Cyrillic version of Roundhand BT (1966, Matthew Carter) for ParaType.

    In 2014, she co-designed Stem, a geometric large x-height Latin / Cyrillic sans serif with optical sizing, with Alexandra Korolkova and Maria Selezeneva at Paratype. This was followed in 2015 by Stem Text.

    Codesigner of Kudryashev Display (2015, Isabella Chaeva, Alexandra Korolkova and Olga Umpeleva). Kudryashev Display is a set of light and high-contrast typefaces based on Kudryashev text typeface. In addition to Kudryashev Display and Kudryashev Headline typefaces, the type family includes also two Peignotian sans-serif typefaces of the same weight and contrast, with some alternates. The serif styles were designed by Olga Umpeleva in 2011, the sans styles were created by Isabella Chaeva in 2015 with the participation of Alexandra Korolkova.

    In 2020, she released the chancery-style humanist italic typeface Reed and Titul (a titling font family that includes an engraved money font, and solid and blackboard bold styles) at Paratype.

    In 2021, Paratype designers Isabella Chaeva, Vasily Biryukov and Alexander Lubovenko created DIN 2014 Rounded, an extension of the industrial sans serif DIN 2014. The six-style typeface supports all European languages based on Latin, Cyrillic, and Asian Cyrillic (Tatar, Kazakh and Kyrgyz) and has a variable version.

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

    Isagogik

    The fonts.zip file contains Greek-Regular, TimesNewRomanPSMT, TimesNewRomanPS-BoldMT, TimesNewRomanPS-BoldItalicMT, TimesNewRomanPS-ItalicMT, BookAntiquaCyr, BookAntiquaCyrBold, BookAntiquaCyrBoldInclined, BookAntiquaCyrInclined, CarletonNormal, Futuris, GoudyHundred, ShalomOldStyle, all in truetype. And also these Cyrillic type 1 fonts from ParaGraph: PetersburgC, GaramondC, GaramondBookC, GaramondBookNarrowC, GaramondNarrowC. [Google] [More]  ⦿

    Isay Solomonovich Slutsker

    Russian type designer (b. Orel, Russia, 1924, d. 2002). He lost both legs in World War II, but persevered and graduated in 1949 from the Moscow Printing Institute. He started working at the Type Design Department of VNIIPoligraphmash (National Printing Research Institute). From 1991 he worked for ParaType, Moscow. Isay Slutsker worked for major Soviet publishers, Khudozhestvennaya Literatura and Prosveshcheniye, designing and illustrating general fiction literature and textbooks. Slutsker designed many typefaces for a number of scripts and writing systems. Among his Cyrillic and Latin designs are Baltica (1951-2, a spin-off of Candida-Antiqua by Jakob Erbar; in co-operation with Vera Chiminova; Paratype did a revival in 1998); Bruskovaya Gazetnaya ('Slab-serif newstype', 1949; in co-operation with Alexandra Korobkova); Mysl (1986, a makeover of the typeface originally created by Vera Chiminova in 1966); PT Caslon (1962 and 1992, a version of the ATF Caslon; assisted by Tatiana Lyskova and Manvel Shmavonyan; also called Caslon 540); ITC Franklin Gothic Cyrillic (1993; assisted by Tatiana Lyskova); PT BT Humanist 531 Cyrillic (1988, based on the Bitstream version of Syntax, by Hans Eduard Meier; assisted by Manvel Shmavonyan); PT BT Geometric Slabserif 712 (1999, based on the Bitstream version of Monotype Rockwell; assisted by Manvel Shmavonyan); MyslNarrowC (1992-1996, at Intermicro, together with Svetlana Ermolaeva and Emma Zfcharova). Slutsker's Greek typefaces are Obyknovennaya Novaya ('New Standard', 1950s); Rublenaya Slutskera ('Slutsker Sans'; 1960s); Chronos (1980s). Isay Slutsker created several typefaces for Hindi, Bengali, Gujarati and Kannada. He designed two Amharic and one Hangul typeface, Inmin. Slutsker's Humanist 531 Cyrillic was among the winners of Kyrillitsa'99 and won an award at Bukvaraz 2001.

    Russian bio. FontShop link. Klingspor link.

    View some of Isay Slutsker's digital typefaces. [Google] [MyFonts] [More]  ⦿

    isf.ru

    Cyrillic font archive. It has hundreds of fonts including, for example, BodnoffPlain (Corel), Bodoni (Atech), BodoniCyrillicFWF (Richard A. Ware), Cyrvetica (N. Vsesvetskii, 1993 for SoftUnion), Decor (Atech), FixHelvDL, GlasnostLightFWF (Richard A. Ware), IrmosCyr (Proxima Systems, 1993), IssopCyr (Proxima Systems, 1993), Izhitsa (ParaGraph), MurmanskFWF (Richard A. Ware), Mysl (Atech), NewBodoni (N. Vsesvetskii, 1993 for SoftUnion), NewsCyr (Proxima Systems, 1993), OdessaScriptFWF (Richard A. Ware), OmforCyr (Proxima Systems, 1993), Peterburg (Atech), RoscherkDL, SchoolBook (Atech), SchoolDL, SkazkaForSergeMedium (Yuri A. Lyamin), SvobodaFWF (Casady&Greene), TimesDL, VremyaFWF (Casady&Greene). [Google] [More]  ⦿

    Israel Seldowitz
    [Fontworld]

    [More]  ⦿

    Israel.ru

    Small Cyrillic archive: AGHlvCyrillicBold, AGHlvCyrillicBold-Italic, AGHlvCyrillicNormal, AGHlvCyrillicNormal-Italic, GranitNormal, GranitNormal, HeroldNormal, HeroldNormal, Invest, Izhitsa, Invest, Izhitsa, JournalSans-Bold, JournalSans-Italic, JournalSans-BoldItalic, JournalSans, PengvinBold, PengvinBold, RoslinGothicDGBold, RoslinGothicDGBold, SchoolBook-Bold, SchoolBook-BoldItalic, SchoolBook-Italic, SchoolBook, SkazkaForSergeMedium, CenturySchoolbook, CenturySchoolbook-Bold, CenturySchoolbook-BoldItalic, CenturySchoolbook-Italic, SkazkaForSergeMedium. [Google] [More]  ⦿

    Iste Fonts
    [Yuri Zabavchik]

    Foundry in Belarus, run by Yuri Zabavchik (b. 1986, Rudensk, Belarus). He designed the piano key typeface The Closed Door (2011, +Cyrillic). [Google] [MyFonts] [More]  ⦿

    ISTF
    [Igor Stepanchenko]

    Russian designer of the free typeface Rounded (2019) and the free squarish Latin / Cyrillic typeface Architectural (2019).

    In 2022, he released the bloated belly slab serif Kidder for Latin and Cyrillic. [Google] [MyFonts] [More]  ⦿

    iti.lt

    A 140-strong Cyrillic truetype font archive: AGCooper, AGCooperItalic, AGFutura, AGFuturaBold, AGGaramond, AGGaramondBold, AGGaramondCyrBold, AGGaramondCyrLight, AGOpus-Bold, AGOpus-BoldOblique, AGOpus-Oblique, AGOpus, AGPresquire-Bold, AGPresquire-BoldOblique, AGPresquire-Oblique, AGPresquire, AGSouvenir, AGSouvenirBold, AGSouvenirCyrBold, AGSouvenirCyrBoldItalic, AGSouvenirCyrItalic, AGSouvenirCyrRoman, AXP-BodoniC-Bold, AXP-BodoniC-BoldItalic, AXP-BodoniC-Italic, AXP-SchoolBookC-Bold, AXP-SchoolBookC-BoldItalic, AXP-SchoolBookC-Italic, AdverGothic-Italic, AdverGothic, AdverGothicCamC, AdverGothicHo, AksentNormal, AlgerianRA, Antiqua-Bold, Antiqua-Bold, Antiqua-BoldItalic, Antiqua-Italic, Antiqua, ArtScript, AstronCyrillic, Baltica-Bold, Baltica-Italic, BalticaBold, BalticaItalic, BalticaPlain, Bernhard, Bodoni-Bold, Bodoni-Bold, Bodoni-BoldItalic, Bodoni-Italic, Bodoni-Italic, Bodoni, Boyarsky-BoldItalic:00, Breeze, Breeze, BreezeBold, Calligraph, CaslonPlain, ClassicRussianBold, ClassicRussianBoldItalic, ClassicRussianItalic, ClassicRussianPlain, Collins, Compact-Bold, Compact-Bold, Compact-BoldItalic, Compact-BoldItalic, Compact-Italic, Compact-Italic, Compact, Corrida-Bold, CorridaCyrillic, Courier-Bold, CourierCTT-Bold, Crystal, Crystal, Decor-Bold, Decor-Bold, Decor-Italic, Decor, Derby, Domkrat, DomkratBold, DomkratBoldItalic, DomkratItalic, DomkratNormal, FreeSet-Bold, FreeSet-Bold, Freestyle, Fusion, FuturaEugenia, GothicRusMedium, GoudyOld, GradPlain, Hair, HelvCND_R-Normal, Hermes, Herold-Bold, Herold, InformC, InformCBold, Izhitza, Journal-Bold, Journal-Bold, Journal-Italic, Journal-Italic, Journal, JournalSans-Bold, JournalSans-Bold, JournalSans-BoldItalic, JournalSans-Italic, JournalSans, JournalSans, Karina-Bold, Karina-BoldItalic, Karina-Italic, Karina, Keyboard, KladezPlain, KursivC--Bold, KursivC, Mistral, Montblanc-Italic, Montblanc, PaladinPCRusMedium, ParkAvenueNormal, Parsek, Parsek, PengvinBold, PragmaticaShadowC-BoldItalic, PresentScript_cyr, Prestige-Normal, Proun-Bold, Proun, ProunX-Bold, ProunX, Rubic, SchoolBookCTT, Serpentin, ShalomOldStyle, Slavjanic, Slipstream, Stencil, TaurusHeavyNormal, TaurusLightNormal, TaurusNormal, TechnoNormal, Tiff-Heavy, TimesET-Bold, TimesET-BoldItalic, TimesET-BoldItalic, TimesET-Italic, TimesET-Italic, TraktirNormal, Unicorn, University_cyr, VikingPlain, Windsor. [Google] [More]  ⦿

    Iuliia Aseeva

    Iuliia Aseeva, aka Thunderwhale Art, is an illustrator and graphic designer based in St. Petersburg. In 2016, she designed the handcrafted typeface Turntable. [Google] [More]  ⦿

    Iuliia Efanova

    Aka Julia Musdotter. Russian creator of the vector format typefaces Alphabet With Stitches (2016), Green Wooden Game Alphabet (2016), and Orange (and other colors) Vector Stone Game Alphabet (2016). [Google] [More]  ⦿

    Iva Babic

    Novi Sad, Serbia-based designer of several untitled Latin and Cyrillic typefaces, ca. 2013. [Google] [More]  ⦿

    Iva Chobanova

    Sofia, Bulgaria-based designer of the ornamental Cyrillics initial caps typeface Octopus (2015). [Google] [More]  ⦿

    Ivan Aleksandrovich Kostylev

    Russian type designer, b. near Moscow (1905), d. Moscow (1973). Fonts he made include Agat (1968). See also here. [Google] [More]  ⦿

    Ivan Apostolski

    Designer of Cyrivendell (2011) about which he wriotes: Cyrivendell - a portmanteau of Cyrillic (which it does support entirely) and Rivendell, the fictious city from LOTR. This script does resemble a couple of existing and popular fonts; this one, however, focuses on Cyrillic and also contains all European international characters. Cyrillic support is for Serbian, Macedonian, Russian, Ukrainian, Bulgarian and Belarus. [Google] [More]  ⦿

    Ivan Arbatskiy

    Creator of Franzisk (2001, with Dmitriy Ivanov). [Google] [More]  ⦿

    Ivan Ginev
    [COG Graphics]

    [More]  ⦿

    Ivan Gladkikh
    [TypeType]

    [MyFonts] [More]  ⦿

    Ivan Gulkov

    Russian graphic designer working out of San Francisco. His work includes a few nice Cyrillic typographic pieces, some icon sets and digitally revived Vjaz lettering (2014). [Google] [More]  ⦿

    Ivan Gulkov

    Ivan Gulkov (San Francisco) created several types in the Vyaz lettering style, which is an interlocking condensed style based on 13th century church Slavonic titular letters. [Google] [More]  ⦿

    Ivan Khmelevsky

    Graphic designer from Moscow. He is I am in his final year (BA [Hons] Graphic design&Illustration) at University of Hertfordshire, UK. He made the techno typeface Neu Eichmass (2010). Dafont link. Behance link. [Google] [More]  ⦿

    Ivan Kopylov

    Russian creator of Chalkboard Typeface (2015) and Great Party 52 (2016, a triled deco typeface). He also made the handcrafted Kidzoo (2016) and London 52 Rus Condensed (2016). [Google] [More]  ⦿

    Ivan Kostynyk
    [Black Fox Foundry]

    [MyFonts] [More]  ⦿

    Ivan Kyosev

    Ivan Kyosev (b. 1933, Burgas, Bulgaria, d. 1994) was known for his illustrations, book designs and, to lesser extent, his typefaces. In 1957 he graduated from the National Academy of Art in Sofia under the mentorship of illustrator Iliya Beshkov. In 1993 he designed an angular typeface which was digitally revived in 2020 by Ani Dimitrova as Thalweg (Latin, Cyrillic, Greek). Dimitrova added Thalweg Poetica (32 styles and a variable font) in 2022. [Google] [MyFonts] [More]  ⦿

    Ivan Neytchev
    [HS Fonts (was: HermesSoft Type Library)]

    [MyFonts] [More]  ⦿

    Ivan Petrov

    Ivan Petrov is based in Saint Petersburg, Russia. Bulgarian codesigner with Julia Zhdanova of the free typeface Artifika at Cyreal and Google Font Directory in 2011. He is currently located in Moscow.

    At Cyreal, he published the free font Volkhov (2011; download at Fontsquirrel), a low-contrast serifed typeface with a robust character, and the didone typeface Prata (2011; for a free version, see here). He also created a number of beautiful experimental typefaces in 2011.

    Bolgariy (2012) is a warm display typeface made for advertising Bulgaria.

    In 2014, he published the 18-style sans serif typeface system Glober at Fontfabric. Inspired by strong German grotesques such as DIN and Dax, it has a great spectrum, from hairline (called Thin) to Heavy. Glober won an award at Modern Cyrillic 2014.

    Typefaces from 2015: Stimul (a monoline unicase san).

    Typefaces from 2016: Tavolga (a curvy sans family), Rossiya (a corporate Peignotian Cyrillic / Latin typeface for the rebranding of Rossiya Air Company).

    Typefaces from 2017: Fungis, Creata (a wide sans family), Kvyat (a speed emulation sans typeface named after Russian racer Daniil Kvyat, developed for branding at ONY), Fungia (display style).

    Typefaces from 2018: Gilam (by Ivan Petrov, Plamen Motev and Svetoslav Simov: based on DIN, but more geometric and with obliquely cut terminals).

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

    Ivan Phillipov
    [Neogrey]

    [More]  ⦿

    Ivan Pivovarov

    Designer in Saint Petersburg, Russia. In 2014, he created the Latin / Cyrillic geometric sans typeface family Ufa. Behance link. [Google] [More]  ⦿

    Ivan Rogov

    Moscow-based graphic designer and illustrator who studied at the British Higher School of Art and Design. Creator of several Latin and Cyrillic display typefaces in 2015. These include Cross Mazigrot. [Google] [More]  ⦿

    Ivan Semenov

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

    Ivan Sharenkov

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

    Ivan Shumikhin

    Russian designer of the free macho octagonal Latin / Cyrillic sans typeface Shumi (2015). [Google] [More]  ⦿

    Ivan Tsanko

    Ukrainian esigner of typefaces for Latin and Cyrillic. His fonts from 2020: the display typeface Trud (2020), Glock Grotesque, Durance (a fairy tale font), Otto Attack (free), Inferno Gothic (free), Agnets (free). Home page.

    Typefaces from 2021: Stavok Grotesque. [Google] [More]  ⦿

    Ivan Vasilev
    [RockBee]

    [MyFonts] [More]  ⦿

    Ivan Vetrov

    Moscovite graphic designer who made these Latin / Cyrillic typefaces in 2013: Kin Dza Dza (alchemic), and DecoFont (an amalgamation of Fatface and Conqueror Slab). [Google] [More]  ⦿

    Ivan Zeifert
    [Gliphmaker.com]

    [More]  ⦿

    Ivana Bacanek
    [VIDI Visual Design Studio]

    [MyFonts] [More]  ⦿

    Ivana Cirovic

    Graduate of the Faculty of Applied Arts in Belgrade. Creator of the Cyrillic sans serif typeface Platan Sans (2012). [Google] [More]  ⦿

    Ivana Dakic

    Serbia/Montenegro-based type designer who received a TypeArt 05 award for the display typeface Jedrilica. [Google] [More]  ⦿

    Ivana Kurobic

    Serbian designer of the calligraphic Latin/Cyrillic script Tapija. [Google] [More]  ⦿

    Ivana Zotovic

    Belgrade-based designer of the sans typeface family Attraversiamo (2013) and the great paint brush typeface Flek (2014: Latin and Cyrillic). [Google] [More]  ⦿

    Ivanna Ivashka
    [Ivanna Pleshkova]

    Or Ivanna Pliskova. Moscow-based illustrator, who designed these decorative typefaces in 2018: Lazy Meow, Ivanka, Backstage (outlined, bilined), Watermelon (color font), Magnolia (floral caps) and Folk Kit. In addition, she drew several sets of floral and other icons, such as in her Romantic Collection. [Google] [More]  ⦿

    Ivanna Pleshkova
    [Ivanna Ivashka]

    [More]  ⦿

    Ivaylo Hristov

    Sofia, Bulgaria-based designer of the free Cyrillic logotype Sluchka (2017), which has just a few letters. Behance link. [Google] [More]  ⦿

    Iveta Nikolova

    Sofia, Bulgaria-based designer of a Cyrillic font in 2015. [Google] [More]  ⦿

    Ivona Stankova

    What a way to start a beautiful day---ogling the African-themed Cyrillic font Afrikita (2012) made by Sofia, Bulgaria-based Ivona Stankova. [Google] [More]  ⦿

    Iwan Glasunow

    Printer in St. Petersburg, ca. 1870, who ran his own foundry. [Google] [More]  ⦿

    Izone

    Russian type terminology site. [Google] [More]  ⦿

    Izosoft 3D Type

    Software by Alexandr Shurenkov for 3D typefaces. Typer Tools: utility from this Moscow-based company for making fonts look like 3D fonts. Free trials. Also, six free 3D fonts. [Google] [More]  ⦿

    J. Eric Slone
    [Tuvan Font]

    [More]  ⦿

    Jacklina Jekova

    Calligrapher and graphic designer in Sofia, Bulgaria. She completed her BA in design and an MA in calligraphy at the National Academy of Art in Sofia MA. After her graduation she started working as a type designer at Fontfabric Type Foundry and embarked on a PhD, still at National Academy of Art.

    Creator of the experimental geometric typeface Square (2013, Latin and Cyrillic) and the script typefaces Madelyn (2016, brush style, produced by Svetoslav Simov and published by Fontfabric; +Madelyn Doodles) and Solena (2016, free at Fontfabric). She was part of the Fontfabric team that designed the 521-font family Zing Rust, Zing Sans Rust and Zing Script Rust in 2017.

    In 2018, Jacklina Jekova and Nikolay Petroussenko co-designed Singel at Fontfabric. Singel is a neoclassical serif with semi-condensed proportions for Latin and Cyrillic. Its ten roman weights are complemented with ten quite different italic weights.

    In 2018, Todor Georgiev and Jacklina Jekova set up Letter Collective. In 2019, they released Grafema LC at Letter Collective. [Google] [MyFonts] [More]  ⦿

    Jadanya

    Kharkiv, Ukraine-based designer of the artsy Cyrillic typeface Figli Migli (2018). [Google] [More]  ⦿

    Jakob Runge
    [Typemefonts (was: 26plus zeichen)]

    [MyFonts] [More]  ⦿

    Jakov Jakovljevic

    Kragujevac / Belgrade, Serbia-based illustrator. Designer of an untitled Latin / Cyrillic sans serif in 2016. [Google] [More]  ⦿

    Jakovlev Type Foundry
    [Dimitri Jakovlev]

    Dimitri Jakovlev's Moscow-based type foundry which produces mixed Cyrillc/Latin typefaces of high quality. Included are: JTF Studium Sans, JTF Nikolaeff Script, JTF Jakovlev Pixel, JTF Gnosis. [Google] [More]  ⦿

    James Eduardo Dudi

    Curitiba-based Brazilian designer of the liquid typeface Setor (2004), Wcom, the pixel typeface Cube (2004), the Cyrillic display typeface Poka (2004), and the futuristic DNA (2004). [Google] [More]  ⦿

    James Grieshaber
    [Typeco]

    [MyFonts] [More]  ⦿

    James Slater

    Cheltenham, UK-based designer of Transeb (2012, a Cyrillic typeface). [Google] [More]  ⦿

    Jamie Place
    [FontBlast]

    [More]  ⦿

    Jan Janecek

    Czech designer of Skvär (2013), an angular serifed typeface developed during Typeclinic 6 and Typeclinic 7 in 2013. In 2014, he continued the development of Skvaer. At Typeclinic 2015, Skvaer was perfected. During Typeclinic 11th International Type Design Workshop, he created the Latin / Cyrillic / Greek typeface Queen (2015). [Google] [More]  ⦿

    Jana Orsolic

    Serbian type designer (b. 1979, Belgrade) who graduated in 2003 from the Faculty of Applied Arts (FAA) in Belgrade, the Department of Applied Graphics, majoring in Type and Book Design. She is a professor of type design and calligraphy there since 2012, after having worked there since 2005. In 2010, she obtained the Magister degree from FAA. Alongside Olivera Stojadinovic and Olivera Batajic Sretenovic one of the editors at tipometar.org.

    Her first typeface was Tabula (2003).

    In 2010, she designed these flowing free Cyrillic / Latin calligraphic typefaces: Lovely Audrey BG, Lovely Grace BG, Lovely Sofia BG.

    At ITC as Jana Nikolic, she released the elegant informal typefaces ITC Intro (2008) and ITC Aram (2007).

    In 2016, she designed Gorenje Script.

    The chiseled street signs in Istria inspired her to design the slab serif typeface Mermer (2019).

    Linotype link. MyFonts link for Jana Orsolic. Interview in 2018. Sometag link. [Google] [MyFonts] [More]  ⦿

    Jana Prokopovich

    Saint Petersburg, Russia-based designer of the thin Cyrillic typeface Avangard (2017). [Google] [More]  ⦿

    Jane Djurinskaya

    Or Jane Jurinskaya. Codesigner with Jovanny Lemonad in 2009 of Unimportant, a Latin/Cyrillic display face. Free download at Typetype. [Google] [More]  ⦿

    Jane Kiseleva

    Graphic designer from Moscow. During her studies at Central Saint Martins College of Art and Design in London, she created the experimental Latin typefaces Overlap Regular (2014) and Ambigram (2014). In 2015, she created the neon light font HOV [HOV=House of Vans in London]. Behance link. [Google] [More]  ⦿

    Jannete Mark

    Moscow-based designer of the hipster Cyrillic typeface Mark (2015). [Google] [More]  ⦿

    Janusz Marian Nowacki

    Polish type designer in Grudziadz (Stycznia) involved in the restauration of historical Polish type designs. At GUST.org, he created fonts for Polish such as QuasiHelvetica, QuasiCourier, QuasiChancery, QuasiBookman, Antykwa Półtawskiego (based on work by Adam Półtawskiego (1923-1928), constructed by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk), Antykwa Toruńska (1995, based on work by Zygfryd Gardzielewski, electronic version by Janusz M. Nowacki). Alternate URL for the latter face.

    He runs FOTO ALFA. At the latter page, you can find these fonts in which Nowacki participated: Antykwa Torunska, Antykwa Pótawskiego, Rodzina krojów PL, Rodzina fontów LM (Latin Modern), Quasi Palatino, Quasi Times, Quasi Bookman, Quasi Courier, Quasi Swiss, Quasi Chancery. The Quasi series are Polish versions of standard URW and Ghostscript fonts. The Rodzina series are Polish versions of the Computer Modern families.

    In 2005, he placed these fonts on CTAN: Kurier and Iwona. Kurier is a two-element sans-serif typeface. It was designed for a diploma in typeface design by Malgorzata Budyta (1975) at the Warsaw Academy of Fine Arts under the supervision of Roman Tomaszewski. The result was presented with other Polish typefaces at the ATypI conference in Warsaw in 1975. Kurier was intended for Linotype typesetting of newspapers and similar periodicals. The design goals included resistance to technological processes destructive to the letter shapes. As a result, amongst others, the typeface distinguishes itself through intra- and extra-letter white spaces as well as ink traps at cross-sections of some elements constituting the characters. The PostScript and OpenType family covers Latin, East-European languages, Cyrillic and Vietnamese. Iwona covers all of these too and is Nowacki's alternative to Kurier. Both sans font families have many useful mathematical symbols as well.

    In 2006, Nowacki and Jackowski published free extensions of the Ghostscript fonts in their TeX Gyre Project: Adventor, Bonum, Cursor, Heros, Pagella, Termes, Schola, Chorus.

    In 2008, two styles of Cyklop were published. This was a generalization and extension of a historical type.

    He writes: The Cyclop typeface was designed in the 1920s at the workshop of Warsaw type foundry "Odlewnia Czcionek J. Idzkowski i S-ka". This sans serif typeface has a highly modulated stroke so it has high typographic contrast. The vertical stems are much heavier then horizontal ones. Most characters have thin rectangles as additional counters giving the unique shape of the characters. The lead types of Cyclop typeface were produced in slanted variant at sizes 8-48 pt. It was heavily used for heads in newspapers and accidents prints. Typesetters used Cyclop in the inter-war period, during the occupation in the w underground press. The typeface was used until the beginnings of the offset print and computer typesetting era. Nowadays it is hard to find the metal types of this typeface.

  • Boguslaw Jackowski and Janusz Marian Nowacki created Latin Modern using Metatype1 based on Computer Modern, but extended with many diacritics. The list: lmb10, lmbo10, lmbx10, lmbx12, lmbx5, lmbx6, lmbx7, lmbx8, lmbx9, lmbxi10, lmbxo10, lmcsc10, lmcsco10, lmr10, lmr12, lmr17, lmr5, lmr6, lmr7, lmr8, lmr9, lmri10, lmri12, lmri7, lmri8, lmri9, lmro10, lmro12, lmro8, lmro9, lmss10, lmss12, lmss17, lmss8, lmss9, lmssbo10, lmssbx10, lmssdc10, lmssdo10, lmsso10, lmsso12, lmsso17, lmsso8, lmsso9, lmssq8, lmssqbo8, lmssqbx8, lmssqo8, lmtcsc10, lmtt10, lmtt12, lmtt8, lmtt9, lmtti10, lmtto10, lmvtt10, lmvtto10. [Google] [More]  ⦿

  • Jany Stepanova

    Moscow-based designer of the Cyrillic typeface Jazz Modern (2017) for the corporate identity of the Jazz moderne group. [Google] [More]  ⦿

    Jaroslava Maistrenko

    Kiev-based designer of several hand-printed Cyrillic typefaces. [Google] [More]  ⦿

    Jason Castle
    [Castle Type]

    [MyFonts] [More]  ⦿

    Jason Pagura
    [Cuttlefish Fonts]

    [More]  ⦿

    Jason Smith
    [Fontsmith]

    [MyFonts] [More]  ⦿

    Jay Sekora
    [Jay Sekora: Typography and Calligraphy]

    [More]  ⦿

    Jay Sekora: Typography and Calligraphy
    [Jay Sekora]

    Jay made a free CyrillicGothic font. [Google] [More]  ⦿

    Jérémie Hornus
    [Black Foundry]

    [MyFonts] [More]  ⦿

    Jean-François Porchez
    [ZeCraft]

    [MyFonts] [More]  ⦿

    Jeff James

    Jacksonville, FL-based designer of the constructivist Latin / Cyrillic typeface Amaze (2016). Behance link. [Google] [More]  ⦿

    Jeff Kellem
    [Slanted Hall]

    [More]  ⦿

    Jefferson Cortinove
    [Sea Types]

    [MyFonts] [More]  ⦿

    Jefimija Kocic

    As a student, Nis, Serbia-based Jefimija Kocic created the brush typeface Vajn (2015) for Latin and Cyrillic. [Google] [More]  ⦿

    Jeka Nesefo

    Kiev, Ukraine-based designer of Warm Font (2014) and Duim Font (2014, Cyrillic). [Google] [More]  ⦿

    Jelena Lugonja

    Belgrade, Serbia-based designer of the Latin / Cyrillic handcrafted poster typeface family Bruka (2015) in the context of a larger project called Bruka Notes. [Google] [More]  ⦿

    Jelena Lugonja

    Belgrade, Serbia-based designer of Earscoop Font (2013, hand-drawn Latin and Cyrillic typeface; with Maja Maksimovic). [Google] [More]  ⦿

    Jelisaveta Stosic

    Belgrade, Serbia-based designer of the handcrafted Latin / Cyrillic typeface Doodle (2017). [Google] [More]  ⦿

    Jeremy Johnson
    [Forme Type]

    [MyFonts] [More]  ⦿

    Jeremy Tankard
    [Jeremy Tankard Typography]

    [MyFonts] [More]  ⦿

    Jeremy Tankard Typography
    [Jeremy Tankard]

    Jeremy Tankard established Jeremy Tankard Typography in 1997, after corporate design work at Addison Design Consultants and Wolff Olins. This Londoner made some extraordinary and daring font families. In many of his typefaces, Jeremy mixes upper and lower case letters for more impact. A list of his typefaces:

    • FF Disturbance (1993, a unicase based on Sabon).
    • Alchemy (1998). Mystical. To be used with Enya's music in the background.
    • Blue Island (1999, Adobe).
    • The Shire Types (1998, consisting of Shire-Cheshire, Shire-Derbyshire, Shire-Shropshire, Shire-Staffordshire, Shire-Warwickshire, and Shire-Worcestershire). Shire Pro followed in 2011 and Shire Arabic in 2012. Shire is based on idiosyncratic vernacular lettering seen across Britain.
    • Enigma (1999-2015). A great text typeface family with influences going back o Hendrik van den Keere.
    • Shaker (2000) A sans serif with some flaring.
    • Harmony Greek, a typeface that netted him a Bukvaraz 2001 award alongside the Shire Types and Shaker.
    • Aspect (2002). A typeface with many ligatures and swashes.
    • Bliss (Agfa Creative Alliance). Bliss Pro (2006), a sans family, covers Latin, Greek and Cyrillic ina harmonious fashion.
    • Corbel (2004). A sans family made for Microsoft's ClearType project, for which he received a TypeArt 05 award.
    • Custom designs: Epsilon (a very bold face, supposedly designed for the Düsseldorf branch of Frogdesign) and Harmony (for Telstra in Australia).
    • Kingfisher (2005). A transitional petit-Bodonesque serif family.
    • Arjowiggins (2006). Tankard cooperated with Arjowiggins and design agency Blast on AW Inuit that was commissioned by ArjoWiggins for the launch of the Inuit paper: it is a unicase Latin font inspired by Inuit letterforms. See also at MyFonts. The typophiles are unjustly upset at this sort of typeface though.
    • Trilogy (2009). This extensive typeface family consists of Trilogy Sans Compressed, Trilogy Sans Condensed, Trilogy Sans Normal, Trilogy Sans Wide, Trilogy Sans Expanded, Trilogy Egyptian Normal, Trilogy Egyptian Wide, Trilogy Egyptian Expanded, and Trilogy Fatface.
    • Fenland (2012). A 14-style ink-trapped sans.
    • Redisturbed. A classical unicase typeface.
    • Capline (2014). A bilined all-caps typeface family for titling work. It won an award at Modern Cyrillic 2014.
    • Queezoid (2015).
    • Pembroke (2014). A British geometric typeface family with many weights ranging from Hair to Ultra.
    • De Worde (2017). An italic typeface family in seven weights to celebrate the 60th anniversary of e Wynkyn de Worde Society.
    • Wayfarer (2017). He writes: The typeface was originally commissioned for use with a new wayfinding system for the city of Sheffield in the UK. As Sheffield was the home to the type foundry, Stephenson. Blake & Co. it had been thought that their type, Granby Condensed would be suitable. The Granby family of types was developed during the 1930s as Stephenson, Blake's contribution to the general cashing in of other foundries on the popularity of Monotype's Gill Sans and the geometric sans serifs being introduced by the continental type foundries.
    • Hawkland and Hawkland Fine (2018). A text typefaceC with didone and transitional elements.
    • Brucker (2019). An 8-style angular expressionist typeface family.

    Fontfont write-up. Alternate URL. Interview by Planète Typographie. Interview by Brendan Staunton. I Love Typography link. FontShop link. Klingspor link. MyFonts link. [Google] [MyFonts] [More]  ⦿

    Jesse Smith
    [Illuminaut Design]

    [MyFonts] [More]  ⦿

    Jessica Calzada

    Barcelona-based designer of Tipografia Cirilica 02014, a Cyrillic display typeface). [Google] [More]  ⦿

    Jetbrains
    [Konstantin Bulenkov]

    In 2020, Philipp Nurullin (type designer, Saint Petersburg, Russia) and Konstantin Bulenkov (project lead) published the carefully designed free programming font family JetBrains Mono for Latin and Cyrillic. Google Fonts link. [Google] [More]  ⦿

    JewishGen

    The "exe" files, when unzipped, have a bunch of truetype fonts for East-European languages such as Polish, and for Cyrillic. Included are ArialMT, TimesNewRomanMT, CourierNewMT, Cyrillic-1, and Eastern-EuropeRoman. [Google] [More]  ⦿

    JH Fonts
    [Joe Mahfouz Hatem]

    Joe Hatem (JH Fonts, Beirut, Lebanon) is a part time lecturer at Notre Dame University Beirut. He created these Arabic typefaces in 2013: JH Amira, JH Beirut, JH Firas, JH Farid, JH Dalya, JH Paola, JH Khalil (squarish), JH Hala, JH Diwani (a calligraphic font that took three years to complete; see also JH Diwani Simplified Light released in 2019), JH Fares (a modern Kufic font). In 2015, he made the Arabic typefaces JH Thuluth, JH Dima and JH Diwani Thuluth, and the children's (Latin) handwriting font JH Lea Cursive.

    Typefaces from 2016: JH Naskh Expanded (extended by JH Naskh Expanded light in 2021).

    Typefaces from 2017: JH Rawan (a geometric font), JH Lina Magazine, JH Hadi.

    Typefaces from 2018: JH Lina, JH Roy, JH Farid, JH Fadi, JH Rawan, JH Hala, JH Mars, JH Lea (connected monoline script), JH Nazih, JH Yara.

    Typefaces from 2020: JH Fatina (a superb Arabic typeface family with covering the Sounboli, Naissabouri, Diwani and Thuluth calligraphic scripts), JH Zoya Cyrillic (a monoline school script for Latin and Cyrillic).

    Typefaces from 2021: JH Haroun (a calligraphic Thuluth script), JH Noha (a geometric Arabic typeface family).

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

    Jimi-neko
    [Anton Drachuk]

    Jimi-neko is a collaboration of Anton Drachuk and Jadwiga Krym offering expertise in various disciplines, such as graphic design, film-making, typography, lettering, print design, street-wear design, advertisement as well as corporate identity design and user experience design. It is located in Poznan, Poland.

    In 2012, Anton Drachuk was a calligraphy and graphic design student in Poznan. He designed Crimée (2012, a fresh blackletter typeface), and Sankakkel (2012, a geometric typeface for Latin and Cyrillic).

    Anton's graduation typeface in 2013 was Bertau.

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

    Jimmy Campbell

    Creator (b. 1985, USA) of the free pixel typefaces Litebulb 8Bit (2014, based on the current logos of Nickelodeon and its blocks and sister networks: Nick at Nite, Nick Jr., Teen Nick, and NickMom) and Early GameBoy (2014, after the Nintendo game). Both fonts were made with FontStruct. In 2014, he made the pixel typeface Arcadepix Plus, which is based on Arcadepix by Reekee of Dimenzioned (includes katakana and Cyrillic). [Google] [More]  ⦿

    JL-types Ky
    [Juhani Lehtiranta]

    Juhani Lehtiranta holds a Ph.D. in linguistics, and lives and works in his place of birth, Nurmijärvi, near Helsinki. He has been busy with special fonts since 1985. In 1990 he established font design company, JL-types Ky. Lehtiranta's special interests are typefaces for European minority languages (e.g., Greek, Baltic, Sami, Cyrillic, Central European) and custom made fonts (e.g., barcode fonts (JLCode128, JLEAN, JLCode39, JLInterleaved2/5)). He created the first fonts for the Uralic Phonetic Alphabet in 1985 and published an OpenType phonetic font in 2005. He spoke at ATypI 2005 in Helsinki on A wild play with diacriticts, in which he discusses the Finnish language, Sami, and other special aerial languages. [Google] [More]  ⦿

    Joana Maria Correia da Silva
    [Nova Type Foundry]

    [MyFonts] [More]  ⦿

    Joanne Taylor

    Located in York, UK, Joanne is interested in children's reading and writing. Creator of two fonts in 2008: Qongosushi has a kind of raw but chunky feel and might look good on Menu or Magazine heading pages, whereas Qyrillic would be for Chapter Headings in children's or fantasy stories. [Google] [More]  ⦿

    Joao Cracel
    [Craceltype]

    [MyFonts] [More]  ⦿

    Joe Leadbeater

    Londoner who studied in Leeds, UK. Designer of the text typeface Madison (2014) and the vintage typeface Clothworker (2015).

    In 2018, Joe Leadbeater and Mark Bloom co-designed the 14-weight sans typeface family Aeonik, which supports Latin, Greek and Cyrillic, and is accompanied by a variable font. Followed in 2022 by Aeonik Mono.

    At some point before 2019, Joe Leadbeater and Mark Bloom founded CoType Foundry.

    In 2021, he became part of Socio Type in London. At Socio Type, he designed these typefaces:

    • Gestura (2021). A serif with three optical sizes, Text, Headline and Display.
    • Rework (2021). A sans with four optical sizes, Micro, Text, Headline and Display.
    [Google] [More]  ⦿

    Joe Mahfouz Hatem
    [JH Fonts]

    [MyFonts] [More]  ⦿

    Jogi Weichware

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

    Johannes Giesecke

    One truetype font here (bottom of page, click on Schriftart, the German word for font): Joe. This font has Latin, East-European, Cyrillic, Greek, Hebrew and Arabic characters, and sure looks like a renamed Monotype Times to me. [Google] [More]  ⦿

    Johannes Lehmann
    [Ossip I. Lehmann Type Foundry]

    [More]  ⦿

    John D. Smith
    [IndUni Fonts]

    [More]  ⦿

    John Hudson
    [Brill]

    [More]  ⦿

    John M. Fiscella
    [Production First Software]

    [MyFonts] [More]  ⦿

    John Mawby

    John Mawby is a lettercutter with a passion for the craft of carving letters in stone. Graduate of the MATD program at the University of Reading, class of 2020. His graduation typeface there was the angular, almost chiseled, text typeface family Bibliophile (for Latin, Greek and Cyrillic). [Google] [More]  ⦿

    John Singer

    Type designer whose fonts are available at the Publishers Warehouse: Aspen, Blackhawk (1991, Western), Russian, School Days (athletic lettering), StrikeOut, TymesLittleCaps, Winter Park.

    Fontspace link. Dafont link, where one can download Blackhawk. [Google] [More]  ⦿

    Joke Gossé

    Born in 1984, Joke Gossé is Professor at Sint Lucas Antwerp and KDG Hogeschool, and is a graduate of type design at Reading, 2007-2008. She has her own type blog, and lives in Antwerp. Her typefaces:

    • For her Masters at Reading, she created Melville (2008), a contemporary book and poetry typeface for Latin and Cyrillic, which models the oblique axis structure of oldstyle typefaces.
    • Nostalgia (2009-2010) was intended for the cover of a book on glorious past of restaurants and hotels at the Belgian coast. It is an art deco all caps typeface based on stone inscriptions done by an architect in 1939 on a house in Knokke on the Belgian coast.
    • Codesigner with Jirs Huygen of Bakelandt (2014). This comic book typeface family with four sets of glyphs was custom-designed for comic book artist Hec Leemans based on the artist's handwriting. Bakelandt is the name of the Flemish comic book series.
    [Google] [More]  ⦿

    Jonas Hecksher

    Jonas Hecksher holds a degree from The Royal Danish Academy of Fine Arts and The School of Design and Ecole supérieure d'arts graphiques et d'architecture in Paris, where he specialized in graphic design and typography design. Heckscher is Partner and Creative Director at design agency e-Types which he co-founded in 1997 and co-founder of type foundry and type design brand Playtype. He is a 5-time recipient of the Danish Design Award, a winner of two gold Creative Circle awards, a silver award winner at the Britsh D&AD, a winner in 2014 of the Knud V. Engelhardt Memorial Award, and the recipient of a certificate of excellence in type design from Type Directors Club N.Y. Playtype is currently based in Vesterbro, Denmark.

    He designed fonts such as Movie (2001, a very black condensed movie generics sans), iD:00 (2001, a large sans and serif family), Fletch Text (1998, a sans), DeLuca (Bodoni-like, 2001), NinetySix K (2001, a serif), Underton (1998), Point Sans (1999), Point Serif (1999), Cendia (1997), DenmarkSerif (1998), Mega (1999), Olic (1999), Arch Sans (2003), Arch Serif (2003), Arch Stencil (2003), Arch Pattern (2003).

    In the 2011 Playtype on-line catalog, it seems that several of his early designs have been renamed, and many others have been added. So here is the on-line list of his fonts there as of February 2011: AbidaleBook, AcademySans, AcademySerif, BingoSans, BingoSerif, DeArchie (didone), DeArchieDisplay, FletchText, FruOlsen (1998: a condensed display serif inspired by the old streets signs of Copenhagen, featuring tall x-heights, shaped drops and curved numbers), Geometric, Hall, HomeDisplay, Hazelwood, HermesBaby (old typewriter), Hill (2005: grotesque), HomeText, ID00 Sans (large family), ID00 Serif, ItalianPlate, JPSpecial Sans, JPSpecial Serif, JazzHouse (2007: a neo-grotesque), Mari (2006: a monolinear modern sans serif with a sense of nordic simplicity), MoviePlaytype, New Press, Noir Text, Nord Dingbats (circled letters), Norwegian, Play (2011, a minimalistic sans serif typeface, free at Google Fonts; CTAN TeX support), PrimoSerif (2000), Republic, SymphonyDisplay, TheWave, Trood, VentiQuattro (didone), Vertigo, Willumsen, ZettaSans.

    Later in 2011, he published the modern sans family Metro.

    In 2010, Hecksher created the 21-weight custom typeface family Berlingske for the newspaper by that name. It was extended over the years to a whopping 227 weights / 2100 glyphs-per-font in 2014, the year in which it was released as a regular retail font at Playtype, with Sans, Serif and Slab versions.

    Typefaces from 2013 include the large sans typeface family Nationale (Playtype) done for the National Museum of Denmark. See here.

    In 2014, an earlier typeface by e-types, Italian Plate, was releases in two monoline sans subfamilies, Italian Plate No. 1 and No. 2, and two serif versions, No. 3 and No. 4. In 2015, he published the extensive sans typeface family DuNord at Playtype.

    Typefaces from 2016: Hafnia Sans, La Fontaine.

    Typefaces from 2018: The Wave (sans).

    Typefaces from 2019: Melanzine (sans).

    Typefaces from 2020: Royal Theatre Serif (a didone), Royal Theatre Sans. Klingspor link. Google Plus link. [Google] [More]  ⦿

    Jonas Schudel

    Designer (with Fabio Luiz Haag) 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 supports Greek and Cyrillic as well. [Google] [MyFonts] [More]  ⦿

    Jonathan Gibson
    [Studio Buchanan]

    [MyFonts] [More]  ⦿

    Jonathan Perez
    [Typographies.fr]

    [More]  ⦿

    Jordan Bell

    Graduate of the Masters of Type Design program of the University of Reading, UK. Jordan Bell (Waco, TX) writes about his graduation typeface Odelay (2014): Odelay is a contemporary interpretation of the transitional American Scotch Roman, or Century types, that were designed in the U.S.A. near the end of the 19th century by DeVinne and the Bentons. Inspired by these designs and hand-painted sign lettering, Odelay has a warm, friendly aesthetic that invites the designer to put it to use on a variety of different jobs. With very delicate thin weights, ultra-heavy fat weights, and everything in-between, Odelay is readily available for complex typography at any size. Odelay covers Latin, Greek, Arabic and Cyrillic, with emphasis on the Latin. Jordan's description requires a correction, however--Theodore DeVinne did not design any typefaces---some were named after him, but that is a different story. [Google] [More]  ⦿

    Jordan Jelev
    [The Fontmaker]

    [MyFonts] [More]  ⦿

    Jorge Dias

    Freelance graphic designer in Tomar, Portugal, b. 1977, who created the free rounded techno sans typeface Kursk K141 (2014) for Latin and Cyrillic. Dafont link. [Google] [More]  ⦿

    Josep Pep Patau i Bellart
    [Tipo Pepel (was: Antaviana Typeface Division, or: Astramat)]

    [MyFonts] [More]  ⦿

    Joseph Champion

    Joseph Champion (b. Chatham, 1709, d. 1765) was a British calligrapher and penman. Champion contributed many plates to Bickham's Universal Penman. His most important work, The Parallel or Comparative Penmanship Exemplified, was published in 1750. It consists of reproductions of the work of foreign masters like Materot, Barbedor, Van den Velde, Perlingh and Maria Strick, with corresponding plates by Champion. Following these plates come some alphabets by Champion. His last published work was The Penman's Employment (1762).

    The first known attempt to digitally implement Champion's alphabets, was in 1989 by French type designer François Boltana, who in Ligatures&calligraphie assistée par ordinateur (1995) proposed three copperplate calligraphic alphabets based on Champion. These did not result in a commercial font however. PF Champion Script Pro (Panos Vassiliou, 2004-2008; a winner at Paratype K2009) on the other hand has 4280 glyphs in each of its two styles, and it supports Latin, Greek and Cyrillic.

    One of Champion's alphabets, dated 1733-1741. Samples of his penmanship from The Universal Penman (1730): i, ii. [Google] [More]  ⦿

    Joseph Pemberton

    Cofounder of Punchcut. Designer of a great series of Cyrillic bitmap pixel typefaces (2005), Fontclaire, of a beautiful Cyrillic bitmap font without a name, and of the pixel font Pfospfor Serif. Alternate URL. As joepemberton on FontStruct, he created hammer_sickler (2008), a constructivist font inspired by Rodchenko. [Google] [More]  ⦿

    Joseph Spicer

    Owensville and/or Vincennes, IN-based art student (b. 1985) and designer of the Courier-like Shavian font Shaw Mono (2004), ChordBoxes (2010, to create chord diagrams), Bee Skep (2004, for Deseret), Box Puzzle Font (2010), Litterae Ignotae (2010: A Lingua Ignota (Latin for unknown language) was described by the 12th century abbess of Rupertsberg, Hildegard of Bingen, who apparently used it for mystical purposes. To write it, she used an alphabet of 23 letters, the litterae ignotae), Seftos Nandor (2004, for an artificial language called Lower Geldorian), Sëftos Parathenia (2005, also in the Seftos script), this decorative serif (2006, experimental), Alberne Handlung (2007, a narrow all-caps Latin and Cyrillic face), Swartsbok (2007, a nice gothic font), Lumaro (2007, in the style of Times-Roman), Duck Hunt (2004, fat display face, based on the lettering of the title of the game), Anquietas (2004, "the Ancient alphabet from Stargate"), Gothic Book (2005), and Dadh Ath (2004, containing the Ath characters used to write Baronh created by Morioka Hiroyuki and used in Sekai no Monshou). Spicer now lives in Terre Haute, IN. Another web page. [Google] [More]  ⦿

    Joshua Blair

    Savannah, GA-based designer of the notched Latin / Cyrillic typeface Wyssheé (2018). [Google] [More]  ⦿

    Journal of Biblical Studies

    Alternate URL. Archive: Altrussisch, Altrussisch-Bold, Altrussisch-BoldItalic, Altrussisch-Italic, Web-Hebrew-AD, BSTGreek, BSTHebrew, Coptic-Normal, Web-Hebrew-Monospace, Cyrillic, Cyrillic-Bold-Italic, Cyrillic-Bold, Cyrillic-Normal-Italic, DSS-Scribal-Normal, Elephantine-Aramaic, Etruscan-Epigraphic-Normal, Netextmo, Netextpro, Greek, Hebrew, IluInternet, Koine-Medium, l562-Minuscule-Normal, Lachish-Bold, Latin-Uncial-Normal, Linear-B, Nippur-Sans-Regular, Macedonian-Ancient, Meroitic---Demotic, Meroitic---Hieroglyphics, Nabataean-Aramaic, Nahkt, Paleo-Hebrew-NormalA, Phoinike, Qumran, RD-Akkadian1, RK-Ugaritic-Transscript, Rashi, SPAchmim, SPAtlantis, SPDamascus, SPEdessa, SPEzra, SPIonic, SPTiberian, Schwaben-Alt-Bold, Sinaiticus-Greek-Uncial, Sorawin-Plain, Ugarit. [Google] [More]  ⦿

    Jovan Gavrilovic

    Creator of these free Latin / Cyrillic typefaces in 2004-2005: NK 123, NK 124 (uncial), NK 128, NK 138 (a Greek simulation face), VUK-44, Goran, Blagovest 2. The NK in these names refers to Nikola Kovanovic, who created the Cyrillic portions of all typefaces. [Google] [More]  ⦿

    Jovana Ilich

    Novi Sad, Serbia-based designer of several Latin and Cyrillic display typefaces in 2013. [Google] [More]  ⦿

    Jovana Jocic

    Jovana Jocic is a type and graphic designer from Belgrade, Serbia. After obtaining both a BA and MA in Graphic Design at the University of Applied Arts in Belgrade, Jovana joined TypeMedia program at the Royal Academy of Art (KABK) in Den Haag, The Netherlands, class of 2020. For her graduation project, she designed the Cyrillic / Latin wayfinding font Petria: Petria is a signage typeface inspired by old Art Nouveu signs and overall art movement present ion the Balkans in the early 20th century. Its Roman and Italic were born out of the idea of designing a type family that would be used for street signage and way-finding for the city of Belgrade, Serbia.

    In 2020, Jovana joined Neil Summerour's Positype Flourish.

    In 2021, Jovana Jocic drew Forma DJR Cyrillic, adapting David Jonathan Ross's and Roger Black's Forma, which in turn was a revival of Nebiolo's famous sans typeface, Forma. Forma DJR Cyrillic is currently available in Extra Light, Light, Regular, Medium, and Bold weights, including all size-specific variants as well as variable fonts. [Google] [More]  ⦿

    Jovana Krstanovic

    Belgrade, Serbia-based graphic designer who created the Cyrillic geometric solid typeface Abstract Font (2017). [Google] [More]  ⦿

    Jovana Mitrovic

    During her design studies in Kragujevac, Serbia, Jovana Mitrovic created the 3d Latin / Cyrillic typeface Kerttu (2013). [Google] [More]  ⦿

    Jovica Veljovic

    Great calligrapher and type designer, born in Suvi Do, Yugoslavia, in 1954. He obtained his master's degree in calligraphy and lettering at the Academy of Applied Arts in Belgrade. In 1985, he received the Charles Peignot Award from the Typographique Internationale for excellence in calligraphy and type design. He taught typography at Belgrade University of Arts until 1992. Since 1992, he is based in hamburg, Germany, where he teaches type design and calligraphy at the Fachhochschule Hamburg. His typefaces:

    • Ex Ponto (1994-1995) is his first masterpiece. This rhythmic script typeface is based on Veljovic's handwriting.
    • He designed the very readable text typefaces ITC Veljovic (1984) and ITC Esprit (1985; followed in 2010 by ITC New Esprit), as well as the Times-like ITC Gamma (1986). In 2015, ITC followed up with ITC New Veljovic Pro.
    • Silentium (2000, at Adobe). This is based on 10th century Carolingian scripts.
    • Sava Pro (2003). These are roman-style caps and small caps, with ornaments, Greek and Cyrillic. Named after a popular man, the archbishop of Serbia, who lived around 1300, and partially named after the main river in former Yugoslavia. Winner of an award at TDC2 2004.
    • Libelle (2009, at Linotype). A joyful calligraphic script.
    • Agmena (2012, at Linotype). A gorgeous antiqua that won an award at TDC 2013.
    • Veljovic Script (2009, Linotype). A handwriting typeface for Latin and Cyrillic.

      The German weekly news journal Die Zeit commissioned him to prepare an extended digitized version of Tiemann's Antiqua in 1999. He also designed two typefaces, an Antique and a Grotesque together with several variants, for the leading Serbian daily Politika in 2006.

    • Morandi (2018). A 48-style humanist sans typeface family published by Monotype.

    At ATypI 2004 in Prague, he spoke about typefaces for Latin and Cyrillic.

    Linotype link. FontShop link.

    View Jovica Veljovic's typefaces. [Google] [MyFonts] [More]  ⦿

    J.S. Petrozavodsk

    Russian designer of the Cyrillic typeface ALaRuss. [Google] [More]  ⦿

    Juan Francisco Garrido

    Moscow-based designer of the squarish typeface Shket (2013) and the angular text typeface Graphirus (2013).

    Behance link. [Google] [More]  ⦿

    Juan Guillermo Navarro Barrios
    [Zilap (or: Mr. Zilap, or Zilap Estudio)]

    [More]  ⦿

    Juan Luis Blanco
    [Blancoletters]

    [MyFonts] [More]  ⦿

    Juan-José Marcos García
    [Alphabetum]

    [More]  ⦿

    Jueun Kim

    Type designer based in North Korea (according to MyFonts). Typefaces from 2021: HU Hikiki (a hand-crafted typeface for Latin, Greek and Cyrillic), HU Sangsang (a fat finger font by ByoungHeon Park and Jueun Kim).

    Typefaces from 2022: HU Geulwoll (an informal hand-crafted typeface for Latin, Greek and Cyrillic).. [Google] [MyFonts] [More]  ⦿

    Juhani Lehtiranta
    [JL-types Ky]

    [More]  ⦿

    Jujumisur
    [Jujumisur's Ficus]

    [MyFonts] [More]  ⦿

    Jujumisur's Ficus
    [Jujumisur]

    Ukrainian designer of:

    • The medieval blackletter-inspired typeface Prussak BC (2020). It covers Latin, Cyrillic, Old Church Slavonic (both Cyrillic and Glagolitic scripts), Proto Slavic and Ancient Greek.
    • Stola (2020). A script typeface.
    [Google] [MyFonts] [More]  ⦿

    Jul Only

    Cherkasy, Ukraine-based designer of the objectified Cyrillic typeface Tubes (2010). [Google] [More]  ⦿

    Julia Abdullina

    Moscow-based designer of several experimental typefaces in 2014. [Google] [More]  ⦿

    Julia Antonenko

    Saint Petersburg, Russia-based designer of a great handcrafted Cyrillic typeface in 2017. [Google] [More]  ⦿

    Julia Artamanova
    [Julia Krysanova]

    [More]  ⦿

    Julia Baranova
    [Julia Dreams]

    [More]  ⦿

    Julia Dreams
    [Julia Baranova]

    Julia Baranova (Julia Dreams) is a graduate of the School Of Contemporary Art, class of 2013. Perm, Russia and Copenhagen, Denmark-based creator of the thin connected script typefaces Merry Christmas (2015) and Olesia (2015), Christopher (2015), Happy Newyear (2015), The Valley (2015, brush script), Confetti (2015), Cleaf (2015), the watercolor script typeface Crispy (2015), Ah Punch (2015), and the monoline sans typeface Woonder (2015).

    Typefaces from 2016: Cornish Pasty (outlined, textured and sketched), Fish and Chips, English Castles, Windsor Great Park (+Italic), Worcestershire Sauce (+Press), Smoothie Life, Caprese, Carbonara, Minestrone, Beathrice (connected script).

    Typefaces from 2017: The Fontytotty Collection [Cat and Dog (Display + Italic), Quinny (Display + Italic), Sunshine (Display + Italic), Cherry Pie (Display + Italic), Honey Jar (Display + Italic), Holidays (Display + Italic), Jellyfish (Display + Italic), Yellow Fruit (Display + Italic), Flower Tea (Display + Italic), Monday (Display + Italic), Koala (Display + Italic), Jellyfish Outline (Display + Italic), Elements Font].

    Typefaces from 2018: Handwritten font collection (free). [Google] [More]  ⦿

    Julia Fedorenko

    Photographer and designer in Krasnodar, Russia, who created the typefaces Olympic80 (2012, prismatic: on the theme of the Olympic circles), Texhnolyze (2012), Masonic (2012, created based on triangles only) and DROP (2012).

    In 2013, she created the pixel typeface Com City for a computer store in Krasnodar. [Google] [More]  ⦿

    Julia Kors

    Moscovite who created Matreshka (2015), Kvadratich (2014, purely geometric Cyrillic font) and Brush (2010). Behance link. [Google] [More]  ⦿

    Julia Krysanova
    [Julia Artamanova]

    Graduate of BHSAD in Moscow, class of 2013. Aka Julia Artamanova, she presently is a graphic designer in Moscow. Julia created the flared (lapidary) Latin / Cyrillic text typeface Flandria in 2013 together with Sergey Pleshkov. This typeface has its dedicated site. Flandria comes in Regular, Italic, Display and Poster (stencil). [Google] [More]  ⦿

    Julia Kunshchykova

    Kiev, Ukraine-based designer of the grungy Latin typeface Awkward (2016), the creamy Latin / Cyrillic poster typeface Klakson (2017), and many Cyrillic typefaces (2017), that include 3d, blackletter and crayon styles. [Google] [More]  ⦿

    Julia Kuzmina

    Saint Petersburg, Russia-based designer of the (Cyrillic) decorative caps typeface Yarmarka (2019). [Google] [More]  ⦿

    Julia Kuznetsova

    Moscow-based illustrator, letterer and calligrapher. Flickr page. [Google] [More]  ⦿

    Julia Nikolaeva

    Designer of the Latin/Cyrillic organic sans typeface Smallbox (2009), which was part of her diploma work at the Moscow Department of Higher British Design School. [Google] [More]  ⦿

    Julia Novitska

    Graphic designer in Lviv, Ukraine. In 2018, she published the Cyrillic lava lamp typeface Mallow/ [Google] [More]  ⦿

    Julia Santos

    For an academic project, Julia Santos (Rio de Janeiro, Brazil) created the handcrafted typeface DogFit (2015). [Google] [More]  ⦿

    Julia Shilova

    Saint Petersburg, Russia-based student designer of a Cyrillic version of Syntax Black (2017). [Google] [More]  ⦿

    Julia Stepanova

    Graphic designer in Moscow. Creator of the Latin/Cyrillic typefaces Cilesta (2013, curvy fat didone), Arnie Slab (2013, a wood style fat slab named after Arnold Schwarzenegger), Mr. Fox (2013, script) and Atletic (sic) (2013, octagonal). [Google] [More]  ⦿

    Julia Sysmäläinen
    [Juliasys]

    [MyFonts] [More]  ⦿

    Julia Vazhova

    Graphic designer and illustrator in Moscow, who created the broad nibbed calligraphic text typeface Tocano (2016) for Latin and Cyrillic. In 2019, she released the deconstructed Cyrillic typeface Bukvy. [Google] [More]  ⦿

    Julia Vengerova

    Taganrog, Russia-based designer of the (Cyrillic) decorative caps typeface Geometrika (2019). [Google] [More]  ⦿

    Julia Zhdanova

    Designer of the Latin/Cyrillic text face Artifika (2010) while she was a student at the British Higher School of Art and Design in Moscow. Artifika is a serif type made for packaging. Free download at Cyreal and Google Font Directory in 2011.

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

    Juliasys
    [Julia Sysmäläinen]

    Julia Sysmäläinen Carelian (Juliasys) is a Finnish type designer, who studied at Pekka Halosen Akatemia in Tuusula. She runs her own type foundry, Juliasys. Julia presently lives in Berlin, where she works for Edenspiekermann Berlin.

    Julia created these typefaces:

    • FF Mister K Pro (2008, FontFont). A winner at Paratype K2009, where it says that the typeface was co-designed by Jürgen Sanides from Germany. This is a digital rendering extraordinaire of Franz Kafka's handwriting. Ivo Grabowitsch writes: This meant not only creating hundreds of ligatures - each of them consisting of two, three or even four single characters - but also integrating numerous alternate characters to avoid successions of repeating shapes, in order to lend FF Mister K Pro a more authentic script feel. Furthermore handy OpenType functions were added, for example for stylistic alternatives including hatched text as well as underlining and crossing out. Eventually three completely different single fonts were developed. Besides the normal cut there's also Crossout, which allows for setting extensively crossed out text and Onstage, which clearly looks more extravagant and wriggly. All foreign languages and features included the standard cut alone contains more than 1,500 glyphs. In 2009, she published FF Mister K Dingbats. FF Mister K Informal (2011) won an award at TDC 2012. FF Mister K Splendid followed in 2014 and Mister K Crossout and Mister K Onstage in 2015.
    • In 2012, Julia published the beautiful handwriting font ALS SyysScript at Art Lebedev Studio.
    • As Juliasys, Julia Sysmäläinen published the semi-serif Latin / Cyrillic / Greek typeface family Mir (2013) and the handwriting font Emily in White (2014, based on the writing style of American lyricist Emily Dickinson (1830-1886)).
    • ALS Finlandia Script (2015, for Art Lebedev Studio).
    • ALS Pobeda (2015). A MIG29-themed dot matrix typeface inspired by the Moscow Victory Day Parade commemorating the 70th anniversary of the end of the Second World War.
    • Sentres Icons (2015). Designed for Sentres, a tourist portal for South Tyrol. In 2016, she designed the Visit Berlin Icons.
    • Josef K Paneuropean, and Josef K Patterns (2015, ornaments based on Kafka's letterforms).
    • ALS Scripticus (2013). A blackboard script.
    • Colorado (2016). A ribbon type family with several kinds of zebra stripes. Codesigned by Julia Sysmäläinen and Jürgen Sanides, published by Juliasys.
    • Optimisti (2016). A smooth thick script typeface.
    • Little House Script (2017). A typeface simulating Laura Ingalls Wilder's handwriting.
    • MIR Next (2021). A 20-style humanist---semi---slab-serif for Latin, Cyrillic and Greek, with enough bells and whistles to make it useful for Vietnamese and scientific texts.

    Klingspor link. FontShop link. Behance link. Another Behance link. Art Lebedev link. [Google] [MyFonts] [More]  ⦿

    Julieta Ulanovsky
    [Zkysky]

    [MyFonts] [More]  ⦿

    Juliy Art
    [Juliya Kochkanyan]

    Ukhta, Russia-based illustrator, b. 1989. Designer of the 3d shadow typeface Funny Rails (2015). Her company is called JuliyArt. In 2017, she designed the textured (sketched) typefaces Yeti and Smoothies, Bebegul, the squarish Latin / Cyrillic typeface Zazoo, and Tribal.

    Typefaces from 2018: Marshmallow (a rounded sans), Sweetness, Forever, Friends, Little Bear, Little Mouse (children's book font), Funnybear, Scapegrace (a children's font), Jimmy Timmy, Lazy Olov (a Scandinavian color font, plus dingbats).

    Typefaces from 2019: Autumnbirds.

    Typefaces from 2020: Astrology Mystical, Jumper.

    Typefaces from 2021: Lettergame (letters for children's games), Zodiac, Circus.

    Typefaces from 2022: Lazycat (children's script), Lazydog, Airballon (a bubblegum font; +Cyrillic). [Google] [More]  ⦿

    Juliya Kochkanyan
    [Juliy Art]

    [More]  ⦿

    Juraj Chrastina

    Freelance designer from Slovakia, b. 1981, Zilina. He set up shop at MyFonts in 2009. His typefaces:

    • 2009: Stanislawski (display sans), Bonatti (simplified sans), Motyka (an octagonal family).
    • 2010: Cassin (dingbats), Birkenmajer (blackletter and curly), Ruman (a piano key font not unlike many of the modular fonts made over at FontStruct), Komarnicki (geometric---it is largely based on arcs of a circle), Batura (ornaments), Flexi Social Icons (a set of 64 social network and media buttons), Messner (a hairline sans), Kammerlander (a high-contrast all caps Peignotian face that Juraj claims is well suited for fashion mags), Runout (a black marker face), Walker (a floral dingbat face), Trango (an unevenly spaced fun childish hand-printed face), Chogolisa (an elliptical sans family).
    • 2011: Primitive Icons (dingbats), Manaslu (his first cartoon font), Baltoro Sans (humanist sans), Masherbrum Slab Thin (hairline slab for fashion mags), Latok (a fat keyhole-themed art deco display face), Makalu (a flower dingbat typeface inspired by the lovely drawings of the famous illustrator Zdenìk Miler), Besley Hand (hand-printed didone), Ambassador (a hairline roman capitals face, ideal for glossy fashion mags. Its high-contrast Peignotian companion is Snob), Greenhorn (a comic book face), Gamba (an elliptical typeface), Valibuk (a strong black sans headline face), Lomidrevo (a grunge stencil derived from Valibuk), Baronessa (hand-printed poster face), Baron (hand-printed poster face).
    • 2012: Rumbarak (inspired by the titles of a few old Czech movies for children), Boudoir (a hand-printed poster face), Fimfarum (a wonderful set of hand-printed poster typefaces that can be mixed and matched for certain effects).
    • 2013: Gentleman (a sans family from hairline to black), Amundsen (an all-caps stencil typeface), Smart Labels (badges), Lustig (an interlocking poster font), Hilton Sans and Hilton Serif (fashion mag headline typefaces kerned and spaced by Igino Marini), Handy Labels, Loco (a counterless geometric art deco face), Charmante (hand-drawn poster typeface).
    • 2014: Fram (an uppercase stencil typeface for Latin and Cyrillic), General (neutral sans family with a very thin hairline weight).
    • Fonts from 2015: Vagabundo (hand-brushed), Britva (a glaz krak typeface derived from Valibuk).
    • Typefaces from 2016: Gerlach Sans, Gibon (a cartoon font).
    • Typefaces from 2017: Mysteria (hipster sans).
    • Typefaces from 2019: Freud (a 9-style sans).

    Pic. Myfonts link. Creative Market link. Klingspor link. Fontspring link. Behance link.

    Showcase of Juraj Chrastina's typefaces at MyFonts. Behance link.

    View Juraj Chrastina's typefaces. Showcase of Juraj Chrastina's typefaces at MyFonts. [Google] [MyFonts] [More]  ⦿

    Justin Nichol

    FontStructor (aka JustinOperable) who made the Soviet propaganda (and Cyrillic simulation) typefaces Red Menace (2009, Latin and Cyrillic) and Red Menace Outline (2008). He also made Troy Thin (2008). [Google] [More]  ⦿

    K. Prokofiev

    Russian type designer who created Amsterdam_vp (1999, with Vsevolod Kovtun). [Google] [More]  ⦿

    K. Ramasubramanian
    [Shobhika]

    [More]  ⦿

    K. Shachalov

    Russian designer of an experimental typeface based on the letter "g" (2009). [Google] [More]  ⦿

    K. u. K. Hof-Schriftgiesserei Poppelbaum
    [Hartwig Poppelbaum]

    Viennese foundry acquired in 1926 by D. Stempel AG (50%) and H. Berthold AG (50%). Designers of Original-Schwabacher (before 1925) and Messe-Gotisch (before 1925). Kurt Liebing made Liebing-Fraktur, also some time before 1925. A small timeline of the company:

    • 1858: Benjamin Krebs dies. His son-in-law Gustav Rosalino, partner in Benjamin Krebs Nachfolger) dies in 1870. That year, the Benjamin Krebs foundry opens an office in Vienna under the lead of Bernhard Alexander Poppelbaum. The firm Poppelbaum & Bossow (with Karl Bossow) is set up in Vienna with five foundry machines.
    • 1880: Karl Bossow dies.
    • 1890: Hartwig Poppelbaum and Karl Gsottschneider, the son and son-in-law of Hermann Poppelbaum become partners in the company.
    • 1892: Hermann Poppelbaum dies.
    • 1903: Compressa (an Inserat typeface family), Reform and Massiv are finished.
    • 1903: The script typeface Ideal is finished.
    • 1904: Publication of Ridingerschrift (a feather / copperplate script for weddings and invitations).
    • 1905: Publication of the work horse typeface Rediviva.
    • 1906: Biedermeier (an Inserat cursive) is finished. Frankfurter Buchschrift (designed by Paul Ed. Lautenbach) follows.
    • 1907: Reklameschrift Komet, and Hohlweinschrift (by Ludwig Hohlwein).
    • 1908: The book typeface Renata-Serie and the Gigantea typeface are published.
    • 1909: Pompadour (an elegant Zirkularschrift after copperplate examples of the era of Louis XVI in France), Merian-Fraktur (after the typeface of Math. Merian used in bibles in the 19th century), the Rohrfederschrift Diavolo, the Rohrfeder-Fraktur are published.
    • 1910: Karl Gsottschneider dies. Hartwig Poppelbaum is now the sole president. Publication of Katalog-Antiqua (a book face), Brunhilde (a Zirkularschrift), Federzug-Antiqua and Epoche.
    • 1912: Opening of a shop in St. Petersburg where Cyrillic fonts are produced. The war brings an end to this project in 1914, and all machines and matrices are destroyed.
    • 1923: The new leaders are Hartwig Poppelbaum Jr. and Dr. Karl Poppelbaum. New weights are added to Epoche and Merina Fraktur. New typefaces include Brentano-Fraktur, Alt-Schwabacher Werkschrift, Latina, Antiqua Firmin-Didot, Kanzlist (sans), Burokrat (sans), Konigin Luise (sans), All Right (sans), Schonbrunn (sans), Ideal-Schreibschrift III (sans), Hartwig-Schrift (by Hartwig Poppelbaum Jr: Hartwig Schrift was digitized by Petra Heidorn in 2005), Hartwig-Werkschrift (by Hartwig Poppelbaum Jr), Xylo, and Phänomen (signage script).
    • 1926 or 1927: The foundry is acquired by D. Stempel AG (50%) and H. Berthold AG (50%).
    [Google] [More]  ⦿

    Kaer
    [Roman Korolev]

    Roman Korolev (Kaer, Vologda, Russia) designed the wood stick brush typeface WoodStick in 2016.

    Typefaces from 2017: OneLine Bold (rounded fat color font).

    Typefaces from 2019: Antique Initials (regular and color; with a flower pattern), OneLine Overlap (a color font).

    Typefaces from 2020: Pagesso (a lava lamp font), Avery (a monolinear connected sans), Sailem (an inline art deco font), Old Stamp (a fingerprint font), Silvery (a display typeface on the theme of thick and thin), Blueberry Spot, Coffee Chalk (a textured typeface), Allegro (a blueprint type), Northern Monk (beveled), Westland (blackletter), Neon Line, Bronze (art deco, +color, +texture), Shtrih (dry brush), Geoline (sketched, textured), Flowline, Foliageant (floral, curly), Northern Runes (rune emulation), Neon (color font), Parallel Lines, Bronzen Abundance (a display family with textured and color options), Sharp Stroke (a heavy brush typeface), Renaissance Initial, Celtic Spiral, Lace Line.

    Typefaces from 2021: Atta Weird (a font for LSD addicts), Three Neon Lines, Dead Saint (a Halloween alphabet), Lockdown Christmas (a dot matrix font), Nordic Folk (a layerable typeface family with Scandinavian texture; plus Nordic Folk Icons), Hewy (a display typeface), Planny (a blueprint font), Sportlight (a speed font), Wesloy (a brush serif font), Carle (a 3d polygonal children's book font; +Shadow, +Colored), Absundo (a playful dual weight font), Wide Plump (a geometric solid typeface), Colton (a condensed boutique serif), Aztec Initials (+a colored version), Adrim (a thin floriated sans), Northern Monk (an inscriptional ustav-inspired typeface), Sogia (a decorative serif).

    Typefaces from 2022: Asl Line (an American Sign Language font). [Google] [MyFonts] [More]  ⦿

    Kaja Slojewska
    [Nomad Fonts]

    [MyFonts] [More]  ⦿

    Kak
    [Katerina Kozhukhova]

    Kak is a Russian type and design magazine run by Peter Bankov and Katerina Kozhukhova. Alexander Tarbeev designed the typefaces KakC and DenHaag for the mag. This sub-page explains how to tell Bembo, Garamond, Janson, Caslon and Baskerville apart. Katerina Kozhukhova also designed a bouncy hand-printed typeface, Ka (Letterhead). [Google] [More]  ⦿

    Kaldt Lys

    Bergen, Norway-based designer of the Latin and Cyrillic connect-the-dots typeface Alchelys (2019). It was inspired by Malachim. [Google] [More]  ⦿

    Kalin Borisov
    [Kalin Kult]

    [More]  ⦿

    Kalin Kult
    [Kalin Borisov]

    Kalin Borisov (Kalin Kult) is the Bulgarian designer of the free Latin/Cyrillic pixel font series BulgariaBourgasCyr, BulgariaFantasticaCyr, BulgariaGloriousCyr, BulgariaLineExtendedCyr, BulgariaOutLineCyr, BulgariaRaxelCyr (2003). Faulty web page. [Google] [More]  ⦿

    Kalin Varbanov

    Sofia, Bulgaria-based grapohic designer and photographer Kalin Varbanov designed a geometric compass-and-ruler modular Glagolitic alphabet (2009). [Google] [More]  ⦿

    Kandella's Art

    Siberia-based designer of display typefaces. These include Cameron (2021: stylish caps), Dream Catcher (2020: tribal, alchemic), Flora (2021: floriated caps), Cathleen (2021: a stylish hipster font), Dekart (2021: an art deco piano key typeface), and Spring Tales (2020). [Google] [More]  ⦿

    Kanella Arapoglou

    Greek graphic designer. She studied Graphic Design at TEI, in Athens, and later received an MA in Communication Design from Central Saint Martins, in London. During her stay in London, Kanella worked as an Art Director for some design agencies.

    She designed PF Haus Square Pro for Parachute in 2001-2006. This squarish family has Greek and Cyrillic versions as well. [Google] [MyFonts] [More]  ⦿

    Kangarooland

    Commercial Russian fonts, sold by Leonid F. Madorsky from Sydney. English-Russian TTF library: 16 fonts for 15USD. Other fonts at 3 to 25 USD per font. [Google] [More]  ⦿

    Karandash
    [Vassil Nikolaev Kateliev]

    Karandash is a type and graphic foundry in Varna, Bulgaria, established in 2010 by designer Vassil Kateliev (b. 1980, Varna). The Fontmaker series is a collaborative project with Jordan Jelev, a well known Bulgarian calligrapher and cult wine label designer. The type designs are done on paper, using traditional calligraphic and artistic methods and then digitally recreated.

    Typefaces: Myriad Pro Bulgarian and Cyrillic (2011), Rotis Semi Serif Bulgarian Cut (2011), and FM Clog (2011, with Jordan Jelev, done at The Fontmaker: has Openface, Shadowed and Engraved styles). Callista is a fat cursive typeface that was inspired by the work of François Boltana in the early 1970s and of Milka Peykova in late 1970s.

    Gaytan (which means braid in Bulgarian) is a sans and serif family created in 2012. It was inspired by Old Church Slavonic Cyrillic, Bulgarian Ustav and the Russian Vyaz stiles, as well as the avant-garde works of Bulgarian typedesigners in late 1970s. But the result is definitely Victorian. He closes 2012 with Estimo, an organic typeface family for Latin and Cyrillic that has no diagonal strokes.

    FM Bolyar (2012) is a copperplate typeface jointly designed by Jordan Jelev and Vassil Kateliev at The Fontmaker. See also the spurred version FM Bolyar Ornate Pro ansd the weathered family FM Bolyar Typecarft. In 2019, after a full year of development, they published the 63-style all caps sans family FM Bolyar Sans Pro.

    In 2013, Vassil Kateliev and Jordan Jelev codesigmned the lively script typeface FM Ephire, which comes with a useful caps companion, FM Ephire Frames.

    In 2014, Kateliev designed a Valentine-inspired set of calligraphic ornaments, LoveHearts, Love Christmas (Christmas ornaments, done with Stella Ivanova Katelieva), and the humanist slab serif typeface Basil (the Regular weight is free). Basil won an award at Granshan 2014.

    Typefaces from 2015: Sybilla (humanist slab serif, extended to Sybilla Pro in 2016, and the 294-style Sybilla Multiverse in 2017). Sybilla Shade Pro is free.

    Typefaces from 2017: Versatile Bold (a Latin / Greek / Cyrillic font family for layering with plenty of hatched, shadow, rust and 3d options; by Charles Borges de Oliveira and Vassil Kateliev).

    In 2018, he designed Kometa together with Kiril Zlatkov. The 21-style Kometa (Latin and Cyrillic) is a modern sans serif font family with a geometric skeleton and a humanist soul. It has a unicase option and many alternates.

    Typefaces from 2019: Achates (a humanist sans workhorse), Future Tense (a sci-fi typeface by Charles Borges de Oliveira and Vassil Kateliev).

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

    Karandashev
    [Alexey Rud]

    Codesigner with Jovanny Lemonad in 2008 of the free typeface FFU Puzzle. Typetype link. [Google] [More]  ⦿

    Karina Chernishova

    Noviy Lviv, Ukraine-based designer of the gloomy forest-inspired Cyrillic typeface Glochka (2017). [Google] [More]  ⦿

    Karina Eibatova

    Moscow-based graphic designer who created an exquisite set of initials in 2010 called In Love. Aka Ei Ka. [Google] [More]  ⦿

    Karina Kuts

    Kiev, Ukraine-based illustrator who created the decorative Cyrillic caps typeface Font Of The Muscles And Bones (2013). [Google] [More]  ⦿

    Karl R. Engebretson

    Karl Engebretson has been teaching typography and graphic design at the University of Minnesota College of Design since 2014. His MFA in graphic design is from the same institution.

    Saint Paul, MN-based creator of a custom font for the Surly Brewing Company called Surly (2012). In 2015, he made the barbed wire font Edges Barbed. Home page. At Associated Typographics, he created the squarish modular typeface Sagan (2016, with Michael Cina).

    Typefaces from 2017 include Egali, his graduation typeface for the Masters of Fine Arts, completed in May 2017 at the University of Minnesota, College of Design. Egali was designed by interpolation and covers all European languages, including Cyrillic. [Google] [MyFonts] [More]  ⦿

    Karmin 212

    Saint Petersburg, Russia-based designer of the eerie Cyrillic typeface Times New Vampire (2019). [Google] [More]  ⦿

    Karolina Kolei

    Minsk, Belarus-based designer of a modified Latin / Cyrillic didone font for a school project in 2018. [Google] [More]  ⦿

    Karolina Polozova

    Moscow, Russia-based designer of the decorative Cyrillic caps typeface Akcindentnyj Shrift (2018). [Google] [More]  ⦿

    karpisek

    Some Cyrillic TrueType fonts. [Google] [More]  ⦿

    Karsten Lücke
    [KLTF (Karsten Lücke Type Faces)]

    [MyFonts] [More]  ⦿

    KaryAmo Studio
    [Amar Arif]

    Yogyakarta, Indonesia-based designer (b. 1996) who founde KaryAmo Studio in 2020. iHis typefaces include the monoline script typeface Tyllapia (2020) and the six-style monolinear architectural lettering font Archee (2021, for Latin, Greek and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Karymoff

    Russian Fontstructor who made the art deco fat typeface Fun Synlex (2011, cloned from Antonio Morata's zhapp3y eyeFS) and the gridded typeface Scene Light (2011). [Google] [More]  ⦿

    Karymoff

    Russian FontStructor who made the dot matrix typeface Scene Light (2011). [Google] [More]  ⦿

    Karyna Manukian

    Graphic designer in Kharkiv, Ukraine. Designer of the display typeface Calypso (2020). Calypso is free and, according to Karyna, was inspired by women. It covers Latin and Cyrillic. [Google] [More]  ⦿

    Kash Singh

    Graduate of Bedford College. Bedford, UK-based designer of the free hipster typeface Kontanter (2014) and the free rounded octagonal stencil typeface Marske (2014).

    In 2015, he nade the free Latin / Cyrillic sans headline typeface Natasha. [Google] [More]  ⦿

    Kastelov
    [Galin Kastelov]

    Bulgarian type designer now based in London. Typefaces from 2015: Nolan Next, Nolan (a wide-eyed headline and display sans family). Typefaces from 2016: Intelo (a useful grotesque typeface family for scientific and technical publications).

    Typefaces from 2017: Axiforma (a large geometric sans typeface family that covers Latin, Cyrillic and Bulgarian Cyrillic). Behance link.

    Typefaces from 2020: Kinetika (a 20-style geometric sans). [Google] [MyFonts] [More]  ⦿

    Kasya Denisevich

    Contemporary Russian letterer. [Google] [More]  ⦿

    Katarina Stefanikova

    Martin, Slovakia-based designer of the monoline hipster typeface Noryt (2015) for Latin and Cyrillic. [Google] [More]  ⦿

    Kate

    Graphic designer and illustrator in Moscow. She created William Klein Font (2012, named in honor of the photographer, and inspired by his New York 1955 series of photos of skyscrapers), and The Big Air Font (2012, ornamental caps). In 2012, she also published a few cosmic fonts as well as the decorative caps typeface Red Flower (2012).

    In 2013, Kate created the connected font Conjoint. [Google] [More]  ⦿

    Kate Bananik

    Lviv, Ukraine-based designer of the handcrafted Cyrillic poster typeface Bjaka (2017). [Google] [More]  ⦿

    Kate Grekhova

    This Russian graphic designer created a hand-printed Latin typeface in 2011. [Google] [More]  ⦿

    Kate Iatsushek

    Kate Iatsushek (Lviv, Ukraine) is a graphic designer who created a Cyrillic version for Anna Giedrys's typeface Signika in 2014. Behance link. [Google] [More]  ⦿

    Kate Shash

    Moscow-based designer of the experimental typeface Geom (2016), which was created on a doodled grid. The principle is timeless: draw a grid in some way, no matter how crazy. Then design all your letters by following lines in that grid. No exceptions. For her school, BHSAD, she designed a set of icons (2016). Behance link. [Google] [More]  ⦿

    Kate Umnova

    Graphic designer in Moscow who designed Laundry Font (2014) for a book on Pedro Almodovar's movie The Skin I Live In. [Google] [More]  ⦿

    Kate Wiliwinska

    London, UK-based designer of the free Latin / Greek / Cyrillic display typeface Pitch Display (2015). Behance link. Dafont link. Creative Market link. [Google] [More]  ⦿

    Katerina Gamkova

    Moscow-based student-designer of the avant garde sans typeface Taurus (2015). [Google] [More]  ⦿

    Katerina Kiricheva

    Sofia, Bulgaria-based designer of the Cyrillic typefaces Quirinus Cyrillic (2015) and Onyx Cyrillic (2015, extending Gerry Powell's original from 1937), and the Latin / Cyrillic piano key stencil typeface Zebra Sans (2015, a school project). [Google] [More]  ⦿

    Katerina Korolevtseva

    Kiev, Ukraine-based designer of the free reverse stress deco display typeface Misto (2019), for Latin and Cyrillic. Open Font Library link. [Google] [More]  ⦿

    Katerina Kozhukhova
    [Kak]

    [More]  ⦿

    Katerina Milan

    Prague, Czechia-based designer of the Cyrillic horror font The Very Black Book (2019). [Google] [More]  ⦿

    Kateryna Hovorun

    Kiev, Ukraine-based designer of the geometric solid Cyrillic font Iceberg (2015). [Google] [More]  ⦿

    Katharina Seidl

    Munich, Germany-based graphic and type designer (b. 1986) who studied type design at the University of Reading, class of 2016. For her graduation project, she created the Latin / Cyrillic / Arabic typeface Riwaya. This lively typeface comes in Regular, Informal and Arabic sub-styles, as Katharina explains: iRiwaya is a multi-script typeface family for telling stories. Riwaya Regular and Riwaya Informal create a similar colour on the page and work well together in texts for continuous reading; their clearly distinguishable designs offer different tones for different voices in text without distracting the reader. Riwaya won an award at Granshan 2016.

    In 2017, she joined Lazydogs in München. [Google] [More]  ⦿

    Katherine Kate Tatel

    During her studies in Moscow, Katherine Kate Tatel created a Latin constructivist alphabet called RDCB (2015). [Google] [More]  ⦿

    Kathrina Pokidova

    Minsk, Belarus-based graphic designer who created the Latin / Cyrillic typeface Silver (2013). [Google] [More]  ⦿

    Katja Renko

    Ukrainian illustrator and lettering artist in Düsseldorf, Germany. Katja Renko and Igor Dekhtiarenko co-designed the following stunning typefaces:

    • The ultra-fat poster typeface Contrast (2018) for Latin and Cyrillic.
    • Solomka Sans (2018). They write: Solomka is a playful sans serif typeface with a huge range of special ligatures and different uppercase letters. It comes with a classic and rounded version as well as beautiful illustrations and patterns. The combination between condensed lowercase and wide uppercase letters is modern and playful at the same time.
    [Google] [More]  ⦿

    Katrina Maltseva

    Kiev, Ukraine-based designer of the Cyrillic rune simulation font Kelty (2016). [Google] [More]  ⦿

    Katsia Jazwinska

    Slutsk, Belarus-based designer (b. 1992) of the thick brush script typefaces Portobesto (2016), Blacktear (2016), Carlitos (2016, called chaotic), Marsfield (2016), Mayton (2016), Worthy (2016), Buffy (2016), Hubster (2016), Just Believe (2016), Berow (2016: absolutely lovely), Advetime Brush Script (2016), Shrewdy (2016), Bastina (2016), Sunbreath (2016, +Cyrillic), Mythbuster Script (2016) and Markella (2016).

    Typefaces from 2017: Scandilover (inspired by monochrome Scandinavian style kid rooms full of handcrafted graphics), Million Notes, Better Together (rough connected brush script), Whortle, Jenthill (a 4-style handcrafted script family for memos and notes).

    Typefaces from 2018: Shrewdy, Elowen (a bold script font).

    Typefaces from 2019: Hygge Home (an inky script), Wonsmith. [Google] [MyFonts] [More]  ⦿

    Katya Elizarova

    Graphic designer in Moscow, who created the wavy Cyrillic typeface AcidQuel in 2015. [Google] [More]  ⦿

    Katya Lyapkalo

    Kiev, Ukraine-based designer of the mixed style Cyrillic (and Ukrainian Cyrillic) display typeface The Font (2017). [Google] [More]  ⦿

    Katya Pletneva

    As a student at Stroganov Moscow State University, Katya Pletneva designed the rough brush typeface Hooligan (2018). [Google] [More]  ⦿

    Katya Salnikova

    Moscow-based designer of Fish Font (2012).

    Behance link. [Google] [More]  ⦿

    Katya Yugai

    Saint Petersburg, Russia-based designed of the typographic Grid Poster (2016). [Google] [More]  ⦿

    Kavoon
    [Anton Didenko]

    Moscow (was: Krasnodar), Russia-based designer of the brush script typefaces Geneva (2016, a fat signage brush font), Florence Brush (2016), Brownie Brush (2016), Jumper Script (2016), Leviafan (2016), Kelium (2016) and Milestone (2016), and the handcrafted Kelium Grotesque (2016) and Milestone Grotesque (2016).

    Typefaces from 2017: Adevale (script), Mystique Script (dry brush), Adevale Script (signage), Highlander Marker, Goliath Script, Goliath (brush script), Gineva (brush), Mystique Marker, Emerald Script (brush script), Keyline Script (brush script).

    Typefaces from 2018: Black Stone Marker (a script), Shadowy (script), Supreme (brush script), Fjord (or Fjoerd) (condensed didone), Tyrium, Zenith (brush font), Sicily Script (dry brush).

    Typefaces from 2019: Berlingo (a dry brush SVG font), Airborne (a rythmic signage script), Hidden Soul (a forceful script), HM Lemonade.

    Typefaces from 2020: Modestine (script), Rectory (a fun art deco sans that fiddles with glyph widths), Camijo (a contemporary wedge serif with angular elements), Garine (an art deco typeface with many interlocking pairs of letters), Superline (a tall sports font), Metroline (a script and condensed sans duo).

    Typefaces from 2021: Ratyin (a brush font).

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

    Kazimir Severinovich Malevich

    A pioneer of geometric abstract art and the originator of the avant-garde suprematist movement, Kazimir Severinovich Malevich was born in 1879 in Kiev, and died in 1935 in Leningrad. In 1915, Malevich laid down the foundations of Suprematism when he published his manifesto From Cubism to Suprematism. After the October Revolution (1917), Malevich became a member of the Collegium on the Arts of Narkompros, the Commission for the Protection of Monuments and the Museums Commission (from 1918 until 1919). He taught at the Vitebsk Practical Art School in Belarus (1919-1922), the Leningrad Academy of Arts (1922-1927), the Kiev State Art Institute (1927-1929), and the House of the Arts in Leningrad (1930). He wrote The World as Non-Objectivity, which was published in Munich in 1926 and translated into English in 1959. In it he outlines his Suprematist theories.

    Typefaces based on his work include:

    • Malevich (2010, Artem Moiseev).
    • NCD Black Square family (2008, by Nippa Downy). Downey writes: The Black Square of Kazimir Malevich is one of the most famous creations of Russian art in the last century. The first Black Square was painted in 1915 to become the turning point in the development of Russian avant-garde..
    • Dynamich (2012, by Giuseppe Cacciatore).
    • Black Square Typeface (2012, Jekabs Osins). A nihilist experiment in which each letter is a black square, as in Kazimir Malevich's Black Square painting.
    • Suprematic (2008). An ultra-constructivist typeface by Henric Eugen Bergström.
    • Dick Pape created the scanbat font KazimirMalevichArt2. Download here.
    • Tom Davidson's Malevich (2013).
    • Kama made in 2015 by Ninze Chen-Benchev.
    • Malevich (2015, Olga Tereshenko, BBDO Studio).
    • Anafor (2018) by Erman Yilmaz.
    [Google] [More]  ⦿

    Kazuo Kanai
    [Ren Font]

    [MyFonts] [More]  ⦿

    KBS Japan

    Archive of commercial type 1 fonts for Chinese (DLCHei, DLCSong, DLCKaishu, DLCFangSong, DLCZongYi, DLCWeiBei, GBYen, HeitiCSEG, TankuinEG, HeitiEG), Thai (DBErawan, DBFongNam, DBNarai, DBPradit), Hangul (HYGothic, HYTeGoThic, JCLIGHT, HYMyeongJo), Vietnamese (Vina family), Cyrillic (Vina, Helvetica, Newton), and Arabic (Geezah, Nadeem, LotusTT, Yakoot, DedanAB). [Google] [More]  ⦿

    Kelly Reed
    [Mellow Design Lab]

    [More]  ⦿

    kembl

    400-font archive. All truetype. About half the fonts are Cyrillic. [Google] [More]  ⦿

    Kenneth Culan

    Cyrillic site with several Russian font families. [Google] [More]  ⦿

    Kevin Burke

    Designer of the free handcrafted Latin / Cyrillic Google Font Pangolin (2017). In 2017, Kevin Burke and Pedro Vergani co-designed the handcrafted graffiti style Google Fonts Sedgwick Ave and Sedgwick Ave Display. [Google] [More]  ⦿

    Kevin Pease
    [Cerulean Stimuli]

    [MyFonts] [More]  ⦿

    Kevin Yuen Kit Lo
    [Loki Design (or: Creative Commons)]

    [More]  ⦿

    Khaled Hosny
    [Libertinus]

    [More]  ⦿

    Khaled Hosny
    [XITS]

    [More]  ⦿

    kiarchive

    Free Cyrillic PostScript fonts (small archive). [Google] [More]  ⦿

    Kimmy Design
    [Kimmy Kirkwood]

    Kimmy Kirkwood (b. 1988, Seattle, WA) (Kimmy Design) studied at Chapman University, and lives in Santa Monica, Orange County. He graduated in 2018 from the University of Reading's MATD program.

    Kimmy created a gracious curly calligraphic script face, Madeleine (2010), which is based on a logo she designed for Hotel Le Sirenuse.

    At Dafont, one can download Kuppel (a hairline display sans) and Hammer Head, both done in 2010 as well.

    Phase two of Kimmy's career started late in 2010 as Kimmy Design, where one now has to pay for Madeleine (2010) and Katelyn (2011). Addison (2011) is a wood type Western circus poster font in two styles, West and Circus.

    In 2012, Kimmy created the counterless art deco typeface Chelsnuts, the worn wood type typeface Cpl Kirkwood, Elizabeth Script, and Paper Cutout Pro.

    In 2013, Kimmy published Lunchbox Slab, the grungy Appareo, the condensed minimalist sans family Maxwell Sans, its companion Maxwell Slab, the scriptish typeface Lunch Box, and the bold headline family Station (inspired by old train station typography).

    Typefaces from 2014: Catalina (hand-drawn typeface family with sub-styles called Anacapa, Avalon, Clemente Script, Typewriter and Extras, ideal for hand-drawn menus, table cards, chalkboards, and wall quotes), Amorie (a skinny hand-drawn family, with styles called Modella, Nova, SC and Extras).

    Typefaces from 2015: Avaline Script, Baker Street (vintage hand-drawn typeface family), Burford (a 16-style vintage layered family), Burford Rustic (layered font family).

    Typefaces from 2016: Bourton (a layered font for vintage yacht club or whiskey bar logos; it is the sans version of Burford; sufamilies include Drop, Lines and Outlines), Rainier (handcrafted).

    Typefaces from 2017: Evanston Alehouse (octagonal, beer bottle style, slightly copperplate), Bourton Hand.

    Typefaces from 2018: Clifton (his MATD graduation typeface): Clifton is a modern type family with many weights and contrast styles. It supports Latin scripts as well as Greek, Cyrillic and Arabic. Originally intended as a book typeface, it was designed so that all the weights and styles would work together as a cohesive family.

    Typefaces from 2019: Refinery (an 85-style octagonal family based in early 20th century signage), Evanston Tavern (Evanston Tavern is a square typeface and the sans-serif version to Evanston Alehouse. Inspired by the years that prefaced the ratification of the American Prohibition, this typeface mimics the signage commonly seen outside of saloons, taverns and alehouses during that time.), Winslow Book (a playful modern Scotch).

    Typefaces from 2020: Roadhouse (a layering typeface family that is part of the greater Evanston type collection, which is inspired by American typefaces commonly used at the turn of the century leading up to prohibition), Winslow Title (a decorative didone family), Winslow Title Script (monoline), Hawkes (Sans, Script, Variable Width Sans).

    Typefaces from 2021: Madley (a 12-style soft slab serif).

    Typefaces from 2022: Bourton Text (an elliptical sans in 42 styles). [Google] [MyFonts] [More]  ⦿

    Kimmy Kirkwood
    [Kimmy Design]

    [MyFonts] [More]  ⦿

    Kiosk Works (or: Playfaces Type Foundry)

    Russian commercial experimental type foundry of Dima Barbanel and/or Vladimir Kolomeytsev (Moscow), which publishes typefaces by several designers, who are mostly based in Saint Petersburg. Typefaces include: Afform, Cutter, Forma bold.pdf Fuller, Germanica, Giovanni (a piano key typeface), Handwrt, Hrustal 13, Matisse, Medieval, Meteorito, Moskek, Naturalist, Ocbita, Pitcrew, Potexa bold, Potexa regular, Siberia, Tempo (Outline 1, Outline 2, Regular), Uncial, Worms. [Google] [More]  ⦿

    Kir Rostovsky

    Moscovite who designed Indy Typeface (2012), a typeface in which the outlines follow one of several segments in an arrangement of lines. [Google] [More]  ⦿

    Kira Slepchenkova

    Graphic designer from Moscow who is based in London, and who is studying Design for Graphic Communication in London College of Communication, UAL.

    Her typefaces include Party Alphabet (2012, ornamental caps). [Google] [More]  ⦿

    Kiril Ribarov

    Designer of the old church Slavonic font Kliment-8.aug.1997 (1997). [Google] [More]  ⦿

    Kiril Semkov

    Winner of a type design contest organized by Eight Magazine limited to Bulgarian Cyrillic typefaces. His winning entry was further developed by Typdepot and Vassil Kateliev into the free rounded sans typeface family Ossem (2016), which covers Latin and Cyrillic. [Google] [More]  ⦿

    Kiril Tchouvashew

    Designer at Graphic bureau Az-Zet of the Cyrillic/Latin font AZLatinWideC (1990-1995), which is similar to (and just as ugly as) Stephenson Blake's Wide Latin. [Google] [More]  ⦿

    Kiril Zhdanov

    Illustrator in Saint Petersburg, Russia. Creator of an unnamed circle-based typeface and the straight-edged monoline font Orimi in 2013. Behance link. [Google] [More]  ⦿

    Kiril Zlatkov
    [Kiril Zlatkov Type Foundry]

    [MyFonts] [More]  ⦿

    Kiril Zlatkov Type Foundry
    [Kiril Zlatkov]

    Sofia-based designer (b. 1969) who created the free Latin typefaces Barkentina (2012, a typeface characterized by open counters) and Multima Strong (2012, unicase).

    In 2018, he designed Kometa together with Vassil Kateliev. The 21-style Kometa (Latin and Cyrillic) is a modern sans serif font family with a geometric skeleton and a humanist soul. It has a unicase option and many alternates.

    Typefaces from 2019: Metafisica (a roman family), Buzzati (a text typeface). [Google] [MyFonts] [More]  ⦿

    Kirilica

    The Timok family: Four Cyrillic TrueType fonts. [Google] [More]  ⦿

    Kirill Klochkov

    Russian designer of Quadrotype (2011). [Google] [More]  ⦿

    Kirill Malykhin

    Khabarovsk, Russia-based designer of the Comic Sans lookalike Laffayette Comic Pro Cyr (2015), the sharp-edged display typeface Kicker Bold (2015), and the connected calligraphic Latin / Cyrillic typeface Restaurants World (2015). In 2016, he created Cyrillic versions (I think) of DarkII, Minimal, Add ULC and Crash Landing BB. Behance link. [Google] [More]  ⦿

    Kirill Rozhkov

    Illustrator in Saint Petersburg, Russia. Creator of the angular Cyrillic typeface Lady With Pussies (2012).

    Behance link. [Google] [More]  ⦿

    Kirill Sirotin

    Moscow-based letterer, and graphic and type designer, b. Tver, 1979. He graduated from the Venezianov Art College in Tver in 1998, and entered Moscow State Printing University. Kirill works as a graphic designer at Leo Bernett, Moscow.

    He received a TypeArt 05 award for the dingbat family OutpuThereIs (or Vykhod Est), which in a prehistoric manner describes copulation and pregnancy. He won Kyrillitsa 99 awards for his typefaces Pupygi and Rybizna. In 2009, his thesis work at the Moscow Department of the British Design School under Ilya Ruderman was the hookish and lively humanist sans serif typeface Gross Kunst, which was later published at Art Lebedev Studio. Deservedly, Gross Kronst / Gross Kunst won an award at Paratype K2009. In 2011, he released Chalk & Honey at Art Lebedev. [Google] [MyFonts] [More]  ⦿

    Kirill Tkachov

    Also Kyrylo Tkachov, Cyrill Tkachev and Cyrylo Tkachov, depending upon the source. Illustrator and calligrapher. A Ukrainian, Cyrill Tkachev graduated from the Lugansk Taras Shevchenko National University in 2005. He works at the Design Department at Luhansk Taras Shevchenko National Pedagogical University since 2005.

    He made the experimental minimalist typeface Absurdity (2009), the decorative typeface 9months (2010) and the pixel script typeface Liony (2010). Tkachevica (2011) is a modular and pixel family. Legionary (2011) is an organic sans family in six styles. Bazilic is an informal decorative typeface. Murray Slab (2012) is a 4-style slabby techno family.

    In 2013, he published Good Bad Ugly (Western wood type emulation), Kolyada, a roomy scriptish semi-serif.

    In 2014, in the middle of the Ukrainian upheaval, he took the pro-Ukrainian side, and created the poster font Lugatype.

    In 2020, Konstantin Golovchenko and Kyrylo Tkachov released the sans typeface family Rock Star, and Kyrylo Tkachov and Marchela Mozhyna co-designed the 18-style nearly monolinear sans family Aleksa, both at AlfaBravo.

    Inspired by 20th century Ukrainian modernism, AlfaBravo released the 9-style geometric titling / book cover sans family Almaz (2020: by Kyrylo Tkachov, Serhii Makarenko). Still in 2020, Tkachov co-designed Monofontis (a monospaced hipster sans in 18 styles) with Maria Weinstein.

    Type design notes. [Google] [MyFonts] [More]  ⦿

    Kirillica Nova Unicode

    At Christoph Singer's page, we find his old Cyrillic typeface Kirillica Nova Unicode (1999). [Google] [More]  ⦿

    Kitya Toropowski

    Moscow-based designer of these typefaces in 2018:

    • Keleti (2018). A pixelized typeface.
    • Lahti (2018). A stylish fat didone derivative based on compass-and-ruler. Covers Latin and Cyrillic.
    [Google] [More]  ⦿

    Kliros

    Designers of Triod (19999), a bold Latin/Cyrillic didone. [Google] [More]  ⦿

    KLMN Art

    Russian designers of KLMN Pixel font 2003, which has Latin and Cyrillic character sets. [Google] [More]  ⦿

    KLMNPRST.ru

    Russian experimental typography and calligraphy site. Hard to decipher what is going on. [Google] [More]  ⦿

    KLTF (Karsten Lücke Type Faces)
    [Karsten Lücke]

    KLTF stands for Karsten Lücke Type Faces. It was established in 2005 in Datteln, Germany. Karsten is the talented German designer of the medieval text family Litteratra, which won an award at the TDC2 2001 competition (Type Directors Club). Karsten is from Datteln and studied communications design in Essen, finishing there in 2002. He worked at Steidl Publishers in Goettingen from 2004 to 2005. In 2005, he joined the type coop Village.

    Other designs by Karsten include KLTF Tiptoe (2005, a bold and black headline family), and KLTF Grotext (2007, an elliptical family in 7 styles).

    Co-designer with John Hudson, Alice Savoie and Paul Hanslow of Brill (2011), Brill Greek (2021), Brill Cyrillic (2021) and Brill Latin (2021). This classic text typeface family was a winner at the TDC 2013 competition. Client: Koninklijke Brill NV, Leiden, The Netherlands.

    Great OpenType link and discussion page. [Google] [MyFonts] [More]  ⦿

    Koaunghi Un
    [UnBatang Odal]

    [More]  ⦿

    Kobuzan
    [Maksym Kobuzan]

    Or Max Kobuzan. Kyiv, Ukraine-based designer of these typefaces:

    • The tall condensed typeface family Segment B Type (2021), which is inspired by the first condensed European grotesques of the 19th-century. See also Segment A Type (2021; a technical extra-condensed sans family).
    • The 15-style humanistic sans typeface family Prostir Sans for Latin and Cyrillic.
    • Varp (2021). Varp is a rather narrow 2-axis variable geometric typeface with slight reverse contrast inspired by utilitarian and technical design. The letterforms are based in part on the shapes of DIN fonts, with the deliberate addition of contrasting connections, sharp spurs and massive ink traps for sharpness. The variable axes control width and slant (forward and backward).
    • Vistr (2022). A reverse-contrast display typeface inspired by western movies and infused with the tension of classic horror films. Vistr covers Latin and Cyrillic.
    • Klaster Sans (2022). A 15-style geometric Bauhaus-inspired sans; +Cyrillic.
    [Google] [MyFonts] [More]  ⦿

    KODEKS
    [Sebastian Kempgen]

    KODEKS is the German slavistics server run by Professor Sebastian Kempgen from the University of Bamberg. Kempgen's fonts include

    • Eckige Glagolica and Runde Glagolica, both for Glagolitic.
    • The mediaeval Cyrillic face Preslav.
    • Kliment (2005). For old church slavonic, covering all of these: Altkirchenslawisch, Altrussisch, Altbulgarisch, Altserbisch, Old Russian, Old Bulgarian, OCS, Old Serbian). It can be downloaded here and here.
    • Kiril, RomanCyrillicStd (2003) and CampusRomanStd (2008) are free fonts designed for slavic language specialists. The latter two fonts are quite complete and unicode-compliant since 2007. RomanCyrillic Std has more than 4,400 characters as of 2020, and supports Unicode 12 (2019) and 13 (2020). It covers monotonic and polytonic Greek, Cyrillic with all historic variants, Soviet additions to the Cyrillic Alphabet (Kazakh, etc.), IPA phonetic characters and much more.
    • The BukyVede font (2008), which is used by the journal "Polata knigopisnaja" (Mario Capaldo and William R. Veder, eds.), published by William R. Veder&Michael Bakker, Slavisch Seminarium, Amsterdam. It is based on CyrillicaOhrid and GlagolicaBulgarian (with additions from Rumen Lazov), and adapted to Unicode 5.1, and enhanced by William R. Veder, Chicago. Final touches, additional characters and font generation by Sebastian Kempgen.
    • Method Std is the Unicode 5.1 version of the Method font series originally created by the author, Sebastian Kempgen, in the 1980's. The blueprint for this font is the classic printing type devised by slavists and used in learned editions of Old Church Slavonic texts.
    • Via MacCampus, which he seems to run, he published Breitkopf Fraktur (2008, with Sascha Selke) and Trubetzkoy (2005, a serif typeface for phonetics).

    FontShop link. [Google] [More]  ⦿

    Kohei Miura

    Japanese calligrapher who did the lettering for the Cacharel logotype. [Google] [More]  ⦿

    KOI fonts

    Archive of KOI fonts. [Google] [More]  ⦿

    KOI8-R References

    Plenty of information on the Cyrillic encoding, KOI8, by Andrey A. Chernov. [Google] [More]  ⦿

    Koivo

    Illustrator in Saint Petersburg, Russia. Designer of a colorful decorative all caps alphabet in 2015. [Google] [More]  ⦿

    KOMI

    About 30 Cyrillic fonts. Includes ArialCyrMT-Bold, ArialCyrMT-BoldItalic, ArialCyrMT-Italic, ArialCyrMT, ArialRelcomKOI-8Cyrillic, CourierCyrPS-Bold, CourierCyrPS-BoldInclined, CourierCyrPS-Inclined, CourierCyrPS, ER-Architect-KOI-8, ER-Arial-KOI-8, ER-Kurier-KOI-8, ER-Third-Roman-KOI-8, KOI8-Architect, KOI8-Arial, KOI8-Kurier, TimesNRCyrMT-Bold, TimesNRCyrMT-BoldInclined, TimesNRCyrMT-Inclined, TimesNRCyrMT. [Google] [More]  ⦿

    Konstantin Bashenko

    Graphic designer, and student at Ural State Academy of Architect and Arts. Creator of the iFontMaker font BK Handy Cyr (2010, hand-printed). [Google] [More]  ⦿

    Konstantin Birukov

    Saint Petersburg, Russia-based designer of the high-contrast display typeface Admiral (2012) and the Peignotian Cyrillic typeface Herold (2012).

    In 2013, he designed the Cyrillic sans typeface Ledokol and the Cyrillic ornamental caps typeface Kirillica Hersonese. In 2016, he designed the handcrafted Cyrillic typeface Dlja Goroda Tihvin. [Google] [More]  ⦿

    Konstantin Boldovskiy
    [Konst.ru]

    [MyFonts] [More]  ⦿

    Konstantin Bulenkov
    [Jetbrains]

    [More]  ⦿

    Konstantin Frolov

    Moscow-based graphic designer who created the decorative Cyrillic all caps typeface Blitz (2017). In 2018, he custom-designed a foliated display typeface for the cover of the album Flügelschlag der Seele by Amangul Klychmuradova, a Turkmenian pianist from Munich, Germany. That font is based on traditional Turkmen ornaments. Still in 2018, he published the display typeface Aurora. [Google] [More]  ⦿

    Konstantin Golovchenko
    [Apostrof]

    [MyFonts] [More]  ⦿

    Konstantin Kabakov

    Designer of a Latin/Cyrillic typeface in 2009 upon his graduation from the Moscow Department of Higher British Design School. [Google] [More]  ⦿

    Konstantin Kapustin

    Moscow-based designer of the handcrafted chaotic Cyrillic typeface Master (2017). [Google] [More]  ⦿

    Konstantin Karpov

    Moscow-based designer of the organic Cyrillic typeface Ostica (2013). [Google] [More]  ⦿

    Konstantin Lukyanov

    Russian designer, at Art Lebedev, of the Latin / Cyrillic handwriting typeface Vlas (2018), the slab serif NF64 (2018), the informal Junior (2019), the straight-edged Dutch rococo Brevier (2019), the bubble motiv font January (2019), and the architectural blueprint typeface Arc (2019).

    With Ksenia Erulevich and Konstantin Lukyanoiv, he co-designed the soccer shirt font Russian Premier League (2018, at Art Lebedev). [Google] [More]  ⦿

    Konstantin Sirotkin
    [Digital Photo]

    [More]  ⦿

    Konstantin V. Boayrko

    Typeface designer who russified some Latin fonts in 2003, such as KBBlackWolf, KBDanube, KBTranceform, KBVectroid, KBYear. Some may be found here. [Google] [More]  ⦿

    Konst.ru
    [Konstantin Boldovskiy]

    Moscow-based Russian foundry of Konstantin Boldovskiy (b, 1966, Pereyaslavka, Russia). He graduated in 1988 as an architect from the Khabarovsk Polytechnic Institute. Typefaces:

    • From 2010: BK Monolith, InSign Hand (an octagonal typeface with a sketched style), BK Bird, Alya Hand (a curly typeface based on the handwriting of Alya Boldovskaya), Type Tile (experimental), Hexial (a dot matrix face).
    • From 2011: Hexadot, Hexadot Thin and Hexadot Light (a textured family).
    • From 2013: Olymp80 (a techno typeface dedicated to the 1980 Olympic Games in Moscow, inspired by Nikolai Belkov's icons for these games).

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

    Korus.Ru

    This Russian archive has Cyrillic, CyrillicBold, CyrillicNormal-Italic, CyrillicBold-Italic, Anarchy-Normal, BluejackURWT-Ligh, BluejackURWT-Medi, BluejackURWT-Bold, BluejackURWT-ExtrBold, BluejackURWT-LighItal, DisneyPark, DSBrushes-Normal, QuakeCyr, Runic, RunicAlt, RunicAltNo, as well as Neville Brody's Harlem family. [Google] [More]  ⦿

    Kosal Sen
    [Philatype]

    [MyFonts] [More]  ⦿

    Kosinsky
    [Igor Kosinsky]

    Aka Pj154. Graphic designer in Noyabrsk (northern central Siberia). In 2017, he added a Cyrillic part to Manh Nguyen's Arcadia, and created the free 4-style Latin / Cyrillic shadow typeface family Zero. Free download of Arcadia Bold.

    Early in 2018, he published the free font FT Anima (2017) that evokes early versions of Futura, the free font Mirror 82, the free Library 3am, the free sans typeface NoName37, and 2 Mass J1808 (a cold modern sans; free demo).

    Typefaces from 2019: Pioneer 10 (a free experimental typeface), Nineteenth (a monolinear sans), Kepler 296 (a free sans), Literal (a free sans family for Latin and Cyrillic), February 2 (a free sans).

    Typefaces from 2020: Express 18 (a 7-style sans).

    Typefaces from 2022: Alarionsa Serif (for Latin and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Kosta Erdakov

    Graphic designer who created Volna (2012), a wavy Latin / Cyrillic font created while he was studying at The British Higher School of Art and Design in Moscow. [Google] [More]  ⦿

    Kosta Lazarevski

    Skopje, Macedonia-based designer of the Latin / Cyrillic typeface Hoi (2014). [Google] [More]  ⦿

    Kosta Vojinovic

    During his studies, Kosta Vojinovic (Nis, Serbia) created the Cyrillic sans typeface Metodia (2015). [Google] [More]  ⦿

    Kostas Bartsokas
    [Intelligent Design (was: Intelligent Foundry)]

    [MyFonts] [More]  ⦿

    Kostenlose russische (kyrillische) und andere Schriftarten

    Valerian Luft's archive with about 100 free Cyrillic fonts. Plus a Latin font archive here. [Google] [More]  ⦿

    Kostic Type Foundry
    [Nikola Kostic]

    Nikola Kostic is a graphic design graduate from the Faculty of Applied Arts (Belgrade), 2003. He works as graphic and type designer in Belgrade, Serbia. Together with his father, type designer Zoran Kostic, he set up Kostic Type Foundry in 2010. His first commercial font there is the Old Slavonic simulation face Taurunum (2011). He also made the Battlefin text family (2011), the organic Pagewalker (2011), and the slab family Battleslab (2011).

    Typefaces from 2012: Kostic Serif (2012) is a classical transitional family co-designed by Nikola and Zoran. Argumentum is a balanced and stylish display face. Breakers is a sans typeface family that covers all weights, from Thin to Ultra. Its companion is Breakers Slab.

    Typefaces from 2013: Bicyclette (a wonderful sans family, from Thin to Black, with small x-height, wide spacing, and gentle understated rounding).

    Typefaces from 2014: Taurunum Ferrum (an octagonal iron and steel style typeface), Chiavettieri (a robust text typeface that won an award at Modern Cyrillic 2014), Briller (a gorgeous extra-wide display sans typeface in six weights).

    Typefaces from 2016: Mongoose (a great condensed sans serif made for posters, headlines and logotypes).

    Typefaces from 2017: Altivo (a wiorkhorse sans family with wide proportions, generous x-height, loose spacing, ink traps, large apertures and low stroke contrast, ideal for information design).

    Typefaces from 2018: Rizado Script (a great copperplate calligraphic script that coording to Kostic epitomizes la dolce vita: it won an award at the Type Directors Club's Type Design Competition 2019), Monotalic, Roc Grotesk (a sans serif grotesk inspired by American wood types).

    Typefaces from 2020: Allotrope (a 100-strong technical sans family ranging from Compressed to Wide).

    Klingspor link. Behance link. Behance link. Fontspring link.

    View the Kostic Foundry typeface library. [Google] [MyFonts] [More]  ⦿

    Kostya Sasquatch

    Moscovite illustrator and multimedia artist. His typefaces are mostly experimental and/or geometric: 1, 2, 3, 4, 5. [Google] [More]  ⦿

    Kotta Rainen

    Graduate of the British Higher School of Art and Design, Moscow. Saint Petersburg, Russia-based designer of the Bauhaus genre sans typeface Travertine (2015, influenced by Mies van der Rohe), the free art deco sans typeface Flatiron (2015, Latin and Cyrillic), the free casual typeface Five (2015), and Kundera (2016).

    In 2017, Kotta published the wonderful two-font text typeface system Bilingua.

    In 2021, he designed the Latin / Cyrillic arts-and-crafts typeface Belgian. [Google] [More]  ⦿

    Koval Type Foundry
    [Aliaksei Koval]

    Aliaksei Koval is a type designer and corporate identity artist from Minsk, Belarus (b. Minsk, 1984). He created the techno typeface Softrobo (2008). He went commercial in 2009 as Koval TF, where he published Calidor KVL (2013), Softrobo Pro (2009), Eqlaser (2010, gridded), Hleba Soli Ziamli Voli (a 10-style tall all caps typeface for Latin and Cyrillic) (2020), and Skaryna 2017 Title (2020). He writes: Skaryna 2017 Title is a revival of the original typeface designed and cut by Francisk Skaryna in 1517-1519.

    Typefaces from 2021: Akoyster (a cyberpunk font). [Google] [MyFonts] [More]  ⦿

    Koza Design

    Yekaterinburg, Russia-based design studio. Creators of the modular branding typeface Brend G Kamensk Uralskij (2015, Latin and Cyrillic). Behance link. [Google] [More]  ⦿

    Krasner Engineering

    From Yurij Krasner, TrueType Cyrillic fonts for Windows and Windows 95. [Google] [More]  ⦿

    Kreative Korporation (was: Relay Fonts, or: Kreative Software)
    [Rebecca Bettencourt]

    Relay Fonts (Rebecca Bettencourt, aka Beckie RGB, and also known as Kreative Korporation and Kreative Software) offers a number of free fonts.

    • Their main list of fonts, 2003-2010: Alisha, CosmicSpamMS, DotCom, Eighteen, Felicia, FluorineLite, FluorineLiteMikiana, Glass, GlathenGirl, Infinity, Kaileen, Kawakimi, LongIsland, LongIslandIcedTea, Madgecrack, MikaPro, Miranda25, Miranda27, OpenDocRocks (hairline sans), SixthKristenSquirt, Sorority, Tenbitesch, ThiMegaTampon.
    • Designers in 2008 of the large free typeface Constructium seen at the Open Font Library.

      They write: Constructium is a free font for supporting constructed scripts, as encoded in the Unofficial ConScript Unicode Registry. It is based on SIL Gentium and thus released under the SIL Open Font License. Constructium is ideal for mixed Latin/Greek/Cyrillic, IPA, and conlang text, thus well suited for conlangers' web sites. In addition to most Latin and Greek, basic Cyrillic, and IPA extensions, Constructium supports the following conscripts: Tengwar, Cirth, Amman-Nar, Olaetyan, Seussian Latin Extensions, Sylabica (isolated forms only, no syllables), Unifon, Solresol, Glaitha-A, Glaitha-B, Deini, Kamakawi (encoded at U+F000), and Klingon.

    • They made the pixel fonts Chixa, Epilepsy Sans (2011), Fairfax (+Bold, +Italic, +Serif), FluorineMicro, Goethe (+Bold), Hippauf, KKFixed4x5, KKFixed4x7, KKPx4, Magdalena (+Bold), McMillen (+Bold), Mischke (+Bold), Monterey (+Bold), SeaChelUnicode, SixteenSegments, dwtMicro, dwtMicroMask.
    • Fontstructor who made SF Subway (2011), a kitchen tile typeface based on tiled lettering seen in the San Francisco MUNI system, Underclocked (2012), Great Rounded Matrix (2012, a dot matrix face), Fonteriana (2014), Thin Martin (2014).
    • Discontinued fonts: Berkelium Bitmap, Endcurled, Lauren, Sunflower's Illegible Writing, Berkelium Type, Fluorine, Mikkav, Unmodified Fax, C Colon Backslash, Hydrogenfluoride, Modern Grease, Copyright Renewed, Infinite, Signatures.
    • Conlang fonts: Constructium, Nuvenon (Tehano Venon for Ayeri).
    • The Urban Renewal series revives the old Apple typefaces with new names: Liverpool (aka London), Sanfrisco (aka San Francisco), Los Altos (aka Los Angeles), Torrance (aka Toronto), Athene (aka Athens), Parc Place (aka Cream, aka Palo Alto), Valencia (aka Venice).
    • Faithful recreations in 2011 of pixel fonts of old computers, notably Apple II [BerkeliumIIDHR, BerkeliumIIHGR, PRNumber3, PrintChar21, Shaston320, Shaston640, ShastonHi320, ShastonHi640], Commodore 64 [Berkelium1541, Berkelium64, Giana, PetMe, PetMe128, PetMe1282Y, PetMe2X, PetMe2Y, PetMe64, PetMe642Y], Apple Lisa [EmptyFolders2X3Y, EmptyFoldersRaw, Engelbart2X3Y, EngelbartRaw, LisaCalcPaper2X3Y, LisaCalcPaperRaw, LisaGraphPaper2X3Y, LisaGraphPaperRaw, LisaGuidePaper2X3Y, LisaGuidePaperRaw, LisaProjectPaper2X3Y, LisaProjectPaperRaw, LisaSketchPaper2X3Y, LisaSketchPaperRaw, LisaTerminalPaper2X3Y, LisaTerminalPaperRaw, LisaTerminalPaperSmall2X3Y, LisaTerminalPaperSmallRaw, PriamWhamos2X3Y, PriamWhamosRaw, SomeAcronym2X3Y, SomeAcronymRaw, StartupFrom2X3Y, StartupFromRaw, Twiggy2X3Y, TwiggyRaw], and others [Antiquarius, CandyAntics, ColleenAntics, DosStartDefaultFont, ItalianPlumber, Speccy].
    • Custom fonts: Jewel Hill, Miss Diode n Friends, This is Beckie's Font.
    • Under the alias of Jon Relay, Rebecca made mostly handwriting fonts: Eighteen, Nineteen, Felicia (2002), Ditch The Logical, Endcurled, Alisha (2003), AdministratorPassword, BerkeliumBitmap, BerkeliumType, CopyrightRenewed, Cosmic Spam, DotCom, DWT, Eighteen, Fluorine (+Lite), Fonteri, Glass (3d face), Glathen Girl (2004), Hydrogenfluoride, Infinity, Jewel Hill, Kaileen (2004), Kawakimi, Make Lots of Graphs, Jon'sNewRoman, Jon'sSupercondensed, Kelly, Lauren, Matal, Miranda 27, Mikkav, Modern Grease (Greek simulation), OpenDocRocks, Plastic, ReturnofRelayScript, SCSIPort, Sexy Sara (2002), Sixth Kristen Squirt, Sorority, Teen Dreem Magazeen, Tenbitesch, UnmodifiedFax, Jewel Hill (2002, based on artwork by Amy Taramasso).
    • Typefaces from 2012: Hippauf (pixel face), Fairfax (pixel family), Thi Mega Tampon, Tenbitesch (curly face), Sorority, Miranda 25, Mika Pro, Madgecrack, Long Island, Long Island Ice Tea.
    • Typefaces from 2013: Constructium (a text typeface adapted from J. Victor Gaultney's Gentium (2003)).
    • Typefaces from 2017-2019: Kreative Square (a wide monospaced sans), Fairfax HD.

    Dafont link. Fontspace link. Abstract Fonts link. Klingspor link. Open Font Library link. [Google] [More]  ⦿

    Kremena Pehlivanova

    Burgas, Bulgaria-based designer of an untitled octagonal Cyrillic constructivist typeface (2014). [Google] [More]  ⦿

    Kris Alans

    Designer of the remarkable free display typeface Alanesiana (2017)C: Alanesiana is a font created in accordance with the idea to read the text in a slightly insecure form, and supports exactly 5650 characters. Each character has its own character, looks different from the rest, but all are made in a similar style and have a similar thickness, so the text still looks consistent, making it perfect for longer texts as opposed to many other decorative fonts that tire the reader. What is important Alanesiana supports not only Latin alphabet but also Cyrillic, Greek, Hebrew, Armenian, Georgian and phonetic and mathematical symbols as well as some emoticons and other symbols, alphabets such as Coptic. [Google] [More]  ⦿

    Krisjanis Mezulis

    Gatis Vilaks (RIT Creative, Riga, Latvia) and Krisjanis Mezulis (Latvian-born art director and painter in Riga, Latvia) together created Besom (2015, a free brush typeface) and Sunn (2014, a free hand-printed typeface).

    Mezulis designed the art deco era sans typeface Etan (2015; for Latin and Cyrillic; free) and the rough brush script typeface Plume (2015, free).

    In 2015, he designed the free rough brush script typeface Kust, again for both Latin and Cyrillic.

    Typefaces from 2016: Fibre Extended Brush, Banaue (a free brush font), Fjord Handwritten (dry brush script; free demo).

    Typefaces from 2017: Undeka (sans: MyFonts link), Peomy, Espa (with Ieva Mezulis), Espa Extended Brush (by Ieva Mezule), Avene (a free brush font), Leafy (a handcrafted typeface done with Ieva Mezule), Leafy Extended.

    Typefaces from 2018: Aloja Extended (brush script by Ieva and Krisjanis Mezulis), Sanos (brush script), Arber (free).

    Typefaces from 2019: Loki (a free roman caps font by Krisjanis Mezulis and Ieva Mezule).

    Typefaces from 2020: Nafta Brush Font, Nafta Marker (a free brush font), Nafta Extended, Wuhan (a free slimy horror font), Sanos Extended.

    Behance link. Another Behance link. Mezulis's company is called Wild Type or Wild Ones. [Google] [MyFonts] [More]  ⦿

    Krista Likar

    During her studies, Ljubljana, Slovenia-based Krista Likar created the exaggerated serif typeface Serifnik (2015) and the gorgeous sans display typeface Kros (2015).

    In 2016, she designed the slab serif typeface Josephine.

    In 2020, she released Sopran through Type Salon, an independent type design studio based in Ljubljana, Slovenia, founded by Alja Herlah and Krista Likar. Sopran is an attractive didone display style in which the traditional ball terminals have been replaced by vertical hairline serifs.

    Co-designer with Alja Herlah of Spektra (2020, Type salon), a black condensed sans that combines five scripts: Latin, Arabic, Cyrillic, Greek and Hebrew. It also has a variable typeface with an italic axis.

    In 2021, Krista Likar and Alja Herlah published Plecnik, which is named after Slovenian architect Joze Plecnik. Plecnik is defined by classical elements and shapes, classic proportions, humanist stroke endings and low contast. It has a capital A with an overhang. Plecnik Display is quite different as it features flaring in every stroke. [Google] [MyFonts] [More]  ⦿

    Krista Radoeva

    Krista Radoeva (b. Bulgaria) studied graphic design at Central Saint Martins College of Art & Design in London and type design at the KABK in Den Haag, class of 2013. She is based in London.

    In 2012, she created a beautifully integrated Latin / Cyrillic display typeface Moesia, with a tip of the hat to Old Slavonic.

    Her gradaution typeface at KABK was the rounded sketched broad nib stencil typeface Amanita (2013, Latin and Cyrillic).

    Speaker at ATypI 2013 in Amsterdam on the topic of the difference between Russian and Bulgarian Cyrillic. In 2014, the Society of Typographic Aficionados gave Krista Radoeva the 2014 SOTA Catalyst Award. Created in 2010, the award recognizes a person 25 years of age or younger who demonstrates significant achievement and future promise in the field of typography.

    In 2014, Maria Doreuli, Krista Radoeva, and Elizaveta Rasskazova co-designed 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.

    In 2016, Krista Radoeva put the finishing touches on the luxurious fashion mag typeface FS Siena. Jason Smith had started drawing Siena 25 years earlier. It is delicate, oozes style, and shows touches of Peignot in its contrast.FS Siena that Jason Smith had started drawing 25 years earlier. It is delicate, oozes style, and shows touches of Peignot in its contrast.

    At Fontsmith, she published the joyful display typeface family FS Kim (2018).

    In 2021, Miles Newlyn, Riccardo Olocco and Krista Radoeva co-designed New Spirit, a 10-style typeface that revives the comfort food font Windsor. [Google] [MyFonts] [More]  ⦿

    Krista Radoeva: Cyrillic Script Variations and the Importance of Localisation

    Krista Radoeva explains the various forms of Cyrillic. [Google] [More]  ⦿

    Kristians Sics
    [Lamatas un Slazdi]

    [MyFonts] [More]  ⦿

    Kristin Likasa

    Sofia, Bulgaria-based designer of the circle-based Bulgarian-cyrillic typeface Wave (2014). [Google] [More]  ⦿

    Kristina Davydova

    Moscow-based designer of the vernacular Cyrillic typeface Street Font (2016). [Google] [More]  ⦿

    Kristina Gess

    Kristina Gess (aka Sproot, based in Chelyabinsk, Russia) created the Latin paper-cut typeface Dancing Font (2013), the beautiful brushy poster typeface Firenze (2015, for Latin), the equally interesting Cartoon font (2015, also for Latin), Rio (2015), and the handcrafted Alchemy (2015). Many of her typefaces can be bought at Shutterstock. Behance link. [Google] [More]  ⦿

    Kristina Kaleva

    Sofia, Bulgaria-based designer of an unnamed Curillic typeface in 2013. [Google] [More]  ⦿

    Kristina Kostic

    Graphic designer and illstrator in Belgrade, Serbia. She designed the painted font Funkadelic (2019) for Latin and Cyrillic. [Google] [More]  ⦿

    Kristina Kostova

    During her studies at the National Academy of Art in Sofia, Bulgaria, Kristina Kostova designed the Cyrillic display typefaces Blgari (2013) and Hunting (2013).

    In 2014, she created the Cyrillic hand-printed typeface Maluk and the display typeface Free Time and the Latin / Cyrillic pixel typeface Aprior. In 2015, she created the informal rounded monoline sans typeface Bavanti Sans (Latin and Cyrillic).

    Home page Old URL. Behance link. [Google] [More]  ⦿

    Kristina Maksimova
    [Mikka Kika]

    [More]  ⦿

    Kristina Radovanovic

    Belgrade, Serbia-based designer of a geometric solid / decorative art deco typeface for Latin and Cyrillic in 2018. [Google] [More]  ⦿

    Kristina Skoreva

    Moscow-based creator of the photographic typeface Ink Alphabet (2013). [Google] [More]  ⦿

    Kristina Stoyanova

    During her fine arts studies in Sofia, Bulgaria, Kristina Stoyanova created Hero Light Cyrillic (2013). [Google] [More]  ⦿

    KritFit Works

    Zaporizhzhia, Ukraine-based designer of the Latin / Cyrillic handwriting typeface Kalin (2019). [Google] [More]  ⦿

    Krysztof Chuc
    [Visual Works]

    [MyFonts] [More]  ⦿

    Ksenia Belobrova

    Type designer, calligrapher and lettering artist in Moscow. Initially, she was working for Artem Gorbunov Design Bureau. Her typefaces there:

    • Bureauserif (2015-2016). A text typeface family. The Greek part was done by Anna Danilova.
    • Galochki (or: Checkmarks). Done in 2013.
    • Voltaire (2015). A script typeface based on illustrations in one of Voltaire's books from 1734. Voltaire covers Latin and Cyrillic.

    In 2015, she designed Di Mare, a layered script inspired by Italian restaurant and cafe signs.

    In 2016, she designed MT Brush, Allister Rough, the brush signage typefaces Mixed Tape and Mixed Tape Rough, and the heavy monoline script typeface Jonesy.

    Typefaces from 2017: Eldwin (The Northern Block: a connected script), New Jonesy Latin, Luna Brush (brush script).

    Typefaces from 2018: Frederik (a great Latin / Cyrillic humanist sans family published by The Northern Block in 2019), Garnet (Capitals and Script, with a great Inline). [Google] [MyFonts] [More]  ⦿

    Ksenia Churilova

    Illustrator, graphic and type designer, b. 1997 in Moscow. She graduated from MGHPA (Faculty of Graphic Design of the Stroganov Academy) in 2018.

    In 2022, Matthew Grouss, Ksenia Churilova and Pavel Nevsky released the 16-weight constructivist typeface Nowar, a variable typeface that features Latin, Cyrillic and Hebrew scripts. [Google] [MyFonts] [More]  ⦿

    Ksenia Erulevich

    Ksenia Yerulevich (or Erulevich) was born in Novotroitsk, Russia, in 1986. She graduated from The British Higher School of Art and Design (Moscow) with a Type and Typography degree. Since 2011, Ksenia has worked as a type designer and calligrapher at Art. Lebedev Studio.

    Designer of the quaint text typeface Alice (2011, Cyreal, Google Font Directory) and the curly typeface Bonbon (2011, Google Web Fonts).

    Creator of the feminine script typeface ALS Fuchsia (2012, Art Lebedev Studio).

    In 2013, Ksenia published ALS Malina, a plump packaging and children's book face.

    In 2016, she published the informal sans typeface ALS Lavanda and the flaring ALS Alumna at Art Lebedev. ALS Sector, a grotesque typeface family, followed in 2017, and the rounded all caps sans Contract and Russian Premier League (a soccer shirt font by Ksenia Erulevich, Nikolay Nedashkovsky, and Konstantin Lukyanov at Art Lebedev) in 2018.

    Her corporate typefaces at Art Lebedev Studio include M.Video (2013, done with Olga Umpeleva) and Yandex (2013: by Ksenia Erulevich, Taisiya Lushenko, and Elena Novoselova). [Google] [MyFonts] [More]  ⦿

    Ksenia K

    Illustrator and designer in Saint Petersburg, Russia. In 2016, she created a squarish Latin typeface for a school project. [Google] [More]  ⦿

    Ksenia Kichina

    Graduate of the University of Technology and Design with an Applied Informatics in Design degree in 2012. As a student at TypeType Education in 2016-2017, she designed the sahrply cut display antiqua typeface Exposition. [Google] [More]  ⦿

    Ksenia Kotlyarovskaya

    During her studies in Moscow, Ksenia Kotlyarovskaya designed the grotesk typeface Neo Frut (2016) for Latin and Cyrillic. [Google] [More]  ⦿

    Ksenia Semirova

    Moscow-based designer of the free handcrafted typeface Kram (2016) and the free Latin / Cyrillic art deco typeface Dita Sweet (2015, co-designed with Jovanny Lemonad. Download site for Dita Sweet). [Google] [More]  ⦿

    Ksenia Slavnikova

    Moscovite graphic designer and illustrator. Creator of the curly hand-printed typeface My First Type (2011). [Google] [More]  ⦿

    Ksenia Storozhenko

    Graphic designer in Saint Petersburg, Russia. She made a decorative caps face called Workout (2010). [Google] [More]  ⦿

    Ksenia Yusupova
    [Vavavka's Art]

    [More]  ⦿

    Kseniy Khikmatulina
    [Adalin]

    [More]  ⦿

    Kseniya Petrushak

    Graphic designer in Kiev, Ukraine, who created the experimental geometric typeface Aktsidentny (2012), and the Cyrillic caps typeface Children's Font (2013). [Google] [More]  ⦿

    Ksenya Kuznetsova
    [Peliken]

    [MyFonts] [More]  ⦿

    Ksenya Nord

    Kursk, Russia-based designer of the great Cyrillic brush typeface Voronijo (Crow) in 2017. [Google] [More]  ⦿

    Ksenya Shtalenkova

    During her graphic design studies at European Humanities University, Department Of Development And Communications in Lithuania, Ksenya Shtalenkova (Minsk, Belarus) created the constructivist Cyrillic typeface Chipmunk (2013). [Google] [More]  ⦿

    Ksusha Ksu

    Minsk, Belarus-based designer who created the hand-printed Cyrillic typeface The Black Cat Font (2011). [Google] [More]  ⦿

    Ksusha Miskaryan

    Moscow-based designer of the experimental typeface El Lissitzky (2014). [Google] [More]  ⦿

    Kulagina

    Creator of Glace Accidental Typeface (2012). Kulagina is based in Saint Petersburg, Russia. She describes the process of creating Glace: This typeface was created by transforming Baskerville type into something new. Each letter was drawn on a paper by ink and then pressed with a CD cover. The received print has been scanned and retouched. [Google] [More]  ⦿

    Kulturrrno
    [Ilyas Yunusov]

    Taganrog, Russia-based designer of Mash-up (2017), the copperplate emulation typeface Highbridge (2017), the elegant caps only sans typeface Leaner (2017: an all caps monolinear geometric sans, followed in 2018 by Leaner Extended) and the art deco typeface Noirside (2017).

    In 2018, he designed the condensed sans typeface Chromota, and Parallone.

    Typefaces from 2019: Cultrz (a geometric sans), Sayin On (a grungy caps typeface).

    Typefaces from 2020: Nullomis (29 styles; an all caps Soviet era font), Domek (a condensed layered sans).

    Typefaces from 2021: Parallone (a 12-style sans, updating his earlier typeface from 2018). [Google] [MyFonts] [More]  ⦿

    Kurochka Lapkoi

    Moscow-based designer of the tweetware hand-printed Latin / Cyrillic typeface Chicken Scratch (2017). Behance link. [Google] [More]  ⦿

    kuzbass

    Another great 400+ Russian TrueType archive. All fonts here are Unicode! [Google] [More]  ⦿

    kvant

    Monotype's TimesNewRoman family in truetype. Each font has all accents for all European languages, Cyrillic, Hebrew and Greek. [Google] [More]  ⦿

    Kvartira Belogo

    A goldmine with full scans of many old Russian books. [Google] [More]  ⦿

    Kyiv Type Foundry
    [Yevgeniy Anfalov]

    Born in Kyiv, Ukraine, in 1986, Yevgeniy Anfalov moved to Germany in 2003. He studied Visual Communication at Hannover University of Applied Sciences and Arts, and he launched his own design practice in 2010, two years before graduation. From 2015 to 2017, he completed the MA Art Direction at ECAL/University of Art and Design Lausanne, with a major in Type Design. He obtained an award of excellence for his graduation book project on the history of electronic music, ROTARY. Geschichte des Studios für elektronische Musik WDR Köln 1951-1981. Yevgeniy is working primarily in the fields of editorial design, visual identities, bespoke typefaces and online projects.

    Founder of Kyiv Type Foundry, which aims to offer new perspectives on the Russian and Ukrainian heritage of type design.

    His typefaces:

    • LL Heymland (2018-2020, Lineto). An all caps flared typeface for Latin and Cyrillic that was influenced by a pen drawing of Koch's Koch Antiqua found in Solomon Telingater's estate.
    • The cyrillization of Stephan Müller's Chernobyl, a graphic stencil font designed in the late 1990s.
    • The custom typeface Malba Sans (2017) for Museo de Arte Latinoamericano de Buenos Aires (MALBA). He explains: Malba Sans is a corporate font of the museum, whose capital letters were drawn in-house (Aldus De Losa) and served the titling purposes. We were asked by the museum's graphic design team to analyse and update the capital letters, draw the lowercase letters, based upon the improved model and extend the character sets to cover more languages. The new version, named Malba Sans is characterised by a stronger vertical accent and more consistency due the reshape of all the letter forms. A new tighter spacing contributed to the better titling function. Malba Sans was fully kerned and is going to be implemented in the museum's upcoming identity in 2018. The font was exclusively drawn for the internal use and is not available for licensing.

    Lineto link. [Google] [More]  ⦿

    Kyryll Myly

    Poland-based designer of the hipster typeface Antychrystio (2019) for Latin and Cyrillic. [Google] [More]  ⦿

    L. Jake Jacobson
    [Brama Computing]

    [More]  ⦿

    La An

    Industrial designer in Moscow who created the display typeface Electroclash (2016).and Olympic Games pictograms (2016). [Google] [More]  ⦿

    Laboratory of Digital Typography and Mathematical Software
    [Antonis Tsolomitis]

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

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

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

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

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

    Lada Vernum

    Vilnius, Lithuania-based designer of the Cyrillic display typeface Tuberculosis (2013). [Google] [More]  ⦿

    Ladislas Mandel

    Born in 1921 in Transylvania, he trained at the Fine Arts Academy of Budapest (Hungary) and then at the Beaux-Arts in Rouen (Normandy, France). Ladislas Mandel was a stonecutter, painter and sculptor. However, he spent his life in France, mostly as a type designer at Deberny&Peignot, where he worked since 1954. In 1955, he headed the type atelier. He was taught by and cooperated with Adrian Frutiger during nine years at Deberny, finally succeeding Frutiger in 1963 as type director. In 1955, he was in charge of the transformation of the Deberny type repertoire from lead to phototype. He created original designs under the label International Photon Corporation, and turned independent designer in 1977. After that, he specialized in typefaces for telephone directories, and made, e.g., Colorado in 1998 with Richard Southall for US West. He cofounded the ANCT in Paris in 1985 and taught there and at Paris VIII. In 1998, he published the book Ecritures, miroir des hommes et des sociétés (éditions Perrousseaux), which was followed in 2004 by Du pouvoir de l'écriture at the same publisher. He died on October 20, 2006.

    • His typefaces for the Lumitype-IPC (International Photon Corporation) catalogue include originals as well as many interpretations of famous typefaces: Arabica Arabic (1975), Aster (1960-1970), Aurélia (1967), Baskerville (1960-1970), Bodoni (1960-1970), Bodoni Cyrillic (1960-1970), Cadmos Greek (1974), Cancellaresca, (1965) Candida (1960-1970), Caslon (1960-1970), Century (1960-1970), Clarendon (1960-1970), Edgware (1974), Formal Gothic (1960-1970), Frank Ruehl Hebreu (1960-1970: this is one of the most popular Hebrew typefaces ever), Gill Sans (1960-1970), Gras Vibert (1960-1970), Hadassah (1960-1970), Haverhill (1960-1970), Imprint (1960-1970), Janson (1960-1970), Mir Cyrillic (1968), Modern (1960-1970), Nasra Arabic (1972), Néo Vibert (1960-1970), Néo-Peignot (1960-1970), Newton (1960-1970), Olympic (1960-1970), Plantin (1960-1970), Rashi Hebreu, Sofia (1967), Sophia Cyrillic (1969), Sphinx (1960-1970), Textype (1960-1970), Thai (1960-1970), Thomson (1960-1970), Times Cyrillic (1960-1970), Univad (1974), Weiss (1960-1970).
    • Types done or revived at Deberny&Peignot: Antique Presse (1964, Deberny&Peignot), Times (1964). A note here: many type experts believe that Antique Presse is not by Mandel. According to Production Type, it was established that Adrian Frutiger, then art director of Deberny&Peignot, was more likely the mind behind Antique Presse. As further proof, Antique Presse quite blatantly follows Frutiger's Univers pattern on many levels.
    • Types for phone directories: Clottes (1986, Sneat - France Telecom), Colorado (1998, U.S. West, created with the help of Richard Southall), Galfra (1975, Seat, Promodia, Us Seat, English Seat: there are versions called Galfra Italia (1975-1981), Galfra Belgium (1981), Galfra UK (1990), and Galfra US (1979-1990)), Lettar (1975, CCETT- Rennes), Letar Minitel (1982-1983), Linéale (1987, ITT-World Directories), Lusitania (1987, ITT-World Directories), Nordica 1985 (ITT-World Directories: Nineuil says that this is done in 1987-1988), Seatypo Italie (1980).
    • Other typefaces: Portugal, Messidor (1983-1985, old style numerals font for the Imprimerie Nationale), Solinus (great!!, 1999), Laura (1999).
    Ladislas Mandel, l'homme derrière la lettre is Raphael de Courville's thesis in 2008 at Estienne. In 1999, Olivier Nineuil wrote Ladislas Mandel: Explorateur de la typo français (Etapes graphiques, vol. 10, pp. 44-64). Olivier Nineuil's description of his achievements. [Google] [MyFonts] [More]  ⦿

    Lafontype (pr: tardiexwas: Pixifield, Elementype, Fontliner Studio)
    [Anugrah Pasau]

    Makassar, Indonesia-based designer (b. 1995) of Botdoh Script (2016), Hallelujah (2016, brush script), Zephan (2016, calligraphic font), Antebras (2016, a brush script with over 1000 glyphs and ligatures) and Fundamental Script (2016).

    Typefaces from 2017: Kindentosca (handwriting), Welinedion (brush script), Bethadyn, Bawakaraeng, Bidaq, Bidaq Brush, BisQuid (signage script), Nestle (retro script), Quixo (a didone not to be confused with Griesshammer's 2010 typeface FF Quixo), Hallelujah, Demotia, Look.

    Typefaces from 2018: Antebas (script), Aksara (a sans type).

    Typefaces from 2019: Mithella (rounded sans), Antebas (a sans for Latin, Greek and Cyrillic), Belista (font duo), Herbit (a handcrafted sans family), Cabrion (a sans family), Malino (a low contrast humanist sans family with very open counters).

    Typefaces from 2020: Scaffold (a condensed grotesk), Aretha (a 14-style sans), Celliad (a monoline script), Saltines, Hindia (a rounded heavy script), Pelita (a humanist sans family).

    Typefaces from 2021: Protofo (a 16-style geometric sans), Cedora (a 14-style sans).

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

    Laïc
    [Maciej Polczynski]

    Laic is the type foundry founded in 2018 by Warsaw, Poland-based type designer Maciej Polczynski. His typefaces:

    • As part of his Bachelor's project at the Polish-Japanese Academy of Information Technologies in 2016, Maciej Polczynski (Warsaw, Poland) designed the sans typeface Ayka.
    • In 2016, as part of Warsaw Types, he designed the vintage technical typeface Cyrulik and writes: Cyrulik is inspired by technical stencil lettering found on electrical and mechanical devices in Warsaw, and a prewar headline display font---Cyklop---used in a newspaper called Cyrulik Warszawski. The font design combines a strong and sturdy form with delicate and modern details, reflecting the contemporary character of Warsaw. Cyrulik comies in Rounded, Sharp and Stencil styles and is free.
    • In 2017, at The Designers Foundry, he published the display typeface Solenizant, which covers Latin, Greek and Cyrillic.
    • Obibok (2018): Obibok (2018). Obibok is a Polish word describing a lazy person. It is a modern sans serif typeface family consisting of five styles (Light, Regular, Bold, Black and Inversed). This fine geometric typeface was extended and modified in 2020 as Obibok Sans.
    • Maruder (The Designers Foundry). A reverse contrast typeface, 2018-2019.
    • Prostak. A plain geometric sans.
    • Ozzy.
    • Nieuk. An experimental modular typeface.
    • Krayewski: Krayewski is a display typeface based on sketch lettering of Andre de Krayewski from his book cover "Moje Okladki" (2014). Andrzej Krajewski (b. Poland) was an outstanding illustrator and designer who developed his own style mixing art-deco and pop art, and was trained at the Academy of Fine Arts in Warsaw under the supervision of Wojciech Fangor and Henryk Tomaszewski. Krayewski is unicased. It consists of Latin, Cyrillic and Greek scripts. It was released at Laic in 2019.
    • Retor (2018-2019). A 6-style text typeface family.
    • Rygor (2018). An art nouveau typeface based on lettering by illustrator and publisher Ignacy Chodorowicz.
    • Wiwat (2019). A contemporary sans inspired by deco. In six weights.
    • Nielot (2019). Nielot (Polish for flightless) is a plain, geometrical typeface. It was inspired by posters created by designers representing Russian Constructivism.
    • Figura (2019). A nearly monolinear contemporary interpretation of a grotesque typeface.
    • Eksces (2019). A squarish display family.
    • Ozzy (2019, Laic). Described as calligraphic funk, this typeface by Brody Neuenschwander and Maciej Polczynski cannot be properly classified. Several versions were released between 2029 and 2022, numbered Ozzy I through Ozyy VIII.
    • Figiel (2020). A stylish wide monoline sans typeface family inspired by art deco streamline architecture.
    • Elektyk (2020, +Stencil). A quirky exaggerated display typeface.
    • Hybrida (2020). The slab version of Eklektyk, daring, in-your-face, and dystopian.
    • Pion or Pionek (2020). A condensed all caps headline sans.
    • Monter (2021). An octagonal typeface that refers to mechanical items such as nuts and bolts.
    • Iskry (2022). A sparling display serif.
    • Fason (2022). A hipsterish condensed sans family.
    • Awaria (2022). Emulating old pixel fonts.
    • Blef (2022). A triagular cutout typeface family.
    • Kommune Stencil (2022) and Kommune Display (2022).
    [Google] [More]  ⦿

    Lamatas un Slazdi
    [Kristians Sics]

    Design studio, est. 1999 in Riga, Latvia. They are doing some type design under the guidance of Kristians Sics, aka Chris Lamatas. No sales or downloads as far as I can tell. Kristians Sics (b. 1961, Riga), who studied at the Art Academy of Latvia, now lives in Puerto Vallarta, Mexico, where he is a graphic designer and illustrator. In 2010, Sics established the commercial foundry Lamatas un Slazdi. Typefaces (from 2010 or just before 2010):

    Creations from 2011: Aramara Chromatic (+Base, + Engraved).
  • Jaquizaca (2001-2013). Originally created as a TV program titling typeface in 2001, it became a retail font in 2013. The adjectives to describe it are cartoonish, upbeat, joyful, and buoyant.

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

  • Lange Type Foundry

    Extinct 20th century foundry in Saint Petersburg. Their fonts included Placard, which was an adaptation of Hermes Grotesk (Wilhelm Woellmer, 1911). [Google] [More]  ⦿

    Language Fonts for Mac

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

    Languages, fonts and encodings

    Great page by Konstantin Kazarnovsky on encodings and code pages for many languages, especially Cyrillic. Lots of details on Truetype. [Google] [More]  ⦿

    Lapin Design
    [Serge Lapin]

    Serge Lapin (Lapin Design, Yoshkar-Ola, Russia) created the Latin and Cyrillic families Practicum (2009, a sans family free at Dafont) and Gorgon (2008, as gorgeous brush script), Foliage (2007), Pixelofon (2007, pixel face), Pyxis Bold (2006, pixel face) and Bublic (2006, pixel face). Except for Practicum, there are no downloads. Behance link. [Google] [More]  ⦿

    Lara Kravchenko

    Omsk, Siberia-based designer of the decorative caps alphabet Celebrity (2016). [Google] [More]  ⦿

    Larisa Zakoryukina

    Russian designer of the modular Cyrillc sans typeface Monolit (2019). [Google] [More]  ⦿

    Lasko Dzurovski
    [Totem Design]

    [MyFonts] [More]  ⦿

    LaTeX Navigator
    [Denis Roegel]

    General links on typography and fonts, compiled by Denis Roegel (with earlier contributions by Karl Tombre who is no longer involved). Very, very useful. This page contains, among other things:

    • METAFONT for Beginners (Geoffrey Tobin)
    • The METAFONT book (TeX source) (Donald E. Knuth)
    • How to Create Your Own Symbols in METAFONT and for use in LaTeX Documents (Richard Lin)
    • Milieu -- METAFONT and Linux: A Personal Computing Milieu (Thomas Dunbar)
    • Simple drawings with METAFONT (Zdenek Wagner)
    • Some METAFONT Techniques (article from TUGboat, 10 pages) (Yannis Haralambous)
    • List of all available Metafont fonts
    • Liam Quin's Metafont Guide (last version)
    • MetaFog: Converting METAFONT Shapes to Contours (Richard J. Kinch)
    • METAFONT source
    • Design of a new font family (slides) (Gerd Neugebauer) (1996)
    • PERL Module for reading .tfm files (Jan Pazdziora) (1997)
    • fig2mf (UNIX manual) (Anthony Starks)
    • bm2font (Friedhelm Sowa)
    • Essay on math symbols by Paul Taylor
    • drgen genealogical symbol font by Denis Roegel, 1996
    • Chess fonts
    • The Marvosym Font Package (Martin Vogels)
    • Eurosymbol, another font for the euro symbol
    • Lots of stuff on virtual fonts
    • P. Damian Cugley's Malvern (Greek) font
    • Yannis Haralambous's Omega project
    • DC and EC fonts by Joerg Knappen
    • Technical notes on Postscript fonts, and Postscript fonts in TEX
    • Computer Modern type 1 fonts
    • Articles on computer typography by Sebastian Rahtz, Aarno Hohti&Okko Kanerva, Richard J. Kinch, Basil K. Malyshev, Hirotsugu Kakugawa, Karl Berry, Victor Eijkhout, Vincent Zoonekynd, Tom Scavo, David Wright, Erik-Jan Vens, and Nelson H. F. Beebe.
    • Articles on mathematical symbol fonts
    • Links to essential pages for Cyrillic, Japanese, Berber, Khmer, Chinese, Korean, Greek, Indic, Syriac, Hebrew, Hieroglyphic, Tibetan, Mongolian, African fc
    At FontStruct, he created Sixer (a pixel face) and Smallish (bold unicase). [Google] [More]  ⦿

    Laura Meseguer

    Designer (b. Barcelona, 1968) at type-o-tones in Barcelona. She publishes as well as promotes all her type designs through her own type foundry, Type-o-Tones. In 2003-2004, she took a year off and took the postgraduate Type and Media course at KABK (Royal Academy of Art) in The Hague, Holland. She is a professor of typography in Spain. Author of TypoMag. Typography in Magazines (IndexBook). In 2012, Cristobal Henestrosa, Laura Meseguer and José Scaglione coauthored Como Crear Tipografias (Brizzolis S.A., Madrid, Spain). MyFonts link. Fontshop link. Her typefaces:

    • Adelita (1993-2007). A connect-the-dots typeface family co-designed by Laura Meseguer and Adela de Bara.
    • Brushland (2019).
    • Cortada: her first typeface. In 2012, she published the angular signage typeface Cortada Dos at Type O Tones.
    • Dauro (2013), a corporate typeface done for the olive oil brand Dauro. From the original typeface in use, Chronicle Bold Condensed, she designed an outline version, then Lingotillo (Little gold bar: beveled) and finally Grabado (engraved).
    • Frankie (1992, a grunge font done with Juan Dávila). Frankie is the result of a process of erosion, photocopying, scanning and digitisation based on the Franklin Gothic type (1904, Morris Fuller Benton).
    • Gallard.
    • The curly Girard Sansusie (House Industries). Laura writes: In 2005, House Industries invited me to digitize the lettering used to announce the textile designs that Alexander Girard did for Herman Miller. Girard Sansusie is a reinterpretation of this design, based on the few letters that were available to me. Girard Sansusie combines a folk flair with a lettering style evident throughout the Girard oeuvre, most notably on his 1955 Herman Miller fabric catalogue. Alexander Girard was a master at utilizing lettering and type as practical, illustrative and readable elements.
    • Guapa (2011). A thin monoline curlified display typeface with an art deco aroma. Followed in 2012 by Guapa Deco.
    • Lola (2013). A comic book typeface started in 1997 based on an alphabet found in Schriftschreiben Schriftzeichnen (1977) by Eugen Nerdinger and Lisa Beck. Lola won an award at TDC 2013. Its outgrowth, Lalola (1997-2013), won an award at TDC 2014. Lalola Cyrillic was released in 2019.
    • Multi (2011-2016). A magazine type family, with weights from hairline to black.
    • Rumba (2003-2007): this semi-script family won an award at the TDC2 2005 type competition. It was developed during her KABK Type and Media studies.
    • In 2009, the low-to-zero contrast Alexander Girard family was published by House Industries. It consists of Girard Sky, Girard Script, Girard Display, Girard Sansusie and Girard Slab in many weights and styles. Girard Sansusie was created by Laura Meseguer based on the lettering used to announce the textile designs that Alexander Girard did for Herman Miller in 1955. Girard was digitized at House Industries by Ben Kiel, Ken Barber, and Laura Meseguer.
    • Magasin (2013, Type o Tones) is a connected retro-chic upright script typeface. She writes: Some examples that have inspired me are Corvinus (Imre Reiner, 1934) and Quirinus (Alessandro Butti, 1939) and the later Fluidum (1951), a kind of non-connected script version of Quirinus, also designed by Alessandro Butti for Nebiolo foundry.
    • In 2019, she released the Latin / Arabic display typeface Qandus, which was co-designed two years earlier with Kristyan Sarkis.
    • The custom typeface Solis (2019) done for AccuWeather.
    • In 2020, she released the wonderful stencil typeface family Sisters. Sisters was conceived as a custom lettering project for the identity of Trans_Documentar, an exhibition at the La Panera Art Center in Lleida, Catalunya. Sisters is an homage to all the creative women in this world, according to Meseguer. Type Network link.

    Interview by MyFonts. Speaker at ATypI 2016 in Warsaw on A Typographic Maghribi Trialogue. In this talk, he explains, together with Juan Luis Blanco and Krystian Sarkis, the Typographic Matchmaking in the Maghrib project of the Khatt Foundation, which tries to facilitate a cultural trialogue as well as shed a typographic spotlight on the largely ignored region of the Maghreb in terms of writing and design traditions. The specific goal of the collaboration is the research and development of tri-script font families (for Latin, Arabic and Tifinagh) that can communicate harmoniously.

    Behance link.

    Interview by Unostiposduros. [Google] [MyFonts] [More]  ⦿

    Laval Chabon

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

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

    Lazar Dimitrijevic
    [Posterizer KG]

    [MyFonts] [More]  ⦿

    Lazy Crazy
    [Vadim Yakunchikov]

    Free original Latin/Cyrillic handwriting fonts: Floydian Cyr, LC Construct, LCBagira, LCChalk, LCBody, LCBlowzy, 2000year, LC Fence, LazyCrazy. (Click on "Things".) LC Embroidery. Fonts by Vadim Yakunchikov. [Google] [More]  ⦿

    LCD Graphics
    [Gianni Sinni]

    LCD Graphics has an impossible page. It is a company founded in 1982 by Gianni Sinni (b. 1960) and Franca Gori in Florence. It seems like it has some fonts by Gianni Sinni such as LetteraTrentadue (1995), created as an homage to the Olivetti typewriter (with a Cyrillic version to boot, see here for the Russian typewriter font). Cut Up (1995) has letters obtained by cutting and pasting parts of letters. New Tuscany (2001) too has letters created by a montage process---it is a surprisingly elegant atmospheric font. Kiub (T-26, 2007) is a wonderful rounded blockish shadow display family. Dada Sans (2006) is a basic simple sans family. In the 1980s, Sinni was art director of the magazines at Westuff and Emporio Armani. Other URL. [Google] [MyFonts] [More]  ⦿

    LCT (or: Atelier La Casse)
    [Quentin J. Stavinsky]

    LCT stands for La Casse Typographique, a graphic and type design studio in Nantes, France, started in 2013. One of its partners, Quentin J. Stavinsky, created the didone caps typeface LCT Palissade (a titling didone with bracketed serifs). Other typeface by La Casse include LCT Baladur (a legible text typeface), LCT Pims (signage script).

    In 2015, he published LCT Sbire (a stylish take on the humanist / renaissance tradition, with ample flaring of the strokes).

    Typefaces from 2016: LCT Ragnarok PE (a copperplate display typeface for Latin, Greek, and Cyrillic).

    Typefaces from 2018: LCT Picon. [Google] [MyFonts] [More]  ⦿

    least1234

    FontStructor who made the squarish typeface Leafy (2011). With over 1600 glyphs, it covers Basic Latin, More Latin, Extended Latin B, Extended Latin A, Greek and Coptic, Cyrillic, Katakana, Hangul, Georgian, Bopomofo, Even More Latin. [Google] [More]  ⦿

    Lebedev Studio
    [Roma Voroneshski]

    Roma Voroneshski (Lebedev Studio) designed the free Cyrillic screen fonts WebCondensedC and WebSmallC. FON format only. [Google] [More]  ⦿

    Leeza Chepugova

    Kyiv, Ukraine-based designer of the bold poster typeface Fedorro (2020), which covers Latin and Cyrillic. [Google] [MyFonts] [More]  ⦿

    Leka Lovich

    Russian creator of a broken outline shaded signage face, Tsirkusach (2009). [Google] [More]  ⦿

    Leksandra: The relatively easy way to find out the quality of a Cyrillic typeface

    A 2014 article that points out common mistakes in Cyrillic typefaces. [Google] [More]  ⦿

    Lemkos
    [Gavin Helf]

    Font page for people from the Carpathian mountains created by Walter Maksimovich. Several Ukrainian Cyrillic TrueType fonts (ER Kurier, ER Univers, ER Bukinist, ER Architect Proportional) designed by Gavin Helf. Also a Polish New Times font (free). Gavin Helf's ERUniversIF2 and ERUniversIV2 (1994; modified by Curt Ford for "Digital Russian" project, 1998; subsequently remodified for Internet use by Ken Petersen, 1998) are also here. [Google] [More]  ⦿

    Lena Riabova

    Graphic designer from Saint Petersburg, Russia, who graduated from National Academy of Arts and Architecture of Ukraine, faculty of graphic design and fine arts. She created a few experimental Cyrillic typefaces. [Google] [More]  ⦿

    Lena Savicheva

    Moscow-based designer of the grungy Cyrillic typeface TUF (2012). [Google] [More]  ⦿

    Lena Shagieva

    Moscow-based illustrator. Home page. Her first font is the grungy Nudrop (2010). [Google] [More]  ⦿

    Leo Lonsdale

    Designer in Melbourne, Australia, who created display or logo fonts such as a Latin alphabet Short Film Festival (2016) and a Cyrillic font called Constructivism (2016). [Google] [More]  ⦿

    Leo Partus

    Saint Petersburg, Russia-based graphic designer and illustrator. Creator of Dia De Los Muertos Font (2013), a spectacular illustrated caps typeface for Cyrillic. [Google] [More]  ⦿

    Leo Philp

    MyFonts lists him as Leo Philip, but it should be Leo Philp, without an i. Scottish student-designer at the University of Reading of Makar (2014), a Latin / Gurmukhi / Cyrillic / Greek typeface family whose angular forms confirm Philp's description of Makar---an opinionated typeface for opinionated texts.

    In 2020, he released the (variable) text typeface Fulmar at CAST, and wrote: Named after a practical seabird, Fulmar is a modern Scotch intended for extended reading. More European than American, it draws on a range of influences from around the North Sea, from Fife's Alexander Wilson to 17th-century French experiments in modulation and 18th-century Belgian flash, and combines them with contemporary structure and proportions.. [Google] [MyFonts] [More]  ⦿

    Leonard Posavec
    [Creative Toucan (was: Leo Supply Co)]

    [MyFonts] [More]  ⦿

    Leonardo Di Lena
    [Flanker (or: Studio di Lena)]

    [MyFonts] [More]  ⦿

    Leonardo McClaren

    Melbourne, Australia-based designer of a Cyrillic constructivist alphabet in 2018, as well as a custom typeface for the festival of short cuts (also in 2018). [Google] [More]  ⦿

    Leonid Silkin

    Designer at Graphic bureau Az-Zet of the Cyrillic/Latin fonts AZ HighWayC (1990-1995, similar to Broadway, Morris Fuller Benton, ATF, 1928), and AZ PoligonC (1990-1995). See also here. He also designed the educational font series Didactica (1997), useful for both Latin and Cyrillic. [Google] [More]  ⦿

    Leonid Zorin

    Russian designer of the Cyrillic/Latin fonts BandyCyr, Blaze, Decorlz (2001) and Whirl Cyrillic (2000).

    Fontspace link. [Google] [More]  ⦿

    Lera Bazankova

    Graphic designer in Moscow, who created the multilined Latin typeface Guitar (2014), which uses Avant Garde Gothic's skeleton. Behance link. [Google] [More]  ⦿

    Lerfu
    [Mark E. Shoulson]

    Lerfu is Mark E. Shoulson's foundry located in Highland Park, NJ. Creator of a variety of fonts:

    • The Visible Speech Fonts in metafont and truetype cover a phonetic alphabet invented by Alexander Melville Bell (his son was Alexander Graham Bell). Bell was a teacher of the deaf (as was the younger Bell), and this alphabet was intended as an aid to teaching the deaf how to pronounce words. An example is VS MetaPlain PUA.
    • Marin, MarinCaps, MarinCapsItalic, MarinItalic: four free extensive phonetic truetype fonts made in 2004. They also cover Cyrillic, Greek and Hebrew.
    • Okuda: A metafont for "Okuda" orthography of pIqaD (Klingon language). This font was later modified by Olaf Kummer.
    • Gill Hebrew (2004, based on Gill Sans) and Shen (2004), both sold via Shoulson's foundry at MyFonts, called Lerfu.
    • Itonai (2005), a Hebrew version of Times New Roman, also sold via Lerfu.
    [Google] [MyFonts] [More]  ⦿

    Lesha Melnikov

    Russian designer.

    Dafont link.

    Creator of the dadaist font Jek5 (2012). [Google] [More]  ⦿

    Lesha Pushkarev

    Moscow, Russia-based co-designer, with Vladyslav Boyko, of the free Latin / Cyrillic display typeface Rimma Sans Bold (2021), that takes inspiration from concrete buildings and monumental architecture. Rimma Sans is rooted in the square grid and is named after Russian architect Rimma Aldonina. [Google] [More]  ⦿

    Lestovka
    [Victor Zabavin]

    Old Slavonic archive of Victor Zabavin: EvangelieDigits, Evangelie (1994, by A. Shishkin and N. Vsesvetskii), Izhitsa, Peterb_Mod, SvobodaFWF (1992). [Google] [More]  ⦿

    Let Us
    [Bjørn Hansen]

    Let Us is the Copenhagen-based studio and type foundry of lettering artists Bjørn Hansen and Sean Donohoe. As of 2016, their typefaces include Groenthandler (grotesque), New Standard (octagonal and grungy, developed in association with Anthony DeMarco: first cut out of wood, then inked, and then printed multiple times to get the right tactile feel), and Thelab (a neutral sans for Latin and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Leta Che

    Graphic designer in Saint Petersburg, Russia. Creator of the ornamental caps typeface for Latin and Cyrillic called The Life of a Scottish Terrier (2012), and of the Cyrillic display headline typeface Krugosvet (2012). [Google] [More]  ⦿

    Letter Database
    [Indrek Hein]

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

    Letter Muzara
    [Anna Tsuranova]

    Russian designer of Qisharon (2019: a stylish sans for Latin, Greek, Cyrillic, Hebrew and Arabic), Omorphia (2019: influenced by the squarish Hebrew Sephardic style; covering Latin, Greek and Curillic) and Cursivica (2019) for Latin and Cyrillic.

    Typefaces from 2020: Ribuah Sans (a sans serif font with high contrast, inspired by Bodoni and brutalism). [Google] [MyFonts] [More]  ⦿

    LetterBe
    [Rustam Gabbasov]

    LetterBe is Rustam Gabbasov's Russian foundry, located in Ufa, Bashkortostan. He designed Booster and Booster Amp (2005) and Truefaret (2005, stencil). All fonts have Latin and Cyrillic characters. Valery Zaveryaev designed the display typeface Brut (2005), the stencil typeface Marshrut (2005), the fat display family Quadratish (2012) and the octagonal family Teco. [Google] [MyFonts] [More]  ⦿

    Letterhead Studio IG Fonts
    [Illarion Gordon]

    Illarion Gordon was born in Moscow in 1958. Since 1996 he works as a freelance illustrator. He is a member of the Letterhead Studio. In 1996, at the Golden Bee Biennale of graphic design, Illarion Gordon was awarded a special prize of ParaGraph International for his typefaces, Probbarius and Strelochnik. He created the Platinum family in 1998, a typeface that wo an award at Kyrillitsa'99. It has the look of a hand-drawn serif face. Illarion Gordon made the fun fonts Strelochnik (1996, irregular hand), Probbarius (1996), Monte Summa (1997), as well as Rahit (1998, kid's handwriting), Rough (2000, blotchy hand), Simpel (kid's hand), St. Valentin (2001), Accept (1998), Kartofel (2000, irregular handwriting), LangobardR (1999), Ospa (1997, funky handwriting), Platinum (1999, informal script).

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

    Letterhead Studio VG Fonts
    [Valery Golyzhenkov]

    Letterhead Studio is located in Moscow. One of its designers, Valery (or Valerio) Golyzhenkov (b. 1965, Moscow) cofounded Letterhead Studio in 1998 with Yury Gordon and Olga Vasilkova, and has since designed over 100 typefaces. Still based in Moscow, he published the following Cyrillic fonts at Letterhead: 04.07 (1998), 532 Antique (2020), Accademico (2020), AeroBonus (2010-2014: for Aeroflot), Aeronautic (2020), Alfavita (awarded at Paratype K2009), ArtChronika, Artificio (2020), Atlas 1904 (2010), Atmosferico (2019), Barrytone (2005), Basalino (2020), Bort#1 (2000), Bramb (2019), Capitul (2015), CardHolder (1997), Channel (2004-2007: 24-style rectangular family), Chellebrity (2004, screen), DBL Cheque (2009, 22 styles), Cracker (1997), Cubes (2000), DBL Check, Dead Metro (1997, a constructivist family renamed Dead Mementro in 2017), Dicesimo (2019), Do Not Touch (1997), Dotlandino (2020: a dot matrix family), Dream Team (2000), Edgipto (2020), Edicolta (2020), Fabiola (2020), Feidi (2020), First Prize (2016, techno style inspired by Futura Display), Florisel (2020), Formalista (2001, squarish), Gamering (+Sans, 2009: a game font), Garbage (1997), GarbEdge (1997), Garmony (1997), Gibra (2020), Grammatik or Grammatika (1997), Haarddy (2020), HandsOn (1997, children's book font), Hole Down (1997), Ice Cola (2000), Interchargeable (2020: an all caps sans), Kabotage (1998, octagonal), Karkas, Kassa (2002, octagonal), Kren (1998), Laborant (2000), Lavert Noise (1997), Lexica (2010), Libellula (2018: a monoline display sans), Local Xellebrity (2010), Magrit (2020), Matrrolla (2001, octagonal), Medved (2010, angular), Method Two (2016: organic sans), Mnickers, Mono (2000), Monomania (2017), Musor (1997), Odessa 1832, OneCode (1998), Panetteria (2019), Pecorino (2019), Pricelist (2017), Primitiv (1998), Principal (1998-1999), PsyType (2013, an organic sans family done at Letterhead), Quando (2019: deco), Recruit (2004, octagonal), Remont (2000), Romb (2010, a Latin / Cyrillic poster typeface family), Rounded Slab (2009), Rounds (basic dingbats), Samizdat (2019), Silver Winner (2000), Sklad (2000), Soyombo Serif (2020), Soyombo Sans (2020), Stampit (2000), Svyaznoy, Uglaya (2019), Ugloed (2019), Upadok (1997, futuristic), Vestimentarno (2019: rounded sans), WTF Didot (2016, by Valery Golyzhenkov and Letterhead for WTFashion Magazine), WTF Special (2015), YE Stencil (2009), Zanoza (2005), Zaplyv (1997), Zeppelino (2020: a sharp-edged slab serif).

    Paratype link. Dailytype link. Klingspor link. Behance link. Type Tomorrow link. [Google] [MyFonts] [More]  ⦿

    Letterhead Studio VV Fonts
    [Vsevolod Vlasenko]

    Letterhead Studio is located in Moscow. One of its designers is Vsevolod Vlasenko (b. 1981), who graduated from Stroganov Moscow State University of Arts and Industry, Master of Design program, in 2005. He is currently located in Prague, where he is senior designer at Live Ocean. He created these typefaces:

    • Dreamland Roman (2008-2009). Curly letters.
    • Unhooked Roman and Johnny The Hook Roman (2008-2009).
    • Bookvarium (2010). A playful didone.
    • Insomnia (2007). A slightly curly almost upright script.
    • Unhooked Cyrillic (2014).
    • Noodle (2014).
    • Light Dreams (2015). A hyper-curly floriated font.
    • Dictio (2018).
    • Artuso (2021). A tall modulated all caps display typeface that Blake Edwards would have used in the Pink Panther series had it been available back then.

    Behance link. His graphic design and photography studio. Live Ocean link (Vilnius, Lithuania). [Google] [MyFonts] [More]  ⦿

    Letterhead Studio YG
    [Yuri Gordon]

    Letterhead is Yuri Gordon's (b. Moscow, 1958) Moscow-based foundry which publishes mainly Cyrillic fonts. Its coowners are Valery Golyzhenkov and Olga Vassilkova and it was established in 1998. It evolved from Garbage Type Foundry. Not to be confused with Chuck Davis' Letterhead. The main designer is Yuri (or: Jury) Gordon, the Moscow-based designer of the Type Directors Club 1999 award-winning designs Dve Kruglyh and FaRer Cyrillic, available from Paratype. URL at Yakovlev's Foundry. Picture. Article in the Moscow Times (2006), in which he proclaims: Better to make five fun and tasty new display fonts than one old, boring (and you thought it would look fresh!) text font. He is a graphic designer, illustrator, type designer, engraver and copyrighter. He is Art Director of several magazines.

    • Yuri Gordon created AntiQuasi (2008, a nice lightly slabbed serif family), Babaev [1996; inspired by the Russian Art Nouveau typefaces, initially created as a part of a corporate identity programme for Babayevskoye AO of Moscow], Artemius (custom designed family for Art Lebedev Studio), Barrizmo (2004), Bistro (1997, hand-printed), Chantage (2000, handwriting), Conqueror Text, Conqueror Slab and Conqueror Display (large families), Conqueror Sans (2005-2010), Conqueror Text (2005-2010), Costa Brava (2003, fun script described as beach type), Costa Dorada (2003), Dva Probela (1997-1998), Dve Kruglyh (1997, unicase), Excession (1999), FaRer [1994; art deco typeface inspired by the work of Russian graphic artists Vladimir Favorsky (1886-1964) and Ivan Rerberg (1892-1957), especially by Favorsky's lettering of 1924 and by Rerberg's of 1935. Dedicated to the Moscow Underground (Metro). Obtained an award at the 1997 TDC competition], Forward No. 10 (1995-1996), Forward Grotesque No. 9 (1998-2000), Gordoni (his take on Bodoni), GiardyOla (2008-2019), Handy, HotSause (1997, irregular handwriting), Karkas (2004, a manly sans), Little Shift (1999), Method (2002, a sans family), Minusmanscript (1998, calligraphic), Mr. Mixter (2011), Non System (2000), OptiMyst (1997), ResPublicana (1999), Sivtzev Vrazhek (1999, + mono), Michelle (2004, medieval), Naylorville (2004), Probel (1997-1998).
    • Illarion Gordon made the fun fonts Strelochnik (1996, irregular hand), Probbarius (1996), Monte Summa (1997), as well as Rahit (1998, kid's handwriting), Rough (2000, blotchy hand), Simpel (kid's hand), St. Valentin (2001), Accept (1998), Kartofel (2000, irregular handwriting), LangobardR (1999), Ospa (1997, funky handwriting), pLatinum (1999, informal script).
    • Valery Golyzhenkov's fonts from before 2000 are typically destructionist. He made 04.07 (1998), Bort#1 (2000), CardHolder (1997), Chellebrity (2004, screen), Cracker (1997), Cubes (2000), Dead Metro (1997, a constructivist family renamed Dead Mementro in 2017), Do Not Touch (1997), Dream Team (2000), Formalist (2001), Gamering (+Sans, 2009: a game font), Garbage (12997), GarbEdge (1997), Garmony (1997), Grammatika (1997), HandsOn (1997), Hole Down (1997), Hot Sauce (2009, Yuri Gordon), Ice Cola (2000), Kabotage (1998, octagonal), Kassa (2002, octagonal), Kren (1998), Laborant (2000), Lavert Noise (1997), Matrrolla (2001, octagonal), Mono (2000), Musor (1997), OneCode (1998), Primitiv (1998), Principal (1998-1999), Recruit (2004, octagonal), Remont (2000), Rounds (basic dingbats), Silver Winer (2000), Sklad (2000), Stampit (2000), Upadok (1997, futuristic), YE Stencil (2009), Zaplyv (1997), Zanoza (2005).
    • Custom typefaces for companies or special projects: 19oclock (2004, Yuri Gordon: for Vernost Kachestvu confectionery factory), AlfaBank, Always, Anteus, Artemius, Alexey, Atlas-1904, Bat Sans, Bat Roman, Calendarus, Carlis, Cifirki, CTC Screen, Digrol, Digimag, Esquire, Gulliver UTS, Gurmania_MA (2004, handwriting), Hi Afisha, In CaST, Ka, Kater, Komet, Kostro, Lumene Script, N.B.T., Nochnoi Dozor, Odessa, Progress Custom, Redd's, Robb Report New, Rolling Stone 2003, Rolling Stone 2005, Romb (2010), Rosbank Sans, RMA 2006, Salon Script (2007, calligraphic), Salon Antiqua (2007), Seventeen, N.Side, W.Side, Sivtzev Vrazhek, Snickers, Sovereign, STS Vizion, Svyaznoy RF (2008, sans), ToShi, Trust, Whiskas lettering, Zabava.
    • Typefaces and/or lettering from 2007-2009: Barocco Mortale (2005-2007curly script), Barocco Mortale Borders, Alfavita (ornamental caps by Goluzhenkov), Fleurs du Mal (2008, a Baudelarian antiqua, mischievous and decadent), DBL Cheque (by Goluzhenkov), Medved (by Goluzhenkov), YE Stencil (by Goluzhenkov), 21Cent (2009, related to Century; +Cyrillic; +Thin; +Black; advertised as not Century, not Clarendon, this fresh family is sure to win awards), Antiquasi (2008), Around the world, Bazaarban (2009, for Harper's Bazaar), Blacksteel, Citizen M (art deco), EsqGuardi (for Esquire), the curly Naska, with accompanying dingbats Naska Kozliki, the bird dingbats Udo Birdo, and more at Flickr.
    • Production in 2012: Digital October, Red Square (constructivist), Red Ring (art deco sans), Baker Street 221B (anglomane grotesque).
    • In 2013: Clarendorf (a hand-printed spoof on Clarendon), Bonvalet (large x-height sans), Bazaart (an art deco typeface for Harper's Bazaar), The drop-dead gorgeous condensed American slab and sans serif typefaces Mr Palker and Mr Palkerson.
    • Typefaces from 2014: 20 Kopeek (sans family with steampunk influences).
    • Typefaces from 2015: Buffon (a spaghetti Western italian typeface), Mr Palker Dad, Mr Palker Dadson.
    • Typefaces from 2018: Atomic Alice (a simple stocky sans family).

    Author of the acclaimed 384-page book Book of Letters From  to ” (2007, Art. Lebedev Studio).

    Behance link. Art by Yuri. Issuu link. Klingspor link. Behance link for Yuri Gordon. Art Lebedev link.

    View Letterhead YG's typefaces. [Google] [MyFonts] [More]  ⦿

    Letterjuice
    [Pilar Cano]

    Letterjuice is the British type foundry of Pilar Cano, who graduated from the University of Reading, 2006, but started out life in Barcelona. After graduation, still in 2006, she co-founded Mídori, a graphic design studio specialised in editorial design. Letterjuice is based in Brighton, UK.

    Coauthor, with Marta Serrats, of Typosphere (2007, Harper Collins). Creator of these typefaces:

    • Edita (2006), an informal sans family that also covers kana for Japanese. This typeface was finally published in 2009 at Type Together. It was followed in 2011 by additional weights in Edita Book.
    • Techarí (2006, +Extra) comes from a commission in which the brief consisted of the creation of a typeface family to be used for the design of the third disc of the band called Ojos de Brujo based in Barcelona. This disc was called Techarí, which means free in Caló, the language of the Spanish gypsies---it also has a stencil version.
    • In 2010, she is working on an elliptical sans that covers Latin, Cyrillic and Greek.
    • Techarí (2010) is an extremely elegant custom family.

      Xuppis (2012) is a commissioned logotype for a candy shop in El Masnou, Barcelona.

      Together with Lluis Sinol, she designed the custom sans typeface SEAT (2013) for Latin, Greek and Cyrillic.

    • Quars (2013). This angular typeface family, co-designed with Ferran Milan, grabs elements from Scotch Roman and old Dutch typefaces.
    • Sapmi (2013). A custom typeface for the Sami children.
    • Baldufa (2014, Ferran Milan Olivares): an award-winning flared, calligraphic and subtly rounded serif typeface family for Latin and Arabic. In 2021, Ferran Milan and Pilar Cano released Baldufa Greek Ltn (Greek and Latin), Baldufa Greek, Baldufa Cyrillic Ltn, Baldufa Cyrillic and Baldufa Paneuropean.
    • Aanaar (2014) was originally designed for children's textbooks.
    • Seat Sans is a corporate typeface co-designed with Minsk Disseny in 2014.
    • Catalana Serif won an award at Granshan 2014 in the Greek typeface category.

      Pilar Cano, Spike Spondike and the Dalton Maag team won an award at Granshan 2014 in the Thai typeface category for HP Simplified.

    • In 2017, Jordi Embodas's Trola family was updated, improved and expanded to Cyrillic. The Cyrillic version was designed by Letterjuice (Pilar Cano & Ferran Millan) under the supervision of Ilya Ruderman and Yury Ostromentsky.
    • Bespoke typefaces include Saffron Display (2017), Screwfix (2017) and Catalana (2016).
    • Pilar Cano and Ferran Milan bundled their efforts once again in 2018 for the Latin / Thai typeface family Arlette (TypeTogether).
    • In 2020, she published Portada Thai at TypeTogether to complete the text typeface Portada (2016) by José Scaglione and Veronika Burian.
    • Nawin Arabic (2022). An informal Arabic typeface inspired by handwriting by Pilar Cano and Ferran Milan.

    Interview by Unostiposduros. Cargo Collective link. MyFonts link. Behance link. Wiki page. Klingspor link. Behance link for Letterjuice. [Google] [MyFonts] [More]  ⦿

    LetterPalette

    LetterPalette was founded in 2017 by Serbian type designers Ana Prodanovic and Vedran Erakovic. In 2017, Ana Prodanovic designed the modern text family Obla, and Vedran Erakovic created Stena. In 2018, Vedran Erakovic added Ana, a layered set of decorative capitals. Plener (2018) is an experimental layerable font family by Ana Prodanovic.

    Typefaces from 2021: Orto Sans (by Ana Prodanovic). [Google] [MyFonts] [More]  ⦿

    Lettersoup
    [Botio Nikoltchev]

    Also written Botjo Nikoltchev, b. 1978, Sofia, Bulgaria. Botio studied graphic and type design in Potsdam. He is living and working as a freelance designer in Berlin. He studied communication design at the University of Applied Science Potsdam and took type design classes with Luc(as) de Groot. After his studies Botio worked with Ole Schäfer (Primetype) on the Cyrillic characters of PTL Manual, PTL Manual Mono and PTL Notes. Since 2010 he has been collaborating with Ralph du Carrois and Erik Spiekermann as type designer and art director at Carrois Type Design, focusing on Cyrillic, Greek and Arabic language extensions and CI projects. In 2014, he set up the commercial type foundry Lettersoup.

    Creator of the free font Ropa Sans (2012, Google Web Fonts, +Arabic, +Ropa Soft, 2014). The typeface is in DIN's circle of friends.

    Sofadi One is a scriptish font that is free at Google Web Fonts.

    Share Tech Mono (2012, Google Web Fonts) is a monospaced sans face. Share Tech (2012, Google Web Fonts) is its proportional version. Both are derived from Share (2012, Google Web Fonts). He helped with the Greek and Cyrillic portions of FF Meta Serif.

    Corporate fonts by Botio include MMH Netrange Cyrillic + Greek + Arabic, Cisco, Meta Science and Exploratorium Sans. He designed the icons for Museo de Art de Ponce.

    In 2014, Botio designed the humanist sans typeface family PTL Manohara (Primetype) for Latin and Cyrillic.

    In 2016, a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf designed an 8-style Latin / Greek / Cyrillic stencil typeface, Milka, which is based on an original stencil alphabet from 1979 by Bulgarian artist Milka Peikova. Later in 2016, he published the nearly geometric sans family Quasimoda, which covers a full range of weights, from Hairline to Heavy.

    Typefaces from 2017: Attractive (a free sans, done with Ani Petrova), Ropa Mix Pro.

    Typefaces from 2019: Rouse Sans (by Botio Nikoltchev and Ani Petrova: based on Sofia Sans).

    Typefaces from 2021: Apparat (an 88-style geometric sans family that was given a humanistic treatment).

    FontShop link. I Love Typography link. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

    Lev Alborov

    Born in Tskhinvali, South Ossetia, in 1965. In 1982 Alborov graduated from Tskhinvali National High School No.2. He entered the Department of Engineering of the Bauman State Technical University in Moscow (class of 1988). Until 1996 he worked at Tbilisi Aircraft-Building Corporation. Since 1996 Alborov works for the RSO-Alania State Research Center. He gave a license for his type Ger (1998, kaleidoscopic dingbats) to ParaType. This type is based on forms of national Ossetic ornament. Ger won an award at Kyrillitsa '99. FontShop link. [Google] [MyFonts] [More]  ⦿

    Lev Malanov

    Russian designer with Yelena Tzaregorodtseva of the Antiqua typeface Journal (1951-1953, Polygraphmash type foundry). This was based on Excelsior (1931, Chauncey H. Griffith, Mergenthaler Linotype). Digitized as ParaType Journal in 1994. FontShop link. [Google] [MyFonts] [More]  ⦿

    Level Up
    [Paul Glazkov]

    Smolensk, Russia-based designer of these fonts in 2019: Wider, Stenciler (a space age stencil font for Latin and Cyrillic), Fairytaler. [Google] [More]  ⦿

    Lewis McGuffie

    British graphic designer and sign painter who was at some point in Tallinn, Estonia. Graduate of the MATD program at the University of Reading, class of 2019.

    Old German Baltic maps gave him the inspiration for the signage family Livo Display (2014). Other typefaces, all done in 2015: Imperija Roman (2015, an impressive Trajan typeface for posters and editorial use; Lewis explains: The original letters were drawn from a memorial engraving in Ljubljana, Slovenia), Trout Beer (display type), Andra Roman (a humanist sans based on a letter sample dated around 1920 found in the Estonian History Museum), Cream (an Italian western type based on an original wood type), Gauss (a pointy stencil type), Heath Egyptian (based on Caslon's Two-Line Egyptian: a custom type for London-based craftsman Daniel Heath), Poison, Titanik Tuleva, Hebden (a grotesque and incised pair inspired by the original signs at Hebden Bridge train station in Yorkshire).

    Typefaces from 2016: Fleischer Display, Bobik (a sans / slab / wedge serif triplet of fonts initially developed based on basic principles described in Jean Alessandrini's Codex 80), Cindie Mono (four monospaced fonts of widely varying widths), Cenotaph Titling (a free engraved titling typeface influenced by Eric Gill's inscriptions).

    Typefaces from 2017: Osselian Demi (lapidary), Borough Grotesk (free; updated to Pro in 2018), Tusker Grotesk (a headline grotesk in the tradition of Haettenschweiler, Impact and Helvetica Inserat; influences include Inland Type's Title Gothic No.8 and Stephenson Blake Elongated Sans No.1), Gardner Sans.

    Typefaces from 2018: Chicken Shop Gothic (a condensed grotesk published by Typeverything: partly inspired by Benguiat's 1968 sample book Psychedelitype and part-nod to the stretched tacky stick-on-vinyl lettering on the windows of late-night takeaways, Chicken Shop is a variable font with a super-size height axis), Zierde Grotesk (a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richard's own range of grotesques. The ornaments were inspired by J.G Schelter & Giesecke's 1913 type specimen book Die Zierde). Sortie Super (Italian stress Western font). During his studies at Ecole Estienne (Paris), Manuel de Lignières (Montpellier, France) published Waba (2018) with Lewis McGuffie. Inspired by woodblock types and art nouveau, Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. The free variable font Waba Border (2018) was added by Lewis McGuffie. Find Waba at Typeverything.

    Typefaces from 2019: Cham (heavy, octagonal, based on fascia lettering from 1875 in Liverpool; released by Typeverything), Chicken Shop Gothic (a condensed poster sans, with a variable type option), Columba (a variable font done for his graduation at MATDi with Latin, Greek, Cyrillic & Hebrew coverage and optical size and weight axes; Grand Prize winner at Granshan 2019).

    Typefaces from 2020: Salford Sans (an 8-weight headline sans family; a collaboration between Lewis McGuffie (Latin, Greek, Cyrillic), Dave Williams of Manchester Type (Latin, Arabic) and Elsa Baussier (symbols)), Jooks Script (in the style of Kurrent and Sütterlin; reviving Walter Höhnisch's Werbeschrift), Auroc (a flared incised petite-serif), Cindie 2 (an extension of Cindie Mono, this family has 26 monospaced widths).

    Typefaces from 2021: Tekst (a Latin / Greek / Cyrillic font family based on Literaturnaya---a book type popular in the Soviet Union; it comprises ekst A (Analog for print), Tekst D (Digital for screen) and Tekst M (M for Mono)).

    Typefaces from 2022: Mushy (a soft-edged joining script display type with four substyles, Cheese, Butter, Yoghurt and Cream), Rulik (unicase, uncial), Narwa (a wonderful all caps poster typeface).

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

    Lex Kominek

    Calgary-based designer of Naranja (2005), an experimental typeface built up of quarter circles and L-brackets. Its dingbats are inspired by Clockwork Orange. Faces made with FontStruct in 2008: Robot Builder (Solid, Shaded and Open: squarish typefaces), Polygonal Lasso (Far West type: 938 glyphs for Latin, Latin Extended A & B, Greek, Cyrillic, and Katakana), Marshmallow Script (based on Einhorn, Eclat, Deftone Stylus, and Magneto, all connected diner scripts), Crazy Eights (deck of cards), Ficus Stencil (+Compressed, +Condensed, +Extended, +Regular, +Zebra, +StencilOpen), Big Fat (+Vibrate, +Solid, +Shaded), Negatron (Regular, Solid and Fill), Tuscan Radar, Nuclear Depot Americum (495 glyphs consisting of stars), Nuclear Depot (Radioum, Neptunium, Plutonium, Uranium: a futuristic family that covers Cyrillic), Am I see are you pee see, eh? (a font that combines MICR with UPC-A). The links: big_fat_shaded, crazy_eights, ficus_stencil_compressed, ficus_stencil_condensed, marshmallow_script, negatron_fill, negatron_regular, negatron_solid, serpent_like_bold, tuscan_radar.

    2009 creations: Haemophobe (pixel), Star Wreck, Mouthcaster (a bilined typeface based on the lettering on the front of the 1978 edition of the Scoutmaster's Handbook), Pasta (white on black), Medical Station Alpha (techno), Disco Stud (Chrome, Solid, Chrome Oblique, Solid Oblique), Affix, Infix (experimental and minimalist), Pinball Blizzard, Tears in Rain (a simplistic textura), Five Minute Hair Colour (slab serif), Seg Sixteen (LED face), Trajedy (pixel), Nobody 8 Italic (pixel), Home Sweet Home (a cross-stitch font), Wotan, Tiki Deaky, Writetyper, Chromatose (shadow family), Chocobot (an octagonal family containing Dark, Stacked (multilined), Milk, White), Big Fat (Shaded, Vibrate, Solid).

    2010 creations: Fungal Sharp, Fungal Rounded (described by himself as a unicase stovepipe sans), Elliptical Lasso (Western ornamental caps), Astral Projection (a dot matrix typeface that updates Astra, a Letraset font designed by François Robert and Natacha Falda in 1973), Brick-block tops (3d effect), Knots, Spacerock (an extensive arc-based geometric family), Telephone (counterless), Pixular, StarWreck the Next Generation, Hockey Club, Brick-Block Tops, Bubblemania, Ziabelle Remix (outline, 3d, shaded), Hextone, Falcone (robotic face), but I didn't Trap the Deputy (Egyptian), Dinosaur Gothic.

    Fonts from 2011: Apé'ritif (bilined), Csillagok (a futuristic face based on a Hungarian Star Wars poster), Valhalla (faux runic), Birodalom, Haboruja, Piezo, Felix (black art deco face).

    Typefaces from 2013: Portafina, Portofino.

    Typefaces from 2014: Hanz and Franz, McRasky (a MICR font), Apricpt, Classic Spacerock, Five Minute Hair Colour.

    Typefaces from 2015: Big Fat Shaded Neue, Rampy, Managrom (monogram font), Spagett (connected cursive script). [Google] [More]  ⦿

    Leyli Bal

    Kazan, Russia-based designer of the free Cyrillic typeface Rio (2016), which is unrelated to the typeface used in the Rio 2016 Olympics. [Google] [More]  ⦿

    LHFONTS
    [Olga Lapko]

    Package written in Metafont by Vladimir Volovich, Alexander Berdnikov, Andrey Khodulev and Olga Lapko. Based on Computer Modern and a few other metafont sources, this package covers Cyrillic. As part of Bakoma TeX, the metafont set was converted to type 1 by Basil K. Malyshev using mf2ps. That package now contains 304 type 1 fonts in T2A TeX encoding. The fonts are available in Adobe Type 1 format, in the CM-Super family of fonts. [Google] [More]  ⦿

    Li Zhiqian

    Designer at the Shanghai, China-based type foundry 3type of Weaf Mono (2017-2018), a monospaced monolinear sans family created together with Zheng Chuyang, covering Latin, Hanzi (Chinese), Arabic, Cyrillic and Devanagari. It also has some emoji characters.

    In 2017, he designed Xingkai Next (2017), a modern polygonal typeface for Hanzi, derived from cursive handwriting and Chinese calligraphy.

    In 2018, he released Astronomer (2018), an attractive Latin / Hanzi text typeface that refers to the Ming Dynasty astronomer / mathematician / scholar Xu Guangqi (aka Paul Siu, 1562-1633). [Google] [More]  ⦿

    Liana Shushanyan

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

    Libertine Open Fonts Project
    [Philipp H. Poll]

    Now, here is a project with a name I like! This project by Philipp H. Poll has been started in order to create fonts that can be released under the GNU Public License. As of early 2005, we have the following Times New Roman lookalikes: LLibertineCaps, LinLibertine, LinLibertine-Italic, LinLibertineBd. Libertine Grotesque is next on the list of things to do. The fonts came in truetype and fontforge (SFD) text formats, but have now been extended to include opentype and type 1 as well. Linux Libertine covers a big range of Unicode, including all characters in MES-1 (Afrikaans, Albanian, Basque, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish, Frensh, Frisian, Galician, German, Greenlandic, Hungarian, Icelandic, Irish Gaelic (new orthography), Italian, Latvian, Lithuanian, Luxemburgish, Maltese, Manx Gaelic, Moldavian (with restrictions), Northern Sámi, Norwegian, Occitan, Polish, Portuguese, Rhaeto-Romanic, Romanian (with restrictions), Scottish Gaelic, Slovak, Slovenian, Lower Sorbian, Upper Sorbian, Spanish, Swedish, Turkish, Welsh (with restrictions)), IPA, Greek, Cyrillic, math symbols, and a host of other symbol and language sets. TeX archive. The typophiles are not impressed. Charles Ellertson writes: The bowl of the "a" doesn't fit other letters, the top and terminal of the "f" doesn't know where it is going, the descender of the "y" doesn't balance quite right, and the serif on the upper arm of the "z" (which probably reminded the original poster of Caslon) seems out of place. I get the impression, again from the small sample, that the font doesn't quite know whether it is supposed to be slightly condensed or slightly expanded.

    In 2007, the following weights are available: Normal, Kursiv, Fett, Fett Kursiv, Kapitaelchen, Unterstrichen, Grotesk. As a measure of the success of the font, we find that is now used on the logo of Wikipedia.

    As a companion font, they offer Linux Biolinum (2010): The Biolinum is an organic sans-serif and could be also described as organogrotesque (non-linear sans serif). It is still in a beta stage. Biolinum is meant for emphasizing titles but could be used also for short passages of text. For longer texts a serif font such as the Libertine should be used in favour of readability The Biolinum has the same vertical metrics and visual weight as the Libertine, so that it fits perfectly to the Libertine and can be also used for emphasizing within the body text. In 2017, Biolilbert was born out of Biolinum. Biolilbert's name is a portmanteau from Biolinum and Hilbert.

    In 2012, Bob Tennent created type 1 versions of Biolinum and Libertine.

    In 2016, LibertineGC was published by Michael Sharpe at CTAN, adding LaTeX support files for Greek (essentially complete LGR, supporting monotonic, polytonic and ancient features) and Cyrillic.

    Another effort at corrections was undertaken by Khaled Hosny in 2016 in his Libertinus family. The Libertinus font family is a fork of Linux Libertine and Linux Biolinum with many bug fixes and improvements. Also included are Libertinus Math, Libertinus Serif (from Lunux Libertine), Libertinus Sans (forked from Linux Biolinum) and Libertinus Mono (from Linux Libertine Mono). Github link. CTAN link for Libertinus, maintained by Herbert Voss.

    Dafont link. Fontspace link. CTAN link for Libertineotf. CTAN link for Libertine download. Klingspor link. Klingspor link. CTAN link. [Google] [More]  ⦿

    Libertinus
    [Khaled Hosny]

    The extensive open source font family Libertinus is a fork of the Linux Libertine and Linux Biolinum fonts that started as an OpenType math companion of the Libertine font family, but has grown as a full fork to address some of the bugs in the fonts. The family consists of:

    • Libertinus Serif: forked from Linux Libertine.
    • Libertinus Sans (lapidary): forked from Linux Biolinum.
    • Libertinus Mono: forked from Linux Libertine Mono.
    • Libertinus Math: an OpenType math font for use in OpenType math-capable applications like LuaTeX, XeTeX or MS Word 2007+. See also the slightly modified Libertinus T1 Math (2017) by Michael Sharpe.
    • Libertinus Keyboard.
    Portions of the fonts are copyright of Khaled Hosny (2012-2016), while the Linux Libertine material is originally due to Philipp H. Poll (2003-2012). All fonts have over 2000 characters, and cover all European languages, including Greek, Hebrew and Cyrillic. In addition, there is an excellent coverage of symbols in addition, of course, to the plentiful mathematical symbols.

    Khaled Hosny was the primary contributor and maintainer from 2012 until 2020, and passed the poupon in 2020 to Caleb Maclennan. Github link. [Google] [More]  ⦿

    Liberty Type Foundry
    [George Thomas]

    Commercial type foundry of George Thomas (Dallas, TX), whose fonts include Pendula (2014, art nouveau). They write: Pendula is an adaptation of Pittoresques Droites (Scenic Casual) found in the circa 1924 specimen book of La Fonderie Typographique Française. Changes to a very small number of the original characters were made to make the typeface work better with more languages, as well as for aesthetic reasons. A newly designed Cyrillic character set was added.

    In 2015, he released the penmanship font Smith Spencerian, which is a revival of a 1878 script by Richard Smith for MacKellar, Smiths & Jordan, which is possibly the most decorative Victorian script. [Google] [More]  ⦿

    Libor Sztemon

    Czech site with helpful tables of all Latin and Slavic alphabets. Downloadable fonts made by Libor Sztemon in 2001 for his software, Liborsoft, include CNR-Solca, Casy-EA-Bold (a didone), Casy-EA, Darseni-e-Afshenasi, Dee-Sathairn, Euransi-e-Nauromane, FZDHTJW--GB1-0, FZHLJW--GB1-0, GaramondWLHalbfett, Havirov, Johaansi-ye-Peyravi (blackletter), Khorshide_Iran, LiborsoftInternational, LinguaLatina, Masnavi-e-Nauromane, OldMoravianGlagolitic, Ostrava (a copy of Flyer), PrydEuro-Cymraeg, Shahanshah-e-Xatt, TNRLiboriusVII, TempsEuro-Catalan, Times-NR-Czech, Times-NR-Greenlandic, Times-of-EuransiLS, Times-of-SlaviskPSMT, Times-of-Slavs, Times-of-Tajiki, Times-of-the-West, TimesNREuskaraEuransiEsperanto, TimesNewRomanHungarian, Velehrad, VelehradBold, Zemanho-ye-Darseni, Ardashir-e-Urofarsi, Daftar-e-Urofarsi, Gam-e-Urofarsi, Jahan-e-Urofarsi, BohemiaLS, BohemiaPS-BoldLS, BohemiaPS-BoldItalicLS, BohemiaPS-ItalicLS, LiborsoftCzechia, MoraviaLS, Moravia-BoldLS, Moravia-BoldItalicLS, Moravia-ItalicLS, SilesiaLS, SilesiaPS-BoldLS, SilesiaPS-BoldItalicLS, LiborsoftSilesiaPS-ItalicLS, Miyane-ye-Urofarsi (Liborsoft), Name-ye-Urofarsi, Parvane-ye-Urofarsi, Peyk-e-Urofarsi, Sadsale-ye-Urofarsi, ahpur-e-Urofarsi, Setare-ye-Urofarsi, Siyah-e-Urofarsi, Times of Tajiki, Tarik-e-Urofarsi, Zeman-e-Darseni, Zaman-e-Urofarsi, TimesNREuskaraEuransiEsperanto, Friulan Nazzi-Faggin (2001, a didone). Another directory. [Google] [More]  ⦿

    Lidiya Dudnik

    During her studies in Kiev, Ukraine, Lidiya Dudnik created the decorative Cyrillic typefaces Peas (2016) and Spiderweb (2016). [Google] [More]  ⦿

    Lilia Chak
    [Gala Studio]

    [MyFonts] [More]  ⦿

    Lilith Laborey

    French designer who obtained an MA in typeface design from The University of Reading (2009), based on her Latin/Greek typeface Capoeira, a type family intended for bilingual publications such as brochures, leaflets and magazines, and that includes Latin, Greek and Cyrillic. She lives in Paris. [Google] [More]  ⦿

    Liliya Hanusevich

    Graphic designer in Minsk, Belarus, who created a black geometric Cyrillic typeface in 2018. [Google] [More]  ⦿

    Lilla My
    [Ringlet T]

    [More]  ⦿

    Limo Studio
    [Vitaliy Tsygankov]

    Russian codesigner, with Jovanny Lemonad, of the free rounded sans typeface Matias (2016, TypeType). In 2019, he designed the rounded sans typeface Koryaka and the sans family TS Maka. In 2020, he released TS Kirt (with a variable style; a condensed sans family).

    Typefaces from 2022: TS Remarker (a marker pen font). [Google] [MyFonts] [More]  ⦿

    Lina Grin

    Lina Grin (or: Lina Grigorenko, or Alina Grigorenko) is from Moscow, Russia, where she studied at the British Higher School of Art and Design. At that school, she designed the dada paper cutout typeface People Were Here (2011).

    She continued her studies at the University of the Arts London / London College of Communication, where she created the experimental circle-based typeface Sigma (2012), the "cloudy" Sky (2013), he playful Jamze (2013), Lily (2013), and the scratchy typeface Saiko (2013).

    She also created the experimental geometric Latin typeface Zepta (2011), the free modular typeface family Utopia (2015), Loony (2015, a squarish font), Sex Revolution (2015, an icon font), the free circle-based Greko family, and the free compass-and-rular typeface Draw (2015). Currently, Lina is based in London. Behance link. [Google] [More]  ⦿

    Lina Shalaeva

    Moscow-based designer of the Cyrillic connect-the-dots typefaces Eyeye (2015) and Fire Sans (2015), which were school projects at HSE Art and Design School. She also created thge colorful blocky typeface TwoPic (2015). [Google] [More]  ⦿

    Lina Tumarkina

    For her final project in 2015 at the Tagir Safaev Typography School in Moscow, Lina Tumarkina designed Mathilda Bold, a grotesque typeface for Latin and Cyrillic that is modeled after Morris Fuller Benton's Headline Gothic (1936).

    In 2017, she designed the alchemic / hipster typeface Artemis, the ransom font The Many Faces (2017), and the geometric outline typeface Friendly. [Google] [More]  ⦿

    Linefab

    Designer of mostly display or techno or futuristic sans typefaces for Latin and Cyrillic. The list:

    • 2019: Stoptic (a full rounded sans), Adelina, Medium, Childling, Kerberos, Academy, Barbara, Doodler, Cave Age, Pixellance (pixelish), Ivanka, Dottle (dot matrix), Adriana, SpaceAge, Javier, Thumper, Bionic, Martian Luxury.
    • 2018: Sweet Monkey , HelloDolly!, StoneAge, Spectre, StoryBook, Drenareon Display (octagonal), Colette, Jacqueline, Roller, SuperDario Pixel, Punto (dot matrix), Gennaro, Cosette, Ninova, Budapest Regular + Italic, Quad Display, Verona Display, Juvenile.
    [Google] [More]  ⦿

    lingvo

    Belarussian site with Cyrillic versions of Arial, Courier and Times. [Google] [More]  ⦿

    Linus Romer

    Swiss creator (aka Fuex) of the free calligraphic font Miama (2009, Open Font Library), based upon the handwriting of his (then, girlfriend) wife. Romer is interested in Latex and mathematical typesetting and designed Miama in the spirit of Zapfino and Scriptina. An updated version, Miama Nueva (for Latin and Cyrillic), was developed in 2014, and published by Open Font Lirary. CTAN link.

    In 2014-2017, he released the free Metafont (and also, Opentype and truetype) typeface, Fetamont. This 436-font parametric typeface extends Knuth's roundish elliptical logo font for Metafont. It includes a true "randomize" feature. Additional CTAN link.

    In 2017, he developed the free slab serif Funtauna, again basing his glyphs on Metafont.

    In 2018, he developed the text typeface Elemaints for Latin and Greek in Metafont.

    Abstract Fonts link. Dafont link. Open Font Library link. [Google] [More]  ⦿

    Linus Trabajar

    Creator of the Latin/Cyrillic sans typeface Trabajo (2012, OFL). [Google] [More]  ⦿

    Linux archive

    Substantial Cyrillic truetype font archive. [Google] [More]  ⦿

    Lipton Letter Design
    [Richard Lipton]

    Calligrapher, sign painter, and graphic and type designer from Milton, Mass., who was born in New York, studied design and photography at Harpur College there (graduating in 1975), did some lettering in Syracuse until 1977, worked for Bitstream in Boston from 1983-1991, and made a career afterwards as a staff type designer at Boston's Font Bureau. In 2016, he joined Type Network, where his fonts can be bought. MyFonts page. MyFonts interview in which his modesty comes to the fore. His typefaces:

    • Alhambra: a calligraphic typeface.
    • Apotek: based on lettering on old medicine bottles seen in Oslo.
    • Arrus BT (Bitstream, 1991). This is a serif typeface with heavy calligraphic influences. The capitals are roman inscriptional. More typefaces in this style are to come, he promised in 2010.
    • Avalon (1995, calligraphic): based on the calligraphic writing of Austrian artist Friedrich Neugebauer.
    • Bennet Text, Bennet Display (36 styles: a wedge serif news text family), Bennet Banner (36 styles). This high contrast didone-themed superfamily (but for the wedge serifs) can't shed that "look at me" vibe. The initial idea for Bennet came from Moth Design's logotype and stationery system for the North Bennet Street School in Boston.
    • Benton Modern Display (2008, co-designed with Richard Lipton at Font Bureau: Benton Modern Text was first prepared by Font Bureau for the Boston Globe and the Detroit Free Press. Design and proportions were taken from Morris Fuller Benton's turn-of-the-century Century Expanded, drawn for ATF, faithfully reviving this epoch-making magazine and news text roman. The italic was based on Century Schoolbook.). See also here.
    • Bickham Script (1997, Adobe): The 2004 OpenType Pro version has hundreds of ligatures and substitute forms. See also Bickham Script 3 (2014). Review of Bickham by Timothy Rolands. Bickham Script is based on examples from Bickham's The Universal Penman. Poster by Fernanda D'Andrea (2013). Bickham Script 3 won an award at Modern Cyrillic 2014.
    • Bodoni FB (1992, Font Bureau, a headline bold based on Benton's 1933 Ultra Bodoni).
    • Bremen (Bitstream), Bremen (1992, Font Bureau). This German art deco face was influenced by the poster lettering of Ludwig Hohlwein in 1922. Munich is an angular version of Bremen.
    • Bureau Grot. One of Font Bureau's bestsellers.
    • Canto (2011, Font Bureau) is a 32-style roman family that started out from the Trajan inscriptions via a few styles called Canto Brush to smooth and delicate styles such as Canto Pen. New styles were added in 2017.
    • Cataneo BT (Bitstream, 1993; with Jacqueline Sakwa): an elegant chancery cursive based on the calligraphic work of the 16th-century writing master Bernardino Cataneo.
    • Ecru
    • Escrow Banner (2016). An extension of Cyrus Highsmith's Scotch Roman, Escrow (2006).
    • Hoffmann (1993): a display family that is based on lettering by Lothar Hoffmann.
    • Meno (1994, Font Bureau). Lipton explains his oldstyle design: the romans gain their energy from French baroque forms cut late in the sixteenth century by Robert Granjon, the italics from Dirk Voskens' work in seventeenth-century Amsterdam. In 2016, he extended Meno to a 78-style superfamily. In 2021, MyFonts released Meno Text and in 2022 Meno Display (36 styles) and Meno Banner (36 styles).
    • Miller Banner (2010, Font Bureau): a completion of Matthew Carter's Scotch family Miller, that has banner and titling styles, and adds styles with extreme contrast and hairline serifs.
    • Moderno FB
    • Munich.
    • Nutcracker.
    • Rocky (2008, Font Bureau, with Matthew Carter).
    • Savanna Script (2013). A connected tightly spaced calligraphic script in three weights.
    • Shimano: an industrial geometric font.
    • Shogun (with Margo Chase, 1995).
    • Sloop Script (a penmanship script, 1994), inspired by the lettering of Raphael Boguslav. Sloop Script won an award at Modern Cyrillic 2014. Type Network published Sloop Script Pro in 2018. MyFonts relesed Sloop Script Pro in 2021.
    • Talon

    • Tangier (2010, Font Bureau): a Spencerian calligraphic family that was part of the 2008 redesign of Glamour Magzine.

      A redesign of Matthew Carter's Postoni (1997), called Stilson (2009, with Jill Pichotta and Dyana Weissman): Since 1997, The Washington Post's iconic headlines have been distinguished by their own sturdy, concise variation on Bodoni, designed by Matthew Carter. For the 2009 redesign, Richard Lipton, Jill Pichotta, and Dyana Weissman expanded the family with more refined Display & Condensed styles for use in larger sizes. Originally called Postoni, the fonts were renamed in honor of The Post's founder, Stilson Hutchins.

    • Delaney (2016).
    • Collier (2018). A 150+-style lapidary flared stem typeface family ranging from Compressed to Extra Extended widths.
    • Englewood (2022). A script whose inspiration for Englewood came from the calligraphic hand of Philip Grushkin.

    I Love Typography link. Klingspor link. FontShop link. Type Network link. MyFonts interview.

    View Richard Lipton's typefaces. [Google] [MyFonts] [More]  ⦿

    Lisa Andreeva

    Saint Petersburg, Russia-based designer of the handcrafted Latin / Cyrillic typeface Joke Type (2017). [Google] [More]  ⦿

    Lisa Fischbach

    Lisa Fischbach (Kiel, Germany) studied at the Muthesius Academy of Fine Arts and Design in Kiel. She graduated from the MATD program at the University of Reading in 2014. Her graduation typeface there was called Kaius. Kaius has a complex typographic structure. Designed for small print, it features a large x-height. Kaius covers Latin, Gujarati, Greek, Cyrillic and IPA. In 2020, she released Kaius Pro in 16 styles at TypeMates.

    In 2016, Jakob Runge and Lisa Fischbach co-designed the bespoke sans typeface family SAM Text and SAM Headline at TypeMates for the food company S:A:M.

    In 2017, she joined Jakob Runge once again for Cera Round Pro, an absolutely wonderful geometric rounded sans typeface family for Latin, Greek and Cyrillic. Jakob Runge, with the help of Lisa Fischbach, designed Harrison Serif Pro (a slab serif) in 2017 at Typemates. Harrison serif won an award at TDC Typeface Design 2018.

    In 2019, Jakob Runge, Nils Thomsen and Lisa Fischbach released Halvar and wrote: Halvar, a German engineered type system that extends to extremes. With bulky proportions and constructed forms, Halvar is a pragmatic grotesk with the raw charm of an engineer. A type system ready to explore, Halvar has 81 styles, wide to condensed, hairline to black, roman to oblique and then to superslanted, structured into three subfamilies: the wide Breitschrift, regular Mittelschrift and condensed Engschrift. Halvar Stencil, which was released simultaneously, is a German engineering stencil font family. [Google] [MyFonts] [More]  ⦿

    Lisa Parfyonova

    Saint Petersburg-based designer whose work includes a symbol font family called Four Seasons (2011). [Google] [More]  ⦿

    Lisa Rasskazova
    [Cyrillicsly]

    [More]  ⦿

    Lisa Schultz

    Vienna-based graduate of the University of Applied Arts Vienna and the MATD program at the University of Reading in 2012. Her graduation typeface is the Cyrillic / Latin / Greek typeface Martha (2011-2012), which is intended for popular science magazines and books. After graduation, she joind the Viennese type foundry Schriftlabor, where she is type director.

    In 2017, Viktor Solt-Bittner designed the industrial sans typeface family Attorney as a custom font for a law firm. It has unconventional---even threatening--- serifs and some hard corners. The typeface was produced by Schriftlabor's type director, Lisa Schultz, and will be enjoyed by hordes of heartless lawyers.

    Plantago. Viktor Solt-Bittner drew logo sketches for an insurance company in 2014. After they rejected the design, he turned the sketches into a font family. Later, in 2018, Plantago was expanded, developed and completed by Schriftlabor's type directors Franziska Hubmann and Lisa Schultz.

    June (2019) by Lisa Schultz and Ross Hammond at Schriftlabor is a 16-style low contrast sans family with humongous counters and a small x-height. Two variable fonts are offered as well. June Pro is a 20-style extension and update in 2021.

    In 2021, Tamar Pilz and Lisa Schultz co-published Grimmig (a 10 style angular and gloomy typeface family by Lisa Schultz and Tamara Pilz) at Schriftlabor.

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

    Lisaveta Shcheglova

    Motion designer in Moscow who created the Cyrillic poster typeface CrossType (2015) and the Cyrillic 3d escher-like typeface NevozmozhnyjShrift (2015). [Google] [More]  ⦿

    Listener Foundry (or: Listener Studio)
    [Soufiane Abid]

    Kenitra, Morocco-based designer (b. 1993) of Kenta (2020) and Semlor (2020), a Latin / Cyrillic typeface that plays with stress and is destined for posters. Earlier typefaces include the handcrafted Agenzada and the free formal sans typeface Jervinho (2019), which was inspired by Maven Pro and Titillium Web. [Google] [MyFonts] [More]  ⦿

    LITERA
    [V. Kovtun]

    P. Pavlov and V. Kovtun run this Cyrillic font foundry. Great selection of free fonts: Amsterdamvp, ARSENALvk, ARSENAL_vk-deco1, ARSENAL_vk-izlom, Asessor, DOMOSEDvk, KonservatoriaVk, Mixervk, Mixer_VK-dec, OTSEKvk, PasekaVK, Samizdat (old typewriter), Sektant-_vk__, SEnior, Serafim, SetterVK-black, SetterVK-white, Taziki, VOVAvk, ARSENALvkOutline, ARSENALvkShadow, ARX-deco2, ARXBold, ARX-deco1-Bold, ARX, VOVAvkBold-Italic, VOVAvkBold, VOVAvkItalic, VOVAvkSHBold. Truetype for PC. Direct access. [Google] [More]  ⦿

    Literata

    Literata is a typeface designed in 2014 and 2015 by Type Together for use in Google Play Books on many different kinds of devices. As of 2015, it replaces Droid Serif (2006-2007, Steve Matteson). The project was headed by Veronika Burian and José Scaglione. The final Literata family featured two weights and matching italics including more than 1100 characters per font with Pan-European language support. It coversedPolytonic Greek (designed by Irene Vlachou, advised by Gerry Leonidas) and Cyrillic (designed by Vera Evstafieva, advised by Kiril Zlatkov).

    In 2020, Literata 3, entirely free and a totally new re-design, was released. This 48-style family comes with a variable style. The designers in 2020 were Veronika Burian (Latin), José Scaglione (Latin), Vera Evstafieva (Cyrillic), Elena Novoselova (Cyrillic) and Irene Vlachou (Greek).

    Github link. [Google] [More]  ⦿

    Little Russia

    Cyrillic font archive. Mac, PC and UNIX. Includes the Seta through Sete font collections in BDF format (for UNIX) designed by Roustem Akhiarov, Sergey Ryzhkov and Lev Belov, 1991, for EWT Consulting, and converted to BDF by Serge Vakulenko. Page by Vladimir Pekkel. [Google] [More]  ⦿

    Liudmila Riumina
    [Imperator Kot]

    [More]  ⦿

    Liza Diadina-Soniachna

    Graphic designer in Luhansk, Ukraine, who created the experimental Cyrillic poster typeface Boychuk (2016). [Google] [More]  ⦿

    Liza Faustova

    Moscow-based designer, while studying at the HSE Art and Design School, of the refreshing all caps Cyrillic typeface Ticket (2017). [Google] [More]  ⦿

    Liza Mamonova

    Moscow-based designer of a modular Latin typeface in 2012. [Google] [More]  ⦿

    Liza Serpinskaya

    During her studies in Moscow, Liza Serpinskaya designed Square Font (2013). [Google] [More]  ⦿

    Lizaveta Obodova

    Vilnius, Lithuania-based designer of the stylish rounded sans typeface Earth Hour (2017), the straight-edged Cyrillic typeface Zemfira (2016) and the free vfb-format experimental deco typeface Absolute (2016). [Google] [More]  ⦿

    Lizon Khokhlov

    Moscow-based designer of an experimental hipster Cyrillic typeface in 2017. [Google] [More]  ⦿

    Lliwell

    Studio in Kiev, Ukraine. Creator of a hairline sans typeface simply called Font (2012: Latin and Cyrillic). Behance link. [Google] [More]  ⦿

    Local Fonts
    [Stefan Peev]

    Stefan Peev set up Local Fonts and wrote: This site Local Fonts is dedicated to fonts and their localization. Its main concern is the versatility of the Cyrillic Script forms. Here you will find different typefaces carefully classified as traditional (international) Cyrillic, Bulgarian Cyrillic, Serbian Cyrillic, Macedonian Cyrillic as well as Unicode Fonts for Ancient Scripts, Medieval Cyrillic fonts, links to Greek typefaces. Our everyday task is to identify the fonts in their adaptation of the different forms of written languages. [Google] [More]  ⦿

    Loch Typography
    [Agi Pramudiman]

    Its name, Loch Typography, evokes dark Scottish types, but this foundry, set up in 2017 by Agi Pramudiman, is based in Bandung in sunny Indonesia. Designer of the squarish constructivist Latin / Cyrillic typeface Gullcoast (2017), AP Pro (2017: an intense text typeface family), and the squarish movie poster font Loch Khas (2017).

    Typefaces from 2018: Fopo (stencil), DN Pro (18-style geometric sans), Monoloch (monospaced, basically a typewriter font family), Nitro (sans in 27 styles), Loka (a geometric slab serif in 18 styles). [Google] [MyFonts] [More]  ⦿

    Logan Meckley

    Student at Flagler College in Tallahassee, FL. Creator of the Cyrillic simulation typeface Menhir (2011). [Google] [More]  ⦿

    Loki Design (or: Creative Commons)
    [Kevin Yuen Kit Lo]

    Designer of Paranoid (2009; Paranoid Cyrillic was made by Sergiy Tkachenko) and Hel Grotesk Gothiq (2006). Dafont link. See also here for a free download of Paranoid. The Behance page states that this remarkable triangular fashion beast was co-designed by Kevin Lo, John Stuart and Simon Carrasco and that their mission was to bring back the joy of cocaine clouded 80s dance parties. [Google] [More]  ⦿

    Lola Herst

    Based in the Dutch Antilles. Designer of the shaky hand-drawn typefaces Six Minutes (2020), Six Minutes Narrow (2020), and Five Minutes (2020, at Rawblind Basetype) for Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

    Lo-ol Type foundry
    [Loris Olivier]

    Talented type and graphic designer based in Morgin and/or Grand-Lancy, Switzerland. After obtaining a BFA from the Academy of Art University of San Francisco, he started a Masters in the TypeMedia program at KABK in Den Haag, graduating in 2015. After the KABK, he started working from Geneva on editorial identity, branding, editorial, graphic and type design. His spouse, Noheul Lee, is also a type designer. Loris's typefaces:

    • Animax (2016). A lineale geometric consisting of text and display.
    • Aragon (2014). A transitional serif for display.
    • Arancia (2016). A lineale geometric consisting of text and display.
    • Bachus (2016). A heavy brush script.
    • Brienz (2019).
    • Chablaix (2015). A neo-textura.
    • Civilitate (2016-2018). A blackletter with roots in Robert Granjon's Civilité..
    • Cozette (2016). A didone.
    • Fanny (2014). An exquisite display family.
    • Fournier (2014). A revival.
    • Gloubi (2019). A psychedelic font.
    • Groo (2013). A lineale neo-grotesk for text and display.
    • Kartel (2014). A lineale neo-grotesk for text.
    • Katchka (2014). An all caps typeface for Latin and Cyrillic.
    • Lemanic (2015). His graduation typeface at KABK. This large transitional text typeface family Lemanic is accompanied by a decorative blackletter typeface. Loris writes: The different weights and styles are made for magazine or newspaper environements. The entire family is constructed in order to decrease the usage of images next to the text. The shapes of the book weights and its inspiration are taken from the fluidity and the rhythm of the work of Fournier and certain shapes of the Romain du Roi.
    • McQueen Superfamily (2020). A 20-style sans family in Display and Grotesque subfamilies by Loris Olivier, Noheul Lee and Katja Schimmel, realeased by Fontwerk.
    • Medley (2015). A transitional serif for display.
    • Merle (2016). A slab serif.
    • Milwaukee (2014). A text typeface, + Stencil Bold.
    • Misc (2013). A serif, sans and script trio.
    • Moritz (2015). A slab serif.
    • Orniere (2016). A lineale humanist sans, slightly flared and lapidary, for text and display.
    • Phantom (2016). A transitional monospace serif (text and display).
    • Phily (2015). A lineale geometric consisting of headline and display.
    • Rouka (2015). A lineale neo-grotesk stencil typeface.
    • Saudade (2013). A transitional serif in text and display versions.
    • Scarpelli (2012). An étude in ball terminals.
    • Soprana (2014). A transitional serif in text and display versions.
    • Susanfe (2016). A sans typeface.
    • Tuilots (2014). A gorgeous calligraphic text typeface.
    • Tweelo (2014). A garalde.
    • Volpe (2015). A transitional serif for display.
    • Wicht (2016). A humanist serif.

    Home page. Future Fonts link. Fontwerk link. [Google] [More]  ⦿

    Looseleaf Fonts
    [Nathanael Bonnell]

    Nathanael Bonnell studied in Cincinnati, OH, and set up the Looseleaf Fonts commercial foundry in 2012 in Wyoming, OH. Before that, he created Cyril, a Cyrillic typeface. Creator of the retro minimalist geometric beauty Yoshiko (2006)---disregard the typophiles' comments, because this one is going to live a glorious life. His third project, Salamander (2006), a classic roman with a luscious italic to boot, is another winner. However, probably because of pressure from Linotype, which owns the name Linotype Salamander, the latter font was renamed Newt. In 2009, Newt Serif was published by Cabinet Type / Veer. Free download of Newt Serif at Github.

    In 2010 he published the angular flared Solveig family. Solveig Text and Solveig Display followed in 2013.

    The Looseleaf Foundry published the serifed typeface Walleye (2013), which covers Latin, Cyrillic and Greek.

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

    Lorena Skopelja

    Paris-based designer of the experimental Latin-Cyrillic mizxed language typeface Hybrid (2015). Behance link. [Google] [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Loris Olivier
    [Lo-ol Type foundry]

    [More]  ⦿

    Loshaj Foundry
    [Burim Loshaj]

    Burim Loshaj's Albanian type foundry, Loshaj Foundry, was established in 2013. It later moved to Erie, PA.

    His first typeface is the condensed octagonal Pillar (2013). In 2014, he designed the sci-fi typeface Interstellar (Latin, Greek and Cyrillic) and the squarish typeface Cinderblock.

    The shadow typeface South Central (2016) is inspired by the garffiti of some gangs in Los Angeles.

    Typefaces from 2019: Cubit.

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

    Loui In-Box

    Yugoslav (Serb) TrueType fonts (free): TimesCiril, Miroslav, YU-Helvetica, YU-Helvetica-Bold, YU-Helvetica-Bold-Italic, YU-Helvetica-Italic, HelveticaCiril, HelveticaCirilBold, HelveticaCirilBoldItalic, HelveticaCirilItalic, TimesCirilBold, TimesCirilBoldItalic, TimesCirilItalic, YuTimes, YuTimesBold, YuTimesBoldItalic, YuTimesItalic. [Google] [More]  ⦿

    Loya Kiseleva

    Moscow, Russia-based designer of the experimental Cyrillic typefaces Tabouret (2019) and Paintings&ElementsByABogomazov (2019). [Google] [More]  ⦿

    Lubov Kudrinskaya

    Codesigner with Jovanny Lemonad and Oleg Nobr in 2008 of Nobr1, a free Cyrillic round informal face, as well as Nobr2 and the art deco Cyrillic typeface Nobr3. [Google] [More]  ⦿

    Luca Bresolin

    Graphemica is the work of Luca Bresolin, an Italian graphic designer currently based in London and Zagreb. He created typefaces such as Mio Display (2016) and OCR-A Extended (2016, which covers English, Greek, Cyrillic, Arabic and Hindi). Behance link. [Google] [More]  ⦿

    Lucas de Groot
    [LucasFonts (and: FontFabrik)]

    [MyFonts] [More]  ⦿

    Lucas Stapf

    Warsaw, Poland-based designer of the squarish typeface Aften (2014). [Google] [More]  ⦿

    LucasFonts (and: FontFabrik)
    [Lucas de Groot]

    Luc(as) de Groot (b. 1962, Noordwijkerhout, The Netherlands) studied at the Royal Academy of Fine Arts in Den Haag and 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 FontFabrik and in 2000 LucasFonts in Berlin. 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. His most popular typefaces include Thesis (the superfamily that includes TheSans, TheSerif, TheMix and The Antiqua), Calibri (a default font at Microsoft), Sun, Taz and Corpid. He is also well-nown for his Anisotropic Topology-Dependent Interpolation theory which roughly states that a 50% interpolation is not the optical middle between two weights. He teaches type design at the University of Applied Sciences in Potsdam, Germany. His typefaces:

    • Agrofont (1997, for the Dutch Ministry of Agriculture, Environment and Fisheries) and Agro Sans, developed in collaboration with the Dutch design bureau Studio Dumbar.
    • BellSouth Basis, Serif and Bold, developed with Dutchman Roger van den Bergh.
    • BolletjeWol (1997, Fontshop).
    • Calibri. Done for Microsoft, Calibri is the default typeface in MS Word. Calibri received a TypeArt 05 award and 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). Calibri became the standard font for all Microsoft 365 apps, but will be replaced some time in 2021 by one of five candidates, Bierstadt (by Steve Matteson), Grandview (by Aaron Bell), Seaford (by Tobias Frere-Jones, Nina Stössinger, and Fred Shallcrass), Skeena (by John Hudson and Paul Hanslow) or Tenorite (by Erin McLaughlin and Wei Huang).
    • Consolas. Done for Microsoft, this typeface was intended as a successor for Courier.
    • Corpid III (2002-2007). A sans family with support for Cyrillic, Greek and Turkish.
    • Floris (a ball terminal text typeface in 18 styles, Floris was developed on a four-dimensional grid of several axes or parameters: weight, width, x-height and ascender/descender height).
    • Fohla Serif (2001). Designed for a Brazilian newspaper in Sao Paulo. This collection includes a multiple master font, FohlaMM.
    • FF Jesus Loves You all, now LF Jesus Loves You all.
    • Koning (2017), co-designed by Luc(as) de Groot, Martina Flor, Jan Fromm, Phillipp Neumeyer and Daria Petrova. Koning won an award at TDC Typeface Design 2018. The first retail release of this flared typeface family came in 2019: Koning Display (a 20 style sans with Peignotian traits and occasionally, flared terminals).
    • LucPicto (dingbats for private use at FontFabrik). Not available to the world.
    • 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.
    • MetaPlus (1993, with Erik Spiekermann).
    • MoveMeMM (erotic multiple master font)
    • FF Nebulae, now LF Nebulae.
    • LF Punten: Punten Straight, Punten Extremo and Punten Rondom.
    • Spiegel and Spiegel Sans, originally designed for Der Spiegel. The retail versions are called Spiegel Sans (a 32 style American gothic family) and LF Spiegel Serif.
    • Sun (1997, for Sun Microsystems) later became a retail font, also called Sun, a 28-style humanist compact sans typeface in the genre of industrial era American newspaper headlines.
    • LF Taz (sans family, 2002), Taz III (2003, including a hairline weight) and Taz Text (for "taz", the magazine), sans typefaces designed for use in newspapers. Are these the same fonts as Tazzer and Tazzer Text? Taz has grown as follows: TazText, Taz Condensed (2010), Taz Text Small Caps (2011), Taz Wide (2013-2014), Taz Textended (2013-2014). By 2021, the Taz family contained 128 styles.
    • Thesis (1994-1999) originally known as FF Thesis. This consists of many subfamilies all starting with the prefix The. MyFonts links for the Thesis family: TheAntiqua, TheMix, TheSans, TheSerif. Thesis includes
      • LF TheAntiqua (a 14-style medium contrast oldstyle typeface), LF TheAntiquaSun, Qua Text (a newstext version of TheAntiqua developed in close collaboration with the Berlin newspaper Die Tages­zeitun taz), TheAntiquaB (1997; 1999 Type Directors Club award), TheAntiquaE, TheAntiquaSun. TheAntiqua received a TypeArt 05 award.
      • LF TheMix (69 styles: semi-serif), TheMix Mono (48 styles; a monospaced version of TheMix), The Mix Classic, The Mix Basic, The Mix Office. TheMix is part of the Thesis superfamily. It originated as an alphabet for the logotypes of the Dutch Ministry of Transport, Public Works and Water Management drawn by Luc(as) while working at BRS Premsela Vonk in Amsterdam. The alphabet later became the starting point of the entire Thesis system.
      • Thesis Mono.
      • LF TheSans, The Sans Classic, The Sans Basic, The Sans Office, The Sans Condensed, The Sans Mono (48 styles), The Sans Mono Dc, The Sans Mono 11pitch, The Sans Mono Cd Office, The Sans Typewriter (a monospaced and grungy version of TheSans). First published in 1994 as a descendant of Franklin Gothic, The Sans is a modern classic.
      • LF TheSerif (52 styles), The Serif Classic, The Serif Basic, The Serif Office. TheSerif is part of the Thesis superfamily. The Serif's ancestors include Linotype Rotation.
      • The Stencil (2021).
      • SPD 2002 TheSans. An OEM for the SPD party.
      • Grundfos TheSans (2007).Another commissioned font.
    • Transit and Transit Pict (both at FontShop).
    • Volkswagen Headline and Volkswagen Copy (1996), extensions of Futura. Note: the other Volkswagen house font is VW Utopia, a descendant of Utopia.

    DeGroot designed custom fonts for newspapers such as Folha de S.Paulo, Le Monde, Metro, Der Spiegel, taz.die tageszeitung, Freitag and Jungle World. In addition, he created corporate type for international companies such as Sun Microsystems, Bell South, Heineken, Volkswagen and Miele.

    Speaker at many international conferences. At ATypI 2015 in Sao Paulo, he spoke about his Folha Sao Paulo newspaper typeface.

    In 2021, LucasFonts joined Type Network.

    FontShop link. Klingspor link. I Love Typography link. View the typeface library at Lucasfonts. View Lucas de Groot's typefaces. [Google] [MyFonts] [More]  ⦿

    Luce Avérous

    Ex-student at Scriptorium de Toulouse (2001) who published some of her fonts at Typotek. She made the free handwriting font Trashhand (2001), Lucette-Normal (2001), Perle-Normal (2000), and Printemps-Normal (2001).

    In 2002, she founded a signage agency, Tous les anges. Trashhand became Naturehand in 2008 when it became the house font of The Body Shop. The Greek and Cyrillic extensions will be done jointly by Luce Avérous and Dalton Maag.

    Over at Dalton Maag, she designed the technical handwriting typefaces Verveine (2009) and Verveine Corp (2009), which covers Greek as well. I believe that Verveine and Trashhand are identical.

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

    Luciana Zazzali

    For a school project in Buenos Aires, Luciana Zazzali created the hybrid techno typeface AK Numb for Latin and Cyrillic in 2012. It is based on a combination of Rockwell and a pixel font. Behance link. Another Behance link. [Google] [More]  ⦿

    Lucijan Bratuš

    Slovenian painter and artist (b. Vipava, 1949). Designer of Rokus and Rokus Script (2002) for schoolbooks published by Rokus Publishing House. Professor of type design. Creator of the calligraphic typeface Kanela (2006). Cofounder of the TipoBrda type design conferences, held annually since 2006 in Slovenia. TipoBrda 2006. Designer of the art deco typeface Čiginj during the design workshop TipoBrda in 2008.

    At TipoBrda 2007, he showed Kanela.

    At TipoBrda 2011, he created the geometric sans family Makalonca.

    At Tipo Brda 2010, he designed the Slova OT family of old Slavonic typefaces. That family includes one gorgeous Latin typeface that simulates old Slavonic. [Google] [More]  ⦿

    Lukas Paltram

    Lukas studied graphic design and typography at New Design University in St P&oum;lten. Designer from Vienna, Austria, who joined Dalton Maag in 2009 where he presently serves as Creative Director in the London office. There he revived a typeface based on photographs of inscriptions in castle Hoch Osterwitz, which was designed by Austrian architect Paul Grueber in the early 1900s. Along with the architecture, Grueber also created the letterforms. Dalton Maag: Lukas initially struggled to harmonize the initial letterforms into a functioning typeface. The main challenge was to create a matching lowercase and other glyphs since the original was a caps-only design. Together with the team at Dalton Maag, Lukas eventually developed a two-weight font family for display purposes. Grueber subpage. Grueber (2009) is available from MyFonts.

    Cordale (2008) is a workhorse serif typeface jointly done with Fabio Luiz Haag at Dalton Maag. Cordale Corp, the corporate edition, includes Latin Extended A, Greek and Cyrillic characters sets.

    Setimo (2015) was co-designed by Fernando Caro, Ken Gitschier, Fabio Haag and Lukas Paltram at Dalton Maag, and won an award at Tipos Latinos 2016. [Google] [MyFonts] [More]  ⦿

    Lukas Schneider
    [Revolver Type Foundry]

    [MyFonts] [More]  ⦿

    Lukasz Kulakowski
    [Empty Page Studio]

    [More]  ⦿

    Lurex Design
    [Alexander Samburov]

    Alexander Samburov at Lurex Design is the Russian designer (b. 1965) of the Cyrillic version of Pecmyc Festus, by Steve Lundeen. Other Cyrillizations of well-known fonts: Calligrapher, Demian (based on the Letraset version), Flemish Script, Rapier, Stonehenge, Victorian, Vityaz, VivaldiD, Acadian, Battlefield, Chauser, Romvel. [Google] [More]  ⦿

    Lut.fi

    Finnish archive with some Cyrillic fonts: ER-Architect1251, ER-Architect1251, ER-Bukinist1251, ER-Bukinist1251, ER-Bukinist1251Bold, ER-Bukinist1251Bold, ER-Bukinist1251BoldItalic, ER-Bukinist1251BoldItalic, ER-Bukinist1251Italic, ER-Bukinist1251Italic, ER-Univers1251, ER-Univers1251, ER-Univers1251Bold, ER-Univers1251Bold, ER-Univers1251BoldItalic, ER-Univers1251BoldItalic, ER-Univers1251Italic, ER-Univers1251Italic, XSerifCyr, XSerifCyr. [Google] [More]  ⦿

    Lviv Academic Gymnasium

    Gavin Helf's basic Cyrillic fonts: ER-Kurier1251Bold, ER-Kurier1251BoldItalic, ER-Kurier1251Italic, ER-Kurier1251, ER-Kurier866Bold, ER-Kurier866BoldItalic, ER-Kurier866Italic, ER-Kurier866, ER-KurierKOI-8Bold, ER-KurierKOI-8BoldItalic, ER-KurierKOI-8Italic, ER-KurierKOI-8, KOI8-Architect, KOI8-Arial, KOI8-Kurier. [Google] [More]  ⦿

    lviv.ua

    11MB font file with about 300 Bitstream fonts (truetype) and a whole collection from Digital Typeface Corporation dating from 1991. Also has Old Slav fonts. [Google] [More]  ⦿

    Lydia Ta

    As a student at National Academy of Arts, Sofia, Bulgaria-based Lydia Ta designed an angular Cyrillic typeface in 2016. In 2017, she created the Cyrillic sci-fi typeface Kosmos. [Google] [More]  ⦿

    Lyons Type
    [Daniel Lyons]

    American type designer, b. 2000, who created the multi-style basic sans typeface family LT Reponse, the calligraphic blackletter typeface Blacklet, and the sans typeface family Avancement 2020 in 2020. The latter typeface supports Latin, Greek and Cyrillic.

    Typefaces from 2021: Shortcake, Queen, Fillet, Carpet, Vehicle, Drink, Leap, Coffee, Broadway, Classics, Victoire, Museum, Wave, Notable, Energy, Woodchuck, Asus+Companions (an 8-style geometric sans), Skyscraper, Colored Pencil, Sunrise, Remark, Indoor, Candidate, Journal, Amber, Expo, LT Marathon (a humanist and modulated sans family), LT Emphasis (modeled after Eurostile), LT Bulletin (sans), LT Feelgood (script), LT Crafted (a cartoon font), LT Internet. [Google] [More]  ⦿

    Lyubov Alexeyevna Kuznetsova

    Moscow-based type, graphic and book designer (b. Tula, 1928, d. Moscow, 2008). In 1951, after her graduation from Moscow Printing Institute, she joined the type design team of VNII Polygraphmash, and worked there for forty years as a designer, head of the design department, and chief of the oriental type design unit. From 1992 until her death, she was a staff designer at ParaType, Moscow. Kuznetsova specialized in Arabic type design, but also created many Cyrillic and Latin typefaces. Speaker at ATypI 1998 in Lyon on Arabic type design in Russia. Recipient of many design awards and distinctions such as a citation for design excellence for PT Kufi, at the TDC2 1998. CV at bukvaraz. Russian bio. URW link. Obituary at TDC. Her typefaces:

    • Arabic type, often designed in cooperation with the Persian calligraphers Azarbud and Zarrin Hatt and other calligraphers from Egypt and Lebanon. Her typeface PTMariam (1994) is showcased in Huda Smitshijzen AbiFarès' book "Arabic Typography" (Saqi Books, 2001). Other Arabic typefaces: Cairo (1959-1960), Naskhi Aswani (1960), Naskhi Book (1962), Kuznetsova's Ruqaa (1963), Azarbud Display (1972), Zarrin Hatt (1972), Vostok (1972), Kuznetsova's Abridge (1974), Beyrouth (1977), Grot (1977), PT Mariam (1994), PT Hafiz (1994), PT Naskh Ahmad (1994), PT Basra (1994, based on her own Grot typeface), PT Damascus (1994; based on Beirouth, 1977, of Polygraphmash, also by her), PT Nast'aliq (1995), PT Thuluth (1995), and PT Kufi (1997, ParaType), winner of an award at the Type Directors Club in New York in February 1998.
    • Cyrillic typefaces:
      • ParaType Academy (1989). Academy was designed near 1910 at the Berthold type foundry (St.-Petersburg) based on the typeface Sorbonna (H. Berthold, Berlin, 1905), which represented the American Typefounders' reworking Cheltenham of 1896 (designers Berthram G. Goodhue, Morris F. Benton) and Russian typefaces of the middle of 18th century. The modern digital version is created in 1989 by Kuznetsova. The decorative style was added in 1997 by A.Tarbeev. Tarbeev link.
      • Bannikovskaya (1946-1951) was revived by Kuznetsova as ParaType Bannikova (1999-2001). Designed at Polygraphmash type design bureau in 1946-51 by Galina Bannikova, inspired by Russian Grazhdansky early- and mid-18th century typefaces as well as Roman humanist typefaces of the Renaissance. URW states: With the archaic features of some characters the typeface is well recognized because of unique shapes. It is one of the best original typefaces of the Soviet typography. The typeface is useful in text and display composition, in fiction and art books. The revised, improved and completed digital version was designed at ParaType in 2001 by Lyubov Kuznetsova.
      • ParaType Bazhanov (2000). URW writes: "PT Bazhanov TM was designed at Polygraphmash type design bureau in 1961 by Michael Rovensky (1902-1996). Based on the lettering by Moscow book designer Dmitry Bazhanov (1902-1945). Old-fashioned flavor of this design recreates the Soviet hand-lettering style of the 1940s. For use in title and display typography. The digital version was developed for ParaType in 2001 by Lyubov Kuznetsova." Paratype link.
      • ParaType Elizabeth (1999). A great modern typeface about which URW writes: "The hand composition typeface was developed at the Ossip Lehmann type foundry (St. Petersburg) in 1904-07 (after designs by Alexander Leo?). It was redeveloped at Polygraphmash in 1960s for slugcasting composition. Named after Russian Empress Elizabeth I (1709-61). Based on typefaces of George Revillon type foundry of the 1840s, though some characters' shapes were redrawn similar to Russian Academy of Sciences typefaces (mid-18th century). Sharp contrast, strong weight Modern Serif with archaic flavor. The typeface is useful in text and display composition, in fiction, historical, and art books, especially connected to the 18th or 19th centuries. It looks great in Russian classical literature such as Pushkin and Gogol works. The revised, improved and completed digital version was designed at ParaType in 2001 by Lyubov Kuznetsova." Paratype link.
      • ParaType Kuzanyan (2001). This modern typeface was designed at the Design Studio of Igor Nastenko by Igor Nastenko, and was based on Granit (1966, Pavel Kuzanyan). Digitized at Paratype in 2001.
      • ParaType Literaturnaya (1996), after a 1937 original by A. Shchukin and T. Breyev. URW writes about this Elzevir typeface: Designed at NII OGIZ type design bureau circa 1940. Based on Latinskaya (St.-Petersburg, 1901), Cyrillic version of Lateinische. The digital version was developed at ParaType in 1996 by Lyubov Kuznetsova. The favorite text typeface of Soviet typography. Allen Hutt writes in A revolution in Russian typography (Penrose Annual, Volume 61. New York: Hastings House, 1968): The survival of this De Vinne-style type, from the worst design period of old Imperial Germany, in the premier Socialist country in the latter part of the twentieth century, is a typographical phenomenon as unique as it is deplorable.
      • ParaType Neva (2002). URW: "Neva Regular with Italic was created by Moscow book and type designer Pavel Kuzanyan (1901-1992) at Polygrafmash in 1970 for slugcasting and display composition. Based on simple strict letterforms of Russian classical typefaces. Neva typeface was rewarded on the Gutenberg international type design contest in 1971 (Leipzig). The typeface is useful in text and display composition, in fiction and art books. The digital version and bold styles were designed for ParaType in 2002 by Lyubov Kuznetsova."
      • ParaType New Journal (1997). Antiqua family. URW: "The typeface was designed at the Polygraphmash type design bureau in 1951-53 by Lev Malanov, Elena Tsaregorodtseva et al. Based on Cyrillic version of Excelsior, 1931, of Mergenthaler Linotype, by Chauncey H. Griffith. Excelcior Cyrillic was developed in 1936 in Moscow by Professor Michael Shchelkunov, Nikolay Kudryashev et al. A low-contrast text typeface of the Ionic - "Legibility" group."
      • ParaType Quant Antiqua (1989). Antiqua family. URW: The typeface was designed at the Polygraphmash type design bureau in 1989 by Lyubov Kuznetsova. Based on the typeface Literanutnaya (Latinskaya) (Berthold, St.-Petersburg, 1901), a version of Lateinisch typeface (of Berthold in Berlin, 1899. For use in text matter.
      • ParaType Svetlana (1996). Antiqua family. URW: "Designed in 1976-81 by Michael Rovensky (1902-1996) as the body text companion of his Bazhanov Display typeface (1961), of Polygraphmash type foundry. Based on the lettering by Moscow book designer Dmitry Bazhanov (1902-1945). With old-fashioned flavor, this design recreates the Soviet hand-lettering style of the 1940s. The digital version was developed at ParaType in 1996 by Lyubov Kuznetsova."
      • ParaType Telingater Display (2001). Elegant display family based on Telingater Display, by Solomon Telingater, 1959, Polygraphmash. URW: "The typeface was awarded the Silver Medal at the International Book Art Exhibition (IBA-59) at Leipzig (Germany) in 1959. Light flared sans serif with calligraphic flavor and low contrast between main strokes and hairlines."
      • ParaType Xenia (1990). Heavy slab serif. Paratype link.
      • ParaType Xenia Western (1992). Condensed version of the Egyptian typeface Xenia.
      • She made a Cyrillic version of ITC Bookman (1993).
    • Paratype Bachenas (2003), after work by Violdas Bachenas.
    FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Lyubov Kuznetsova
    [Academy]

    [More]  ⦿

    Lyubov Solovieva

    Moscow-based designer of several alphabets in 2011. [Google] [More]  ⦿

    Lyudmila Mikhailova

    Russian calligrapher. Milanette is a set of 74 original vignettes and flourishes designed by her and released in 2011 by Paratype. She also made the flower dingbat font Milafleur (2011).

    In 2011, she published her calligraphic script Millettre at Paratype. [Google] [More]  ⦿

    M+ Fonts
    [Coji Morishita]

    Free font producer in Japan that started out as a bitmap font specilaist. The M+ Fonts Project is jointly run by Coji Morishita, Hiroki Kanou, Imazu Kazuyuki and Taro Muraoka.

    All fonts are totally free: Unlimited permission is granted to use, copy, and distribute them, with or without modification, either commercially or noncommercially. . Download page. Free monospaced and variable width outline fonts containing kana, kanji (97% coverage of jinmeiyo), Chinese (81% coverage of traditional Chinese), Korean, Cyrillic, Greek, Hebrew, and Latin (sans), all made between 2006 and 2016 and still being developed: mplus-1p-black, mplus-1p-bold, mplus-1p-heavy, mplus-1p-light, mplus-1p-medium, mplus-1p-regular, mplus-1p-thin, mplus-2p-black, mplus-2p-bold, mplus-2p-heavy, mplus-2p-light, mplus-2p-medium, mplus-2p-regular, mplus-2p-thin.

    In 2018, they published MPlusRounded1c at Google Fonts. Additions in 2021: M Plus Code Latin, M Plus 1 Code. Mplus 1 Code is a sans serif programming font with seven weights from Thin to Bold, supporting 5,700+ kanjis for Japanese with GF Latin Plus. iM Plus Code Latin is a multi-weight programming font for Latin only. Both have variable fonts as well.

    Open Font Library link. Local download of the M+ family. Google Fonts link. Github link. [Google] [More]  ⦿

    M. Sukhankin

    Co-designer with Viktor Kharyk in the 1870s of the futuristic and videogame font Getto. [Google] [More]  ⦿

    Mac Cyrillic Fonts

    Help with the installation and use of Cyrillic fonts on the Mac. [Google] [More]  ⦿

    MacCampus
    [Sebastian Kempgen]

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

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

    Maciej Polczynski
    [Laïc]

    [More]  ⦿

    Maciej Wloczewski
    [Picador]

    [MyFonts] [More]  ⦿

    Madam Saffa
    [Alena Marusena]

    Alena Marusena (Madam Saffa, Russia) designed the watercolor brush typeface watercolor Alphabet (2015). [Google] [More]  ⦿

    Made Type
    [Maxim Schepin]

    Maxim and Denis Schepin are the Krasnoyarsk, Russia-based designers of these fonts:

    • The free Latin / Cyrillic typeface Barista (2017).
    • Made Winter (2017).
    • Good Time Grotesk (2017), Good Time Script (2017).
    • Made The Artist (2017), The Artist Script (2017), The Artist Sans (2017). Free download.
    • The free Made Waffle Slab (2017) and Made Waffle Soft (2017).
    • The free pair Made Likes Script (2017) and Made Likes Slab (2017).
    • Evolve Sans (Latin and Cyrillic), 2018. A free ten-style futuristic typeface family.
    • Made Bruno (2018). A yummy fashionable fat decorative didone.
    • Made Cannes (2018). A free all caps Peignotian typeface family.
    • Made Canvas (2018). A great fashion mag typeface with lots of elegant contrast.
    • Made Future X and Made Future X Header (2018). Free for personal use.
    • Made Soulmaze (2019).
    • Kenfolg (2019). A wedge serif titling typeface.
    • Made Coachella (2019). A didone without ball terminals.
    • Made Saonara (2019). A fashion mag all caps didone. Free trial.
    • Made Florence Sans and Script (2019).
    • Made Sunflower (2019).
    • Made Dillan (2019). A free warm yummy-yet-sturdy rounded typeface.
    • Made Mirage (2020). A fashionable typeface family. Free demo.
    • Made Outer Sans (2019).
    • Made Bon Voyage (2020).
    • Made Tommy and Made Tommy Soft (2020).
    • Made Gentle (2020). A plump poster typeface inspired by Cooper Black.
    [Google] [More]  ⦿

    Madina Turchaninova

    Art director in Moscow. In 2017, she designed the experimental Cyrillic hipster typeface Algay. [Google] [More]  ⦿

    Maganet
    [Roman Maganet]

    Russian designer and engineer based in Moscow. In 2021, he released the 4-style display sans typeface Strogino (Latin and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Magneticlab

    Large archive with Latin and Cyrillic fonts, with an emphasis on the Cyrillic part. [Google] [More]  ⦿

    Magnus Högberg

    Designer of the pixel typeface Supercar Cyr (2011). Aka Camshaft.

    Dafont link. [Google] [More]  ⦿

    Mailart.ru

    Russian type blogs. Another type blog there. [Google] [More]  ⦿

    Maja Maksimovic

    Belgrade, Serbia-based designer of Earscoop Font (2013, hand-drawn Latin and Cyrillic typeface; with Jelena Lugonja). [Google] [More]  ⦿

    Majur Ltd

    A Croatian company that sells East European fonts based on Bitstream originals. The 1600 TrueType font CD sells for 78 dollars. Bitstream fonts with East-European details. Check also here. [Google] [More]  ⦿

    Makary

    Designer of Izhitsa (1994), an old Slavonic font. [Google] [More]  ⦿

    Maknet

    The Macedonian Cyrillic font family MAC C Swiss (truetype for PC). Alternate URL for the same fonts. [Google] [More]  ⦿

    Maks Barbulovic

    Maks Barbulovic studied communication design at the Hochschule Düsseldorf (Germany), and participated in an internship program at Ecole Nationale Supérieure d'Art et de Design in Nancy (France). At Type Tomorrow, he published the dot matrix typeface Dusseldot (2020) together with Ilya Bazhanov. [Google] [More]  ⦿

    Maks Bogatyrev

    Russian designer of Garnitura Hand, a readable hand-printed set of Latin and Cyrillic characters. [Google] [More]  ⦿

    Maksym Kobuzan
    [Kobuzan]

    [MyFonts] [More]  ⦿

    Malgorzata Bartosik
    [Embe Studio]

    [MyFonts] [More]  ⦿

    Malgorzata Budyta

    Polish type designer who, for her diploma thesis in typeface design at the Warsaw Academy of Fine Arts under the supervision of Roman Tomaszewski, created Kurier (1975). In 2005, Janusz Marian Nowacki digitized the Kurier family, and added an alternative family, Iwona. Kurier was intended for Linotype typesetting of newspapers and similar periodicals. The design goals included resistance to technological processes destructive to the letter shapes. As a result, amongst others, the typeface distinguishes itself through intra- and extra-letter white spaces as well as ink traps at cross-sections of some elements constituting the characters. The PostScript and OpenType family covers Latin, East-European languages, Cyrillic and Vietnamese. Also, both sans families cover the most frequently used mathematical symbols. All type families are freely available from the CTAN archive. Alternate URL.

    Klingspor link. [Google] [More]  ⦿

    Mallinka
    [Marina Panfilova]

    Nizhniy Novgorod, Russia-based designer of the handcrafted typefaces Play With Me (2017, a children's book font family), Teddy Bear (2017, furry-textured) and Fresh Monday (2017). [Google] [More]  ⦿

    MAN

    In their Global Type collection, URW++ has MAN (2012), a private corporate typeface family for the MAN company. There is a limited retail version for the volume at 7,500 Euros. It covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew. [Google] [More]  ⦿

    Manchson

    Greek designer of the pixel font Basis 33 (2019), which contains Latin, Cyrillic, Greek and Hebrew glyphs. It is designed by Manchson based on the Latin-only Proggy Clean font by Tristan Grimmer. [Google] [More]  ⦿

    Manifestoyz (or: Alghorie Std)

    Indonesian creator from Jatiwangi (b. 1985) of Alghorie Syawal (2013, Arabic simulation face), Alghorie Bald (2013), Alghorie Std (2012) and Alghorie Neue (2011). Latin and Cyrillic. Aka Manifestoyz.

    Dafont link. Old URL. [Google] [More]  ⦿

    Manuel Markov

    Veliko Turnovo, Bulgaria-based photographer who drew a Trajan Latin/Cyrillic typeface called Handmade in 2014. [Google] [More]  ⦿

    Manvel Shmavonyan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    MapSymbs.com
    [Tom N. Mouat]

    British military man (Major) Tom Mouat designed military dingbat fonts. MapSymbs are NATO APP-6 and the new APP-6a military map marking symbols made up as embeddable TrueType Fonts. Free truetype fonts: CIRILICA---B-H, CIRILICA-SS-B-H, LATINICA---B-H, LATINICA-SS-B-H, Map-Symbol-NATO-EnBde, Map-Symbol-NATO-EnBk, Map-Symbol-NATO-EnBn, Map-Symbol-NATO-EnCoy, Map-Symbol-NATO-EnD&C, Map-Symbol-NATO-EnPl, Map-Symbol-NATO-EnRgt, Map-Symbol-NATO-EnSct, Map-Symbol-NATO-EnSqd, Map-Symbol-NATO-Pl, Map-Symbol-NATO-Section, Map-Symbol-NATO-Squad, Map-Symbols-NATO-Army, Map-Symbols-NATO-ArmyGp, Map-Symbols-NATO-Bde&Regt, Map-Symbols-NATO-Bde, Map-Symbols-NATO-Blank, Map-Symbols-NATO-Bn, Map-Symbols-NATO-Corps, Map-Symbols-NATO-Coy, Map-Symbols-NATO-Div&Co, Map-Symbols-NATO-Div, Map-Symbols-NATO-Eqpt, Map-Symbols-NATO-Misc, Map-Symbols-NATO-Misc4716, Map-Symbols-NATO-Pl, Map-Symbols-NATO-Regt, Map-Symbols-NATO-Sect, Map-Symbols-NATO-Squad, MapSym-EN-Air-APP6a, MapSym-EN-Land-APP6a, MapSym-EN-Sea-APP6a, MapSym-FR-Air-APP6a, MapSym-FR-Land-APP6a, MapSym-FR-Sea-APP6a, MapSym-NK-Air-APP6a, MapSym-NK-Land-APP6a, MapSym-NK-Sea-APP6a, MapSym-NU-Air-APP6a, MapSym-NU-Land-APP6a, MapSym-NU-Sea-APP6a, Mapsym--Draft-G5, Mapsym--Engineer, Mapsym--FM101-5-1-Gen, Mapsym--NATO-Logsymb, Mapsym--NATO-Tools, Mapsymbs--German-WW2, Mapsymbs--WD-MapIcons2, Mapsymbs--WD-Napoleonic, Milpics-Generic, Milpics-Generic4716, Miltrain-Generic, NATOKit, Planes-S-Modern, PlanesTModern, SoldierWW2, Space-MarinePersonnel, Specsym, StarWarsKit, Soviet-Kit, Tanks-WW2. [Google] [More]  ⦿

    Marath Salychow

    Marath Salychow (b. 1980) is the Moscow-based designer of the free typefaces Alhueia (2001, for Greek) and Akademie Alte (2016, for Latin and Cyrillic; based on a Berthold original from 1910).

    In 2017, he designed the free typeface Literaturnaya, which is modeled after Anatoly Schtschukin's Literaturnaya (1936). He also made the free didone typeface Chekhovskoy that year, after the Elizavetinskaya typeface (1904, Lehmann foundry, Saint Petersburg).

    Typefaces from 2018: Elisabethische (after Jelisawethinskaja, 1904, Lehmann Foundry), MGA (a great Latin / Cyrillic Garamond), Akademitscheskaya (a revival of the Akademitscheskaya Berthold Garnitur from 1910).

    Typefaces from 2019: Kornilow. A free didone-Baskerville hybrid for Latin and Cyrillic, named after White Army general Lawr Georgijewitsch Kornilow.

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

    Marc Tassell

    Designer (b. 1958, Chatham, Kent, UK) whose fonts may be bought from 2Rebels in Montreal. Some creations: Oplontis (2003, at Garagefonts), Eternity, EternityFusion, Pilgrim (1997). Did Boustrophedon (1998), Squish (1999), Octember Cyrillic, Octember (1999), Red (1999) and Red Cyrillic (Garagefonts). CV. [Google] [MyFonts] [More]  ⦿

    Marc-Antoine Allard

    During his studies at ECV Nord Europe in Lille, France, Marc-Antoine Allard designed Hexhale (2015). In 2014, he designed the script typeface Pangolin. Numero (2016) is a monospaced font inspired by the early ages of computer programming. Magnus (2016) is an angular text typeface.

    Typefaces from 2017: Intra Muros, Paccbet (a free Latin / Cyrillic constructivist typeface that could pass for a unicase style). Behance link. [Google] [More]  ⦿

    Marcel Blijleven

    Design student in Hoofddorp, The Netherlands, whose first font is the high-contrast art deco typeface Ecoutez (2012).

    Creator of the geometric sans typeface Selvage (2012, in Raw (pure forms) and Worn (filled in ink trap form) styles), the architectural lettering font Resoluut (2012, +Cyrillic), the tattoo font Galera (2012), and the monoline typeface Monodrone (2012, Ultratypes).

    In 2013, he published Fat Boy (a grotesk display face), Optic (alchemic). [Google] [More]  ⦿

    Marchela Mozhyna

    Kiev, Ukraine-based designer of the condensed sans typeface Galad (2018).

    In 1920, Kyrylo Tkachov and Marchela Mozhyna co-designed the 18-style nearly monolinear sans family Aleksa. [Google] [MyFonts] [More]  ⦿

    Mareev Ju
    [Chuvashia]

    [More]  ⦿

    Margarita D

    Moscow-based designer of various Cyrillic typefaces in brush or German expressionist styles (2014). [Google] [More]  ⦿

    Margarita Semenova

    Graphic designer and illustrator in Moscow, who created the Cyrillic Street Font, the experimental Tokyo Brief Cyrillic, and Olympic Pictograms in 2016. [Google] [More]  ⦿

    Marginal Type
    [Vincent Lacombe]

    Graduate of Atelier National de Recherche Typographique in Nancy, France, class of 2020. His graduation thesis was entitled Les caract®rave;res gothiques russes [Cyrillic blackletter typefaces]. During earlier graphic design studies at ECV Bordeaux (2012-2017), he created the display typeface Astek (2015) and the circle-based experimental typeface Ecotype (2016).

    Now located in the Bordeaux area, he is doing some corporate graphic and type design for the local wine industry. In the context of his ANRT thesis, he designed a Latin / Cyrillic blackletter, Tamara Gothic (2018-2020) and a Latin / Cyrillic copperplate script, Sokolov 1821 (2018-2020). In 2020, he also designed the Scotch Roman typeface Album, and revived a Cyrillic didone by Moscow's S. Selivanovsky foundry (done between 1826 and 1834) as a font simply called Selivanovski (2020). [Google] [More]  ⦿

    Maria Cherevan

    Russian designer of the free grungy brush typeface Kosmos (2016). [Google] [More]  ⦿

    Maria Chervinskaya

    Minsk, Belarus-based designer of the Cyrillic display typeface Mortise (2015). [Google] [More]  ⦿

    Maria Danilova
    [The inkpot fonts]

    [More]  ⦿

    Maria Dolgich

    Maria Dolgich (Tomsk, Russia) created Astron (2013), a constellation connect-the-dots typeface, and the chromatic pixelish typeface Zoom Zoom Stage (2013). In 2015, she designed the chromatic typeface Jazzy, and in 2016 the 3d typeface Open Space and the experimental typefaces Sever and Ellipse.

    In 2017, she added the variable width typeface More Or Less. In 2018, she developed the semi-pixel font Antipode and the slinky Gradient. [Google] [More]  ⦿

    Maria Doreuli
    [Contrast Type Foundry (or: CoFo)]

    [More]  ⦿

    Maria Fontenelle

    Brazilian graduate of the MATD program at the University of Reading, class of 2019. Maria's graduation typeface there was Libri, a family of 11 styles across the Latin, Cyrillic and Arabic scripts. Libri is intended for use in cultural or historical projects, brands, and publications, andis lapidary in conception. The Arabic script is in the Naskh style. [Google] [More]  ⦿

    Maria Kharlamova
    [Maria Selezeneva]

    [MyFonts] [More]  ⦿

    Maria Kirilina

    Tula, Russia-based designer of a Cyrillic logotype in 2015 that ended up in the logo of the city of Cherdin. She also designed the grungy brush typeface Grange (sic) (2015). [Google] [More]  ⦿

    Maria Kotciurzhinskaia

    Russian designer of frilly and flowery decorations. She created the vintage calligraphic font Victoria's Letters in 2015 (Latin). Aka Fleur Art. [Google] [More]  ⦿

    Maria Krusteva

    During her studies at National Academy Of Art (NHA), Maria Krusteva (Sofia, Bulgaria) designed a dotted Cyrillic poster typeface (2017). [Google] [More]  ⦿

    Maria Luarvik

    Type designer from Bryansk, Russia, b. 1982. Creator of the hand-printed poster typeface Blooming (2012) and accompanying ornamental typeface called Blooming Deco (2012, Gaslight).

    In 2013, she published Kiddy (a children's book font, Gaslight), the hand-drawn caps typeface Clumsy (Gaslight) and the bouncy Latin / Cyrillic cartoon font Bully Girl (with Valery Zaveryaev, Gaslight), which comes with the dingbat typeface Bully Kids.

    In 2014, Valery Zaveryaev and Maria Luarvik co-designed the heavy counterless angular typeface Dotee at Gaslight. [Google] [MyFonts] [More]  ⦿

    Maria Mizeritskaya

    Codesigner with Jovanny Lemonad (Ivan Gladkikh) of the constructivist Latin / Cyrillic typeface TT Bricks (2016). See also the commercial version of TT Bricks. [Google] [More]  ⦿

    Maria Mozgovaya

    Kharkiv, Ukraine-based designer of the Cyrillic typeface Constructivism (2017). [Google] [More]  ⦿

    Maria Polikarpova

    Moscow-based designer of the Latin / Cyrillic display typeface Kosmos (2016). [Google] [More]  ⦿

    Maria Rodigina

    Graphic designer in Saint Petersburg, Russia. Creator of the Latin / Cyrillic school project typeface Rudiger (2014). [Google] [More]  ⦿

    Maria Sabotage

    Designer in Moscow who runs Sabotage Design Studio. Behance link. Creator of the grungy spindly Cracked Font (2011). [Google] [More]  ⦿

    Maria Selezeneva
    [Maria Kharlamova]

    Moscow-based type designer, known first as Maria Selezeneva, and then as Maria Kharlamova. In 2014, she cooperated with Alexandra Korolkova on a revamped Journal Sans typeface at Paratype, called Journal Sans New (Latin and Cyrillic). This is a major extension as explained by Paratype:

    The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940-1956 by the group of designers under Anatoly Shchukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three typefaces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made "irregular" geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new typefaces, such as true italic (the older font had slanted version for the italic), an Inline typeface based on the Bold, and the Display typeface with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen.

    Her second project from 2014 was Stem, a geometric large x-height Latin / Cyrillic sans serif with optical sizing co-designed with Alexandra Korolkova and Isabella Chaeva at Paratype. This was followed in 2015 by Stem Text.

    Still in 2014, she designed Yefimov Serif: Yefimov Serif is a contemporary serif face, with low contrast, squarish shapes of round glyphs and emphasized businesslike nature. It is one of the last original typefaces by Vladimir Yefimov. Yefimov Serif will suit perfectly for business texts, periodicals and corporate identity.

    In 2017, she designed a very heavy (Latin) octagonal typeface, and the utilitarian sans typeface family Ida (2017, Paratype). Behance link. [Google] [MyFonts] [More]  ⦿

    Maria Shvaika

    Kiev, Ukraine-based designer of some Cyrillic typefaces in 2013. [Google] [More]  ⦿

    Maria Siderova

    Plovdiv, Bulgaria-based designer of the curly Cyrillic typeface Spiral (2013). [Google] [More]  ⦿

    Maria Sophia

    Graduate of Moscow State University of Printing Arts. Graphic designer in Moscow, who published the handcrafted Cyrillic typeface Razgulay (2017), a fun decorative font for grain holding. [Google] [More]  ⦿

    Marianna Orsho
    [Marijana Orsolic]

    Marianna Orsho (or Marijana Orsolic) is an Australian / Serbian graphic and type designer, b. 1987. Classically trained as a graphic artist, she completed her Masters Degree in Type Design and 2D Animation at the University of Arts in Belgrade in 2011. She settled in London where she specializes in typography, branding, and illustration. She has created work for clients like the Spice Girls, Disneyland Paris, MTV, Indeed, and The Ghost Bus Tours. During TypeClinic 5 in 2012 in Trenta, Slovenia, she created the multiple master humanist sans typeface family Nioki and Nioki Italic, both for Latin and Cyrillic. Free download. Other typefaces by her include Albi (2010) and Eta (2011).

    While temporarily located in Sydney, Australia, she created Kamilitza (2014, a layered, condensed, all-caps cross stitch display typeface) and Globster (2014, a Treefrog-style typeface for Latin and Cyrillic).

    In 2019, she collaborated with Studio Moross to design the new Spice Girls typeface as part of the branding for the UK and Ireland Spice World tour. The font was used in the animated show visuals, on the Spice Girls merchandise and is still in use for promotional and marketing material across all social media channels.

    In 2020, she released the 30-style layered, condensed, all-caps cross stitch display type family Litza as an extension of her 2014 family, Kamiltza.

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

    Marija Dimic

    Freelance designer in Belgrade, Serbia, who is working on a connected script typeface called Katalea (2014). Earlier, she created a beautiful revival typeface for old Cyrillic, as well as the italic Latin/Cyrillic typeface Madina (2014), and the cursive Cyrillic typeface Slatkovac (2014). [Google] [More]  ⦿

    Marija Juza
    [Babushke Studio]

    [More]  ⦿

    Marija Rnjak

    Croatian calligrapher and type designer, based in Belgrade, Serbia. Graduate of the Faculty of Applied Arts in Belgrade. During TypeClinic 5 in 2012 in Trenta, Slovenia, she created Prouge, which is described as a soft didone that is best for titling, but can be successfully used also in smaller sizes down to 12 pt.

    Creator of the Cyrillic typeface Vuk (2012), which is named after and based on the handwriting of Vuk Stefanovic Karadzic, a Serbian philologist and linguist who was the major reformer of the Serbian language. In 2015, Vedran Erakovic and Marija Rnjak finally published Vuk at LatterPalette. Thanks to some OpenType features, this typeface does a good job at emulating real handwriting.

    In 2016, Marija designed the didone typeface Nocturno BG (Latin and Cyrillic) at Tipometar. [Google] [More]  ⦿

    Marijana Ivanova

    During her studies at National Academy of Art in Sofia in 2015, Vinica, Macedonia-based Marijana Ivanova created several Cyrillic typefaces, including a Western one. [Google] [More]  ⦿

    Marijana Orsolic
    [Marianna Orsho]

    [MyFonts] [More]  ⦿

    Marijanco Galevski

    Marijanco Galevski (Inventif (or Inventiv) Systems, Skopje) made Macedonian-Ancient, Macedonian-Ariston, Macedonian-Bahamas, Macedonian-Becker, Macedonian-Cupertino, Macedonian-Eco-Condensed-60, Macedonian-Eco-Condensed-70, Macedonian-Handwriting, Macedonian-Helv-Bold-Italic, Macedonian-Helv-Bold, Macedonian-Helv-Italic, Macedonian-Helv, Macedonian-Penguin, Macedonian-Tms-Bold-Italic, Macedonian-Tms-Bold, Macedonian-Tms-Italic, Macedonian-Tms, and Macedonian-Unicorn, all dated 1993. [Google] [More]  ⦿

    Marina Apevalina

    Moscow-based designer of the Cyrillic potato font Potato Font Sunset (2015). [Google] [More]  ⦿

    Marina Bakhireva

    Russian type designer who created the dynamic hand-printed typeface Freaky (2009, Paratype). [Google] [MyFonts] [More]  ⦿

    Marina Danilevskaya

    Moscow-based graphic designer. Creator of Lirom (2013, a very thin Cyrillic display face). [Google] [More]  ⦿

    Marina Durdic

    Podgorica, Montenegro-based designer who created a semi-stencil Cyrillic typeface in 2012. [Google] [More]  ⦿

    Marina Gredina

    Moscow-based designer of the Clarendon style typeface Nerso (2019) for Latin and Cyrillic. [Google] [More]  ⦿

    Marina Hvo

    Krasnoyarsk, Russia-based designer of Circus Font (2014). [Google] [More]  ⦿

    Marina Hvo

    Krasnoyarsk, Russia-based designer of the dadaist HVO script (2014, Latin and Cyrillic). [Google] [More]  ⦿

    Marina Kagukina

    Odessa, Ukraine-based designer of the soccer shirt font JuegoFut (2016) and the curly display typeface Kerlingar (2016, for Latin and Cyrillic). [Google] [More]  ⦿

    Marina Kalinskova

    Tolyatti, Russia-based designer of the nihilist Cyrillic typeface Malevich (2019). [Google] [More]  ⦿

    Marina Khodak

    As a student at TypeType Education, Marina Khodak designed the rounded slab serif typeface Splash (2016-2017). She joined TypeType after these studies. In 2018, Ivan Gladkikh, Alexander Kirillov, Philipp Nurullin, Vika Usmanova, Marina Khodak, and Nadyr Rakhimov published TT Severs. Still in 2018, Nadezhda Polomoshnova and Marina Khodak co-designed the forceful display typeface TT Phobos, which features striling stencil and inline styles. Continuing in 2018, Sergey Kotelnikov, Philipp Nurullin, Nadezhda Polomoshnova, Marina Khodak and the TypeType Team designed the not-quite-geometric 18-style typeface family TT Smalls, which is characterized by a small x-height and modulated joins. Co-designer of TT Barrels (2018: a Scotch modern typeface by Inessa Mitrozor, Vika Usmanova, Marina Khodak, Nadezhda Polomoshnova and the TypeType Team). At the end of 2018, TypeType published TT Supermolot Neue (Roman Ershov, Marina Khodak, Nadezhda Polomoshnova, Ivan Gladkikh and the TypeType Team).

    In 2019, TypeType published TT Tsars, a 20-style font family with five subfamilies. It is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century and seen on book title pages in Russia. A reference for the development was Abram Shchitsgal's book Russian Civil Type. The fonts were designed by Marina Khodak, Inessa Mitrozor, Nadezhda Polomoshnova and the TypeType Team.

    In 2020, Marina Khodak and Anna Tikhonova co-designed TT Marxiana (TypeType). It is an attempt to reconstruct a set of pre-revolutionary fonts that were used in the layout of the Niva magazine, published by the St. Petersburg publishing house A.F. Marx, and includes antiqua, grotesque and elzevir styles.

    In 2020, she was part of the Type Type team that designed TT Ramillas, a 20-style high contrast transitional serif by Pavel Emelyanov, Marina Khodak, Yulia Gonina and Kseniya Karataeva. TT Ramillas also contains variable styles.

    In 2021, she designed the thin roman capital lettering typeface TT Ricordi Fulmini which was inspired by an inscription on the altar in the National Gallery of Umbria in Perugia. Still in 2021, she co-designed TT Commons Classic (a 24-style geometric sans by Ivan Gladkikh, the TypeType Team, Pavel Emelyanov and Marina Khodak; it includes two variable fonts). Near the end of 2021, she published TT Rationalist (a 22-style slab serif with accompanying variable fonts). [Google] [MyFonts] [More]  ⦿

    Marina Koroleva

    During her studies in Saint Petersburg, Russia, in 2015, Marina Koroleva created several display typeface such as Convex, Feature, Destruction. Behance link. [Google] [More]  ⦿

    Marina Kuznetsova

    Belarussian designer of the connected script typeface Oleander (2016) and the brush typefaces Momento (2016) and Hardcore (2016, Latin and Cyrillic) and the handcrafted typeface Enjoy (2016). She operates as Marie Smith Lettering & Design. Creative Market link. [Google] [More]  ⦿

    Marina Lukashenko

    Graphic designer and illustrator in Kiev, Ukraine. Her remarkable work includes some unnamed experimental Cyrillic typefaces (2014), and a Bezier curvature experiment that is called Coordinate (2014). [Google] [More]  ⦿

    Marina Panfilova
    [Mallinka]

    [More]  ⦿

    Marina Tsacheeva

    Russian illustrator of fantastic posters. She created a beautiful animal alphabet called 33 Bukashki (2009). [Google] [More]  ⦿

    Marina Zakynian

    During her graphic design stuies in Moscow, Marina Zakynian created the serifed text typeface family Hernan (2013) for Latin and Cyrillic. For the development of this low-contrast typeface, she started from a Venetian model. [Google] [More]  ⦿

    Måns Grebäck
    [Aring Typeface]

    [MyFonts] [More]  ⦿

    Mario Dimitrov

    Graphic designer in Dobrich, Bulgaria, who created the Latin / Cyrillic typeface Gora Sans in 2016. Done for his graduation project, it is loosely based on the Nesebar font by Todor Popov. [Google] [More]  ⦿

    Mario Pandeliver

    Sofia, Bulgaria-based designer of the free handcrafted Latin and Cyrillic all-caps typeface Yarin (2015, Fontfabric). [Google] [More]  ⦿

    Marion Sendral

    Marion Sendral is a typeface designer at Production Type. She holds an MA degree in typeface design from Ecole Estienne. She assisted with these typefaces: Tesseract (+Display), Proto (including Slab Condensed and Grotesk), Kessler, Signal, Gemeli Mono.

    Designer of the Cyrillic part of Emmanuel Besse's Enduro (2020, Production Type), a sturdy 44-style no-nonsense sans family. [Google] [More]  ⦿

    Mariya Butyrina

    Moscow-based designer of a connect-the-dots typeface in 2016. [Google] [More]  ⦿

    Mariya Dariy

    Graphic designer in Kiev, Ukraine. Creator of the calligraphic Cyrillic typeface Poetry (2014), the circle-based Cyrillic typeface Daj Sk (2014), and the octagonal typeface Depo (2014). She also created Zoo Pictograms (2014). [Google] [More]  ⦿

    Mariya Domnikova

    Aka Marusya Chaika. Monino, Russia-based designer of the free Latin / Cyrillic script typeface Marutya (2014). Behance link. [Google] [More]  ⦿

    Mariya Gotovko

    Type designer in Saint Petersburg, Russia, who created an untitled Tuscan Cyrillic typeface in 2018. [Google] [More]  ⦿

    Mariya Sych

    Saint Petersburg, Russia-based designer of the blackletter-style Cyrillic font Bekar (2015). [Google] [More]  ⦿

    Mariya Tomova

    Burgas, Bulgaria-based graphic designer who created several Cyrillic typefaces in grotesk and display styles, a sports pictogram, and an animal pictogram, all in 2011. [Google] [More]  ⦿

    Mariya Vasiljevna Pigoulevskaya
    [Metype]

    [MyFonts] [More]  ⦿

    Mark Bloom
    [Mash Creative]

    [More]  ⦿

    Mark Chernyshev Gelendzhik

    As part of Kiosk Works (or: Playfaces Type foundry) in Moscow, Russia, Mark Chernyshev Gelendzhik designed the modular Latin / Cyrillic typeface Cutter (2019). [Google] [More]  ⦿

    Mark E. Shoulson
    [Lerfu]

    [MyFonts] [More]  ⦿

    Mark Noad

    London-based designer of a wide cargo stencil typeface for Latin and Cyrillic (2014). Other URL. [Google] [More]  ⦿

    Mark Williamson

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

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

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

    Dafont link. [Google] [More]  ⦿

    Marko Marinkovic

    Graphic designer in Belgrade, Serbia. Behance link. Creator of a 3d font experiment for Latin and Cyrillic called Font In Space (2012).

    At Tipometar, we can find his display typeface Paket (2005, Latin and Cyrillic). [Google] [More]  ⦿

    Marko Milin

    Tough-looking graphic designer from Belgrade. In 2010, he created the equally macho copperplate typefaces PastCoast and Type No 6. He used a grid design when he made the Globe Ship typeface in 2012 for Latin and Cyrillic. Type No2 (2014) was inspired by art nouveau. Type No 3 (2014) is an elegant inline typeface. Tye No 12 (2014) is a spurred Tuscan typeface.

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

    Marko Tasic

    Serb designer, b. 1984. His fonts, made between 2008 and 2011, include Satic Latinica (an elegant geometric monoline sans), Satic Cirilica, Otisak, Kvadratic and Kuvarica. [Google] [More]  ⦿

    Markus Schröppel

    German designer, b. 1965. Currently, he teaches typography at the University of Lapland in Rovaniemi, Finland, but maintains a home in Wuppertal, Germany. His typefaces:

    • Claus (2019). A typeface with a shaky outline.
    • The dingbat typefaces LL Sami Signs (2016) and LL Hullu Poro (2016).
    • LL Mystic (2016). A pixel or embroidery typeface.
    • LL DCL (2016) and LL Miral (2019). Dot matrix typefaces.
    • LL Disco (2016).
    • LL Colon (2016).
    • LL Mountain (2015). Mountain scene dingbats.
    • LL Calligraphy (2014).
    • LL Paladin (2014). Medieval calligraphic typeface.
    • LL Liberte (2013). a rough stencil typeface based on railway stencils seen in Arles, France.
    • LL Lisa (2013). A Cyrillic sans.
    • LL Faces (2013).
    • LL Rounded (2012).
    • LL Charlotte
    • LLChina (2009): a grunge stencil face.
    • LLTippa (2009): old typewriter.
    • LL Pochoir (2007, grunge).
    • The dingbats font LL Hulu Poro (verrucktes Renntier) presented at FUSE95.
    • LL Faktotum (1995, grunge). Download here.
    • LL Humboldt (2012). A grungy signposting or poster face.
    • LL Record (2002-2006): music dingbats.
    • LL Medien (2004): extra-wide rounded techno face.
    • Free typefaces: LL Nitro (2002, grunge), LL Mirai (2018), LL Futur (2013), LL Pearl (2013), LL Pixel, LL Pikseli (2009, dotted face, done with Rovaniemen Yliopisto), LL Rubber Grotesque (grunge, letterpress simulation, and/or rubber stamp font originally done in 1997), LL Regular (grunge), LL Cooper (2009, sketched typeface based on Cooper Black) and LL Alarm (roughened stencil face). LL Rubber Grotesque has been used in the Harry Potter films since 2005: see here.
    • The typefaces for the interior of Smart cars (Smart Roadster) and the exterior of the Smart 4-4 and 4-2 (see here).
    • LL Textur (2014, a calligraphically constructed Textura face).
    • LL Xmas (2012, stitching font) and LL Dot (2012, dot matrix face).
    In October 2007, he organized a Type Workshop in Rovaniemi. At that workshop, his students made a number of typefaces: Väinö Klemola, Siru Lämsä, Mika Junna, Merja Lahti, Lena Raeuchle, Kalle-Pekka Alare, Jussi-Pekka Koivisto, Heidi Ettanen, Hanna Piekkola, Hanna Kauppinen, Esa-Pekka Niemi, Elisa Niemelä, Elina Virtanen, Emile Uggla, Antti Huhtala. This was followed by similar workshops in 2008 and 2009. Type glossary.

    Old download link. Abstract Fonts link. [Google] [More]  ⦿

    Marta Petrova

    Bulgarian designer of a modular Cyrillic typeface (2019). [Google] [More]  ⦿

    Martina Shatova

    At the National Academy Of Art, Sofia, Bulgaria-based designer of a neo deco Cyrillic typeface in 2017. [Google] [More]  ⦿

    Marusya Strange

    Moscow-based designer of the Cyrillic potato print font Pogreb (2019) and the finger-painted Plemya (2019). [Google] [More]  ⦿

    Mary Egorova

    Moscow-based foundry which designed the folded paper typeface Tranglego (2009), a modular triangle-based font made in Tagir Safayev's workshop at the Higher Academic School of Graphic Design, Moscow. Behance link. [Google] [MyFonts] [More]  ⦿

    Mary Faber

    Mary Faber (b. 1987) from Hamilton, New Zealand, writes about Mainline, a copperplate creation in 2011: Mainline's style was formed through an amalgamation of two historical typefaces titled Copperplate and Glyptic; research proved these the most popular metal display typefaces in New Zealand letterpress printing during the period of 1880 to 1900. Despite the lack of typeface designers in New Zealand in the late 1800s, this hybrid typeface design could be considered a national reflection of historic typefaces seen in New Zealand during that time. It should be noted that the selected parent typefaces were both Victorian typefaces by Hermann Ihlenburg.

    She also created Marino (2011): Marino is a contemporary typeface design influenced by a period of New Zealand's typographic history. Its letterforms were created based on research into typeface trends within newspaper advertising from 1920 until 1940, reflecting the increasing popularity of geometric modernity, and the peak of typographic Art Deco in 1930. In particular, Marino is based on an ad for Mencken from ca. 1930.

    Speaker at AtypI 2012 in Hong Kong: New Zealand Type on Display. In this talk, she introduced her typefaces.

    Dalton Maag, Tom Foley, Mary Faber, Stuart Brown and Hanna Donker won a Granshan 2014 award for Intel Clear Cyrillic. [Google] [More]  ⦿

    Mary Komary

    Saint Petersburg, Russia-based graphic and icon designer. In 2017, she published various sets of icons, including Sign System and Travel Icons. She also designed the outlined decorative caps typeface Vladivostok (2017). [Google] [More]  ⦿

    Mary Komary

    Based in Saint Petersburg, Russia, Mary Komary designed a decorative architectural all caps typeface depicting the city of Vladivostok (2016). [Google] [More]  ⦿

    Mary Maksymiv

    Lviv, Ukraine-based designer of a circle-themed Cyrillic display typeface in 2017. [Google] [More]  ⦿

    Mary Mark

    Kiev, Ukraine-based designer of the Latiin / Cyrillic display typeface Waterstar (2017). [Google] [More]  ⦿

    Mary Tolstova

    Moscow-based designer of a couple of decorative caps alphabets for Milk magazine (2016). [Google] [More]  ⦿

    Maryia Hilep

    Maryia Hilep is a designer and photographer, based in Vilnius, Lithuania. She grew up in Homel, Belarus, and moved to Vilnius in 2013 to study Visual design and Media at European Humanities University. In 2015, she designed the rough military stencil typeface Trafaret for Latin and Cyrillic. In 2016, she published the free triangle-themed font Delta. [Google] [More]  ⦿

    Maryna Ivanets

    Minsk, Belarus-based designer of the Latin / Cyrillic marker pen typeface Super Duper (2017). [Google] [More]  ⦿

    Mash Creative
    [Mark Bloom]

    Mash Creative is the East London / Exxex-based design studio of Mark Bloom, who graduated from Middlesex University in 1998. Its first typeface is the basic sans RM Regular (2011). RM Regular was updated in 2016 to RM Pro (which can be bought at The Designers Foundry).

    At some point before 2019, Joe Leadbeater and Mark Bloom founded CoType Foundry. Bloom released these typefaces at CoType:

    • Aeonik and Aeonik Pro (2018). A 14-weight sans typeface family by Joe Leadbeater and Mark Bloom. Aeonik supports Latin, Greek and Cyrillic, and is accompanied by a variable font. Followed in 2022 by Aeonik Mono.
    • Altform (2021). A low contrast sans family by Mark Bloom. Designed by mixing geometric and grotesque elements, it has many weights and is accompanied by a two-axis (weight, italic tilt) variable font.
    • Ambit (2019). A sans by Mark Bloom: Ambit is an eccentric and unique sans serif font inspired by early grotesques, but adapted for the 21st century. It is characterized by the misbehaving curly lower case f and r glyphs.
    • Coanda (2019). A techno typeface by Mark Bloom, who writes: Coanda: an ideology of the future, crafted from the past. Coanda honours the ambitious outlook of 20th century designers Wim Crouwel and Mimmo Castellano, and pays respect to the meticulous detail crafted by The Designers Republic.
    • Orbikular (2020). A 5-weight modern typeface by Mark Bloom.
    • RM Neue (2019). A sans by Mark Bloom. The first iteration of RM was released in 2011, followed by RM Pro in 2016. RM Neue is a completely redrawn and redesigned adaptation of RM Pro, previously available in only three weights. Bloom writes: Inspired by utilitarian neo-grotesques, RM Neue aims to be a timeless addition to each designer's font repertoire and has been designed to be clean and legible at all sizes.
    [Google] [More]  ⦿

    Masha Bardak

    Moscow-based designer of Rbichigy Mashbin (2015), a squarish computer emulation typeface that was inspired by the music of the Russian punk-rock band. [Google] [More]  ⦿

    Masha Barsukova

    During her studies in Moscow, Marsha Barsukova designed Monstro (2013, monster dingbats) and Makaka (2013, an African-themed typeface). [Google] [More]  ⦿

    Masha Chuprova

    Irkutsk, Siberia-based designer of the sharp-serifed ink-trapped Latin typeface Rude (2016). Free download. In 2019, she published the all caps sans typeface Salt. [Google] [More]  ⦿

    Masha Er

    Designer in Saint Petersburg, Russia. In 2016, she created the handcrafted typeface Shy Pincess. [Google] [More]  ⦿

    Masha Fedorovskaya

    Moscow-based creator of the grid-based typeface Insecta (2012). [Google] [More]  ⦿

    Masha Kaloshina

    Russian designer of Forest, an all caps font with exquisite trees. [Google] [More]  ⦿

    Masha Nickol

    Moscow, Russia-based designer of a scribbly Cyrillic display typeface (2017). [Google] [More]  ⦿

    Masha Solyankina

    Moscow-based designer of the display typeface Hunt Type (2012), for Latin and Cyrillic. [Google] [More]  ⦿

    Masha Tamgina

    Russian creator of the experimental typeface Quartz (2012). [Google] [More]  ⦿

    Mateo Broillet
    [ETC Type]

    [More]  ⦿

    Mateus Boga

    Portuguese designer (b. 1998) of the blackletter font Soaring Pinnacles (2019), and the free display typefaces Evidence (2016) and Caligo (2015). In 2019, he published the squarish typeface Magnetar, the pixel typeface New Gen, which supports Latin, Greek, Cyrillic and Hebrew. [Google] [More]  ⦿

    Mateusz Machalski
    [Borutta (or: Duce Type)]

    [MyFonts] [More]  ⦿

    Matey Devedzhiev

    Bulgarian designer. During his studies at University of Huddersfield in the UK, he created a set of numerals that were inspired by bicycle chains (2017). Earlier, in 2014, he designed a 3d Bulgarian Cyrillic typeface. [Google] [More]  ⦿

    Mathieu Desjardins
    [Pangram Pangram Foundry]

    [More]  ⦿

    Mathieu Loutre
    [Mathieu Triay]

    [More]  ⦿

    Mathieu Triay
    [Mathieu Loutre]

    Mathieu Triay (Mathieu Loutre) is a software engineer who studied at University College London and the University of London. In 2017, he designed Marvin Visions to revive the successful avant garde typeface Marvin (1969, Michael Chave, Face Photosetting) for the sci-fi magazine Visions. It also contains Cyrillic. Mathieu explains: The result of that process is a more consistent Marvin. It has larger counters and strong, stable shapes. It's a little more versatile, will look great on screen and in print, and it can be tracked without collapsing. It retains the charm and genial look of its forefather but brings its distinctive feel into the digital world with a bang. Updated in 2018. Unusual and restrictive licensing.

    Download link for personal use. Github link. Twitter link. Home page. [Google] [More]  ⦿

    Matt Heximer
    [10four design]

    [MyFonts] [More]  ⦿

    Matthew Carter

    Matthew Carter (born in London in 1937, and son of Harry Carter) is one of today's most influential type designers. He trained as a punchcutter at Enschedé in 1956. In 1963 he was hired by Crosfield, a firm that pioneered the new technology of photo-typesetting, to lead their typographic program. He worked for Mergenthaler Linotype (1965-1981), and co-founded Bitstream Inc. with Mike Parker in 1981, adapting many fonts to digital technology. In January 1992, he founded Carter&Cone with Cherie Cone, and often collaborated with Font Bureau. In 1995, he won the Gold Prize at the annual Tokyo Type Directors Club competition for Sophia. In 1997, he received the TDC Medal for significant contributions to the life, art, and craft of typography. In 2010, he received a MacArthur grant. He lives in Cambridge, MA.

    John Berry on Carter's art (2002). Apostrophe comments on Berry's article. Interview. His fonts:

    • The Microsoft screen fonts Verdana (1996), Georgia (1996), Georgia Greek, Georgia Cyrillic, Nina and the humanist sans typeface Tahoma (1994). Georgia (in roman and italic only) is a screen version of Miller, Carter's Scotch design. Nina was designed to address the requirements on smaller screens such as phones, and was used in Windows Mobile smartphones before Microsoft switched to Segoe. The Greek and Cyrillic versions of Nina were developed by François Villebrod. Georgia Pro (2010, Ascender) was developed from Georgia with the help of Steve Matteson. For Verdana Pro (2010, Ascender), Carter was assisted by David Berlow and David Jonathan Ross.
    • Apple's Skia (1993), a sans serif designed with David Berlow for Apple's QuickDraw GX technology, now called AAT. [Carter's Skia and Twombly's Lithos are genetically related.]
    • Monticello (2003), based on Linotype's Monticello (1950), which in turn goes back to Binny&Ronaldson's Monticello from 1797, a typeface commissioned by Princeton University Press for the Papers of Thomas Jefferson. It is in the Scotch roman style.
    • Miller (1997, Font Bureau), an extremely balanced family co-designed by Carter, Tobias Frere-Jones and Cyrus Highsmith. Carter explains: Miller is a Scotch Roman, a style that had its beginnings in the foundries of Alexander Wilson In Glasgow and William Miller in Edinburgh between about 1810 and 1820. It is considered that the punchcutter Richard Austin was responsible for the types of both Scottish foundries. Miller is a revival of the style, but is not based on any historical model. Now, there is also a 16-weight newspaper version, Miller Daily (2002), and an 8-weight Miller Headline (2002). This was followed by News Miller, a typeface designed for the Guardian. Note: Georgia (1996) is a screen version of Miller, and Monticello (2002) is a later modification. A comparison of these typefaces.
    • Alisal (1995, +Bold).
    • ITC Galliard (1978), a recreation of Robert Granjon's garalde letters. This typeface was originally conceived in 1965. Bringhurst recommends a Carter and Cone version of this font, called Galliard CC: it has old style figures and small caps. Further versions include Aldine 701 (Bitstream), Matthew (Softmaker), ITC Galliard Etext (2013, Carl Crossgrove, Linotype), and Gareth (Softmaker).
    • The ITC Charter family (1987 for Bitstream and known as Bitstream Charter; licensed to ITC in 1993; see the Elsner&Flake version of ITC Charter). An upgraded commercial version was released by Bitstream in 2004 under the name Charter BT Pro.
    • Vincent (1999), a font commissioned for use in Newsweek. It is named after Vincent Figgins, an English foundry owner and punch cutter who lived in the late 18th century.
    • Walker (1994), designed for The Walker Art Center.
    • Ionic Number One (1999, Carter&Cone).
    • Mantinia (1993, Font Bureau), based on inscriptional forms, both painted and engraved, by the Italian renaissance artist Andrea Mantegna.
    • Big Caslon (1994, Font Bureau), a display typeface based on the largest romans from William Caslon's foundry.
    • Big Figgins (1992) and Big Figgins Open (1998, based on the decorative didone types shown in the specimens of Vincent Figgins of 1815 and 1817). Big Figgins was called Elephant and Elephant Italic in Microsoft's Truetype Fontpack 2.
    • Sammy Roman (1996), loosely based on the 17th century romans of Jean Jannon. A beautiful typeface designed to accompany kanji and kana typefaces produced by Dynalab in Taiwan.
    • Sophia (1993, Font Bureau), a mix with Greek, uncial and classical Roman influences.
    • Shelley Script (1972), a family of formal scripts, split into Andante, Volante and Allegro. It is based on intricate English scripts of the 18th and 19th centuries attributed to George Shelley.
    • Cochin (1977, at Linotype). MyFonts writes: In 1913 Georges Peignot produced a typeface based on Nicolas Cochin's eighteenth century engravings. In 1977, Matthew Carter expanded this historic form into a three part series.
    • Bell Centennial (Linotype-Mergenthaler, 1975-1978), a legible heavily ink-trapped family designed by Matthew Carter as a replacement of Bell Gothic at Mergenthaler. There are also digital Linotype and Bitstream versions. AT&T commissioned the font to replace their previous typeface choice Bell Gothic for their 100th Anniversary.
    • Cascade Script (1965-1966, Linotype, now also known as Freehand 471 BT in the Bitstream collection). Paratype's extension of Freehand 471 to Cyrillic is by Oleg Karpinsky (2011).
    • New Century Schoolbook was designed from 1979-1981 in the New York Lettering office of Merganthaler Linotype based on Morris Fuller Benton's Century Schoolbook from 1915-1923. It was the second face, after New Baskerville, that was digitized and expanded using Ikarus (digital technology). The Bitstream version [Century Schoolbook] is a virtually exact copy, only being moved from a 54 unit to a 2000 or so unit design.
    • Auriol (Linotype), an art nouveau family (including Auriol Flowers 1 and 2 and Auriol Vignette Sylvie) based on the lettering of the painter and designer Georges Auriol. MyFonts explains: Auriol and Auriol Flowers were designed by Georges Auriol, born Jean Georges Huyot, in the early 20th century. Auriol was a French graphic artist whose work exemplified the art nouveau style of Paris in the late 19th and early 20th centuries. In 1900, Georges Peignot asked Auriol to design fonts for Peignot&Sons. The resulting Auriol font was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. It was re-released by Deberny&Peignot in 1979 with a new bold face, designed by Matthew Carter. These decorative fonts with a brush stroke look are well-suited to display settings. The Peignot drawing office insisted on a more normal appearance in the boldface, calling it Robur. Matthew Carter has returned to Auriol's original design for the whole series.
    • Helvetica Greek (Linotype).
    • Helvetica Compressed (Linotype, 1974, with Hans-Jörg Hunziker).
    • Wilson Greek (1995), compatible with Miller Text, and based on a type cut by Alexander Wilson for the Glasgow Homer of 1756. See here.
    • Olympian (1970, Linotype), designed for newspaper use. This is Dutch 811 in the Bitstream collection. The custom typeface Milne (Carter&Cone) done for the Philadelphia Inquirer is based on Olympian.
    • Gando, a French "ronde" typeface based on the work of Nicholas Gando (mid 1700s), and designed for photo-typesetting at Mergenthaler by Carter and Hans-Jörg Hunziker in 1970. Very similar to Bitstream's Typo Upright.
    • Fenway (1998-1999, Carter&Cone), commissioned by Sports Illustrated to replace Times Roman.
    • Snell Roundhand (1965-1966): a connected cursive script based on the 18th-century round hand scripts from English writing masters such as Charles Snell. Early in the digital era, Matthew published this in the Bitstream collection as Roundhand BT. A Cyrillic version by Isabella Chaeva and Vladimir Yefimov was released by ParaType in 2013.
    • Auriga (1970). (Wallis dates this in 1965 at Linotype.)
    • CRT Gothic (1974).
    • Video (1977).
    • V&A Titling (1981).
    • Deface (in the FUSE 18 collection).
    • Madrid (2001), done for the Spanish newspaper El País.
    • Milne, done for the Philadelphia Inquirer (a revised version of Olympian). Not available.
    • Durham, a sans serif family for US News&World Report.
    • Airport.
    • Century 725 (Bitstream, for the Boston Globe: after a design by Heinrich Hoffmeister).
    • For Microsoft: Georgia, Verdana, Tahoma (1994), Nina.
    • Freehand 471 (Bitstream). A chunky slightly angular script.
    • New Baskerville. [Matthew Carter says that this is wrongly attributed to him. It was directed by John Quaranta.]
    • Postoni [or Post-Bodoni], for the Washington Post, which is still using it. See here.
    • Le Bé, a Hebrew typeface that was used in the Pennyroyal Caxton Bible.
    • Rocky (2008, Font Bureau, with Richard Lipton), for the Herald in Scotland.
    • Time Caledonia.
    • Wiredbaum, for WIRED.
    • Wrigley (for Sports Illustrated). Matthew Carter designed Roster in the 1990s, and it was adopted as a display face for Sports Illustrated under the name Wrigley. Jesse Ragan was instrumental in later expanding the family from its original seven styles to the current 60. In 2015, Carter & Cone and Font Bureau released an expanded 60-style family of this typeface under the new name Roster.
    • Benton Bold Condensed (for Time Magazine).
    • Foreman Light (for the Philadelphia Inquirer).
    • Newsbaum (for the New York Daily News).
    • Carter Latin: Matthew was commissioned in 2003 to create a new design to be cut in wood type by the Hamilton Wood Type&Printing Museum in Two Rivers, WI. He came up with an all-caps, chunky, Latin-serif design.
    • Times Cheltenham (2003), which replaces in 2003 a series of headline typefaces including Latin Extra Condensed, News Gothic, and Bookman Antique.
    • The Yale Typeface (2004), inspired by the late fifteenth-century Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius. This extensive family is freely available to members of Yale University.
    • DTL Flamande (2004, Dutch Type Library), based on a textura by Hendrik van den Keere. Since 2018, available from URW++. Additions to DTL Flamande by Lukas Schneider.
    • Meiryo UI, Meiryo UI Bold, Meiryo UI Bold Italic, Meiryo UI Italic (2004). Meiryo is a modern sans serif Japanese typeface developed by Microsoft to offer an optimal on screen reading experience and exceptional quality in print, as part of the Cleartype project. The Japanese letterforms are generously open and well-proportioned; legible and clear at smaller sizes, and dynamic at larger display sizes. The beauty of Meiryo is that it sets text lines in Japanese with Roman seamlessly and harmoniously. Meiryo was designed by a team including C&G Inc., Eiichi Kono, Matthew Carter and Thomas Rickner. It won a 2007 type design prize from the Tokyo Type Directors.
    • Suntory corporate types (2003-2005), developed with the help of Akira Kobayashi and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.
    • Rocky (2008, Font Bureau): A 40-style high contrast roman family that is difficult to classify (and a bit awkward). Developed with Richard Lipton.
    • Carter Sans (2010, ITC), based on epigraphic letters used in inscriptions. Created for the identity of the Art Directors Club 2010 class of its Hall of Fame, one the laureates in the 2010 Hall of Fame. Codesigned by Dan Reynolds, this chiseled typeface is loosely based on Albertus.
    • In 1997, he designed Postoni for the The Washington Post's headlines, a sturdy Bodoni.
    • MS Sitka (2013). A typeface with six optical sizes that are chosen on the fly if an appropriate application is present. Developed at Microsoft with the help of John Hudson (Tiro Typeworks) and Kevin Larson (who carried out extensive legibility tests). German link. Typophile link. Sitka won an award at Modern Cyrillic 2014.
    • Van Lanen Wood Type (Hamilton Wood Type, 2002-2013). Carter started work on the wood type in 2002, but technical accuracy issues postponed the implementation. Digital versions were finally done in 2013 by P22's Hamilton Wood Type.
    • Big Moore (2014, Font Bureau): A 1766 specimen by Isaac Moore, former manager of Joseph Fry's foundry in Bristol, England, shows many types inspired by John Baskerville. But a century later, standardization had foisted inept lining figures and shortened descenders upon these designs. Matthew Carter remedies the tragedy with Big Moore. Oldstyle figures, full-length descenders, and historic swashes are restored to this regal serif in two styles. Big Moore won an award in the TDC 2015 Type Design competition.
    • Role (2019, Sans, Slab, Serif, Soft). A superfamily published at Morisawa and Fontelier. Matthew Carter, Shotaro Nakano, and Kunihiko Okano co-designed Role Serif at Morisawa.

    Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2019 in Tokyo on the topic of Expressing Vocal Tones through Typography.

    Linotype link. FontShop link. Favorite quote: Watching me work is like watching a refrigerator make ice. Another quote: A typeface is a beautiful collection of letters, not a collection of beautiful letters.

    View Matthew Carter's typefaces. Matthew Carter's fonts. The typefaces made by Matthew Carter. See also here. Wikipedia page. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Matthew Grouss

    Director, graphic, motion and type designer, b. 1995 in Moscow. He graduated from MGHPA (Faculty of Graphic Design of the Stroganov Academy) in 2018.

    In 2022, Matthew Grouss, Ksenia Churilova and Pavel Nevsky released the 16-weight constructivist typeface Nowar, a variable typeface that features Latin, Cyrillic and Hebrew scripts. [Google] [MyFonts] [More]  ⦿

    Matthew Stephen Stuckwisch

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

    Matthew Willsone

    Grays Thurrock and/or London, UK-based designer, b. 1994, of the slightly rounded black sans typeface Class 357 (2018: free), LaunchPad (a sci-fi typeface), Fervour Sans, the compass-and-ruler typeface Port, and The Language of Time (2013), a typeface in which glyphs consist of pieces of a mechanical watch.

    Graduate of the MATD program at the University of Reading, class of 2019. His graduation typeface, Cavallo, covers Latin, Cyrillic and arabic, and was created for use as a magazine text tyoeface. [Google] [More]  ⦿

    Matthieu Salvaggio
    [Blaze Type Foundry (was: Adèle Type Foundry)]

    [More]  ⦿

    Matthijs Herzberg
    [Herzberg Design]

    [More]  ⦿

    Max Kuzhegetov
    [Max Kuzhegetov, Mikhail Rul, and Larisa Shibarova]

    [More]  ⦿

    Max Kuzhegetov, Mikhail Rul, and Larisa Shibarova
    [Max Kuzhegetov]

    Together, Moscow-based Max Kuzhegetov [Behance link], Mikhail Rul [Behance link], and Larisa Shibarova created the Cyrillic DangerFont (2012). [Google] [More]  ⦿

    Max Lukashevich

    Moscow-based designer of the bitmap typeface Taylor (2015). [Google] [More]  ⦿

    Max Orloff
    [Pen Art]

    [More]  ⦿

    Maxim Avdeev
    [Amazingmax]

    [More]  ⦿

    Maxim Krasheninnikov

    Kirov, Russia-based designer. In 2020, Maxim Krasheninnikov and Sergey Vasenin co-designed the free painted letter font Maler, the display and brush pair Karlo Cham, and the octagonal typeface dead Author. [Google] [More]  ⦿

    Maxim Markevitch
    [MLM screen fonts]

    [More]  ⦿

    Maxim Raikov

    Russian designer of the free Latin / Cyrillic serif typeface Daray (2021), the free dystopian font Izax (2021), the free Latin / Cyrillic display font Arounder (2021), and the display typefaces Neversmile (2021: octagonal), DacikPush (2021: octagonal), Vlashu (2021: a paperclip font), Inverkrug (2021), Fontick (2020) and Connections+Order (2020). [Google] [More]  ⦿

    Maxim Schepin
    [Made Type]

    [More]  ⦿

    Maxim Shtok

    Moscow, Russia-based designer of the straight-edged Latin / Cyrillic display typeface XYZ (2014). [Google] [More]  ⦿

    Maxim Tictac

    Digital artist in Odessa, Ukraine, who made some experimental pixel fonts from 2009 until 2011. Isometric (Cyrillic) was published in 2013.

    Flickr page. [Google] [More]  ⦿

    Maxim Zhukov

    Maxim Zhukov (b. Moscow, 1943) specializes in multilingual typography. He was a typographic coordinator for the United Nations in New York from 1977 until 2003. Solomon Telingater was one of his mentors. Early on, he designed some typefaces such as Meandr (1972). He taught at the Moscow Printing Institute in 1984-1985, and at the British School of Art and Design in Moscowand is affiliated with the Type Directors Club and ATypI. He now teaches at Parsons School of Design in New York. He also taught a course on advanced typography at The Cooper Union, also New York.

    Alternate URL. He co-authored (with George Sadek, who died in 2007) Typography: Polyglot (1991) and its second edition, Typographia Polyglotta (1997). Bio in Russian. Maxim lives in the Bronx.

    Codesigner with John Hudson, Joshua Darden, Eben Sorkin, and Viktoriya Grabowska, of Omnes Cyrillic. [Google] [MyFonts] [More]  ⦿

    Maya Lagunova

    Perm, Russia and/or Plzen, Czechia-based designer of the script typefaces La Femme (2015) and Annabel (2015), and the handcrafted typeface Winter Time (2015).

    In 2016, she designed the brush script typeface Alice Morning and Martha Script.

    In 2017, she designed Heartless Script. Behance link. Creative Market link. [Google] [More]  ⦿

    MBP Creations

    Matvey B. Palchuk&MBP Creations have a Russification of the Macintosh page. [Google] [More]  ⦿

    McLetters Hand-Made Type
    [Tom McAuliffe]

    Windsor, CT-based student attending Ithaca College for Communication (class of 2019), who created the elegant hand-made display typeface Saranac Hand in 2017. In 2018, he designed the free all caps Latin / Cyrillic font family Labor Union (Labor Union Small): These fonts were made for the student-run group Students for Labor Action at Ithaca College. They fight for the fair treatment of employees at the college and are closely connected to the local county's worker union (Tompkins County Workers Center). This font was made for industrial use as well as for anything pertaining to worker's rights and socialism. His other fonts from 2018 include Heart of the Sea (spurred) and Heart of the Land.

    In 2018, he published the rounded hand-printed typeface Motherlands that could be used in comic books or on hand-drawn maps.

    Typefaces from 2019: Pagan Whiskey (Irish type).

    Typefaces from 2020: MC Grease (an intestinal font), Bungalow, Brooklyn (a stylish mix of art deco and didone), Canoe Trip Sans. Fontsquirrel link.

    Typefaces from 2021: MC Portland (an all caps typeface with an art nouveau era vibe), MC Malibu (a national park or tiki font), MC Milton, MC Sunshine (a wavy font).

    Typefaces from 2022: Mc Surfside. [Google] [More]  ⦿

    Media Lab (or: Dima Evans)
    [Dmitriy Chirkov]

    In 2015, Dmitriy Chirkov (or: D.C. Store, or: Media Lab, or: Dima Evans, located in Moscow) created the brush typefaces Lovehearts, Cascade, Foliage, Something Wild, Pepper Mint, Summertime (watercolor brush), Breathe, Starshine Script, Seashore (an attractive dry brush style), The Moment, Cupcake, Anemone, Water, Adventurer, Sweet Brush, You & Me, Beverly Script, Sabrina, Onevia, Andrea and Dreamboat. He also created the Treefrog-style gonzo script typeface Sileighty and the handcrafted typefaces Scratchy, Julia's Dream, Begonia, Matryoshka (handcrafted Cyrillic sans) and Simpleton.

    Typefaces from 2016: Anabella Script, Adventure (script), Mericella (calligraphic), Gracia (calligraphic), Joshico, Lauren (a free script font), Journey (brush script), Angelica (calligraphic), Angelica Sans, Alphabet Pony (brushed and calligraphic), Lavanda (script), Obsidian (calligraphic), Cotasia (calligraphic script), Reconsider (calligraphic script), Pechenka, September (brush script), Happy Life, Melina (brush script), Sensation (brush script), Carolina (calligraphic script), Cortney (connected script), Just Love Script, Aerostat, Starbright, Watchtower, Hey Baby, Modern Magic, Cornflower (calligraphic), Guatemala, Flashlight Display, Johana (brush script), Wild Berry, Dearhearts, Sladosti Cyrillic, Sweethearts, Evergreen, Honeyflower.

    Typefaces from 2017: Vintage Beauty, Elusive Dream Monoline, Dear Sister, Battery, Tasty Morsel Script, Aareata script, Marcypan, Sevilia script, Virtual, Yolanda script, Majesta, Marmale, Alemeta, Midnight Rose, ML Tokyo Aurora, Fortune Script, Afterlight, Janges (wide calligraphic script), Bloom Skirt (thick brush script), Rumba Script, Together Script, Reflection, Serpentine, Lafesta (signage script), Cretina (a great monoline connected script), Flashlight, Charmel, Lupitta Script, Miss Hippie, Aivengo Script, Hello Wedding, Dust Cloud, Lovely Script, Snowdrop (script), Caviar (brush script), Fieldfare (upright connected brush script), Hello Wedding, Kiwami (brush script), Jemmy, Sallie (brush style), Cartina (a great painter's brush script), Loreal Script.

    Typefaces from 2018: Hamilton Signature Script, Charme Script, Orchard Trees, Silver Lake, Luisa Script, Mignon, Jingle, Ludwig, Oh November, Switch, Rozovii Chulok, Zumiez, Peach Cream, Going Black (SVG font), Tomato Soup (free), Indian, Shadow, Emitha, Sophies Script, Juster, Felora (script), Almost (SVG brush font), Golden, Starshine, Puzzled (free), Moon Time, The Breakfast Club, Fortuna Script, Malloy, Jenson, Something, Saint Jerome Script, Femen, Fortune Script, Hollens.

    Typefaces from 2019: Blushed, Boho Rose, Lush Blooms, Spring Blush, Catalina, Jessey, Shaley, Puzzled, Radio Volna, Brigitte, Roelle, One Feather, Spring Blush, Europia (script), Rosalina (SVG font), Joyce, Lussia, Shaelie, Maelie, Honey and Ginger, Joleigh.

    Typefaces from 2020: Love Planet, Autumn Mittens (a paper cutout font), Your Favorite Pencil, Other Pen, Pear Shaped (handcrafted letters) Somewhere, Autumn Scarf (a children's book font), Moving Formula, Mixture, Aventure, Golden Light, After Hours, Letters and Roses, Fast Lane, Rosegold, Gentle Touch. Tenderly, Alaya Roza, Herbal Infusion, Mister Gordon, Bergamotte, Avenia (wild calligraphy), Jelly Cloud, Sunstone, Rosestone, Sweet Josefine, Second Song (script).

    Typefaces from 2021: Magique (a delicate fashion mag serif), Wonder Magnolia (a bold display serif), Wairel (a stylish miniserif), Daisy Flowers (a scrapbook script), Local Media (script), Delightful Monoline (script), Hallo Queen (a Halloween font), Magic Charm (a scrapbook script), Bloodred (a dripping blood font), Hello Georgia Script (an upright script), Panoramic (handcrafted), Vishenka (script), Strawberry Monday (a fat finger script), Earthboy (a scrapbook script), Martin+Hellen (emulating handwriting), Pretty Letters, Ricardo Montero, Goldwings (script), Sugar Melon (script), Pink Bottom (script), Loneliness (script), Astronal (a monolinear script).

    Typefaces from 2022: Oregon Highlights (a bold display sans), Mint Monday (a scrapbook script), The Kitchen (a melting chocolate font), Sunrays (a display serif), Movere (a stylish sans), Radellin (lapidary).

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

    Megalife

    Ukrainian font archive. [Google] [More]  ⦿

    Melle Brun

    Bordeaux, France-based designer of these typefaces: Circuit Electrique (2016), Alwa (2015, an experimental triangular typeface), and of the textured Alphabet Cyrillique (2015). [Google] [More]  ⦿

    Mellow Design Lab
    [Kelly Reed]

    Mellow Design Lab is Kelly Reed (USA). Her typefaces from 2015: the watercolor brush typefaces Ocean Adventure and Honey, the rough brush typeface Hurst (+dingbats), the handcrafted fonts Morrison (+Outline) and Hotel, and the connected script typeface La Tomarina.

    In 2016, Kelly designed Alivia (a calligraphic script), Henrylistica, Moonlight (dry brush typeface), Hitchhiker (brush script), Fur Banhart Script, Hello Neighbor Script, Flowers in December, Sorilena (script), Spelling Night, Spirit of Montana, Artistic Friend, Josefina, Belfortello Script, Ewelvian Script, Just Believe, Ambassador, Off The Wall (rough brush), Carlshamn (upright brush script), Magnolia, Secret of Julia, Montreal Script, Sail Whale, Bostion, Catfish Blues, Ink Fortune, Jeniffer Script, Bamboo Tree, Good Times, Yellow Lime (calligraphic), Air Wooster Script, Amber Light (watercolor brush), Marseline (calligraphic script), Smitten (script), Brilliant (calligraphic script), Bristol (connected brush script), Starina Script (connected script), Rochesten (brush font) and Aliresi.

    Typefaces from 2017: Heartful Monday, Gamla Stan (a fantastic signature font), Romantic Script, Henrylistica Script, Yorkshire, Patersson, Finn&Lohna (calligraphic), Torshavn Script (brush script), Little Moose Script, Smoothie, Justine, Family Bloom (fat script), Malina, Hey Friend, Melody, Power, Ferilistica Script, Kelmi Script, Smiths, Galimo, Pineapple Script, Miller (dry brush), Salt (dry brush), Manstarw (brush script), Moperly Script (inky pen script), Geffry Script, Sader Time (dry brush script), Melodysta Script, Zambia Script, Northway Script, Galapagos Script, Montana Script, Millioner, Aliviero Script, Countryside, Montyray, Macchiato, Mustache, Hooper, Carmensita, Rimbaud Script, Pendelton Script (brush style), Night In White Satin (textured script), Pineapple (dry brush font), Litle Seahorse.

    Typefaces from 2018: Leaf & Twig, Antwerpen, Jolimer, Bonnie & Lary (brush script).

    Typefaces from 2019: Alivia Script, Bambino, Blast SVG Font, Bonnie & Lary Script, Certified, Cherries Tree Script, Hake Brush SVG Script, Harmony Script, Hey Oulu, Holiday Script, Home Paris, Hosiery, House of Mouse Script, Juliet Kind Font DUO, Lavender Script, Lemon Grass Script, Lovely Day Script, Mint Salt Script, Mon Juliet, Movelistica, New York SVG, Ostinel SVG Font, Pistachio Script, Shine Yolk, Solution Script, Some Think Script, Talisman Script, Time Land Font, Tomas and Lilie Script, Yard Miles Script (for signatures).

    Interestingly, on Behance, Kelly operates as River Port out of Murmansk, Russia. Newest Creative Market link. [Google] [More]  ⦿

    Memory.rsl

    Archive of full scans of many old Cyrillic texts. [Google] [More]  ⦿

    MeniereBase

    The free MeniereBase package contains a truetype font, MeniereBase. By WholeGrain Software in Berkeley. [Google] [More]  ⦿

    Mepoyd Ptyo

    Russian designer of (the Cyrillic version of) Blaze. [Google] [More]  ⦿

    Merck

    A corporate URW typeface family published in 2009. The 17-font family sells for nearly 10,000 Euros. There are sans, serif, semi-sans and semi-serif subfamilies. This family started out as a design for the Merck company. URW writes: URW++ is authorized by Merck KGaA to deliver the Merck corporate typeface family for a license fee to external users, i.e. Merck KGaA suppliers such as ad agencies, signmakers and the like. The Merck corporate typefaces are available in four different volumes with correspondingly multi lingual character encoding. All Merck Global Fonts contain approximately over 45,000 glyphs including the complete CJK glyph set (China, Japan and Korea). Besides all Latin, Greek, and Cyrillic glyphs as well as the complete CJK glyph set also cover Japanese Katakana and Hiragana plus Korean Hangual syllables. Furthermore they are supporting Thai and Arabic (including Farsi and Urdu) plus Hebrew and Vietnamese as well. [Google] [More]  ⦿

    Meri Filipovska

    During her studies in Skopje, Macedonia, Meri Filipovska designed the needle-and-thread typeface Cyrillic Thread (2013). [Google] [More]  ⦿

    MetaType

    From its developer, Serge Vakulenko: "Metatype is a set of utilities and scripts for creating TrueType fonts using Metafont language. It also includes two font families, named TeX and TeX Math, based on the D. Knuth's Computer Modern fonts, but extended with Greek, Cyrillic and other characters. Metatype and TeX fonts can be used under the GPL license." The TeX family consists of TeXBold, TeXBoldItalic, TeXItalic, TeXMono, TeXMonoItalic, TeXMath, TeXMathBold, TeXMathBoldItalic, TeXMathItalic, TeXNarrow, TeX, TeXSans, TeXSansBold, TeXSansBoldItalic, TeXSansItalic, TeXWide. It comes in TTF and BDF formats. Free software in pre-alpha development, for Windows and X11/UNIX/Linux. The code is in C and Python. [Google] [More]  ⦿

    Metric Systems Corporation

    A free four-font Cyrillic truetype family. [Google] [More]  ⦿

    Metype
    [Mariya Vasiljevna Pigoulevskaya]

    Mariya (b. Belarus) joined The Northern Block Type Foundry in 2012 after successfully completing a Master of Arts in Future Design at Teesside University. In 2014, she set up Metype. Based in Hexham, UK(and before that, Wylam, UK and Middlesbrough, UK), Mariya designed the humanist sans Latin/Cyrillic typeface family Baufra (2012, The Northern Block).

    In 2013, she published the 8-style geometric sans typeface family Neusa at The Northern Block (which was extended to Neusa Next in 2017). Hapna Mono (2013, The Northern Block) is a free mini-slabbed typeface. Its commercial companion is Hapna Slab Serif. The nine-style geometric sans Latin / Cyrillic typeface family Tabia was inspired by the work and principles of the iconic german industrial designer Dieter Rams, who is closely associated with the consumer product company Braun and the Functionalist school of industrial design. Still in 2013, she published the brush typeface Velik, the geometric condensed sans serif ink-trapped typeface family Kizo and the neutral sans family Uninsta at The Northern Block.

    Typefaces from 2014 at The Northern Block: Merel, Finlek (an industrial post-punk script font), Acrom (a 6-style geometric sans with minimal stroke contrast), Tautz (a wedge serif text typeface with elegantly small x-height), Qiber (poster lettering typeface).

    Typefaces from 2015: Rutan (a neutral geometric sans), Stolzl Display (a Bauhaus-inspired headline type published by The Northern Block and named after Gunta Stölzl, the Bauhaus's only female master), Webnar, Aesthet (a warm brush-inspired sans that was updated in 2020 to Aesthet Nova).

    Typefaces from 2016: Boita (a wedge serifed Latin / Cyrillic typeface designed with Tom Sutton), Calder (an informal typeface family), Erbaum.

    Typefaces from 2017: Tomarik (an informal smorgasbord family including Serif, Display, Poster, Brush and other styles), Apoka (a rounded sans co-designed with Tom Sutton).

    Typefaces from 2018: Hefring Slab (a large geomtric slab serif family; followed by Hefring Slab Variable in 2021), Ordax (an industrial sans typeface by Pablo Balcells, Mariya Vasiljevna Pigoulevskaya and Donna Wearmouth). Manofa (a calligraphic sans inspired by Warren Chappell's Lydian).

    Typefaces from 2019: Hegval Display (a hybrid of Gridnik and Helvetica), Ruddy (a dancing letter font family).

    Typefaces from 2020: Solway (a free rounded slab serif family at Google Fonts), Vartek (a 20-style techno or sci-fi sans).

    Typefaces from 2021: Toroka (a geometric sans for Latin and Cyrillic).

    Behance link. Interview in 2014. [Google] [MyFonts] [More]  ⦿

    Mexmat

    Decor, Decor1 script/calligraphic truetype fonts for Cyrillic by Atech Software. [Google] [More]  ⦿

    MF Studio
    [Alexandra Malysheva]

    Designers of Ukrainian Museum (2005, Cyrillic lettering). The fonts are made by Alexandra Malysheva. [Google] [More]  ⦿

    Michael Ageev

    Russian designer of BedrockCyr after an original by Corel. [Google] [More]  ⦿

    Michael Chereda
    [BrightHead Studio]

    [MyFonts] [More]  ⦿

    Michael Gent
    [Michael Sharanda]

    [More]  ⦿

    Michael Golovachev
    [Scorpy Design Studio]

    [More]  ⦿

    Michael Gorenshtein

    designer, at Art Lebedev, of the curvy Latin / Cyrillic display sans typeface Kalamos (2019). He writes: Kalamos is a display typeface with reverse contrast characteristic of traditional Hebrew faces based on the Middle Easter calligraphy which employed qalam, a specially sharpened pen made of reed. [Google] [More]  ⦿

    Michael Parson
    [Typogama]

    [MyFonts] [More]  ⦿

    Michael Sharanda
    [Michael Gent]

    Design director at Huawei in Shenzhen, China. Creator of the free semi-condensed Latin / Cyrillic semi-condensed sans serif typeface Vladivostok (2017) and the free Latin / Cyrillic sans typeface Manrope (2018; +a variable font). Cristiano Sobral altered Manrope in his free font Russisch Sans (2020).

    Home page. Fontsquirrel link. [Google] [More]  ⦿

    Michael Sharpe
    [Nimbus 15]

    [More]  ⦿

    Michael Sharpe
    [Erewhon]

    [More]  ⦿

    Michael Wallner
    [The Type Fetish]

    [MyFonts] [More]  ⦿

    Michael Yunat
    [GetVoIP]

    [More]  ⦿

    Michail Kishkarev

    Moscovite creator of the geometric experimental typefaces Karlygash (2013, free) and Mignon (2013, Cyrillic). In 2017, he designed the Cyrillic poster typeface Christmas Kotor (2017), which is named after Kotor in Montenegro. [Google] [More]  ⦿

    Michal Mareczko

    Lublin, Poland-based designer of the free black compact typeface Git Sans (2020) that adds hipster elements to the classical Impact. Other typefaces include the ultra-condensed typefaces Stadium (2020) and Stadium Cyrillic (2021). [Google] [More]  ⦿

    Miguel Angel Durán Pascual

    Designer of the old church Slavonic font Kirilttf (with Tanya Laleva, Filología Eslava, Universidad Complutense, Madrid, 1994). [Google] [More]  ⦿

    Mihai Sorin

    Punchform is an independent Romanian type foundry established in 2019 by graphic and type designers Mihai Sorin and Mirela Nina (although, mysteriously, Nina's name was dropped from all Punchform blurbs in 2021). It is located in Bucharest. In 2020, they co-designed the modern blackletter typeface Mavros.

    In 2020, Mihai Sorin released Evander (an 18-style humanist sans for Latin, Greek and Cyrillic).

    In 2021, Mihai Sorin designed Sublima (a 20-style neo-grotesk), and Turis (an 18-style humanist sans), Silurum (an 18-style humanist sans) and Ouhta (a 26-style neo-grotesque typeface from Hairline to Black).

    Typefaces from 2022: Primeform Pro (an 18-style geometric sans with 19 stylistic sets to create a versatile family). [Google] [MyFonts] [More]  ⦿

    Mihail Grigorevich Rovenskiy

    Russian type and book designer (1902-1996), who worked for the publishing houses Izogiz, Goslitizdat and Izdatelstvo Inostrannoy Literaturi as art and technical editor. Staff type designer at VNII Polygraphmash from 1952-1972. Typeface creations: Bazhanov Display (Diploma of the Second Degree at All-Union Graphic-Poster-Book Exhibition in 1957), New Journal (1963; 1992-1995, Intermicro), Svetlana (1976-1981). At Polygraphmash, he created Bazhanov (1961, based on the lettering of Moscow book designer Dmitry Bazhanov (1902-1945). Paratype says (sic): Old-fashioned flavor of this design recreates the Soviet hand-lettering style of the 1940s). In 1976-1981, he designed the body text to accompany the latter face: Svetlana. ParaType link. FontShop link. Pic.

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

    Mihail JP

    Creator at Open Font Library (OFL) of the free blackletter typeface Deutsche Altdruckschrift (2009) and the large free Textura family Textura Libera (2014). This font is based on Unicode Symbols, which in turn is due to George Doulos under a free software license.

    In 2015, he published Inconsolata LGC, a Cyrillization and Hellenization of Raph Levien's programming font, Inconsolata. [Google] [More]  ⦿

    Mihhail Zubehhin

    Creator of the old Slavonic typeface Klimentovica&Kurilovica (2007), which can be found here. [Google] [More]  ⦿

    Mika Hautamäki

    During his studies, Oulu, Finland-based Mika Hautamäki designed the mini-serifed Latin / Cyrillic / Icelandic headline typeface Pyramiden (2016) and thin architectural sans typeface Arkkari Light (2016). [Google] [More]  ⦿

    Mikalai Konkov

    Vilnius, Lithuania-based designer of several experimental geometric Cyrillic typefaces in 2017. Behance link. [Google] [More]  ⦿

    Mike VRPV

    Kirov, Russia-based designer of the free avant-garde sans typeface family How (2015). [Google] [More]  ⦿

    Mike Wright

    Aka Michael L. Wright, a calligraphic type designer at Casady&Greene. He designed Pendragon, Paladin, Black Knight (Fraktur, 1991), Slender Gold, the Cyrillic font Vremya, and a few Western fonts (Dry Gulch, Abilene, Desperado). The fonts are trademarks of Casady&Greene. [Google] [More]  ⦿

    Mikhail Efremov

    Tula, Russia-based designer and art director, who created the (Latin) Cyrillic simulation face Samovar (2016). Samovar also has a Cyrillic version. [Google] [More]  ⦿

    Mikhail Kapralov

    Moscow-based designer of an experimental squarish Cyrillic typeface in 2017. Behance link. [Google] [More]  ⦿

    Mikhail Nikulin

    Yekaterinburg Russia-based designer of the free Cyrillic vector format connect-the-dots Thai simulation typeface UFO (2017). Behance link. [Google] [More]  ⦿

    Mikhail Sherman

    Metal and graphic designer and painter in Moscow. In 2016, he designed the painted decorative caps Cyrillic alphabet Pine Forest Morning. [Google] [More]  ⦿

    Mikiya Nishimura
    [SHAGAA]

    [More]  ⦿

    Mikka Kika
    [Kristina Maksimova]

    Moscow-based designer of the Kika series of handcrafted typefaces (2017). Behance link. [Google] [More]  ⦿

    Mikolaj Grabowski
    [Font Bud]

    [MyFonts] [More]  ⦿

    Mila Balzhieva

    Moscow-based designer of Vaghintara (2016). She explains: Agvan Dorjiev is a reformer of Mongolian vertical writing adapted to Buryat language. Vaghintara alphabet which he has created was the exact reproduction of Russian words in Buryat language popular between 1905-­1910. However, this particular font type was not properly used in Buryat language because of the Russian revolution. [Google] [More]  ⦿

    Mila Veselinova

    Veliko Tarnovo, Bulgaria-based designer of the art deco typeface Smike (2017), the poster typefaces Edge (2017, octagonal style) and Jazz (2017), and a set of icons called Infographics (2017). [Google] [More]  ⦿

    Milan Vuckovic
    [Wolfy Design]

    [MyFonts] [More]  ⦿

    Milena Gajovic

    Graphic designer from Kragujevac, Serbia, b. 1988. She created the free fonts Mareke (2015, script), Wuggle (2015, handcrafted poster font), Omen (2011, a severe thunder-like face), and Miodrag (2011, a handwriting face). Milena Sans (2012) is a Latin / Cyrillic display family. Retronica (2015) is a cursive script typeface. Mandarina is a handcrafted blackboard bold typeface. Dervish (2015) is a shaded squarish 3d typeface. Tallball (2015) is a powerful informal geometric typeface.

    Typefaces from 2016: Miodrag (handwriting script), Brona (brush type), Genoise (a brush splatter font), Mustachelle (handcrafted blackboard bold typeface), Norweg (a rune simulation font).

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

    Milena Nenova

    Graphic designer in Sofia, Bulgaria. Creator of the Latin/Cyrillic foliate typeface Daflorn (2014). [Google] [More]  ⦿

    Milica Meksic

    Novi Sad, Serbia-based designer of a didone display typeface for Latin and Cyrillic (2016). [Google] [More]  ⦿

    Milica Pavlovic

    Belgrade, Serbia-based designer of the geometric sans typeface Sans Nova (2015), which covers Latin and Cyrillic and is remarkably uniform across both scripts. This typeface was finished during her art studies. [Google] [More]  ⦿

    Milica Radojevic

    Gornji Milanovac, Serbia-based designer of an ntitled ornamental Latin / Cyrillic typeface in 2014. [Google] [More]  ⦿

    Miljan Ristic

    During his Masters studies in graphic design, Miljan Ristic (Nis, Serbia) designed an avant-garde Cyrillic typeface family (2014). Behance link. [Google] [More]  ⦿

    Milka Peikova

    Milka Peikova (b. 1919, Pavel, Bulgaria, d. 2016, Sofia, Bulgaria) was a famous Bulgarian artist. She created paintings, posters, book covers, portraits of famous Bulgarians, textile designs and alphabets, both individually and together with her husband Georgi Kovachev-Grishata (1920-2012). She is a graduate of the Bulgarian National Art Academy, class of 1948. She founded Cosmos magazine and designed for the Women Today and Problems of Art magazines.

    In 1979, she designed an alphabet that was extended to an 8-style Latin / Greek / Cyrillic stencil typeface---Milka (2016)---by a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf. The basic Milka font is a clean stencil design, while the Aged, Baked, Brittle, Crunchy, Dry and Soft styles are inspired by stencil and letterpress techniques and expand the usefulness by adding various degrees of warmth or roughness.

    Milka Peikova also designed the first Bulgarian typeface for phototypesetting called Grilimil with her husband Georgi Kovachev-Grishata. She is the recipient of the first prize for a typeface at the Bulgarian National Book Exhibition and Illustration [Google] [MyFonts] [More]  ⦿

    Milos Gilic

    Designer in Montenegro who created the angular Cyrillic typeface Skolarec (2011). [Google] [More]  ⦿

    Milos Mitrovic
    [Gradient (was: Mindburger Studio)]

    [MyFonts] [More]  ⦿

    Milos Zlatanovic

    Vranje, Serbia and now Chicago, IL-based designer of the Latin / Cyrillic dry brush font Paris Blue (2015) and the experimental typeface Kanibal (2016). [Google] [MyFonts] [More]  ⦿

    Miloš Ćirić

    Serbian book illustrator, graphic arts teacher and phototype, woodtype and linocut letter type designer, b. Despotovo, 1931, d. Belgrade, 1999. His sons Rastko and Vukan write about both aspects of his life. His CV: he graduated in 1954 from the Academy of Applied Arts, Belgrade and took his Masters Degree in 1959, under Professor Mihailo S. Petrov. He was professor at the Faculty of Applied Arts, University of Arts, Belgrade from 1964 until 1997. He was Head of the Graphic Department from 1974 to 1975. His publications include Graphic identification 1961-1981 (SKZ, Belgrade, 1982), Graphic communications 1954-1984 (Vajat, Belgrade, 1986), Heraldry 1 (University of Arts, Belgrade, 1983) and Coat-of-Arms of Belgrade, Heraldry 2 (Cicero, Belgrade, 1991). Most of Ćirić's types were for Cyrillic, while some have Latin alphabets as well. Many would be classified today as poster types, type to accompany illustrations. The list of his typefaces:

    • Rastko, Latin, 1955: It is a versal typeface made in only one weight. Rastko himself thinks it was devised as light, almost linear and it was a part of his character.
    • Vukan, Latin, 1960: Named after his second son, Vukan, this is a sharply cut orthogonal typeface.
    • Galerija Grafiki kolektiv, Cyrillic, 1962 (Graphic Collective Gallery): A beautiful Cyrillic display face. This was the first of his typefaces transformed in a computer font.
    • Triptihon, Cyrillic, 1962 (Triptych): Another cut face, but this time really taken from the sample made in linocut. The prototypical Cyrillic poster face.
    • Akademija, Cyrillic, 1966 (Academy): This typeface was made for the University and Academy where he worked. It was designed so that it can be used equally well on the paper, metal plates, seals, plaques and everything else Academy needed. He used similar typefaces on book covers and charters, in solemn situations. Rastko: Although one may think it is an ordinary serif face, it contains Cira's specific typographic handwriting. The shapes are almost geometrically reduced thus providing a decorative effect, legibility and possibility to be transferred in all materials..
    • Bolsko, Latin, 1966/67/68: Bol is a small place on the island Brač. This simple condensed headline typeface was designed for pedagogical purposes made to be used for lectures at the Faculty of Applied Arts abd in its graphic identity.
    • Devojačko, Cyrillic, Latin, 1969 (Maiden): A curly affectionate face.
    • Ćirićica, Cyrillic, 1970/72: This typeface was designed as a result of the first research on transforming Serbian handwritten Cyrillic into constructive letterforms. The raw model was the manuscript of the Fourth Gospel (John's Gospel) written at time of Despot Djurdje Barnković (1428) created then by by a Inok from Dalša. The result was a letterform of optimal proportions. The study was made on the occasion of the opening of the new building of the National Library, Republic of Serbia.
    • Vojničko, Cyrillic, 1975 (Soldiers): When designing this typeface Ćirić consulted the book Blue Line of Life (Plava linija života) by Branko V. Radičević, a book about monuments and tombstones posted along roads. It is a sentimental ornamental headline face.
    • Face VMA, Latin, 1976/77: A big project for the Military Medical Academy (abbreviated VMA) in which the letters had to be constructed on grids using rulers and compass only. The result is a Bank Gothic look.
    • Bogradsko, Cyrillic, Latin, 1982: This typeface was used for designing the covers and title of his second book of graphic communications.
    • Duklja, Cyrillic, Latin, 1984: In this case the typeface makes basis of graphic identification. As a model for designing the typeface of Montenegrin Lexicographic Institute was a text from leader seal of Petar, Prince of Duklja. Ira wrote that he enlarged and systematize the letters from the drawing which was made in time when the seal was in good condition and that he wanted to preserve the freshness of irregularities and that there were several weights in each letter while their height is only optically the same. It seems that save for that irregularity which inspired and provocative vagueness this model could not offer many clear stylistic characteristics. But what ira could read from those forms is the language of their linocuts and cut symbols. Thus his personal style naturally added to all that was missing to finish the face. In compromise between typeface with serifs and sanserifs in combination of legibility and universal applicability he saw practical solution for many tasks.
    • Iva's typeface, Cyrillic and Latin, 1986: Rastko: My brother's daughter, Iva, was the first child that joined our family of applied artists. Ćirić immediately awarded himself with the title of granddad, opened the door of his studio and showed her all those games and toys from the world of the applied and other arts. Apart from the crazy games, obligatory signum and many other things Iva got many picture books which her grandpa made from time to time. The picture books contained poems, drawings, pictures and of, course letters. On one of those picture books entitled Grandpa' Stories I have found, so far, the only place where the typeface was used. It is a type of typeface imitating relief forms.
    • Vukov bukvar, Cyrillic, 1987 (Vuk's Abecedary): One of the rare typefaces with lower case letters, this typeface is dignified and named after Vuk Kardžić.
    • Sava's face, Cyrillic, 1987: A gorgeous old slavonic style typeface with upper and lower case.
    • Epitaf, Cyrillic (Epitaph, my name, unknown year): An unpublished typeface found by his sons in the files. Ćirić used it to write names of births and deaths of friends and family members in a notebook. It could be seen as a prototype for tombstones.
    [Google] [More]  ⦿

    Milya Ptitsyna

    Moscow-based designer. During her studies at the British Higher School of Art and design in Moscow, she created the modular octagonal (origami) typeface Master Flomaster (2012). She blended two fonts to make Fur Font (2013, free). [Google] [More]  ⦿

    MiMac

    Serbian Cyrillic and Latin font archive: CirilicaBodoni, Cir_Bodoni-Normal, CistanTimes, CirilicaTimesBoldItalic, CirilicaTimesBold, CirilicaTimesItalic, CirilicaTMBPN, CirilicaTMIPN, CirilicaTMRPN, CirilicaTimes, CYDutchB, CYDutchI, CYDutchR, CYUniversityR, MiroslavljevaCirilica, Mirosavljevo-Normal, Mirosavljevo-No, Miroslav, MiroslavCirilica, MiroslavNewCirilica, MiroslavNewCirilicaItalic, CourierYU, CourierYUBold, CourierYUBold-Italic, CourierYUItalic, HelvCiril, HelvCirilBold, HelvCirilItalic, Miroslav, TimesYU, TimesYUBold, TimesCiril. The ones with YU in the name are generally from MiMac, Belgrade, 1992. [Google] [More]  ⦿

    Mindaugas Strockis

    Vilnius-born typeface designer (b. 1969) of the FF Elementa family (Courier-like) at FontFont. Also made the Greek font Korinthus and Grecs du Roi WG (2001), a wonderful fully accented Greek font named after Claude Garamond's 16th century cut for the French royal printers. For Linguist's Software, he has made several Greek fonts. In 2002, he designed Elementa Rough (an old typewriter font), FF Elementa Greek and FF Elementa Cyrillic. His Grecs du roi WG (2001) is here. Fontshop link. [Google] [MyFonts] [More]  ⦿

    minidonut

    FontStructor who made Greyscale Road (2014), Tealquoise Ultra (2014), Chess of Clans (2014), Try Again (2014, a gaming pixel font), Plumber's Favorite World (2014), FB Initiatis (2014), iFB Kerblampf (2014, cartoon face), FB Semper (2014), FB Mega Maze (2014), Binary00 (2014), Calculetter (2014), fb Floralis (2014, +Cyrillic), Minisular (2014), Parallelle (2014), Monokube (2014, 3d and pixelish), Kerblam (2014), En Ligne (2014), Gribouillé (2014, textured font), Musician (2014), Aerobat Regular (pixelized art deco face), Blackmono New (2014: pixelized blackletter), Coffee (2014), Nonogram Alpha (2014), Typewritten (2014, grungy pixel face), Typura (2014), Blackmono (2013, pixel face), Stripe (2013), Stream (2013), April Fools (2013), Sideview (2013), Defontstructed (2013), Written Hand (2013), Connect (2013), Bullseye (2013, a labyrithine typeface), 2x7 Steelstone (2013), Script O Flip (2013, white on black pixel script), Fontcity (2013, pixelish dingbats), fs Fusilli (2013), fs Spaghetti (2013, a monopixel font), fs Antistencil (2013), fs Threedee (2013), fs Typewriter (2013), fs Handy 2.0 (2013), fs Fins (2012), Lines and Dots (2012), Chart (2012), Glossy (2012, texture face), Shadows (2012), Digittal (2012, digital clock numerals), Tall (2011, ultra condensed face), Anti Alias (2012), Default Pixel (2011), and a few other pixel typefaces such as Crazy Pixel Extended Extended (2012). [Google] [More]  ⦿

    miniml
    [Craig Kroeger]

    Great screen fonts (in truetype) by Craig Kroeger, made in 2001: Hooge, Standard, Kroeger, Natzke, Uni. Most of the fonts are also here. [Google] [More]  ⦿

    Minitype
    [Emma Marichal]

    Emma Marichal (Lyon, France) is one of four designers at the French foundry Minitype (est. 2020). Her fonts can be bought at Type Department. These include the thorny serif typeface Gallique Light (2020), which was designed while she was still a student at ESAD Amiens. Gallique Cyrillic was added in 2022. https://type-department.com/collections/serif-fonts/products/__trashed-4/

    Graduate of the postgraduate type design program at ESAD Amiens, France, class of 2021. Her graduation typeface there was Ploquine, whixh was designed under the supervision of Sebastien Morlighem. Ploquine is a typographic family inspired by wooden typefaces and is intended for editorial use. The family consists of a variable display and 5 styles for text. The drawings for the text are directly inspired by the French specimens of E. Ploquin or the French Typographic Foundry. She writes: With generous serifs and mechanical shapes, this contrasting but solid typeface is perfectly adapted for long texts in exhibition catalogs.

    Instagram link. Type Department link. [Google] [More]  ⦿

    Minority languages of Russia on the Net
    [Esa Anttikoski]

    Esa Anttikoski's page with minority Russian language links. Has fonts for Altai/Mari, Kazakh, Tatar, Chechen, Chuvash (TimesEC), Udmurt, Ossetian, Karelian, Yakut. His font Abur (2000). Subpage on Russian minority language fonts. In particular, free fonts offered include

    • Eurasian fonts for Bashkir, Buryat, Chuvash, Kalmyk and Tatar (Cyrillic): Bookman Eurasian, Chancery Eurasian, Gothic Eurasian, Mono Eurasian, Palladio Eurasian, Roman Eurasian, Sans Eurasian, Sans Condensed Eurasian, Schoolbook Eurasian. The original fonts were created by URW++, the Cyrillic part by Valek Filippov, and were modified by Esa Anttikoski. These fonts can be distributed and modified freely in accordance with the GNU General Public License.
    • Kildin fonts for the Kildin Saami dialect: Bookman Kildin, Mono Kildin, Roman Kildin, Sans Kildin.
    • Mansi fonts for the Mansi language: Schoolbook Mansi.
    • Paleoasian fonts for Chukchi, Eskimo, Itelmen, Ket, Koryak and Nivkh: ER Bukinist Paleoasian, ER Univers Paleoasian.
    • Sakha fonts for Dolgan and Yakut: Bookman Sakha, Chancery Sakha, Gothic Sakha, Mono Sakha, Palladio Sakha, Roman Sakha, Sans Sakha, Sans Condensed Sakha, Schoolbook Sakha.
    • Sayan-Altai fonts for Altai, Khakas and Shor: Chancery Sayan-Altai, Roman Sayan-Altai, Schoolbook Sayan-Altai.
    • Uralic fonts for Altai, Khanty, Komi, Mari, Nenets, Selkup and Udmurt: Bookman Uralic, Chancery Uralic, Gothic Uralic, Mono Uralic, Palladio Uralic, Roman Uralic, Sans Uralic, Sans Condensed Uralic, Schoolbook Uralic, Zagadka.
    [Google] [More]  ⦿

    Minsk

    Cyrillic truetype fonts with some characters added: Cyrillic vowels (a,o,u,e,y,ja,jo,ju,je,i) with accents, Belarussian Latin "u short", "Jat" letter. [Google] [More]  ⦿

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

    Ukrainian Andrey Konstantinov (b. 1981, Moscow, lives in Kiev) graduated from the National Technical University of Ukraine in 2002. He lived for some time in Tallinn, Estonia. He ran PDesign 6.0, and later established the commercial foundry Mint Type.

    His typefaces generally cover Latin and Cyrillic: Tecco (techno), Radix, Aera Sans, Aera Serif, Careless Hand Script (2005), Guarda Sans (2012), Vitra Sans (2005), Terra Sans (2005), Terra Semi Slab (2005), Terra Slab (2005), Radix (2004), Cyntho Pro (2012, a geometric sans), Cytia Pro (2012, a geometric sans with built-in contrast), Cytia Slab Pro (2013), Lytiga Pro (2012, a 48-font techy sans family, starting with hairline weights).

    Typefaces from 2013: Pancetta Pro (elliptical sans), Pancetta Serif Pro, Clinica Pro (a clean non-geometric sans), Cyntho Slab Pro, Cytia Slab Pro, Espuma Pro (a soft humanist sans family with lots of curviness), Ristretto Pro (a narrow display sans), Ristretto Slab Pro.

    During the riots and revolution in Ukraine in 2014, Andrey designed Anglecia Pro, a text typeface in Text, Display and Title subfamilies. Just before the 2014 elections in Ukraine, he designed the geometric partially humanist sans typeface Proba Pro, which has wide spacing and small x-height---the regular and italic styles are free.

    Synerga Pro (2014) is a humanist slab serif with rounded terminals.

    In 2015, he published the newspaper typeface Diaria Pro, which started out during a course at EINA in Barcelona. Diaria Sans Pro and Quiza Pro (a geometric display sans) were published in 2016.

    In 2016, Oleh Lishchuk and Andriy Konstantynov co-designed the rounded scientific or technical paper font Midpoint Pro.

    Typefaces from 2017: Skema Pro (a 84-style serif text family with Livro, Text, Omni, News, Title and Display subfamilies), Excentra Pro (a sans family with stroke variation and inclined axis), Opinion Pro (by Oleh Lishchuk), Orchidea Pro.

    Typefaces from 2019: Ponzu (a stencil-style display sans), Greenwich (a modern-looking humanized sans-serif typeface with open aperture inspired by Gill and Johnson; +Cyrillic), Closer Text (a sans with overclosed apertures), Cyntho Next Slab, Cyntho Next (advertized as Swiss and Dutch).

    Typefaces from 2020: Ki (a monospaced display typeface inspired by older VCR / camcorder OSD (on-screen display) fonts), Fiorina (a 72-style didone family in four optical sizes).

    Typefaces from 2021: Accia Forte (a 16-style serif with large x-height), Accia Variable, Accia Moderato (a 16-style serif with large x-height), Accia Piano (a 16-style serif with large x-height), Accia Sans (a 16-style humanist sans), Accia Flare (also in 16 styles), Extatica (a 16-style eclectic (or: hipster) sans), Inerta (an 18-style geometric/neo-grotesk hybrid for Latin and Cyrillic).

    Klingspor link.

    View Mint Type's typefaces. Hellofont link. Behance link. Old URL. [Google] [MyFonts] [More]  ⦿

    Minzhe Chen

    Minzhe Chen, aka Yuan, is a designer and illustrator from Vigo (Galicia, Spain). He has lived in Hong Kong, Barcelona, and currently he is studying Graphic and Interactive Communications at Ringling College of Art and Design in Sarasota, Florida.

    Creator of the thin monoline sans typeface Hilo (2012), which was designed by merging Apex Sans and Museo. [Google] [More]  ⦿

    Mio Horii

    Designer, at Art Lebedev, of the Latin / Cyrillic oriental simulation typeface Mio (2019). [Google] [More]  ⦿

    miqraot.com

    At this Korean site, derived truetype fonts for many languages: BwCyrl, BwEeSs, BwEeTi, Bwgrkl, Bwhebb, BwSymbol, Bwviet. [Google] [More]  ⦿

    Miranda Roth

    Miranda Roth graduated from Daemen College (Buffalo, NY) and joined P22 as an in-house type and graphic designer. Creator of these typefaces:

    • HWT Antique Tuscan No.9 (2012, Hamilton Wood Type). The HWT explanation: A very condensed 19th century Tuscan style wood type design with a full character set with ligatures. This design was first shown by Wm H Page Co in 1859.
    • Roman Extended Light (2012). A revival of No. 251 in the 1872 wood type catalog of Page Manufacturing Company.
    • HWT Catchwords (2013).
    • HWT Republic Gothic (2013, with Richard Kegler).
    • LTC Athena (2013). A condensed art deco typeface. Based on drawings from the 1950s in the Baltotype material (and in particular, a 1955 font by George Battee called Athena). Baltotype was acquired ca. 1993 by Rich Hopkins, a printing historian.
    • LTC Archive Ornaments (2014, with Richard Kegler).
    • P22 Saarinen (2014). A set of eight architectural styles based on the lettering of Finnish American architect Eero Saarinen.
    • LTC Goudy Initials (2005). Based on the original proofs of large sizes of Cloister Initials by Frederic Goudy.
    • P22 Dearest Pro (by Christina Torre and Miranda Roth). Dearest is a distinct flowing script based on handwritten characters found in a 19th Century German book chronicling a history of the Middle Ages. Originally released in 2001 as a set containing two styles, Script and Swash, Dearest was expanded in 2014 as a pro font with several hundred new characters including support for Central European, Cyrillic and Greek languages.

    P22 link. [Google] [More]  ⦿

    Mirco Schiavone
    [Razziatype]

    [More]  ⦿

    Mirela Belova

    Type designer in Sofia, Bulgaria, who first studied mathematics and then graphic design (at New Bulgarian University). During her studies, Mirela Belova created the Latin / Cyrillic blackboard bold typeface Cheque (2017), which is free at Fontfabric. She was part of the Fontfabric team that designed the 521-font family Zing Rust, Zing Sans Rust and Zing Script Rust in 2017.

    In 2018, Mirela Belova and Svetoslav Simov co-designed the 20-style geometric sans typeface family Mont.

    Codesigner of Mozer (2019, by Svetoslav Simov, Ani Petrova, Mirela Belova and Nikolay Petrousenko: a condensed headline sans family that covers Latin, Greek and Cyrillic; Mozer SemiBold is free).

    In 2020, Stan Partalev and Mirela Belova set up Spacetype.

    In 2020, Mirela Belova and Stan Partalev co-designed the 22-style (+variable) geometric sans family Gogh at Spacetype.

    Typefaces from 2021: Steam (a 13-style layerable Western family that emulates wood type; with Stan Partalev), Code Next (a 20-style geometric sans by Svetoslav Simov, Mirela Belova and Stan Partalev; it includes two variable fonts).

    Garet (2021) is a 22-style (+variable) geometric sans family by Mirela Belova and Stan Partalev. Dedicated page. [Google] [MyFonts] [More]  ⦿

    Misha Panfilov
    [Russian Fonts]

    [MyFonts] [More]  ⦿

    Misha Priemyshev

    Or Misha Priem for short. Graphic and urban designer in Vologda, Russia, who created the artsy hipster Latin / Cyrillic typeface Kurbanistika in 2016. On commission for the city of Vologda, he designed many illustrations as well as a fun decorative Cyrillic caps typeface in 2016. [Google] [More]  ⦿

    Misha Vlasov

    Or Mikhail Vlasov. Verona, Italy-based designer of these typefaces:

    • From 2017: Fast Gothic, Gothic Ornamental, Minimum Sharpness, Modern Stencil, Fast Left Hand Script, Ordine and Textura Nouveau.
    • From 2021: Goratrix (a death metal blackletter font), Vedrana (a stylish sans), Ondina (a display italic), B Sign (an industrial stencil font for Latin and Cyrillic), Arina (a display serif for Latin and Cyrillic inspired by the (Slavic) ustav style).
    • From 2022: Rotunda Divina (a rotunda blackletter), Braleyhlex (a medieval / Lombardic font inspired by a Verdun altarpiece in Klosterneuburg), Kelsi (a bubble graffiti font).
    [Google] [More]  ⦿

    Miss Vixen

    A Small Cyrillic font archive, all taken from ParaGraph: FranklinGothBookCTT-Italic, FranklinGothBookCTT, FranklinGothDemiCTT-Italic, FranklinGothDemiCTT, FranklinGothHeavyCTT-Italic, FranklinGothHeavyCTT, FranklinGothMediumCTT-Italic, FranklinGothMediumCTT, PT-Magistral-Black-Cyrillic, PT-Magistral-Bold-Cyrillic, PT-Magistral-Cyrillic, PetersburgCTT-Bold, PetersburgCTT-BoldItalic, PetersburgCTT-Italic, PetersburgCTT. [Google] [More]  ⦿

    Missy Meyer

    Phoenix, AZ-based illustrator, type designer and cat lady, aka Geek Missy.

    Typefaces from 2021: Sleepy Bear (a scrapbook font).

    Typefaces from 2020: Witch Hazel, Pickled Limes, Spring Herbs.

    Typefaces from 2019: Frogurt, Boisterous Fun (a fat finger font), Tropical Punch, Muggsy Sketch, Dear Agatha (a monoline hairline script), Alimentary, Delbert Sketch (free), Piggy Bank, Orchid Key (spurred), Argyle Socks (influenced by Saul Bass's movie posters).

    Typefaces from 2018: Raisin Rage, Berryfield, Muggsy, Juicy Gossip, Barn Party, Tippy Tappy Type (typewriter font), Breaking Bread, Breakfast Pastry, Allegory (curly script), Boisterous, Loquat (brush script in SVG style), Cheesy Grits, Puckery Tart, Blorp (comic book style).

    Typefaces made in 2017: Mystical Woods, Uncle Grump, Bloomdings, Kookyheads, Barn Dance, Mr. Stretch, Mr. Stout, Terrapin, Saboteur, Garrulous, Sportsball, Scott Slaughter (a free horror script font), Ankle Biter, Buddy Mac, Taxpayer (hand-printed), Chaotic Neutral, Trillian, Garlic Butter, Benji (monospaced rounded sans), Pickle Biscuit (children's script), United Scripts (all names of states), Succulent, MacGuffin (children's book or comic book typeface family), Limetta (brush script), Gray Skies, Scamper, Lallsey, Meddling Kids, Crispin (marker font), Fatty Cakes, Mossy Rock, Jumbuck, Candlepin (rounded and monospaced), Intruding Cat, Allspice, Skrawk Serif (a free sketched font), Starch Raw (a free sans typeface).

    Typefaces made in 2016: Starch, Showpony Sans (free), Pinsetter, Quintsy (+Sans, +Deco, +Casual, +SansRounded, +Slab), Virga Script (a wide connected script), Virga Sans, Virga Casual, Undulant (curly marker script), Tallsy, Breezy Beach, Kidlit, Missyhand, Cherry Cordial (brush script), Big Sweetie (a textured handcrafted heart-filled typeface), Big Freeze (snow-filled letters), Big Frost, Morning Sunset (smooth brush script), Rough Puff (fat brush style), Race Coarse (dry brush), Zooky Squash (curly script), Bobbles (a curvy monoline script), Skellyman (a free marker pen Halloween font for Latin and Cyrillic), Tingler, the free brush script typeface King Basil, the free font Gumption, the free hand-drawn Twenty Minutes, the brush script typeface Spiffy McGee, the free beatnik typeface Gallimaufry, free brush script typeface Sprightly Two, the free sketched typeface Skrawk Serif, the free watercolor brush font Brizzush, free brush font Ludicrous, the free marker pen font family HoliDoodles, the free handcrafted Tragic Marker, free brush script font Sprightly, and the free hand-printed typefaces Cavorting, Boldly Missy (comic book style) and Trawll. [Google] [MyFonts] [More]  ⦿

    Mist Design
    [Stefan Milic]

    Kragujevac, Serbia-based designer of the medieval Serbian typeface Prizren (2019), Fruit Engravings (2019) and Outdoor Pictograms (2019). [Google] [More]  ⦿

    Mister Chek
    [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 typefaces 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).

    Typefaces from 2016: Legion of Darwin, Galler, Petarda (tattoo font), Geroin (a rough brush), MCF Empire Cave, MCF Perun, Tawer, Barklay, Krechet (tattoo style), G Style, Amega Star, Pobeda, Brather Script, MCF Iraida Script.

    Typefaces from 2017: Black Fox (blackletter), Stone Head (Victorian), Alien Delon (hipster and trekkie styles).

    Typefaces from 2019: MCF Joker, MCF Mudster (inky).

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

    Mitiya Masuda
    [Systema 81]

    [More]  ⦿

    Mitiya Masuda

    Japanese designer of the quite interesting Konatu family (Konatu, Konatu Tohaba): Latin, Cyrillic, dingbats, kanji, kana, the works. Konatu seems most appropriate for setting programs and lettering architectural drawings. A later update of this is called Systema 21. [Google] [More]  ⦿

    Mitja Miklavčič

    Slovenian designer who lives in Postojna. His typefaces:

    • He created Gf H2O Sans in 2005 font at Gigofonts. This is a humanist sans done with Matevz Medja.
    • Tisa is a slab-serif inspired text family that won an award at TDC2 2007. It has useful features such as ink traps and uiformized math symbol and number widths across all styles in the family. In fact, the Latin/Cyrillic type family Tisa was his project at the University of Reading, where he graduated in 2006. He wrote a nice essay on the history of Clarendon (2006). In 2008, he published Tisa as FF Tisa at FontFont. Tisa won a TDC award. In 2012, he added the superfamily FF Tisa Sans (FontFont).
    • Mitja worked full-time at Fontsmith and now continues to collaborate with the team on some type design projects. His Fontsmith cooperation led to these typefaces:
      • FS Rufus (2009). A slab serif by Mitja Miklavcic, Jason Smith and Emanuela Conidi. Described by them as benevolent, quirky, peculiar, offbeat, jelly beans and ice cream, a retro eco warrior.
      • FS Me (2009). A sans family designed for readers with a learning disability. It was co-designed by Mitja Miklavcic, Jason Smith, Emanuela Conidi, Fernando Mello and Phil Garnham. FS Me was researched and developed in conjunction with---and endorsed by---Mencap, the UK's leading charity and voice for those with learning disability. Mencap receives a donation for each font licence purchased.
      • FS Albert (2002). A soft-edged sans family by Jason Smith, Mitja Miklavcic and Phil Garnham. FS Albert supports 60 languages, including Greek, Cyrillic and Latin.
      • FS Rome (Mitja Miklavcic and Emanuela Conidi). An all caps Trajan typeface.
    • At House Industries, Jess Collins and Mitja Miklavic revived Ed Benguiat's great fat face didone typeface (Benguiat) Montage in 2018. In 2014, House Industries, Christian Schwartz, Mitja Miklavcic and Ben Kiel co-designed Velo Serif Text and Velo Serif Display. In 2017, he revived Dave west's 1960s classic at PhotoLettering Inc, Banjo, as Plinc Banjo. Still at House Industries, Christian Schwartz, Mitja Miklavcic and Ben Kiel co-developed Yorklyn Stencil.
    • In 2020, he published the experimental modular typeface Trico Script at Fleha Type.
    • Davison Spencerian (at House Industries, by Mitja Miklavcic, Ben Barber and Ken Kiel). A digital revival of Dave Davison's 1946 Spenerian script Davison Spencerian.
    [Google] [MyFonts] [More]  ⦿

    MLM screen fonts
    [Maxim Markevitch]

    Maxim Markevitch from the Harvard-Smithsonian Center for Astrophysics created big (20 pixels) monospaced and proportional fonts in BDF format and koi8-r encoding to resemble the font "clean" by D. Schumacher. The fonts: monoell, propoell, monosimple, proposimple. [Google] [More]  ⦿

    Modern Cyrillic 2014

    An international type design competition, Modern Cyrillic 2014, organizers by ParaType, the main Russian digital type foundry, and Type, the online typographic journal, both located in Moscow. Modern Cyrillic 2014 is a sequel to Kyrillitsa99 and Modern Cyrillic 2009, which were organised by Vladimir Yefimov (1949-2012), the art director and one of the founding fathers of ParaType, and Emil Yakupov (1957-2014), ParaType's CEO. Cyrillic single-style typefaces, multiple-style type families and type systems developed for body text and/or display composition, and created and/or released after September 15, 2009 were eligible. The judges were Dmitry Aronov (Russia), Gayaneh Bagdasaryan (Russia), Konstantin Golovchenko (Ukraine), Yuri Gordon (Russia), John Hudson (Canada), Alexandra Korolkova (Russia), Natalia Vasilyeva (Russia), Jovica Veljovic (Germany), Danila Vorobiev (Russia). The jury was chaired by Maxim Zhukov. Judging took place in Moscow on November 25, 2014.

    The Emil Yakupov prize from ParaType and a lifetime licence certificate from FontLab were awarded to Yana Kutyina and Andrey Belonogov. While it is not always easy to achieve, I would have liked a somewhat bigger distance between jury and winners---Hudson assisted Carter with Sitka, and Zhukov was consulted for Slimbach's Trajan Sans, for example. The list of 29 winners:

    • Adobe Hand B: Robert Slimbach
    • Adobe Text: Robert Slimbach
    • Amalta: Vera Evstafieva
    • Artcity: Artem Yakovlev
    • Bickham Script 3 Richard Lipton
    • Capline: Jeremy Tankard
    • Checkpoint: Michael Parson
    • Chetwerg: Andrey Belonogov
    • Chiavettieri: Nikola Kostic
    • Delgado: Roman Shukin
    • FF Meta Condensed: Erik Spiekermann
    • Glober: Ivan Petrov and Svetoslav Simov
    • Input: David Jonathan Ross
    • Lenta: Irina Krivosheeva
    • Mamontov Grotesk: Oleg Matsuev
    • Manicotti: David Jonathan Ross
    • Marco: Toshi Omagari
    • Napoleon: Yana Kutyina
    • Oktjabrskaja: Iraida Chepil (1966) and Nadezda Geringer
    • Permian: Ilya Ruderman
    • RIA Typeface: Yury Ostromentsky
    • Sapiens: Elena Alexeeva
    • Siberian: Oleg Matsuev
    • Sitka: Matthew Carter
    • Sloop: Richard Lipton
    • Suisse Intl Condensed Cyrillic: Alexei Vanyashin
    • Trajan Sans (1989): Robert Slimbach
    • Wary: Valery Zaveryaev
    • Woodkit: Ondrej Job
    [Google] [More]  ⦿

    Modern Vector (was: Lauritta)

    Russian designer of the free calligraphic typeface LS Long Calligraphy (2016) and the high-contrast didone typeface family Babylon (2016). Other typefaces: Colorado (2017: sans), LS Burlesque (2017: inky calligraphic watercolor script). [Google] [More]  ⦿

    Moire
    [Ilia Gruev]

    Moire (Ilia Gruev) is a small graphic design studio in Sofia, Bulgaria, specialized in visual identity, graphic design, typography and type design. Their work is quite delicate and refreshing. I particularly like their type family Moderato (Latin, Cyrillic), which was presented over at Behance in 2011. It contains serif, sans (in both grotesk and humanist sub-styles), roman (Trajan style) and slab serif in many weights. See this book cover Kiril Zlatkov, based on Moderato. [Google] [More]  ⦿

    Moisture

    Japanese creator of the child handwriting font simply called ChildFont (2008). It covers Latin, Greek, Cyrillic, hiragana, katakana, and the simple kanjis that a child would know. [Google] [More]  ⦿

    Moldavian archive

    450+ Moldavian TrueType archive. [Google] [More]  ⦿

    Momentum Technologies

    Small archive with some Latin and some Cyrillic typefaces. Type 1 fonts: AuXMefisto (Lakmus), AuroraBT-BoldCondensed, AuroraBT-RomanCondensed, MagistralBlackC (ParaGraph), MagistralC (ParaGraph), MandarinD (URW). Truetype: AAvanteBs (Arsenal), AuroraBT-BoldCondensed, AuroraBT-RomanCondensed, Avanti (Eurotype), AvantiBold (Eurotype), AvantiBoldItalic (Eurotype), MaiT (Ray Larabie). [Google] [More]  ⦿

    Mona Franz

    During her studies in Nuremberg, Germany, Mona Franz (now in Munich, Germany) created the refreshing monolinear grotesque typeface Franz Sans (2014-2016).

    In 2017, she started the TypeMedia program at KABK in Den Haag, and graduated in 2018 with an editorial typeface called Bridge, which was subsequently released by Typemates in 2019 as a 28-style collection, split into Bridge Head and Bridge Text subfamilies.

    In 2021, Mona Franz and Jakob Runge published the sans families Gratimo Grotesk, Gratimo Classic, Grato Grotesk and Grato Classic at Typemates. Consulting on Cyrillic by Ilya Ruderman and Yury Ostromentsky. They write: Grato and Gratimo are a system of typefaces joined by geometry but differing in genre and function. Grato's geometric core is shared by two designs with different terminals and different uppercase proportions to make a Grotesk and a Classic. And, for greater function and economy, both were redrawn for text and interface: Gratimo Grotesk and Gratimo Classic. [...] Grato is a family of two typefaces, modernist Grotesk and the humanist voice of the Geometric Suite Classic. A timeless typeface, it combines a pure, present voice with idiosyncrasy and luxury. Ignoring most calligraphic conventions, Grato is shaped by pure forms, low stroke modulation and square dots that contrast with almost perfect circles. Grato Classic pursues the classical proportions of early British geometric typefaces, while Grotesk inherits the industrial logic of early German ones. The result is a family of quirks and clarity, a substantial family for identity and editorial work. Grato includes a spectrum of nine weights, from fine hairlines to super heavy blacks. [Google] [MyFonts] [More]  ⦿

    Monario

    Four free truetype fonts: Hebrew (by Andrew M. Fountain&Peter J. Gentry, 1993), NewGreek (by Va in Monario, 1996), GreekMathSymbols, Czar-Normal (Cyrillic). [Google] [More]  ⦿

    Monika Pisarova

    Sofia, Bulgaria-based designer of the handcrafted Glagolitoc Script (2019). [Google] [More]  ⦿

    Monkhood

    Old Church Slavonic site with these downloadable fonts: Evangelje-Plain, Irmologion-Acute (Vladislav V. Dorosh, Calmius Software, 1996), Irmologion-Breathing, Irmologion-BrthAcute, Irmologion-BrthCircumflex, Irmologion-BrthGrave, Irmologion-Circumflex, Irmologion-Erok, Irmologion-EtceteraTitles, Irmologion-Grave, Irmologion-SimplexTitled, Irmologion-SlovoTitled, Irmologion-Titles, Irmologion, IzhitsaCyrillic (ParaGraph, 1990), KirillicaNovaUnicode (Christoph Singer, 1999), KirillicaWincyr, Kirilttf (1994, Tanya Laleva / Miguel Angel Durán Pascual. Filología Eslava; Universidad Complutense (Madrid)), Lavra-Plain (1995), Novgorod-Plain (1995), OldChurchSlavonicCyr, OldChurchSlavonicGla, Orthodox (1994, SoftUnion Ltd, and 2000, N. Andrushchenko), OrthodoxDigits (same), OrthodoxDigitsLoose (same), OrthodoxLoose (same), Slavianskiy-Regular (1993, Gruppa Provincia, Nizhny Novgorod), UkrainianIzhitsa (ParaGraph, 1990). [Google] [More]  ⦿

    Monocotype Studio (or: Monoco Type, or: Awal Studio)
    [Abdurrahman Hanif]

    The names Abdurrahman Hanif and Hari Santoso are both attached to Monoco Type or Monocotype Studio, and perhaps also Rangga Ilyasa. Jakarta, Indonesia-based designer of Lesley (2018, a monoline script), the free handcrafted typeface Waffle (2018), Anthology (2018), and Cottage Sans (2018).

    Typefaces from 2019: Batavia and Batavia Sans, Cotana (a signature script), Zula (a monoline display sans), Cotana (a script), Free Cottage Sans, Harith (a connected script), Altobello Script, Sajidah, Rocco, El Dorado (a comic book display type with oomph), Ragnar Brush (a stunning angry brush font), Yumaro, Freeds, Rotters Script, Script & Sans, Cleveland (art deco).

    Typefaces from 2020: Negara Serif (from a distance, this 20-style family appears to be a sans, but a blow-up reveals tiny wedge serifs), Kidspace (children's book lettering), Antapani (a grotesk family for Latin and Cyrillic).

    Typefaces from 2021: MO Bayannur (a typeface steeped in Arabic calligraphy according to Chinese tradition; it has Latin, Cyrillic and Arabic components, and pays special attention to Uyghur). [Google] [MyFonts] [More]  ⦿

    Monospace

    Free Courier-like set of type 1 typefaces by George Williams that cover Latin, Cyrillic and Greek. Unicode and ISO-8859 versions. [Google] [More]  ⦿

    Monotype: All languages

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

    Monotype: Cyrillic

    Cyrillic fonts by Monotype: Andalé, Andalé Mono, Andalé Sans, Arial, Arial Narrow, Arial Rounded, Book Antiqua, Bookman Old Style, Century Gothic, Century Schoolbook, Monotype Corsiva, Courier, Cumberland, Gill Sans, Gill Sans Light, Haettenschweiler, Impact, Letter Gothic, Monotype News Gothic, Nimrod, Parma (=Bodoni), Perpetua, Plantin, Rockwell, Thorndale, Thorndale Mono, Times New Roman. They also have Monotype Glagolitic and Monotype Old Bulgarian and Old Bulgarian Slawjanski, two old church Slavonic typefaces. [Google] [More]  ⦿

    Moos-Butzen

    Three Cyrillic truetype fonts in the CyrHlvTT family. By LINK Software GmbH, 1992. [Google] [More]  ⦿

    Moritz Wolf

    Printer in St. Petersburg, ca. 1870, who ran his own foundry and stereotyping business. [Google] [More]  ⦿

    Moscow State University of Printing Arts

    Alexander Tarbeev, the famous Russian type designer, teaches type design at the Type Design Workshop of the Moscow State University of Printing Arts. [Google] [More]  ⦿

    moshkow

    Cyrillic bitmap font families for use with UNIX. Type 1. PCF format. [Google] [More]  ⦿

    MPEI

    Download PC truetype fonts: ArialCyrMT, ArialCyrMT-Bold, Arial-BoldItalicMT, ArialCyrMT-Italic, TimesNRCyrMT, TimesNRCyrMT-Bold, TimesNewRomanPS-BoldItalicMT, TimesNRCyrMT-Inclined. [Google] [More]  ⦿

    Mr Ramon (was: Gorillaroni Mockup)

    New York City (was: Zaporizhzhia, Ukraine)-based designer of color display typefaces for Latin and Cyrillic such as Fargo (2019), Baku (2019: rounded, fat, textured and layerable), Arco (2019), Ryde (2019: an engraved "money font"), Wellington (2019: SVG format), Fairbanks (2019), Frat (2018: layerable, octagonal, athletic lettering) and Moscow (2019: Western style). [Google] [More]  ⦿

    MSKD.RU

    Medium-sized Cyrillic font archive. [Google] [More]  ⦿

    MT Neo Didot

    MT Neo Didot was designed in 1904 at Monotype. With less contrast than the original Didot typefaces, it is appropriate for texts. Some suggest that the closest we have to MT Neo Didot in digital form is Peter Mohr's Fayon (2010, OurType). But Maxim Zhukov pointed out its popularity in Russia: Series No 27 (Neo Didot) had a Cyrillic version. I don't know when it was developed. A lot of books in USSR and world-wide were set in Neo Didot. Neo Didot was so popular that around 1940 its Soviet clone was developed, Obyknovennaya Novaya Garnitura (Ordinary New Typeface). It was custom-designed for the 4th edition of Lenin's Collected Works (its 1st volume was printed in 1941, and the last one, 39th, in 1967). That typeface was later released for general use. It is now offered in digital form by ParaType, under the name New Standard. That clone was by Anatoly Shchukin at Polygraphmash. Also, Maxim is referring to the Paratype version done in 1996 by Vladimir Yefimov. [Google] [More]  ⦿

    Muhammad Panji
    [Sipanji (was: Straightwell)]

    [MyFonts] [More]  ⦿

    Muhammad Ridha Agusni
    [38 Lineart Studio (or: Grayscale, or: Fontsources)]

    [MyFonts] [More]  ⦿

    Multilingual Unicode TrueType Fonts on the Internet
    [Christoph Singer]

    Free Unicode fonts and font links compiled by Christoph Singer. Special attention is paid to East European and Cyrillic fonts. [Google] [More]  ⦿

    MunchFonts
    [Gary Munch]

    Gary Munch (born 1953) is the Stamford, CT-based principal of MunchFonts. He teaches at Norwalk Community College and at the University of Bridgeport Shintaro Akatsu School of Design.. His typefaces:

    • GMAhuramazda (runes).
    • Calligraphic.
    • Candara (2005), a flared typeface done for Microsoft's ClearType project. Candara received a TypeArt 05 award.
    • GMChanceryModern.
    • Munch produced three new Cherokee fonts in 2011 in response to a request by Joseph Erb, of language technology and education services at the Cherokee Nation: Chancery Modern ProCherokee (a sleek sans serif semi-cursive font), Neogrotesk Cherokee (a multipurpose workhorse design), and Munch Chancery Cherokee (a calligraphic font that resembles handwriting). The Cherokee Nation is using Munch Chancery at its Cherokee Immersion School.
    • GMClavier.
    • GMDuomo.
    • Linotype Ergo.
    • The 8-weight didone font family GMFidelio is my favorite.
    • Finerliner (linked handwriting).
    • GMGlobe.
    • GMHieroglyphic.
    • GMHyperspace.
    • GMLondinium (1993, a blackletter face), and GM Londinium Versals (a Lombardic face).
    • GMMage.
    • GMMedallion. An architectural writing font made in 1997.
    • GMMeter.
    • GMMunchfonts.
    • GMMunchies.
    • GMNanogram.
    • GMPepRally.
    • GMPrentice.
    • Linotype Really (1997). An almost-didone family with Cyrillic and Greek extensions for which he received an award at the TDC2 2001 competition, and obtained third prize at the 3rd International Digital Type Design Contest by Linotype Library. It was updated to Really No2 in 1999.
    • GM SPQR. A Trajan type family.
    • UrbanScrawlButtah, UrbanScrawlChill, UrbanScrawlDown, UrbanScrawlFly.
    • GM Wodensday.

    Klingspor link. FontShop link. Linotype link. Old home page.

    Showcase of Gary Munch's fonts. [Google] [MyFonts] [More]  ⦿

    mustdie

    306kB font file with Design Studio fonts: DSComedyCyrBold, DSDownCyr, DSEraserCyr, DSJapanCyr--Normal, DSShowBill, DSStandartCyr, Stylo-Bold. [Google] [More]  ⦿

    mxlab

    150-font archive of mainly Cyrillic fonts. Some font tools too. Slow line. Other entry point. [Google] [More]  ⦿

    My Creative Land
    [Elena Genova]

    Elena Genova (My Creative Land, Edinburgh, Scotland) specializes in digitized handwriting fonts. She designed these commercial typefaces in 2014: Ariadne (connected curly script), Veryberry (curly script, + Cyrillic), Handy Sans Condensed (+Distressed; for Latin and Cyrillic), Handy Casual Condensed.

    In 2015, she designed the brush typefaces Celestial, Dessert Menu (Sans and Script), Botanica (Sans, Script, Ornaments) and Evenfal and the script typefaces Storyteller (a great connected script in Script and Casual sub-styles ideally suited for children's books), Allegretto Script (calligraphic), Catfish (monoline and connected), Rosalinda Script, Aristelle Script (+Aristelle Sans: identical to Ariadne) and La Veronique.

    Typefaces from 2016: Sunshine Daisies (handwritten type system), Nefelibata (in Brush and Sans versions), La Parisienne, La Veronique Two, New Storyteller.

    Typefaces from 2017: Above the Sky, Lovingly Friends (a collection of sixteen handcrafted typefaces), Scandiebox, Brushability, Rockeby (32 fonts, which she describes as slightly more geometric than Block Berthold but much softer than the industrial Din Next; see also Rockeby SemiSerif and Rockeby Brush).

    Typefaces from 2018: Adventures Unlimited (a connected monoline script and a super-condensed sans companion), Brushberry (dry brush script), Absolute Beauty (a monoline signature script and accompanying thin serif), Combinado (Sans, (a didone) Serif, Text, Script), Brooklyn Heritage (Sans and Script), Palomino (a crayon script), Beautiful Minds (a fashion mag typeface family; +Stencil).

    Typefaces from 2019: Contempora Script and Contempora Sans Condensed, Freethinker, Hello Bloomie (a watercolor SVG font), Above the Beyond, Lumios Marker (a marker pen font), Lumios Typewriter (old typewriter), Beautifully Delicious (Sans+Script duo).

    Typefaces from 2020: Dreaming Outloud (a fat finger font), Roca (a plump serif influenced by Windsor and Cooper Black), The Youngest, Praline MCL (a chocolate store Serif and sans pair), Balerno Serif (a lachrymal didione).

    Typefaces from 2021: Parlare (a flowing script), Lumios Brush (a bold brush script), Boss Jock JNL (an informal font based on the title and credits from the 1965 film Strange Bedfellows), Peachi (a 6-style soft serif typeface with rounded terminals), Carelia (a didone display typeface for Latin and Cyrillic).

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

    Myfont.biz

    This Russian archive has over 45,000 fonts. Inconvenient downloads with captchas. [Google] [More]  ⦿

    MyFonts: Cyrillic typefaces

    MyFonts selection for Cyrillic typefaces. [Google] [More]  ⦿

    MyFonts: Monospace

    The most popular fonts in the MyFonts monospace category in 2011. At the top was Moki (Face Type). In the top six, there are three typewriter types: Decima Mono (Tipografia Ramis: note that this was upgraded in 2014 to Decima Mono X and extended in 2015 to Decima Mono Round and in 2017 to Decima Mono Cyr), Letter Gothic (URW++) and Default (omtype). See also here. [Google] [More]  ⦿

    MyFonts: Russian deco

    A collection of commercial typefaces in the Russian art deco style, which leans against constructivism. [Google] [More]  ⦿

    MyFonts: Russian retro typefaces

    A list of Latin and/or Cyrillic typefaces on the MyFonts site that are at the same time retro. [Google] [More]  ⦿

    Mykhailo Pokutnii

    Kiev, Ukraine-based designer of the Cyrillic display typeface Universe (2017). [Google] [More]  ⦿

    Mymlan Shop (or: Little Mu)

    Designer of these display typefaces in 2021, including some glitch and old computer emulation fonts: Thorn, Stone, Sezane, Point Break (free), Sunday, Error, Zombie, Vinyl, Paloma (computer emulation; includes Cyrillic), Point (a color logo font), Sisterhood, Reptide. [Google] [More]  ⦿

    Myristica
    [Oleg Krasun]

    Ukrainian designer of the inline poster Font Unava (2021, Latin / Cyrillic typeface named after the Unava rier whose history influenced the design: The swift rapidity of the river, the important slow flow of its reservoirs, golden beaches and steep banks of which remember the glorious times of Cossack glory.) [Google] [MyFonts] [More]  ⦿

    N. Andrushchenko

    N. Andrushchenko's beautiful free old Cyrillic fonts called Orthodox (1994 Soft Union, 2000 Andrushenko), OrthodoxDigits, OrthodoxDigitsLoose, OrthodoxLoose, OrthodoxOrnament. An earlier version of this font family is called EvangelieTT (1994, SoftUnion Ltd., created by A. Shishkin and N. Vsesvetskii). See also here for these fonts foinished in 2003, based on the same originals by A. Shishkin and N. Vsesvetskii: Orthodox.tt-Ucs8-Caps-SpacedOut, Orthodox.tt-Ucs8-Caps-tight, Orthodox.tt-Ucs8-Caps, Orthodox.tt-Ucs8-Drop-Caps, Orthodox.tt-Ucs8-SpacedOut, Orthodox.tt-Ucs8-tight, Orthodox.tt-Ucs8, Orthodox.tt-eRoos-SpacedOut, Orthodox.tt-eRoos, Orthodox.tt-ieERoos-SpacedOut, Orthodox.tt-ieERoos, Orthodox.tt-ieUcs8-Caps-SpacedOut, Orthodox.tt-ieUcs8-Caps, Orthodox.tt-ieUcs8-Drop-Caps, Orthodox.tt-ieUcs8-SpacedOut, Orthodox.tt-ieUcs8, Orthodox, OrthodoxDigits, OrthodoxDigitsLoose, OrthodoxLoose, OrthodoxOrnament.

    His new site offers these fonts: Elizabeth_TT-Italic, Elizabeth_TT, Elizabeth_tt-Roos-Italic, Elizabeth_tt-Roos, Orthodox.tt-Ucs8-Caps-SpacedOut, Orthodox.tt-Ucs8-Caps-tight, Orthodox.tt-Ucs8-Caps, Orthodox.tt-Ucs8-Drop-Caps, Orthodox.tt-Ucs8-SpacedOut, Orthodox.tt-Ucs8-tight, Orthodox.tt-Ucs8, Orthodox.tt-eRoos-SpacedOut, Orthodox.tt-eRoos. The Elizabeth_TT series is a gorgeous done family from 1993 (by "ATRI"Graphic Bureau "Az-Zet"), and renovated in 2003 by Andrushchenko. The Orthodox series is by SoftUnion, 1994, rejuvenated by Andrushchenko in 2003. Free Coda music fonts by Andrushchenko, dated 2000, at the same site: MaestroSquare, MaestroWideSquare, PetrucciSquare. [Google] [More]  ⦿

    Nadezda Geringer

    German designer of Oktjabrskaja (2014), a typeface that won an award at Modern Cyrillic 2014. It is based upon a typeface from 1966 originally designed by Iraida Chapil. [Google] [More]  ⦿

    Nadezda Sokolova

    Designer of the Latin/Cyrillic sans family Afena (2010) while she was a student at the British Higher School of Art and Design in Moscow. [Google] [More]  ⦿

    Nadezda Trushina

    Moscow-based designer of the hairline modular ultra-condensed typeface Phasmida (2012) and the narrow squarish typeface Starship (2012).

    Cargocollective link. [Google] [More]  ⦿

    Nadezhda Balashova

    Or Nadin Oldy. Perm, Russia-based designer of the handcrafted typefaces Winter Loves (2016, brush script), Mandarin Juicy (2016), Grumbler (2016), Careless (2016), Jovial (2016), Fabler (2016, hyper-curly, almost a vampire script) and Diletant (2016), and the script typeface Morning Regular (2016).

    Typefaces from 2019: Love Republic (script). [Google] [More]  ⦿

    Nadezhda Farafonova

    Saint Petersburg, Russia-based designer of the Cyrillic brush typeface The Wild Drops (2014). [Google] [More]  ⦿

    Nadezhda Polomoshnova

    Nadezhda Polomoshnova was educated in classical art in Yaroslavl and at the Department of Graphic Design of the Polytechnic University in St. Petersburg, Russia. In 2016-2017, during the TypeType education program, she created the Latin / Cyrillic humanist sans typeface Leo.

    Saint Petersburg, Russia-based type designer in the TypeType and Pinata teams. In 2017, Yuliana Morgun, Nadezhda Polomoshnova and the TypeType Team co-designed TT Knickerbockers Grotesk and TT Knickerbockers Script. They write: TT Knickerbockers Grotesk symbolizes the monumentality of New York expressed in both its traditional historic architecture and skyscrapers. Both typefaces are loaded with features: TT Knickerbockers Script consists of 967 characters and also contains a huge number of contextual alternatives and ligatures. For all lowercase and uppercase letters of basic Latin and Cyrillic alphabets we have drawn 236 swashes which, depending on the context, can appear both at the beginning and at the end of a letter.

    In 2018, Nadezhda Polomoshnova, Vika Usmanova, Phill Nurullin, Nadyr Rakhimov and the TypeType Team co-designed TT Jenevers. Still in 2018, Nadezhda Polomoshnova and Marina Khodak co-designed the forceful display typeface TT Phobos, which features striling stencil and inline styles. Continuing in 2018, Sergey Kotelnikov, Philipp Nurullin, Nadezhda Polomoshnova, Marina Khodak and the TypeType Team designed the not-quite-geometric 18-style typeface family TT Smalls, which is characterized by a small x-height and modulated joins. At the same time, she created the fantastic experimental ultra-ink-trapped typeface Hunter. Co-designer of TT Barrels (2018: a Scotch modern typeface by Inessa Mitrozor, Vika Usmanova, Marina Khodak, Nadezhda Polomoshnova and the TypeType Team). At the end of 2018, TypeType published TT Supermolot Neue (Roman Ershov, Marina Khodak, Nadezhda Polomoshnova, Ivan Gladkikh and the TypeType Team).

    In 2019, TypeType published TT Tsars, a 20-style font family with five subfamilies. It is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century and seen on book title pages in Russia. A reference for the development was Abram Shchitsgal's book Russian Civil Type. The fonts were designed by Marina Khodak, Inessa Mitrozor, Nadezhda Polomoshnova and the TypeType Team. [Google] [MyFonts] [More]  ⦿

    Nadi Spasibenko
    [Artcoast Studio]

    [More]  ⦿

    Nadine Trushina

    Moscow, Russia-based designer of the ultra-condensed Latin typefaces Phasmida Display (2012) and Starship Display (2016). [Google] [More]  ⦿

    Nadira Filatova

    Illustrator and motion graphics artist in Moscow, who garduated from Moscow State Academic Art College (2011), and started studies at the Stroganov Moscow State Academy of Industrial and Applied Arts in 2011. During her studies in Moscow, Nadira Filatova created the Cyrillic typeface Berliitz (2014) and the 3d Latin display typeface Think of Jack (2014). In 2020, she designed the stunning free multiline Latin and Cyrillic color font Moscow Metro that was inspired by the Moscow underground map. [Google] [More]  ⦿

    Nadja Olic

    Belgrade, Serbia-based designer of the Latin / Cyrillic display sans typeface Metafizika (2016). [Google] [More]  ⦿

    Nadya Davydowa

    During her studies in Moscow, Nadya Davydowa designed the Latin / Cyrillic poster typeface Kissel (2013). [Google] [More]  ⦿

    Nail Husyainov

    Moscow-based designer of the tweetware typefaces Kathnew (2015, hipster style), Research (2015, hipster font), Floatel (2015), Banger (2015, free), and Niles Front (2015, techno). He also made the free hipster font Pharaoh (2015), the free font Minima (2015), the free handcrafted typeface Ugly Kid (2015), and the free font Quip (2015).

    Aka Niles Company. Behance link. [Google] [More]  ⦿

    Naile Valiulin

    Moscow-based designer of the deconstructed Cyrillic didone typeface Muzej Panorama (2016), which was created for the imagined identity of the Museum Panorama Borodino Battle (between Russia and France) as part of a school project at the British Higher School of Art & Design. [Google] [More]  ⦿

    Najla M. Badran

    Najla Badran is an independent typeface designer, researcher and instructor based in Egypt. She holds a BA in Graphic Design from the German University in Cairo, an MA in Typeface Design from the University of Reading, UK, class of 2015. She is currently pursuing her PhD on Diacritics in the Arabic script and typography at the University of Reading. Najla has been teaching type design and typography since 2015 and holds Arabic lettering and typography workshops. She is interested in Arabic revival typefaces and inspiring modern Arabic typefaces from calligraphy.

    Her typefaces include:

    • Razeen (2015). Razeen is her graduation project at Reading. It covers Arabic, Cyrillic, Greek and Latin scripts, with the aim of providing balance across all four scripts.
    • The Arabic typeface Mesh Phont (2017).

    Type Together link. [Google] [More]  ⦿

    names.ru

    Small archive. Fourty truetype fonts, including NadejdaBold, NewDeli, PixieFive, Scrawl, SeedsCyr-Medium, Sevenet7Cyr, Stylo-Bold, DS-Diploma-Bold, DSArmyCyr, DSComedyCyrBold, DSDiploma-Bold-Outline-DBL, DSDiplomaArt-Bold, DSDownCyr, DSEraserCyr, DSJapanCyr--Normal, DSMechanicalBold, DSMotterHo, DSMotterStyle, DSPixelCyr, DSPoddCyrLight, DSShowBill, DSShowBill, DSStain, DSStandartCyr, DSZombieCy, all by Design Studio in Moscow. And InavelTetkaCyr (TarmSaft, cyrillized by Roman Volkov and Nikolay Dubina in 1999) and LazyCrazy (Latin and Cyrillic handwriting, MAG, 1997). [Google] [More]  ⦿

    Nana Glonti
    [cmcyr]

    [More]  ⦿

    Nani Kogua

    Moscow-based designer of the Latin / Cyrillic geometric sans typeface family Este (2016). [Google] [More]  ⦿

    Naslovna

    Macedonian site with two families, Macedonian Times and Macedonian Helvetica, by Marijanco Galevski of Inventif Systems, 1993. Plus AachenKIRLight. Truetype. [Google] [More]  ⦿

    Nastasya Popkova

    Minsk, Belarus-based designer of the square-shaped Cyrillic typeface Constructivizm (2015). Behance link. [Google] [More]  ⦿

    Nastia Mileshina

    Graphic designer in Moscow who created the modular Cyrillic typeface Monoko in 2017. [Google] [More]  ⦿

    Nastia Velychko

    Lviv, Ukraine-based designer of the free liquid style Cyrillic font Water (2016). [Google] [More]  ⦿

    Nasty Davydova

    Moscow-based designer of Character Alphabet (2013), an ornamental cartoon character typeface for Cyrillic.

    Behance link. [Google] [More]  ⦿

    Nastya Levina

    Nastya Levina studied mathematics at the Faculty of Mathematics and Mechanics of the St. Petersburg State University. In her second year she began to create websites on demand. As a student at TypeType Education in 2016-2017, she designed the Latin / Cyrillic stencil typeface Depot. [Google] [More]  ⦿

    Nata Bayduzha

    Moscow-based graphic designer. She created a useful informally hand-printed family of typefaces called Owl (2011). [Google] [More]  ⦿

    Natali Bondarenko

    Russian designer of Polka Dot Font (2015) and Hilarious (2015, handcrafted). [Google] [More]  ⦿

    Natali Strelchenko

    Designer in Kiev (Ukraine), who made the beautiful dot matrix family BDirect for Latin and Cyrillic in 2011. Link (2011) is an ornamental caps face.

    In 2012, Strelchenko made Jackson Pollock Type. [Google] [More]  ⦿

    Natalia Belousova

    Designer in Berdyansk, Ukraine, who created Lombard (2013, a blackletter typeface for Latin and Cyrillic). [Google] [More]  ⦿

    Natalia Chuvatin

    Creator of Colvert Cyrillic (2012, Typographies.fr). [Google] [More]  ⦿

    Natalia Derbenzeva

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

    Natalia Makeyeva

    Co-designer with Viktor Kharyk in 1999-2001 of the exotic experimental typeface Varbur Grotesque. [Google] [More]  ⦿

    Natalia Popova

    During her studies at IED in Moscow in 2013, Natalia Popova created an unnamed modern typeface. [Google] [More]  ⦿

    Natalia Shmarova

    Graduate of Saint-Petersburg State Polytechnical University, and graphic designer in Saint Petersburg. She created the dingbat typeface Beetles (2012). [Google] [More]  ⦿

    Natalia Spivak

    Moscow-based designer of the modular counterless typeface Juke Box (2014, FontStruct). This font was designed during her studies at the British Higher School of Art and Design in Moscow. FontStruct link. [Google] [More]  ⦿

    Natalia Vasilyeva

    Natalya Vasilyeva (from Barnaul, Siberia) is a type designer, book designer and calligrapher, also engaged in editing, publishing, photography and computer design. She published these typefaces, which, unless explicitly mentioned, are all done at Paratype:

    • Adonis (2002). A 4-style text typeface. She added a major update, Adonis New, in 2021.
    • Adventure (2000). A calligraphic script.
    • Aelita (2014). A transitional typeface family.
    • Astrosym (2010, Paratype).
    • Barnaul Grotesk (2007): a humanist sans in 8 styles.
    • Barry Gothic (1996, TypeMarket), a Cyrillic extension of Adobe's Charlemagne (1989).
    • Bella.
    • Blick (2008, ParaType): a decorative sans.
    • Calendula (2017, Paratype). A very humanistic sans typeface family.
    • Cometa.
    • Crassula (2018). An organic sans.
    • Deca Sans (2010) and Deca Serif (2010). It was designed to be readable at small sizes, thanks to its low contrast. In 2017, she added Deca Serif New.
    • Elina and Elina Decor (2011). A graceful, decorative and calligraphic set of typefaces.
    • Emploi (2009: Emploi Travesti and Emploi Ingenue) is pure calligraphic pleasure.
    • Express (2001): a Cyrillic version of a brush typeface by the same name designed for Ludwig&Mayer in 1957 by Walter Hoehnisch.
    • Hortensia (2000). A calligraphic typeface.
    • Illusion (2019). A calligraphic typeface.
    • Iowan Old Style (2017, Paratype). This is the Cyrillic extension of John Downer's Iowan Old Style (1990, Bitstream).
    • Journal and Journal Sans Old School (2019), which is a modernized digital version of the widely popular (geometric) Journal Sans, which became famous via its use in Science and Life magazine of the 1960s.
    • Kudryashev.
    • Liana (1998, TypeMarket): a flowing script based on Lainie of Soft Horizons.
    • Lockon (2008, ParaType): a slightly curly hanprinted script.
    • Margon (2012, Paratype). This was a major contribution---a serif font family with a temperate design, i.e., small serifs, moderate contrast, and tiny roundings on the corners. The Margon font family consists of 18 members divided into 4 groups of different proportions with indices 360, 380, 400, 430.
    • Master Flo (2007): simulation of a broad-nibbed pen.
    • Melody.
    • Mirandolina (2008, ParaType): a freestyle serif typeface family in seven styles.
    • Mister Earl.
    • Motiv (2003, Paratype). A cursive calligraphic script for Latin and Cyrillic.
    • Muffin (2017, Paratype). A five-style soft and rounded humanistic low-contrast sans serif based on broad nib writing.
    • Nat Flight (2009, ParaType). A text family.
    • Nat Grotesk (2007, Paratype). A geometric sans family.
    • Nat Vignette (2000-2002): a great set of ornamental and border typefaces).
    • NataliScript (2000). A calligraphic script.
    • Orbi Sans (2011) and Orbi (2010).
    • Pallada (2008, ParaType) has the same genetic roots as Mirandolina but comes in only 4 styles.
    • Prospect (1997-2001).
    • Sans Rounded (TypeMarket, 1998): an extension of VAG Rounded.
    • Scientia (2016, Paratype): a neutral sans for scientific publications. In that same genre, she designed the 22-style text family Hyperon (2020, Paratype) for publications on mathematics and physics. Each font is loaded with about 1100 glyphs, including many symbols. All fonts cover Latin, Greek and Cyrillic.
    • Selina (2007). A 9-style low-contrast modern type family.
    • Vesna. Zapf Elliptical 711.

    Klingspor link. MyFonts interview.

    View Natalia Vasilyeva's typefaces. Another listing of Natalia Vasilyeva's typefaces. [Google] [MyFonts] [More]  ⦿

    Natalia Yanina

    Designer of the Latin/Cyrillic roman typeface Itelica (2009), which was part of her diploma work at the Moscow Department of Higher British Design School. [Google] [More]  ⦿

    Natalie Dinnikova

    Graphic design student at the Polytechnic University of Saint Petersburg. She created a delicate display typeface called Tahoma Optical (2011). [Google] [More]  ⦿

    Natalie Rauch

    From 2009 until 2013, Natalie Rauch studied towards a Bachelors in Communications Design at the Hochschule für Technik und Wirtschaft Berlin, Germany. In 2014, she obtained a Masters in Type Design at the University of Reading, UK. During an internship at Carrois Type Design in 2012, she created the experimental sharp-edged typeface Kink. For her Bachelors in 2013, she created the modern fashion mag typeface Anouk.

    For her Masters at Reading, she developed the angular typeface family Raikka (2014). Raikka is a forceful unconventional multiscript typeface family that covers Latin, Greek, Cyrillic and Hebrew. It is characterized by a calligraphic almost fuzzy italic that is in sharp contrast to the more severe regular weight. It was published in 2016 at bBox Type, where she also published Lonne (2017).

    In 2019, she designed the fat high-waisted art deco typeface Oggle at Future Fonts. Type Department link. [Google] [More]  ⦿

    Natalie Thomson

    Natalie Thomson is a children's book illustrator based in Russia. In 2015, she created the fun decorative caps typeface Foppish Birdie for Latin and Cyrillic. Behance link. [Google] [MyFonts] [More]  ⦿

    Natalie Voloshina

    Ukrainian designer of the scary Cyrillic children's book font Charlotte's Web (2017). [Google] [More]  ⦿

    Natalija Nikpalj Polondak

    Born in 1971 in Zagreb, Croatia. Graduated on Academy of Fine Arts in Zagreb, where she now works as an assistant. Simultaneously, she is doing a masters degree at ALU, Ljubljana, Slovenija, specializing in Visual Communications Design. Winner of an award at the 2005 FUSE type competition with her experimental security-oriented typeface "Monitoring". Digital reviver of the nice angular glagolitic font family Vrbnik Missal style (angular glagolitic, 1456) consisting of GLAG_1 (1995) and NIKI_l (1995). These fonts can be found here. [Google] [More]  ⦿

    Nataliya Grishina

    Saratov, Russia-based designer of the handcrafted Latin / Cyrillic typeface Emily (2017). [Google] [More]  ⦿

    Nataliya Kokornova

    Saint Petersburg, Russia-based designer of the op-art Cyrillic typeface Polosa (2015) and of the experimental typeface Charms (2015), whichh was inspired by the work of Daniil Ivanovich Kharms. [Google] [More]  ⦿

    Nataliya Kuzil

    Designer from Lvyv, Ukraine, who created the circular / geometric Cyrillic font Hobby (2011). [Google] [More]  ⦿

    Nataliya Rashkina

    Illustrator and designer in Moscow who created Railway (2012), a Latin typeface that is based on a pattern of crossing railroad tracks. [Google] [More]  ⦿

    Natalka Dmitrova

    Illustrator and designer in Kiev, who made Razrabotka (2012, a thin sans Cyrillic typeface). [Google] [More]  ⦿

    Natalya Lyovina

    Saint Petersburg, Russia-based designer of the cyrillicized version of AbeatbyKai (2017). [Google] [More]  ⦿

    Natalya Radnaeva

    Russian designer of the experimental typeface SK Nagot (2021: at Shriftovik) for Latin and Cyrillic. SK Nagot is a decorative typeface at the junction of industrial and classical graphic design. It was inspired by 3D printing technology. [Google] [MyFonts] [More]  ⦿

    Natalya Smirnova

    Saint Petersburg, Russia-based designer of the experimental geometric 3d Cyrillic typeface Graphic Archaeology (2016), which was created as a project for the British Higher School of Art and Design. Home page. [Google] [More]  ⦿

    Natasha Anisimova
    [Pixelwerk (was: Sobaka Pavlova)]

    [More]  ⦿

    Natasha Kalyuta

    Minsk, Belarus-based designer of a geometric Cyrillic typeface in 2017. [Google] [More]  ⦿

    Natasha Klemazova

    Moscow-based designer of Unicorn Font (2017). Creative Market link. [Google] [More]  ⦿

    Natasha Merculova

    Graphic designer and illustrator in Ramenskoye, Russia. She created a special ornamental Cyrillic all caps typeface called Animalphabet (2011). [Google] [More]  ⦿

    Natasha Oi

    Natasha Oi practices graphic design, infographics, and photography in Saint Petersburg, Russia. In 2010, she designed Symbolical font (2010). In 2011, she created an all-caps ransom note font for the brochure and invitations for the Japanese fashion designer Issey Miyake. [Google] [More]  ⦿

    Nate Halley
    [Total Font Geek]

    [More]  ⦿

    Nathan Willis

    Type consultant and researcher based in West Texas. Graduate of the type design program at the University of Reading, class of 2017. His graduation typeface there, Sark, covers Bengali, Cyrillic, Latin and Greek: Sark's serif styles are arrayed for constructing multi-script text documents, while its sans-serif styles are attuned to the needs of contemporary display technologies. [...] Sark Bengali offers two styles: an upright style designed for setting body text and an auxiliary style with a calligraphic feel that can employed for emphasis. It supports contextually sensitive matras and kars, initial and final forms. Currently, he lives in London and is a PhD student at the University of Reading under Fiona Ross and Matthew Lickiss. At Reading, he explores algorithms for spacing, kerning, and letter fitting across typographic styles and writing systems.

    Designer of the free font News Cycle (2011, OFL), a sans typeface that can be downloaded at Google Font Directory. News Cycle is a realist sans-serif font family based on specimens of the 1908 News Gothic typeface from ATF. It covers Latin, Greek and Cyrillic, but, incredibly, the fonts have no number 6.

    Della Respira (2012, Google Web Fonts) is a revival of the Della Robbia typeface by American Type Founders (ATF). The source files are here.

    Open Font Library link. Klingspor link. Google Plus link. [Google] [More]  ⦿

    Nathan Zimet
    [NCT]

    [MyFonts] [More]  ⦿

    Nathanael Bonnell
    [Looseleaf Fonts]

    [MyFonts] [More]  ⦿

    Nathanael Dorange
    [Par Défaut]

    [MyFonts] [More]  ⦿

    Naum Type
    [Pyotr Bushuev]

    Peter or Pyotr Bushuev is the Pskov, Russia-based designer of the geometric typeface families Umbero (2016, retro deco) and Kontora (2016, for Latin and Cyrillic). He also designed the brush typeface Burelom (2015).

    Typefaces from 2017: Juxta (Sans, Sans Mono, Script), Juxta Sans Mono, Ravensara Antiqua Stencil, Ravensara Sans, Ravensara Serif (a high contrast fashion mag font derived from didones; in Sans and Serif styles).

    Typefaces from 2019: Base + Bloom (experimental).

    Typefaces from 2020: Strikt (a viariable pixelish font on a 3x3 grid with two axes, weight and animation), Cascadeur (Pyotr writes: Cascadeur is a variable modular sans with 3 axes, a modernistic hommage to space-age typography).

    Type Department link. [Google] [MyFonts] [More]  ⦿

    Nav Raw
    [Rajesh Rajput]

    Rajesh Rajput (since 2014 with Cognizant Technologies, Gurgaon / Delhi, India) designed the free 5-style stencil typeface family Break in 2015. Interestingly, a guy called Steven Han calls it his font in 2016. He worked for four months on an elaborate decorative set of 26 capitals under the project name Type Soul (2015).

    With Raina Agarwal, Rajesh Rajput designed the free scratchy font Chemin in 2015.

    From his home base in New Delhi, he created Hagna (2017; although inside the font we find another name, Webvilla), the free variable condensed sans display family Thunder (2017) and Gorgeous (2017, a free tall fashion mag typeface family).

    Typefaces from 2018: Morganite (a free condensed movie credit sans in 18 styles),

    Typefaces from 2019: Emberly (a free 54-style didone, with a variable option).

    Typefaces from 2021: Mango Grotesque (a free 18-style+variable condensed elongated sans font family), Moniqa (a free 162-style (+variable font) family of art deco typefaces for Latin and Cyrillic).

    Typefaces from 2022: Meshed Display (a free display serif family with a fashion mag didone vibe).

    Behance link. Behance link for Nav Raw. [Google] [More]  ⦿

    Naverhtrad

    FontStructor who made Basmachi (2009): Basmachi is a Central-Asian flavoured typeface inspired by Cyrillic titling fonts in popular use in Kazakhstani public schools. In 2009 he made Brokenscript Rectangular (+Smooth, +Regular: nice blackletter font), Young Young Turkic (2009, a Cyrillic FontStruct based very loosely on the Serbian Cyrillic Bedrock typeface, designed specifically for the Kazakh and Kyrgyz alphabets), and LeanLeft (2008). [Google] [More]  ⦿

    NCT
    [Nathan Zimet]

    American designer of the roman typeface Alive Serif (2016) for Latin and Greek. In 2017, he published NCT Granite for Latin and Cyrillic and writes: NCT Granite brings the shapes of Renaissance type into the modern world with a robust and functional typeface designed to work on both screen and print. Its italic is about as wide as the roman, making it very easy to read in long text.

    In 2018, he published NCT Torin, a relaxing sans serif typeface family that also covers Vietnamese, Greek, and Russian. It has one of the thinnest hairlines in the industry. Still in 2018, he finished the text typeface family NCT Larkspur.

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

    Nekrasov Central Library

    Moscow-based library which digitized its holdings. [Google] [More]  ⦿

    Nele Tullus

    Tartu, Estonia-based designer of the free blackboard bold Latin/Cyrillic school project typeface MadSquire (2014). [Google] [More]  ⦿

    Nenad Hancic-Matejic

    Nenad Hancic (Glagolitica Fonts&Co) specializes in Glagolitic. He created two fonts, Croatica (2009), and Glagolica Missal DPG. The lower case letters of Glagolica Missal DPG are based on Missal from 1483, while the capital letters are based on those of Transit of St. Jerome from 1508. Nenad lives in Duesseldorf, Germany. [Google] [More]  ⦿

    Neobyzantine

    This site has the following polytonic Greek and Slavonic fonts: Miroslavljeva_Cirilica, CirilStudenica, MgGreekArchaic-Plain (actually a Greek simulation face, 1983), OdysseaF, SymbolGreekPF, UB-Byzantine-Italic, UB-Byzantine-Normal (Unibrain, 1993), ALBXHRNormal (Im Grhgorioy, 1994), NB-Byzantine-NB, CSvetiNIKOLANormal (Predrag Milivojevic, Belgrade, 1993). [Google] [More]  ⦿

    Neogrey
    [Ivan Phillipov]

    Ivan Phillipov (Neogrey, also written as Ivan Filipov) has offices in Plovdiv, Bulgaria and Turkey. He designed the techno typefaces Research Remix (1993), Neogrey (2004) and Red October (2004, inspired by Soviet poster art; can be used for Cyrillic simulation; followed by Red October Stencil, 2009). Release Yourself (octagonal), Research Remix (rounded octagonal), Arkitech Light, Discophat and Neogrey Medium appeared in 2009. In 2011, he published Artitech Round and Syntha.

    In 2012, the free round monoline typeface Syntha and the techno typeface Arkitech Medium were published. Multicolore (2012) is a free EPS-format round sans typeface for coloring (a monochromatic version is free in truetype format).

    In 2013, he designed Arkitech Bold and in 2019 Arkitech Stencil.

    In 2014, he created the free roundish squarish typeface Ronduit (+Capitals).

    Typefaces from 2015: Tricolore (multicolored rounded sans), Lausanne (a free font inspired by the Prada and Louis Vuitton fashion house logos).

    In 2017, he designed a free color font called Color Tube.

    Typefaces from 2019: Konstruktor (constructivist), Red October Eroded, Arkitech Stencil.

    Typefaces from 2020: Syntha Nova (a free round sans advertized as the electronic music font), Fattern (a free color font with textures and patterns influenced by Romero Britto's work).

    Typefaces from 2021: Cimero Pro (a free color SVG font).

    Alternate URL. Dafont link. Fontspace link. Abstractfonts link. Behance link. Creative Fabrica link. [Google] [More]  ⦿

    neooNPixels

    Russian font forum for discussing new commercial typefaces. In Russian. [Google] [More]  ⦿

    Netian.com

    The LucidaSans at this site is a Unicode font covering all European languages, plus dingbats, Arabic, Cyrillic and Hebrew. [Google] [More]  ⦿

    Netwares TT Fonts

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

    Neue Deutsche (was: Der Graph)
    [Wolf Böse]

    Wolf Böse (Der Graph, NeueDeutsche, est. 2010, Berlin) is the alias of prolific German experimental font designer Thomas Helbig. His typefaces date from ca. 2009. In 2021, he opened a shop on MyFonts as NeueDeutsche. His typefaces there, published in 2021, include ND Dildo (an 8-style sex-positive rounded sans for Latin, Greek and Cyrillic), ND Gestalt (experimental and circle-based), ND Kronenberg (experimental and circle-based), ND Alias (a modular font that uses basic geometric elements) and ND Gambit (an experimental font with glyphs composed of arcs, circles and line segments). [Google] [MyFonts] [More]  ⦿

    Neue Frutiger
    [Akira Kobayashi]

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

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

    Neue Helvetica World

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

    Neue (or: Neue Foundry)
    [Alexander Alexandrowitsch Roth]

    Alexander Alexandrowitsch Roth, or just Alexander Roth, was born in the Tajik Soviet Socialist Republic and immigrated from Dushanbe 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 Sciences. Alexander is one of the founders of Ghostarmy---a conglomerate of several designers 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.

    He held positions as a graphic designer for FontFont, as a lead graphic designer for FontShop and as a marketing manager for Monotype's digital commerce businesses, before joining Monotype's type team.

    Roth set up Neue. Alexandra Schwarzwald is a type designer & typographer and joined Neue as business partner in October 2020.

    In 2020, he designed the 72-style typeface family Neue Radial, which is a compendium of sans genres: Neue Radial A follows the model of the original London underground typeface; Neue Radial B exemplifies the roots of a rational grotesque of the late twentieth century; Neue Radial C is a contemporary representative of the geometric sans, mechanically constructed to optically appeal to the appearance of a true compass and ruler typeface; avant-garde-esque elements ensure a smooth transition into Neue Radial D that reflects the tradition of neo-grotesques. The Soft versions (done with Alexandra Schwarzwald) were added in 2021: Neue Radial Soft A, Neue Radial Soft B (18 styles), Neue Radial Soft C, Neue Radial Soft D.

    Late in 2020, Neue released Neue Vektor (by Alexander Roth; 27 styles, describable as cold-hearted, utilitarian, DIN-like, and for engineers only), Neue Vektor CNC (a monolinear rounded sans in 14 styles), Neue OS Icons (by Alexandra Schwarzwald) and Neue UXUI Icons (by Alexandra Schwarzwald).

    Typefaces from 2021: Neue Rasant (a cold 15-style brutalist sans), Neue Singular (60 styles: a contemporary neo-grotesque sans-serif designed in three variants, H, D, and V according to stroke endings---H for horizontal, D for diagonal, and V for vertical). [Google] [MyFonts] [More]  ⦿

    Nev Petkova

    Sofia, Bulgaria-based designer of the didone titling typeface Omantala (2017) an the thin Cyrillic sans / stencil typeface Kinetika (2017). [Google] [More]  ⦿

    Nevena Milovancevic

    Artist in Belgrade, Serbia, who designed the soft handcrafted typeface Mereka (2016) for Latin and Cyrillic. [Google] [More]  ⦿

    Nevena Trifonova

    Architect and graphic designer in Sofia, Bulgaria, who created the Cyrillic wedge serif typeface Delta in 2017. [Google] [More]  ⦿

    New Cyrillic

    Cyrillic typeface competition with a December 31, 2012 deadline. Unlike many competitions in which participants and winners have to pay, this competition actually pays the winners---there is a 15,000 Euro prize fund for the top three. The top ten projects for 2012:

    • Amsterdam by Evgeny Filippov
    • Argena Regular by Tomi Dzurovski
    • CloneRound Regular by Tomi Dzurovski
    • Flauto by Yuliya Tigina
    • Kalimantan by Ana Kutina
    • Mamontov Sans by Oleg Matsuyev
    • Metrofont Regular by Artyom Utkin
    • Napoleon by Ana Kutina
    • Ringvaart by Aleksander Koltsov
    • William Headline by Mariya Doryeuli
    Of these, the three lucky winners were Flauto by Yuliya Tigina, Metrofont Regular by Artyom Utkin, and William Headline by Mariya Doryeuli. [Google] [More]  ⦿

    New Ruble Sign

    Discussion of the new ruble sign by Yuri Gordon. In Russian. The Russian ruble sign, approved in 2013, looks like a Latin P (the Russian R) with an extra horizontal bar underneath. Easy to remember. Good consistent design. [Google] [More]  ⦿

    NHN Corporation

    Korean type foundry which provided several typefaces to Apple as Latin / Hangul system fonts in 2010. These include Nanum Brush Script, Nanum Myeongjo (free), and Nanum Gothic.

    The Nanum fonts (Nanum Myeongjo, Nanum Pen Script, Nanum Gothic, Nanum Gothic Coding, Nanum Brush Script) are Unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications and Fontrix. The publisher is Naver. Nanum Pen Script is a contemporary pen script with a warm touch and is expertly hinted for screen use.

    Namum Gothic Coding (2009) is by Nicolas Noh, Bruce Kwon, Sungwoo Choi, Goun Cha and Soohyun Park. Nanum Gothic (2011) is by Nicolas Noh, Bruce Kwon, and Sungwoo Choi. Nanum Myeongjo (2010) is by Yong-rak Park and Ji-hee Yoon. Nanum BrushScript (2010) is by Doo-yul Kwak and Nicolas Noh. Nanum Pen Script (2010) is by Hyunghwan Choi, Doo-yul Kwak and Nicolas Noh.

    Google Fonts links: Nanum Myeongjo, Nanum Pen Script, Nanum Gothic, Nanum Gothic Coding, Nanum Brush Script. [Google] [More]  ⦿

    Niccolo Agnoletti
    [Blazrdsky]

    [More]  ⦿

    Nick Edward Matavka

    Creator of the classic Germanic blackletter hand simply called Blackletter Hand (2014). It has elements of Suetterlin.

    Creator of Cyanotype (2014) and EngineerHand (2014), both engineering or architect draftsman scripts.

    In 2014, he created an irregular handwriting font, Saucy Jack, and wrote: A true Victorian handwriting font. Don't use the Jane Austen font to emulate Victorian or later handwriting; by the Victorian era, the pen had been invented and people no longer used quills like Miss Austen did. This was very obviously written with an actual pen rather than with a dipper, quill or biro; it comes from a letter purportedly written by the famous Englishman, Mr John D. Rypper. It is suited to any period ranging from the invention of the pen (1830) to the popularity of the biro (1965). Ron's Font (2014, in a style not unlike hat of Jack Kerouac or Hunter Thompson) and Nick's Font (2014) emulate irregular handwriting as well.

    Station (2014) is an all-caps sans typeface based on the font used in Toronto's subway stations.

    DN Titling (2014) is an ultra-compressed font based on the titling used in the pop-psychology textbook Dianetics: The Modern Science of Mental Health.

    He designed the following Greek / Coptic fonts in 2014: Antonios-B, Antonios-D, Athanasius-B, Athanasius-D, Copt-A, Copt-B, Copt-D, Coptic-A, Coptic-B, Mina-A, Mina-B, Shenouda-A, Shenouda-D.

    In 2015, he published Draughtsman, an internationally standardized typeface for Latin, Greek and Curillic for labelling architectural and engineering blueprints, as found in the GOST standard 2.304-81.

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

    Nick Job

    Macclesfield, UK-based type designer who has a degree in graphic design from Nottingham Trent University. David Brezina introduces Nick as follows: Nick Job saw my baby steps as a type designer on the Typophile forum and kindly offered advice and new sources of inspiration. That's how I learned about his enthusiasm for British Rail and modernist design in general. He is a sans-serif specialist by heart, exploring mechanical influences (FS Hackney) as well as Englishness in design (FS Elliot).

    His typefaces:

    • Energy (2007). A sans family.
    • The extensive sans family Camphor (2010, Monotype).
    • FS Elliot (2012, Fontsmith).
    • The custom font FS Webb Ellis Cup, which was done for the 2019 Rugby World Cup.
    • The assertive sans typeface family FS Hackney (2020, Fontsmith).
    • Adelphi (2019, Rosetta Type Foundry). Adelphi is an extensive Bauhaus-inspired geometric typeface family (with variable styles) that covers Latin, Greek and Cyrillic. One of the variable axes explores terminal angles.
    [Google] [MyFonts] [More]  ⦿

    Nick Nedashkovskiy

    Saint Petersburg, Russia-based designer of the Cyrillic typefaces Condens (2015, condensed) and Old Pixel (2015). Behance link. [Google] [More]  ⦿

    Nick Nedashkovskiy
    [NN Type Foundry (or: NN Studio)]

    [More]  ⦿

    Nick Niedaszkowski

    Saint Petersburg, Russia-based designer of the Cyrillic typeface Condens (2014). [Google] [More]  ⦿

    Nick Shinn
    [Shinn Type]

    [MyFonts] [More]  ⦿

    Nick Yartsev

    Moscow-based designer of the free pixel typeface Balaclava (2014). [Google] [More]  ⦿

    Nickolai Yegorov

    Russian graphic designer and digital artist from Saint Petersburg, who created these great visit cards. [Google] [More]  ⦿

    Nickolay Boltachev

    Kirov, Russia-based type and graphic designer. Creator in 2008 of BeckettGothic (blackletter), Veloprofy (bike chain-inspired glyphs), Podval (type in the form of pressure meters), a few Cyrillc sans typefaces, and Slash (an oriental simulation typeface in Cyrillic). Behance link. [Google] [More]  ⦿

    Nicolas Massi
    [Tomo Fonts (was: We Are Tomo)]

    [MyFonts] [More]  ⦿

    Niia Frost

    Saint Petersburg, Russia-based creator of several Latin typefaces in 2013. She also made some op-art designs. [Google] [More]  ⦿

    Nikа Metelskaya

    Moscow-based designer of the Cyrillic typefaces Cheerful (2019), Rurun (2019: runic) and Kolchuga (2019). [Google] [More]  ⦿

    Nika Kudinova

    With the help of the drawings and scribbles of 4-year-old Olya Bondarenko, Nika Kudinova (Kiev, Ukraine) designed a Cyrillic children's scribble alphabet called Princess (2017). [Google] [More]  ⦿

    Nikita Arkhipv

    During his studies in Moscow, Nikita Arkhipv designed the Cyrillic script typeface Jeto Schrift (2017). Behance link. [Google] [More]  ⦿

    Nikita Bashmakov

    While working at Mario Eskenazi Studio in Barcelona, Nikita Bashmakov designed the sturdy Latin / Cyrillic text typeface Olga (2016). [Google] [More]  ⦿

    Nikita Kanarev

    Or Nikita Kanryov. Graduate of Ilya Ruderman's course Type and Typography at the British Higher School of Art and Design in Moscow (2010-2011). He created Cyrillic versions for Baton Turbo and Aino, the official font for the brand of Estonia. Based in Barnaul, Siberia, Nikita Kanarev set up his own type foundry in 2014. Designer of

    • Srotsky (2014). A Latin/Cyrillic typeface that simulates stonecut lettering.
    • Sirin (2014). A Latin / Cyrillic experiment with over 8000 ligatures.
    • Co-designer with Yury Ostromentsky and Ilya Ruderman at CSTM Fonts of the 18-style exprimental typeface family Lurk (2020). It is based on an earlier version that was specially designed for the Russian youtuber Yury Dud.
    • Archaism (2020, at Type Tomorrow). A variable mechanical inverse contrast grotesque with contrast and weight axes.
    • Cyrillic versions for the following fonts: Baton Turbo, Aino (the free official font for the brand of Estonia).

    Type Today link. Type Tomorrow link. [Google] [MyFonts] [More]  ⦿

    Nikita Kita

    Saint Petersburg, Russia-based designer of the free curly display typeface Monster Regular (2016). [Google] [More]  ⦿

    Nikita Pluzhko

    Kiev, Ukraine-based designer of the experimental Cyrillic typeface Zvizdary (2017), in which all strokes follow the segments of the Jewish star of David. [Google] [More]  ⦿

    Nikita Sergyshkin

    Photographer in Minsk, Belarus. He created a Cyrillic display typeface in 2013. [Google] [More]  ⦿

    Nikita Simmons

    Slavonic typographic expert. He created these typefaces:

    • The Slavonic religious dingbat font Prosphora (2005).
    • Fedorovsk AC (1999), Fedorovsk XCS (1999, based on the Russian pre-Nikon church books of the Moscow Pechatny Dvor (printing court), 1st half of the XVII century).
    • Ostromirov XCS (2006, based on the letters of "Ostromirovo Evangelie" (Ostromir's Gospel) of 1056-57) and Ostromirov AC (2006), all gorgeous Old Slavonic typefaces.
    Some fonts of Simmons were revived and modified by Constantin Spektorov, and can be found here: 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 Constantin Spektorov) 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. [Google] [More]  ⦿

    Nikita Simmons
    [Slavonic Fonts]

    [More]  ⦿

    Nikita Sologubovskiy

    Artist, illustrator and designer based in Moscow. In 2016, he designed the squarish modular Latin typeface absurde (2016). Behance link. [Google] [More]  ⦿

    Nikita Vsesvetskii
    [Soft Union]

    [More]  ⦿

    Nikola

    Pick up OldCyr Bold (1992, SynthesisSoft). [Google] [More]  ⦿

    Nikola Djurek
    [Typonine]

    [MyFonts] [More]  ⦿

    Nikola Kostic
    [Kostic Type Foundry]

    [MyFonts] [More]  ⦿

    Nikola Kovanovic

    Cyrillic font designer based in Serbia. His typefaces include Cirilica Pisana Nova D (2005: copperplate calligraphy), Nicoletta Script (2005: calligraphic), Jagodina (2004: an informal typeface), Azbuka03_D (2005: copperplate calligraphy), Brock Script_D (2005: swashy calligraphic), and Inspiration (2005: calligraphic script). Some of these fonts can be downloaded at Localfonts.eu. [Google] [More]  ⦿

    Nikola Pavlovic

    Creator of the old Slavonic typeface Freske (2002), which can be found here. [Google] [More]  ⦿

    Nikola Sejmenov

    Belgrade, Serbia-based designer of a custom Cyrillic typeface in 2018. [Google] [More]  ⦿

    Nikola Stojanovic

    Graduate of the Faculty of Applied Arts in Belgrade. Creator of the Cyrillic sans serif typeface Tkac (2012). [Google] [More]  ⦿

    Nikolai Aleksiev

    Russian type designer. [Google] [More]  ⦿

    Nikolai Belkov

    Russian graphic designer, who was selected to design the pictograms for the 1976 Olympic Games in Moscow. He did go about it in a systematic and geometric way. A bit of the history: On the OCOG-80’s request, graduates from several art colleges took up the design of the pictographs of the insignia as the theme of their dissertations. With the help of the research institute of industrial aesthetics, the Organizing Committee chose the work submitted by Nikolai Belkov, a Mukhina Art School graduate from Leningrad. [Google] [More]  ⦿

    Nikolai Sirotkin

    Nikolai (Nick) Sirotkin is the Russian designer of fonts such as Taumfel (2007, connected script), Filada (2003), Billiard and Mini.

    Sirotkin, sometimes successfully, sues companies who illegally use even his free demo fonts: Typedrawers page on Sirotkin versus Eksmo (a Russian publisher) and Sirotkin versus Azertea.

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

    Nikolai Slobodin

    Designer of the Latin/Cyrillic family Verba Sans (2009), which was part of his diploma work at the Moscow Department of Higher British Design School. [Google] [More]  ⦿

    Nikolaos Trunte
    [Slavisten und ihre Font-Probleme]

    [More]  ⦿

    Nikolay Babanakov

    Russian designer of the handcrafted Latin typeface Kombucha (2016). [Google] [More]  ⦿

    Nikolay Dubina
    [D-Studio (Moscow)]

    [More]  ⦿

    Nikolay Nikolayevich Kudryashev

    Also, Nikolai Nikolajewitsch Kudryashev. Russian type designer, b. Moscow, 1908, d. Moscow, 1981. His name is also written Kudrashov sometimes. Intermicro published KudrashovC (1992-1995) based on his work. Some weights were co-designed by Zinaida A. Maslennikova. At Polygraphmash, he and Maslennikova designed the family Kudryashevskaya Encyclopedicheskaya (1960-1974). The latter family was digitized and finished by Vladimir Yefimov at Paratype and called Petersburg (1992). The math font of that family was digitized by Vladimir Yefimov at Polyraphmash in 1987 and became PT MathFont 1. The music font of that set became PT Nota 1 (Vladimir Yefimov at Polyraphmash, 1987). From 1986 until 2002, he developed the Paratype Parangon family, available in Latin and Cyrillic versions from URW.

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

    Nikolay Petroussenko

    Nikolay Petroussenko is a type designer and artist based in Sofia, Bulgaria, who graduated from the National Academy of Art, Sofia. He worked in Poststudio, a studio for visual communication and later at DecoType in Amsterdam. Currently he is part of Fontfabric in Sofia.

    Designer of the transitional text typeface Sapienza (2016). He was part of the Fontfabric team that designed the 521-font family Zing Rust, Zing Sans Rust and Zing Script Rust in 2017.

    In 2018, Jacklina Jekova and Nikolay Petroussenko co-designed Singel at Fontfabric. Singel is a neoclassical serif with semi-condensed proportions for Latin and Cyrillic. Its ten roman weights are complemented with ten quite different italic weights.

    Codesigner of Mozer (2019, by Svetoslav Simov, Ani Petrova, Mirela Belova and Nikolay Petrousenko: a condensed headline sans family that covers Latin, Greek and Cyrillic; Mozer SemiBold is free).

    Typefaces from 2020: Alkes (by Plamen Motev, Nikolay Petroussenko, Kaja Slojewska at Fontfabric: a 14-style text typeface for long passages, designed to harmonize between Latin, Greek and Cyrillic, and featuring a generous x-height, wide letter spacing, large open counters and angled stress contrast so that the typeface is quite readable and friendly). He was a member of the Fontfabric team that designed and later updated the 26-font type system Nexa in 2020. That team consisted of Svetoslav Simov, Plamen Motev, Mirela Belova, Stan Partalev, Nikolay Petroussenko, and Ventislav Dzhokov. [Google] [MyFonts] [More]  ⦿

    Nikolay Piskariov

    Typographer and type designer. Samples of his work: titling font (1923), the Russian alphabet described metrically and geometrically (1953). [Google] [More]  ⦿

    Nil Petsko

    Saint Petersburg, Russia-based designer of the thin squarish typeface Skerpka (2019). [Google] [More]  ⦿

    Nimbus

    In their Global Type collection, URW++ has its Helvetica clone, Nimbus Sans (2005, 5 fonts, 2000 Euros) and Nimbus Roman (2005, 2 fonts, 2000 Euros). The former is based on Helvetica, the latter on Times New Roman. Meant as workhorses, these fonts cover Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew. Of course, Nimbus Sans can be had for free at Open Font Library.

    The first versions of Nimbus Sans were digitized in the 1980s for the URW Signus sign-making system. The highest precision of all characters (1/100 mm accuracy) were required because the fonts were to be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), display (D) and poster (P). In addition, URW produced the L-version that was compatible with Adobe's PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts. Also in the 1980s, a new improved and expanded version of the Nimbus Sans, Nimbus Sans Novus, was developed with URW's Ikarus system. Nimbus Sans Novus was modified for Nimbus Sans Round in 2015. Nimbus Sans Devanagari was redesigned in 2016. Nimbus Roman Japanese was refurbished in 2014 by URW.

    Two releases in 2021: Nimbus Roman No. 9 L, Nimbus Sans L. [Google] [More]  ⦿

    Nimbus 15
    [Michael Sharpe]

    Nimbus 15 (2015-2016) is a free font package developed and maintained by UCSD's Michael Sharpe. The package is intended to provide a set of basic Latin (OT1, T1 and TS1), Greek and Cyrillic based on the Nimbus Core 2015 released by Artifex in October 2015. That core contains the URW++ clones of Courier, Helvetica and Times. The individual fonts in this package, with prefixes zco (Courier, 3 weights), zhv (Helvetica, 2 weights) and ztm (Times, 2 weights), are provided in both otf and pfb format. The font named zcoN-Regular is a narrow version of zco-Regular, and is much better suited to rendering code than the latter. [Google] [More]  ⦿

    Nina Arkhiptseva

    Graphic designer in Moscow who created the wavy typeface Sea Sans (2016). [Google] [More]  ⦿

    Nina Guseva

    Saint Petersburg, Russia-based designer of a Cyrillic watercolor brush font (2017). [Google] [More]  ⦿

    Nina Kulakova

    Under the art directorship of Jovanny Lemonad, Nina Kulakova designed the free handcrafted Latin typeface Freeride (2015). [Google] [More]  ⦿

    Nina Mukha

    Designer, with Ivan Gladkikh (Jovanny Lemonad) of the free handcrafted typeface Free Ride (2016), published by Typetype in Russia. [Google] [More]  ⦿

    Nina Pushkova

    Saint Petersburg, Russia-based designer of the free font Novito Nova (2015). Behance link. Fontreactor link. [Google] [More]  ⦿

    Nina Slipchenko

    Moscow-based designer of these handcrafted display typefaces for Latin and Cyrillic in 2018: Applepie, Modest, Breadbury. In 2020, she designed the monolinear humanist sans typeface Al9orithm (with a 9 instead of a g in the name). [Google] [More]  ⦿

    Nina Z

    Saint Petersburg, Russia-based designer of a useful free hand-printed Latin / Cyrillic typeface called Novito Nova (2014). [Google] [More]  ⦿

    Nirvana Zisko

    Sarajevo, Bosnia-based designer of Bosancica (2018). [Google] [More]  ⦿

    Nizhny Novgorod State University

    One 19MB file with tons of Windows TrueType fonts. http access. [Google] [More]  ⦿

    NN Type Foundry (or: NN Studio)
    [Nick Nedashkovskiy]

    Or Nikolay Nedashkovsky, type designer and font engineer based in Moscow, working at Paratype. He also started an experimental type coop, called Type Improvisation.

    Designer in 2020 at Paratype of Helsa Display, a slim and eccentric serif typeface for Latin and Cyrillic. Helsa Display is, in Nick's words a free interpretation of the narrow elzevirs of the beginning of XX century for use in titles and short texts.

    With Ksenia Erulevich and Konstantin Lukyanov, he co-designed the soccer shirt font Russian Premier League (2018, at Art Lebedev).

    Github link. Art Lebedev Studio link. [Google] [More]  ⦿

    No Regular Fonts
    [Alexander Sheliketo]

    Goryachiy Klyuch, Russia-based creator of the unruly Rhyhorn (2016), the brush typeface Come Alive (2016), the free sans typeface North (2016), the free piano key typeface Kicker (2016), which is a bit in the style of Wim Crouwel's famous Hiroshima poster. He also made Fearless (2016), Zephyr (2016), the free rounded squarish typeface Futures (2016), and the 6-style display typeface Marlen (2016), which includes deco and stencil options. Skeleton (2016) is inspired by human skeletons.

    Typefaces from 2017: Rocket, Nerd (hipster family), Zerr (heavy brush style). Buy the fonts here. Graphicriver link. [Google] [More]  ⦿

    No Regular Fonts

    Goryachly Klyuch, Russia-based designer of the free squarish (Latin) typeface Futures (2016). [Google] [More]  ⦿

    NoCommen Type (or: No Comment Group)
    [Asen Tiberiy Baramov]

    Asen Tiberiy Baramov (No Comment Group, Sofia, Bulgaria) is a Bulgarian type designer. His typefaces: Tichy Black (2012: an octagonal typeface for Latin and Cyrillic. The Cyrillic glyphs are influenced by the work of the great Bulgarian typographers Boris Angelushev, Vassil Yonchev and Alexander Poplilov, who developed Cyrillic further in the 1960s and 1970s).

    In 2012, Baramov designed the ten-style contrasted semi-serif typeface Mart, which was influenced, he says, by Rotis Semi Serif (Otl Aicher) and Apple Garamond.

    In 2021, he published the eight-style low contrast geometric sans family Zagore. [Google] [MyFonts] [More]  ⦿

    Noel Pretorius

    Swedish graphic and type designer whose company is called Made By Noel. He graduated from the MATD program at the University of Reading in 2015. His graduation project was Frances (2015). This flexible type system includes roman, script and sans styles, and covers Latin, Arabic, Greek and Cyrillic. He also made the custom children's script font Friends (2016), a set of numerals for Rolleiflex (2016), and a slightly modified Futura for a custom project called Folkoperan (2016).

    In 2016, Noel joined TypeTogether as a type designer.

    In 2018, Noel Pretorius and Maria Ramos set up NM Type. Together, they designed the custom typeface Meister for Jägermeister.

    In 2019, Noel Pretorius and Maria Ramos co-designed Movement, a free experimental variable font inspired by dance movements. In 2021, they created Trisco, a custom font for Centro Galego de Arte Contemporánea. [Google] [More]  ⦿

    Noël Leu

    Noël Leu is one of the cofounders of Grilli in Bern (while studying at the University of the Arts Bern in Visual Communication and Literature Writing). Leu designed GT Walsheim (2009) based on the Walsheim Neger poster by Swiss poster designer Otto Baumberger (1889-1961). It is a stunning geometric grotesk with a bouquet of art deco. Thierry Blancpain dedicated a page to Baumberger and GT Walsheim, and points out that for the Cyrillic portion, Noël Leu was assisted by Mirco Schiavone.

    In 2014, Dominic Huber, Marc Kappeler and Noel Leu published the extensive text family GT Sectra (Grilli Type), which, in view if its breadth and angular design will prove to be one the world's major releases of 2014. GT Sectra won first prize in the TDC 2015 Type Design competition. Their blurb: GT Sectra was originally designed for the German-language magazine Reportagen, a bi-monthly publication specializing in literary reporting. Its long-form stories require a typeface that works well in text, but not at the expense of character. GT Sectra strikes that balance.

    In 2016, Seb McLauchlan and Noel Leu co-designed GT America at Grilli Type. They write: GT America builds a bridge between the American Gothic and European Grotesque typeface genres. It combines design features from both traditions and unites them in a contemporary family. The versatile system consists of eighty-four styles across six widths and seven weights. It has tapered stems and subtly angled spurs, and a very useful monospaced GT America Mono subfamily.

    In 2018, Leu published GT Super (Text and Display), a typeface family steeped in the exaggerations and formal contrasts of the 1980s.

    In 2021, Noël Leu released GT Ultra, a variable font that features both a generic sans and a generic (sharp) serif typeface family. It has three axes: weight, italic angle, and contrast.

    Grilli Type link. Klingspor link. [Google] [More]  ⦿

    Nomad Fonts
    [Kaja Slojewska]

    During her graphic design studies at PJWSTK in Warsaw, Poland, Kaja Slojewska created Bubble Alphabet (2014) and Tilton (2014, a headline all caps sans typeface).

    Graduate of the type design program at the University of Reading, class of 2017. Her graduation typeface there was the Latin / Greek / Cyrillic text typeface Alkes (2017). She is presently located in Vancouver, Canada, where she runs Nomad Fonts, which specializes in non-Latin script extensions.

    In 2020, she published the free reverse contrast / Western font Larrikin, VanSans (a 17-style minimalist humanist sans), Nuber Next (published at The Northern Block; Slojewska's role was to expand Jonathan Hill's Nuber from 2013), Strajk (for demonstration signs), and Capilano (a humanist sans family with a organic voice, inspired by nature and the native wilderness of Canada's parks and forests).

    In 2020, her graduation typeface was published in 14 styles by Fontfabric as Alkes. She received help from Plamen Motev and Nikolay Petroussenko. Designed to harmonize between Latin, Greek and Cyrillic, it features a generous x-height, wide letter spacing, large open counters and angled stress contrast so that the typeface is quite readable and friendly.

    She assisted Tiro Typeworks' John Hudson's and Paul Hanslow with the development of the text typeface Castoro (2020). Hudson writes: Castoro is a libre font family released under the SIL Open Font License. Castoro is a specific instance of an adaptive design developed for Tiro Typeworks' internal use as a base from which to generate tailored Latin companions for some of our non-European script types. The instance that has been expanded to create the Castoro fonts was initially made for the Indic fonts that we produced for Harvard University Press. In the Castoro version, we have retained the extensive diacritic set for transliteration of South Asian languages, and added additional characters for an increased number of European languages. The parent design here presented as the Castoro instance began as a synthesis of aspects of assorted Dutch types from the 16th through 18th Centuries. Castoro roman was designed by John Hudson, and the italic with his Tiro colleague Paul Hanslow, assisted by Kaja Slojewska. It is named Castoro after the busy beaver, a real workhorse in the Canadian forests.

    Typefaces from 2021: Rupert (a 16-style geometric sans).

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

    Nomail

    large Ukrainian font download site, with, as of 2019, over 180,000 fonts of which 21,000 cover Cyrillic. [Google] [More]  ⦿

    Nora Karalambeva

    Graphic designer and artist in Sofia, Bulgaria, who created the nice Latin and Cyrillic text typeface Schnorantiqua (2013). [Google] [More]  ⦿

    Nord Collective (or: Fontfirma)
    [Alex Frukta]

    A joint venture by Alex Frukta (Moscow; b. 1992, Saint Petersburg) and Vladimir Tomin in New York City, est. 2014. Their first typeface is Nord (2014, free). Together, they they created all the (constructivist style) graphics and typography for a Russian documentary called Kronshtadt (2014).

    In 2015, they published the great free Latin / Cyrillic headline sans typeface Kolikö.

    Typefaces from 2016: Bonecrusher, Turum (free).

    Typefaces from 2017: Kankin (a free Hitchcock era movie font).

    In 2018, he designed the free font Kirke.

    Typefaces from 2019: Kengo (handcrafted).

    Typefaces from 2020: Oko (pixelish), Accent, Skepta (a spurred horror font family).

    Typefaces from 2021: Ioto Animation (Alex Frukta).

    Earlier typefaces by Alex Frukta added to the collection: Kaori (2010: floral caps), Silverfake (2012). [Google] [More]  ⦿

    nosepol

    Hebrew-Regular, NewGreek, GreekMathSymbolsNormal, CzarNormal. [Google] [More]  ⦿

    Not Bad Typeface
    [Ilya Pazderin]

    During his studies at the School of Type design in Saint Petersburg, Russia, Ilya (or Ilja) Pazderin designed the experimental typeface Optica (2016-2017), which covers Latin and Cyrillic. Optica, which is based on Bookman, tries to alter the glyphs for readability at very small (micro) sizes.

    In 2018, Pazderin set up Not Bad Typeface in Saint Petersburg. In 2022, he published Superstar Grotesk, a free interpretation of the first Cyrillic versions of Royal Grotesk and Akzidenz Grotesk, the (pre-digital) Roublennaya typeface (1947, Anatoly Shchukin). Not quite though, since Roublennaya is a more geometric sans. [Google] [MyFonts] [More]  ⦿

    Notdef Type
    [Diego Maldonado]

    A disciple of Tony de Marco, this Sao Paulo, Brazil-based designer has worked on digital magazines in Brazil such as Elle (fashion), Audi Magazine (lifestyle) and Trip (lifestyle). He set up Just in Type with Tony de Marco. Later he started his own foundry, Notdef Type. His typefaces:

    • The rounded avant garde typeface Garoa (2011, Just in Type). Codesigned with Tony de Marco.
    • The free font Garoa Hacker Clube Bold was published at OFL in 2013. They write: Inspired by the 70s design, specially on Herb Lubalin's work, the typeface Garoa is a rounded mechanical display font without optical compensations, ideal for large bodies.
    • In 2013, he created the informal children's book typeface Sapeca, a script full of ligatures and alternates.
    • The connected spaghetti-inspired script typeface Pasta Script (2015, Just in Type).
    • Sorvettero (2015). Designed with Tony de Marco, Sorvettero is a sans, layered and unicase typeface inspired by some wood signs in Descansapolis, a neighborhood of Campos do Jordao. It won an award at Tipos Latinos 2016.
    • Befter Sans (2016). A humanist sans typeface family with flared strokes.
    • Suit Sans (2016, Just in Type), Suit Sans STD (2017, Just in Type).
    • Tupa (2017, a squarish techno titling sans with interlocking ligatures).
    • Couturier (2018, Latinotype). A didone typeface family with several surprises (f and y, for example) and possible applications in fashion mags. Followed in 2019 by Couturier Poster.
    • Railroad Text (2018). A custom sans for Eisenbahn beer.
    • ND Type One (2019). A sans family.
    • Wright (2020). A 48-style art deco sans family with small x-height and wide letters for headline or display use.
    • Galadali (2021). A confident flared-terminal serif in six styles.
    • Nd Harquied (2021). A 7-style hipster sans with deep ink traps meant as a Halloween font.
    • Nd Tupa Nova (2021). An 11-style (+variable) squarish font family with support for both Latin and Cyrillic. In this slightly constructivist genre, one of the best fonts around.

    Behance link. Old URL. Creative Market link for Just in Type. [Google] [MyFonts] [More]  ⦿

    Noto

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

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

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

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

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

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

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

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

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

    Nova Type Foundry
    [Joana Maria Correia da Silva]

    Graduate of the University of Reading in 2011, who was born in Porto, Portugal. Joana worked as an architect and graphic designer in Portugal. She currently lives in the UK and/or Porto, Portugal. Since 2011, she teaches type design at ESAD (Escola Superior de Artes e Design).

    In 2010, under the supervision of Dino dos Santos at ESAD, Joana designed an unnamed bastarda / chancery typeface that is based on originals by Francisco Lucas.

    Creator of the script typeface Violet (2011).

    Artigo (2011) is an angular type family for Latin, Hindi and Greek that was created during her studies at Reading. Artigo won Second Prize for Greek typefaces at Granshan 2011. It also won an award at TDC Typeface Design 2018. In 2017, Ndiscovered published Artigo Global and Artigo Pro. Artigo Display followed in 2018. In 2020, Nova Type Foundry republished Artigo, Artigo Display.

    In 2012, she published the didone text typeface Cantata One at Google Web Fonts. Quando (Google Web Fonts) is a serifed text typeface inspired by brushy handwritten letters seen on an Italian poster from the second world war.

    In 2013, at MSTF Partners, a Portuguese consultancy, she created Writers Font (2013). This is a script typeface by Joana Correia that combines the handwriting of famous Portuguese authors. For example the A is by José Luis Peixoto, the B by José Saramago and the C by António Lobo Antunes. Link with the story.

    Still in 2013, she showed an unnamed unicase sans typeface and participated in the Canberra typeface competition.

    In 2014, she made the round connected script typeface Jasmina FY (Fontyou), the Google Web Font Karma (for Latin and Devanagari: Karma is an Open Source multi-script typeface supporting both the Devanagari and the Latin script. It was published by the Indian Type Foundry; see also Open Font Library), and Canberra FY (at Fontyou: a short-serifed typeface family).

    In 2015, Adrien Midzic and Joana Correia co-designed Saya Serif FY. Still in 2015, she published the humanist sans typeface family Vyoma at Indian Type Foundry. Amulya (2015-2021) is another humanist sans, now in 8 styles with two variable fonts, published by Correia at Indian Type Foundry's Fontshare.

    In 2016, Joana Correia and Natanael Gama co-designed the Latin / Tamil typeface Arima Madurai (free at Google Fonts). Their Arima Koshi (2016) covers Tamil, Malayalam and Latin.

    In 2016, Joana Correia and Natanael Gama co-designed the connected typeface Tidy Script at Indian Type Foundry.

    In 2017, Joana published Laca Pro: Laca is a semi-sans serif inspired by retro Portuguese packaging of soaps. Laca is the Portuguese word for hairspray. Free download. Laca Text (2018) is a sans serif version of Laca. For Nova Type versions, see Laca (2019) and Laca Pro (2020). The latter versions cover Greek and Cyrillic as well.

    In 2018, Joana published the soft script typeface Lemongrass: It was inspired by brush lettering and the sea and the strong winds that exist in Porto.

    At Future Fonts, she released the didone typeface Alga (2019), in which ball terminals are replaced by genuflections.

    She was the principal designer of the sans family Varta (2019, Sorkin Type), which is available from Google Fonts and Github. Assistance of Viktoriya Grabowska and Eben Sorkin.

    Typefaces from 2020: Loretta (with Abel Martins; see also Future Fonts; Loretta is a low contrast text typeface that comes in 12 styles), Loretta (Future Fonts: a low contrast text typeface in 12 styles; by Joana Correia and Abel Martins).

    Interview in 2021. Behance link. Another Behance link. Old home page. Joana Correia link at Behance. Future Fonts link. Type Department link. Speaker at ATypI 2018 in Antwerp. [Google] [MyFonts] [More]  ⦿

    Novgorod

    Fond here the font Novgorod_Plain. [Google] [More]  ⦿

    Npoekmu

    Free Cyrillic font download site based in Bulgaria, and presumably run by Svetlin Balezdrov & Ventsislav Yordanov since 2016. Fonts include Balkara (2016), Milka (2016: only one free weight; made by Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf to honor Milka Peikova), Leks (2016), Knoway (2016), Socium (2016), SP Ariel BG, Barkentina, Ropa Sans, Uni Sans Free, Balezdrov11 (2013). [Google] [More]  ⦿

    NREY
    [Andriy Dykun]

    Makeevka, Donetsk, Ukraine-based designer of these typefaces in 2017: Vector Waves, Quasimodo (a free spurred and curvy decorative display typeface), Courtney (monoline script), Lumberjack (blackletter; see also Lumberjack Zombie in 2019), Marvin (a 10-font Marvin Heemeyer-inspired bulldozer and wrench font family with a free heavy slab serif), Awakening (signage script), Bang Bang, Round Compound, Rot Shield (blackletter), Rust (spurred), Furious, Dry Brush, Balalaika (Cyrillic emulation typeface), Moustache, Barbara (script), Arigato, The Pontifice (blackletter), Amsterdam, Megapolis (inline), Megapolis Black Bold (free, for Latin and Cyrillic), Phoenix Gothic, Brush Pen, Nround (rounded sans), DieCunst (free connected script).

    Typefaces from 2018: Fontuna (+stencil), Sansterdam (a geometric condensed grotesk with a few deco styles), Ethna (a fashion mag sans typeface family), Voguer Sans (a free Latin / Cyrillic display typeface with fashion applications in mind), Ravenholm (an expressionist blackletter), Jorick (vintage, Latin and Cyrillic), Ultravog and Ultravog Glitch Black (extreme contrast stencil styles: free), Walpurgis Night, Voguer (a high-contrast fashion mag font), Voguer II (didone-inspired, accompanied by a script typeface).

    Typefaces from 2019: Anicon Sans, Anicon Slab, Thephir (a variable cursive typeface), Oblique Rain (monoline script), Skiff (a quaint almost painted sans), Cadency (a monoline script), Waymar (Serif and Script font duo; include the textured caps typeface Waymar Ornate and the blackboard bold style Waymar Outline), Phagoth (blackletter), Gunhill (a vintage font family that includes blackboard bold styles), Heartland (Script & Sans), Marvin Slab.

    Typefaces from 2020: Calmius, Calmius Sans. Calmius Sans has Oppo (reverse contrast), Low and High (Peignotian) subfamilies, all experiments on contrast.

    Typefaces from 2021: Quartell Round (a squarish typeface), Asterlight (a steampunk font), Barosa (inspired by the slavonic style, all glyphs in this typeface have the same height).

    Graphicriver link. Behance link. Newest Behance link. Dafont link. [Google] [MyFonts] [More]  ⦿

    O. Dag
    [Orwell]

    [More]  ⦿

    Oblako9

    Saint Petersburg-based designer of the compass and ruler logo for the Tao Restaurant. [Google] [More]  ⦿

    Obreshko Obreshkov

    Varna, Bulgaria-based illustrator and logo designer. In 2019, he created the free Latin/Cyrillic sans typeface Leftonade. [Google] [More]  ⦿

    Ochag Company Turkmenistan
    [Sergey Tarayan]

    The following Latin/Cyrillic fonts were deisgned by Sergey Tarayan (Ochag Ltd, Ashgabat, Turkmenistan): Ochag-Millenium (1999-2000), Ochag-Polisher, Ochag-Times, Ochag-Voyager (2000). [Google] [More]  ⦿

    Octavio Cariello

    Octavio Cariello (b. Recife, Brasil, 1963) lived in Sao Paulo, and is now based in Lisbon, Portugal. He created some free and commercial fonts: Pagador (1992-2006, a simple sans; +Greek, +Cyrillic), Zibrat (2009, a humanist italic), Domo (2007, techno), Brindisi (2007, a display sans), Rizzo, Della Strada, Calil, AvPaulista, Dumonde, Dozo, Momentum, Yupanko, Pagador, Strega, Graphypem, Alaxyas, Hattia, Almanaque, Ikestrips, Kidturbo, Podunk. Many of his fonts have Cyrillic letters in addition to Latin letters. [Google] [More]  ⦿

    Octavio Pardo

    Or Octavio Pardo Virto. Born in Pamplona, Spain, Octavio got his first degree in Fine Arts at the University of Barcelona. After several years working for various design studios and advertising agencies, he moved to UK where he graduated from the MA in Type Design at the University of Reading in 2010. After collaborating with the Typofonderie in Paris for several months, Octavio went back to Pamplona. His typefaces:

    • Ibarra Real (2007), done with the help of José María Ribagorda. Ribagorda writes: IbarraReal is a public-domain font of Ibero-American character, created in 2005 as a revival of the types cast by Jeronimo Gil for the Royal Spanish Academy's edition of Don Quixote, printed in Madrid by Joaquin Ibarra in 1780.. The vignettes were designed by Manuel lvarez Junco, Andreu Balius, Didac Ballester, Paco Bascuñan, José María Cerezo, Alberto Corazón, Oyer Corazón, Pablo Cosgaya, Rubén Fontana, Javier García del Olmo, José Gil Nogués, Pepe Gimeno, Fernando Gutiérrez, Juan Martínez, Laura Messeguer, Juan Antonio Moreno, Juan Nava, Miguel Ochando, Josep Patau, Alejandro Paul, Marc Salinas, Emilio Torné, Alex Trochut or Roberto Turégano. Free download here. Github link.
    • Blackwood (2011). An ornamental all-caps typeface that takes its inspiration from a mixture of the woodcuts of the early 18th century and fat typefaces of today's magazines.
    • Cabriole (2011). A text typeface done for his thesis at Reading. It is a very Latin typeface, with round contours and a lot of pizzazz---as if it came straight out of old Iberian textbooks..
    • Terabyte (2011). A monoline corporate typeface in current development for Aspa Company.
    • Sutturah. A fat signage face, published by Rosetta Type, and awarded by TDC 2012. The Cyrillic was developed with the help of Sergei Egorov.
    • In 2013, he contributed to the Cyrillic of Adelle (2009, Type Together), a typeface first developed by Veronika Burian, Jose Scaglione and Alexandra Korolkova.
    • In 2016, he created an experimental, almost hipster, typeface, and finished a custom typeface, NRK Ethica Slab, for Norway's main media group.
    • For the logo and credits of Fashion Film directed by Human Produce, he designed Myth (2016).
    • With Elena Ramirez, he created Cubit (2016), a custom monospaced typeface for a Chicago-based interior design Studio.
    • Gupter is a condensed serif font for Latin and Devanagari. Its design is inspired by conventional fonts like Times New Roman. The ufo files included in the Github repository are synchronized so they will allow the user to create intermediate instances if required. The Devanagari designed by Modular Infotech, Pune, India, in 2000. Free at Google Fonts.
    • EB Garamond (2017). EB Garamond was started in 2011 by Georg Duffner (Austria) as a Google Web font for Latin and Cyrillic. It is named after Egelnoff and Berner. Duffner 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. In 2017, Octavio Pardo entered the EB Garamond project. Rhe fonts can now be downloaded from Github. A variable version of EB Garamond is planned.

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

    Ofelia Ostrzska

    Graphic designer and illustrator in Kharkiv, Ukraine, who created the pearly Cyrillic typeface Noise in 2016. [Google] [More]  ⦿

    Ognjen Pajic

    Belgrade, Serbia-based designer of the (Latin / Cyrillic) condensed modern fashion mag typeface Princeps (2017). [Google] [More]  ⦿

    Oguzhan Cengiz
    [Hurufatfont Type Foundry]

    [MyFonts] [More]  ⦿

    oivta

    The Latin/Cyrillic families Journal and QuantAntiquaCTT (1994, Dmitry Komissarov, ParaGraph). [Google] [More]  ⦿

    Okami Tegra

    Graduate of Amur State University Of Humanities And Pedagogy, class of 2016, Komsomolsk-on-Amur, Russia-based designer of a wonderful Latin / Cyrillic typeface that is based on Old Slavonic writing (2016). [Google] [More]  ⦿

    Oksana Anashkina

    Kharkiv, Ukraine-based designer of the multiline Latin / Cyrillic typeface Alain Le Quernec (2015), named after French poster artist Le Quernec (b. 1944). [Google] [More]  ⦿

    Oksana Fedshosiae

    Lviv, Ukraine-based designer (b. 1999), as a student at the Lviv National Academy of Arts, of the Cyrillic typeface Genesis (2018). [Google] [More]  ⦿

    Oksana Paley

    Moscow-based designer of the thin logotype Omonkot (2012, Cyrillic). [Google] [More]  ⦿

    Oksana Petrenko
    [Calamar Art (or: Calamar Studio)]

    [MyFonts] [More]  ⦿

    Oksana Sergienko

    Graphic designer and typographer in Moscow. She screated the avant garde and ultra thin sans typeface Hair (2009, Paratype). [Google] [More]  ⦿

    Oksana Shatilo

    Minsk, Belarus-based designer of the futuristic Cyrillic typeface Android (2015). [Google] [More]  ⦿

    Ola Chtak

    Moscow-based illustrator who drew a decorative floral alphabet in 2016. [Google] [More]  ⦿

    Ola Stepanova

    Russian graphic designer based in Moscow. In 2009, she created a symbol font for small print for the Afisha-Eda magazine. In 2017, she designed the angular Tomahawk typeface for Latin and Cyrillic. [Google] [More]  ⦿

    Old Slave fonts

    Jean-Pierre Guglielmi made three truetype fonts, Evangelje, Novgorod and Lavra. Request the fonts by email. [Google] [More]  ⦿

    Ole Galkin

    Graduate of St.Petersburg State Academy of Arts and Industry. Helsinki, Finland-based designer of the decorative 3d Cyrillic typeface Izba (2016), which is inspired by Russian wooden architecture. This typeface was developed during his studies at Aalto University School of Arts, Design and Architecture in Helsinki. Behance link. [Google] [More]  ⦿

    Oleg

    Oleg (aka red Dragon) is the Belarussian designer of the Classic Amiga CLI Font v1.1 Amiga Topaz Unicode Rus (2010) [note: the original (Binary) Topaz font is copyright of Amiga Inc. The truetype version is copyright (2009) by dMG of the Trueschool and Divine Stylers. The Russian unicode version was created with the help of Fontforge in 2010 by Ol\eg] [Google] [More]  ⦿

    Oleg Agafonov
    [Yoursdesign (or: Oleg and Katja)]

    [More]  ⦿

    Oleg Dark Pastor Martos

    Oleg Martos (Finland) created the Cyrillic fonts 1979, Braeside, Crackman, Paul Boxes, as well as Cyrillic versions of YellowSubmarine, SirClive and Abduction. [Google] [More]  ⦿

    Oleg Frolov

    Designer of the angular Latin/Cyrillic serif family called Brawler (2010) while he was a student at the British Higher School of Art and Design in Moscow. This sturdy testosterone-laden family was created with newspaper print in mind. Promotional material for Brawler: i, ii, iii, iv, v, vi, vii, viii, ix. Brawler is free at Cyreal. [Google] [More]  ⦿

    Oleg Karpinsky

    Ukrainian type designer (b. Vinnitsa, Ukraine, 1954) and graphic designer. Graduate of the Moscow Higher School of Design in 1980. Since 1993, affiliated with Paratype.

    Designer at Paratype of Dublon, Dublon Light (1994; or: Dublon Brus), Gvardia (2001), PT Orden (2001), PT Stroganov (2002), Ariergard (2001, a Cyrillic sans; +Rondo), Bublik (2004, a poster font at Paratype that won an award at the TDC2 2005 type competition), Irakly BT (2004, Bitstream), Rossika (2004, Paratype), Chervonec Uzkj (2003, Bitstream).

    MyFonts sells Ariergard, Ariergard Rondo (2005, more circular shapes of this sans), Bublik, Chervonec Uzkj BT, Dublon, Gvardia, Irakly BT, Orden, Plastilin (2005), Quartal (2010), Rossika, Kartell (2006, 6 styles: simulates religious orthodox writing), Mellnik (2006, a humanist sans in 14 styles), Lunokhod (2006, think an organic version of Bank Gothic, 4 styles), Yess (2007, Paratype; a rounded display sans used in advertising posters for the Soviet state foreign trade company Soyuzchimexort in the early 1980s) and Stroganov.

    In 2009, he added a Latin alphabet to Svetlana Yermolaeva's Izhitsa (1988).

    In 2011, he cyrillicized Freehand 471 BT.

    In 2011, Oleg published Titla Brus Condensed at Paratype. This is a flared slab family that extends Titla Condensed (2009).

    In 2013, he designed the humanist sans typeface family Foros at Paratype.

    FontShop link. ParaType link. Klingspor link.

    Showcase of Oleg Karpinsky's typefaces at MyFonts. [Google] [MyFonts] [More]  ⦿

    Oleg Karpov

    Tolyatti, Russia-based designer of the Cyrillic display typeface Malevich (2018), which is named after suprematist artist Kazimir Malevich. [Google] [More]  ⦿

    Oleg Katorsky

    Russian-American letter designer who trained at Harris and worked at Mergenthaler from the late 1960s on its Cyrillic series. Not sure if the last name is Kastorsky or Katorsky. [Google] [MyFonts] [More]  ⦿

    Oleg Khalimov

    Oleg Khalimov (or Halimov) is the designer of the Latin/Cyrillic black italic font Stilla (1996-2002; original Latin typeface by Boltana, 1973), Marusya (1998, Cyrillic) and Skye8 or Die (2002: he designed the Cyrillic version of an original by Jakob Fischer, aka Pizzadude).

    He created the free dot matrix typeface Classic Mosaic in 2013.

    Dafont link. [Google] [More]  ⦿

    Oleg Krasun
    [Myristica]

    [MyFonts] [More]  ⦿

    Oleg Lyutov

    Russian creator (aka A55) at FontStruct in 2009 of Constructivist 1, Index Mono (based on the Russian code grids that was printed on envelopes to standardize the lettering---originally for numbers only), ABC, and Plain Square Mono (+Outline). [Google] [More]  ⦿

    Oleg Macujev
    [Omtype]

    [MyFonts] [More]  ⦿

    Oleg Matison

    Russian designer of the free Latin / Cyrillic didone typeface Elisabethische (2018). It is a revival of the Jelisawethinskaja Lehmann-Garnitur (1904), with modern additions such as the rubel sign and proper German ß ligatures. Home page. [Google] [More]  ⦿

    Oleg Motygin
    [Russian Izhitsa]

    [More]  ⦿

    Oleg Nobr

    Codesigner with Jovanny Lemonad and Lubov Kudrinskaya in 2008 of Nobr1, a free Cyrillic round informal face. [Google] [More]  ⦿

    Oleg Pashchenko

    Russian type designer (b. 1971) who graduated from Moscow State University majoring in computational mathematics and cybernetics. He currently works at Art Lebedev Studio. Togerther, Oleg Pashchenko, Irina Smirnova and Zakhar Yaschin designed the mysterious partly horror typeface Zwoelf (2008). [Google] [MyFonts] [More]  ⦿

    Oleg Pochtar

    This Kiev-based graphic designer created a colorful Cyrillic poster alphabet called Kineteatra Bommer (2013). In 2018, he published the Cyrillic dot matrix typeface Den Nespshnogo Mistectva. [Google] [More]  ⦿

    Oleg Pospelov

    Saint Petersburg, Russia-based designer of the free didone typeface Oranienbaum (2012), which was produced under the art directorship of Jovanny Lemonad. Google Web Fonts link. [Google] [More]  ⦿

    Oleg Safronov

    Art director in Moscow. During his studies, he combined Helveica and arno Pro to create a hybrid Cyrillic typeface (2013). He also created Cyrillic Accident Font (2013, straight-edged). [Google] [More]  ⦿

    Oleg Shkarpeta

    Web designer and illustrator in Khmelnytskyi, Ukraine, who created the deco typeface Pintar Noir in 2017 for Latin and Cyrillic. [Google] [More]  ⦿

    Oleg Snarsky

    Russian designer. His creations were used by Alexei Chekulayev (Double Alex Font Studio) in 1993 to make the Arabic simulation typeface Arabskij (1970s). Most of his fonts were co-designed with Dubina nikolay. [Google] [More]  ⦿

    Oleg Stepanov

    Aka Youhhou. Tbilisi, Georgia and now, Moscow-based Russian designer of Splinter (2016), Jazzy B (2015, a beatnik font), Maika (2015, great brush script for Latin and Cyrillic), Sciences Icons (2015), Shields Icons (2015), Marks (2015: icons), New Marker (2015), Barrier Display Font (2014, a hipster Latin typeface), Simple Stamp (2014, a free poster font), IT Business Icons (2015) and Oriental Icons (2014).

    Typefaces from 2017: Jeeks (a funky comic book typeface in all caps), Mick (2017, hand-drawn typeface inspired by 1980s graffiti), Fedot (a polyustav emulation font).

    Typefaces from 2018: Bubbaloon (bubblgum font), Blockbox, Badwulf (a hand-lettered display typeface), Sandy, Pirate Station, NewMarker, Level Up (pixelish), Helgis Black (an expressive display typeface inspired by album covers of progressive and psychedelic rock bands of the 70s). Creative Market link. ?u=mostrecent">Another Creative Market link. Behance link. [Google] [MyFonts] [More]  ⦿

    Oleg Tishchenkov

    Russian illustrator at Art Lebedev Studio since 2004, who was born in 1969 in Smolensk, Russia. In 2009, he designed Zheldor together with Elena Novoselova at Art Levedev Studio. Zheldor was originally intended for the Railroad movie credits, but was not used for that. Instead, it became a a grungy constructivist font retail font. [Google] [MyFonts] [More]  ⦿

    Oleg Zhuravlev

    Russian graphic designer. With Jovanny Lemonad, he created the octagonal family Bender (2009, free at TypeType). In 2009, he made the diagonally shaded typeface Absu. In 2010, he made the free hand-printed font Five Minutes, the octagonal typeface Red Apple, the corporate family Articul (organic), Toothy (Helvetica with horns), and the free dot matrix typeface Dited. MyFonts link. Behance link. Cargocollective link (with downloads). Typetype link. [Google] [MyFonts] [More]  ⦿

    Oleh Lishchuk
    [Pepper Type]

    [MyFonts] [More]  ⦿

    Oleksii Kovalov

    New York City, and before that, Kiev, and before that, Kharkiv, Ukraine-based designer. In 2009, he published the Cyrillic pixel typeface Eight Bit People. Behance link. [Google] [More]  ⦿

    Olena Gladun

    During her studies in Kiev, Ukraine, Olena Gladun (Lviv, Ukraine) made the Cyrillic typeface Abetka (2016), which was inspired by Georgy Narbut's Abetka. [Google] [More]  ⦿

    Olena Mashinska

    Ukrainian designer of the scanbat typeface Break Dance (2012). She also made the 3d experimental Cyrillic typeface Cube (2012). [Google] [More]  ⦿

    Olena Reshetnikova

    Lviv, Ukraine-based designer of the painted Cyrillic blackletter typeface Kajattja (2018). [Google] [More]  ⦿

    Oles Berezhetskiy

    Saint Petersburg, Russia-based designer of the display typefaces Stone Bridge (2016), Vintage Script (2016) and Hieroglyphic Alphabet (2016). [Google] [More]  ⦿

    Olesia Misty

    Kiev, Ukraine-based designer of the handcrafted Latin / Cyrillic typeface Kuplu (2017: dadaist) and the experimental typefaces Unpleasant Dream (2017) and Stkl (2017). [Google] [More]  ⦿

    Olesia Skripak

    Kaliningrad, Russia-based designer of the handcrafted poster typeface Pumpkin (2016). It comes with a colored vector format set of letters. In 2017, she designed the children's book font Sunny Dino, and the handcrafted Spring. [Google] [More]  ⦿

    Olexa Volochay

    Kiev, Ukraine-based type designer who graduated from Taras Shevchenko National University of Kyiv. He was active at Paratype and has recently started cooperating as senior engineer at Typetype with Ivan Gladkikh. His typefaces:

    • Journal Sans (2014). This is an update of Anatoly Shchukin's typeface. Paratype writes: The typeface was designed at the Polygraphmash type design bureau in 1940-56 (project headed by Anatoly Shchukin) based on Erbar-Grotesk typeface of Ludwig & Mayer company, 1929 by Jakob Erbar, and on Metro typeface of Mergenthaler Linotype, 1929 by William A. Dwiggins. A sans serif of geometric style. For use for text and display typography. In 2014 designer Olexiy Volochay made some corrections in original digital data and extended character set. The family was rereleased in ParaType in 2014.
    • The free web font Federo (2011, Google Font Directory), which is based on J. Erbar's 1909 font Feder Grotesk.
    • With Vladimir Pavlikov and Alexei Vanyashin, he co-designed Rationale One (2011, Google Font Directory).
    • Federant (2011). This revives the Reklameschrift typeface Feder Antiqua by Otto Ludwig Nägele (1911).
    • In 2013, Paratype published Romanovsky. They write: Romanovsky is the font developed on the base of samples from the catalogue of Osip Lehman foundry in Sankt Petersburg. Original Latin design that was used for Romanovsky can be found in Feder Grotesk by Jacob Erbar. Current digital font is not a scanned version of [Ossip] Lehman's samples but newly drawn typeface that differ from the original in many details. Romanovsky is a sans serif typeface with narrow proportions and noticeable contrast. It will be good for headings and display matters. Character set covers languages of Western and Central Europe and Cyrillic based languages. It also contains around 20 ligatures of uppercase letters for the most frequent combinations. Designed by Vasily Biryukov. The bold weight was developed together with Olexa Volochay.
    • His contributions at TypeType in 2014 include typefaces such as TT Drugs (2014), which is listed at MyFonts under Ivan Gladkikh, but developed with help from Olexa Volochay, Philipp Nurullin and Nadyr Rakhimov. It also comprises TT Rounds (a basic rounded sans typeface family by Olexa Volochay and Nadyr Rakhimov) and TT Prosto Sans.
    • In 2015, at TypeType, he designed TT Squares (octagonal), TT Rounds Condensed (a basic rounded sans typeface family by Olexa Volochay and Nadyr Rakhimov), TT Slabs Condensed, TT Drugs (by Nadyr Rakhimov, Phill Nurullin and Olexa Volochay), and TT Drugs Condensed.
    • In 2016 at TypeType: TT Prosto Sans Condensed, TT Squares Condensed, TT Octas (octagonal style, by Olexa Volochay), TT Corals (2016, with Ivan Gladkikh: a humanist sans typeface family), TT Lakes (54 fonts in all; by Olia Leykina and Olexa Volochay), TT Bells (an old style typeface family based om broad nib pens; by Nadyr Rakhimov and Olexa Volochay), TT Chocolates Condensed (by Olexa Volochay), TT Norms (by Nadyr Rakhimov and Olexa Volochay).
    • In 2017, Vika Usmanova, Philipp Nurullin, Olexa Volochay and the TypeType Team designed the condensed modular geometric grotesk typeface TT Tunnels. Typefaces from 2017 at TypeType also include TT Polls (modern modular slab serif inspired by American sports graphics; by Olexa Volochay, Tanya Cherkiz and Nadyr Rakhimov). In 2018, Philipp Nurullin, Phill Nurullin, Nadyr Rakhimov, Olexa Volochay and the TypeType Team designed the humanist sans typeface family TT Wellingtons. Volochay's Tyrol (2018) is a revival of Phil Martin's phototype font Innsbruck (1975).
    • In 2018, Paratype published Circe Slab (by Alexandra Korolkova and Olexa Volochay).
    • Mumbai (2019).
    [Google] [MyFonts] [More]  ⦿

    Olga Aleksandrova

    Olga Aleksandrova (Samara, Russia) designed the brush script typefaces Miss Agyness and Der Abend in 2016. Aka Holaholga. [Google] [More]  ⦿

    Olga Alekseenko

    Graphic designer in Altay, Russia. She created Barbariska (2015, a curly script), Petroglif (2015) and Broad Brush Font in 2015. [Google] [More]  ⦿

    Olga Balina

    New York City (ex-Moscow)-based art director and graphic designer Olga Balina was born in 1988. She is associated with Flëve, a design agency in New York that was founded by Vit Abramov.

    In 2008, she created Charlotte (Latin&Cyrillic). During her studies at British Higher School of Art & Design in Moscow, she created ALS Meringue (2009, a serif family for Art Lebedev Studio, done with Taisiya Lushenko). In 2009, she also created a dotted line pixel type for FLYmagazine. As a student project at the British Higher School of Art and Design in 2009, she made a Natural Alphabet using stone scratching.

    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.

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

    Olga Bortiokova

    Krimean artist and illustrator based in Simferopol. Her work includes Narrow (2015, a hand-drawn Latin alphabet), Romantic Alphabet (2015), Ice Cream Alphabet (2015), Snacks and Drinks Doodles (2015), Floral Brushes (2015) and Hand-drawn Zen Letters (2015). [Google] [More]  ⦿

    Olga Buracevska

    Saint Petersburg, Russia-based designer of a gorgeous Cyrillic poster entitled Roadside Picnic (2016). Behance link. [Google] [More]  ⦿

    Olga Chekina

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

    Olga Chumakova

    Minsk, Belarus-based designer of the Cyrillic display typeface Author (2017). [Google] [More]  ⦿

    Olga Efimenko

    Student at Moscow University of Printing who created some fonts and logos in 2012. [Google] [More]  ⦿

    Olga Gambaryan

    Art director in Moscow who created Block (or Blok) Font (2011, free; created at the British Higher School of Art and Design in Moscow) and Double Trouble (2012, a custom type for a store for twins). [Google] [More]  ⦿

    Olga Karpushina

    Designer of the Latin/Cyrillic very humanist Private Sans (2010, +Bold) while she was a student at the British Higher School of Art and Design in Moscow. In 2011, she published the free contemporary serif face Lora and Vidaloka (a didone done with Alexei Vanyashin) with Cyreal.

    In 2012, Olga published the 3d display humanist sans stencil typeface Sirin Stencil at Google Web Fonts. [Google] [MyFonts] [More]  ⦿

    Olga Kiselyova

    Kiev-based creator of the chair-inspired display typeface Stool Cyrillic (2013) and of a set of hand-drawn Cyrillic typefaces called Maidan (2015). [Google] [More]  ⦿

    Olga Kovalenko

    Sometimes it is just right---all the i's are dotted and all t's are crossed. Olga Kovalenko's Latin/Cyrillic plump sans typeface Biscuit (2013) has it all. Olga is based in Moscow. [Google] [More]  ⦿

    Olga Kovaleva

    As a student at HSE Art And Design School, Olga Kovaleva designed the Cyrillic typeface Gitana (2015). [Google] [More]  ⦿

    Olga Kozlova

    Russian codesigner with Jovanny Lemonad of London (2008). She started her own type foundry in 2012. Typetype link. [Google] [MyFonts] [More]  ⦿

    Olga Ktitorova
    [Triple Hely (or: Iris Letters)]

    [MyFonts] [More]  ⦿

    Olga Kunichenko

    During her studies at the School of Type design in Saint Petersburg, Russia, Olga Kunichenko designed the modular informal display typeface Sontag (2016-2017), which covers Latin and Cyrillic. [Google] [More]  ⦿

    Olga Lapko
    [LHFONTS]

    [More]  ⦿

    Olga Liamina

    Olga Liamina (Kiev, Ukraine) designed the handcrafted Cyrillic typeface Notes (2015). [Google] [More]  ⦿

    Olga Moreau

    Designer and illustrator in Nizhny Novgorod, Russia, who created the brush typeface Foxius in 2016. Behance link. [Google] [More]  ⦿

    Olga Novozhilova

    Graphic and web designer in Kiev. Creator of the beauiful ornamental Latin and Cyrillic caps typeface Oposhnya (2009). [Google] [More]  ⦿

    Olga Pankova

    Moscow-based graphic and type designer who graduated from the design department of Moscow Power Engineering Institute in 2009 and completed a two-year Type&Typography course at British Higher School of Art and Design in 2014. Pankova does stone carving, delivers lectures, organizes master classes on type and chalk lettering. Pankova collaborates with CSTM Fonts, Moscow Design Studio, Bang! Bang! Agency, Izdatelsky Dom MeshcheryakovаPpublishingHhouse, Mann, Ivanov and Ferber publishing company (MIF).

    She created the hexagonal typeface Yalo (2014) and the angular display typeface Cumber (2013) for Latin and Cyrillic. At the British Higher School of Art and Design in Moscow, she published the mag and newspaper typeface family Pulitzer (2014: Latin and Cyrillic) that was developed from a broad nib pen.

    In 2016, Ilya Ruderman and Olga Pankova published Big City Grotesque Pro at CSTM Fonts. Ilya Ruderman created the first version of (the humanist sans) BigCity Grotesque for Bolshoi Gorod magazine (Big City). It was the first magazine sans serif with Cyrillic ligatures, and won an award in 2009 in the international competition, Modern Cyrillic 2009. In the 2016 version, by Olga Pankova, the shapes of the letters have been updated, and there are new upright and italic styles, small capitals and new ligatures and non-alphabetic symbols.

    Pankova won an award in the Latin category at the 22nd Morisawa Type Design competition in 2019 for Courbe (or Curbe), an expressive display typeface inspired by the Soviet era. That font can be purchased from Type Today. [Google] [MyFonts] [More]  ⦿

    Olga Papsheva

    Saratov, Russia-based designer of several sets of icons (sich as Origami Animals, Rome, Paris, London) and a few display alphabets. The alphabets and some icn sets were co-designed with Dima Evtushenko. [Google] [More]  ⦿

    Olga Pavlova
    [Olle Vita]

    [More]  ⦿

    Olga Petrishcheva

    Moscow-based designer of the handcrafted Cyrillic typeface Garnitura Detskaja (2017). [Google] [More]  ⦿

    Olga Ryabinkina

    Kursk, Russia-based designer of the 3d outline typeface Leshy (2003, with Fedor Saveliev at Paratype) and the labyrinthine font Labrus (2016). Klingspor link. Behance link. [Google] [MyFonts] [More]  ⦿

    Olga Ryzhychenko

    Zaporizhzhia, Ukraine-based creator of these typefaces:

    • Cyber Grotesk (2019). Pure cyber punk.
    • The connect-the-dots typeface Canis Minor (2015).
    • The free display typeface Invertor (2015, Latin and Cyrillic).
    • The deco typeface Decolot (2016).
    • The multilined typeface Banret (2018).
    • Boldu (2019). A simple heavy grotesque.
    [Google] [MyFonts] [More]  ⦿

    Olga Sereda

    Moscow, Russia-based designer of the scratchy Latin / Cyrillic typeface Csarapka (2019). [Google] [More]  ⦿

    Olga Shadrina

    In a type design class in Moscow taught by Tagir Safayev, graphiccdesigner Olga Shadrina created the Celtic Latin / Cyrillic typeface Dublin (2015). [Google] [More]  ⦿

    Olga Shvedina

    Chelyabinsk, Russia-based designer of the decorative caps Marine Alphabet (2016). [Google] [More]  ⦿

    Olga Taborskaya

    Mansi and Vogul (1966) are two Cyrillic prepared by Taborskaya (who is from Novosibirsk) for Skribnik Yelena. [Google] [More]  ⦿

    Olga Tereshchenko

    Talented Ukrainian designer. She has interesting illustrations, and her Latin and/or Cyrillic typefaces show tremendous potential:

    • Avangard (2012). A blocky outline family.
    • Black and White (2012). A great geometric / cubist experiment in the style of Mondriaan's paintings.
    • Diamond (2012). An experimental polygonal typeface.
    • Old Font (2012).
    • Malevich (2015, BBDO Studio). An abstract typeface to celebrate Russian suprematist Kazemir Malevich.
    [Google] [MyFonts] [More]  ⦿

    Olga Titova

    Russian letterer and logotype designer who made exceptional designs. Check out Optima (2010), for example. [Google] [More]  ⦿

    Olga Umpeleva

    Graduate of the Moscow State University of Printing Art, and of the TypeMedia program at the Royal Academy of Art (KABK) in Den Haag, The Netherlands, class of 2020.

    Moscow-based designer of the free font Tagesschrift (2005, Yanone, done together with Jan Gerner, A. Korolkova and V. Yefimov). Fontdeck link, where she is credited with the Paratype typeface PT Sans (2010). PT Sans can also be downloaded at Alex Barakin's site, at Fontspace, at Github, and at CTAN. Open Font Library link. The companion family PT Serif is also at CTAN. The full family, co-designed with Alexandra Korolkova and Vladimir Yefimov, will set you back over 1000 dollars however.

    Federico (2007) is based on the handwriting of Spanish poet and playwright Federico Garcia Lorca (1898-1936).

    Pragmatica Slab (2011, Paratype, Olga Umpeleva and Vladimir Yefimov) was designed as a complement to the popular type family Pragmatica by Vladimir Yefimov and Isabella Chaeva (1989-2004) by the addition of square slab serifs. Paratype writes: Pragmatica Slabserif was designed as a complement to the popular type family Pragmatica by Vladimir Yefimov and Isabella Chaeva (1989-2004) by addition of square serifs. Inspired by Helserif (Phil Martin, 1978 [note from Luc to self: I think Paratype errs here, since Ed Kelton made Helserif in 1976]) which was formed in the same way by addition of square serifs to Helvetica (Eduard Hoffman and Max Miedinger, 1957). First sketches of Pragmatica Slabserif were created by Vladimir Yefimov in 1988 during development of Pragmatica. Olga Umpeleva designed the whole slabserif type family of six weights basing on that sketches.

    She also did an upright connected educational script in 2011 at Paratype: Little Cecily (based on a Russian calligraphy sample book for primary schools, Propisi pryamogo pisma (Moscow, 1914)). Such scripts were implemented in school programs at the end of the 19th and the beginning of the 20th century.

    In 2012, Olga published the curly upright script typeface Sevillana (Google Web Fonts, Brownfox Foundry) and the playful decorative typeface Henny Penny (Google Web Fonts and Brownfox).

    Typefaces from 2013: M.Video (a corporate typeface done with Ksenia Erulevich at Art Lebedev Studio), ALS Schlange Sans (Art Lebedev Studio: a rich sans family with rounded terminals, and a toolbox "f"), ALS Schlange Slab.

    Typefaces from 2015: Kudryashev Display (2015, Isabella Chaeva, Alexandra Korolkova and Olga Umpeleva). Kudryashev Display is a set of light and high-contrast typefaces based on Kudryashev text typeface. In addition to Kudryashev Display and Kudryashev Headline typefaces, the type family includes also two Peignotian sans-serif typefaces of the same weight and contrast, with some alternates. The serif styles were designed by Olga Umpeleva in 2011, the sans styles were created by Isabella Chaeva in 2015 with the participation of Alexandra Korolkova. The typeface was released by ParaType in 2015. Still in 2015, she designed Federico (a typeface based on the handwriting of Spanish poet and playwright Federico Garcia Lorca (1898-1936)).

    Typefaces from 2017: Fado (a formal broad nib calligraphic beauty).

    Typefaces from 2018: Kelpie (an inky and a monoline pair of scripts).

    Typefaces from 2020: Noordenwind (her graduation typeface at KABK).

    Typefaces from 2021: Westenwind (an experimental font that on purpose exaggerates the number and sizes of the serifs).

    Kernest link. MyFonts link. Google link. Klingspor link. Fontspace link. Behance link. Future Fonts link. [Google] [MyFonts] [More]  ⦿

    Olga Yukhta

    Graphic designer in Ekaterinburg, Russia, who created the Cyrillic display typeface Cats (2013). [Google] [More]  ⦿

    Olga Zakharova
    [Favete Art]

    [More]  ⦿

    Olga Zolothukina

    Illustrator and calligrapher in Moscow, who created several ornamental alphabets in 2013 such as Matches and Chelobooki. [Google] [More]  ⦿

    Olga Zolotukhina

    Illustrator in Moscow who created several fun hand-drawn Cyrillic alphabets in 2013 and 2014. [Google] [More]  ⦿

    Olich Stets

    Or Olga Stets. Saint Petersburg, Russia-based designer of the handcrafted typeface Bosia (2016, for Latin and Cyrillic). She also drew a decorative all caps Cyrillic alphabet called Wild Squirrel (2016). [Google] [More]  ⦿

    Oliver Schellner

    Illustrator and graphic designer in Vienna, Austria, who created the free dot matrix typeface family Douchepac and the free renaissance antiqua font Lemour Serif (Latin, Greek and Curillic) in 2016. [Google] [More]  ⦿

    Olja Maltzewa

    Graphic designer and illustrator in Kharkiv, Ukraine, who created the tool-inspired Cyrillic typeface Hlam in 2017. [Google] [More]  ⦿

    Olkas Voron

    Moscow-based designer who created some typefaces during her studies at BHSAD in 2013. [Google] [More]  ⦿

    Olle Vita
    [Olga Pavlova]

    Kaliningrad, Russia-based designer of the vector format decorative caps typefaces Floral Font (2015) and Christmas Font (2015). [Google] [More]  ⦿

    Olli Meier

    German designer of Vary (2021, Monotype). Vary is an 10-style geometric sans serif typeface (+a variable font) inspired by Bulgarian Cyrillic. Its weights range from Hairline to ExtraBlack. [Google] [MyFonts] [More]  ⦿

    Olya Gribova

    Moscow-based designer of Barbed Wire Font (2014). [Google] [More]  ⦿

    Olya Yakovleva

    Moscow-based designer of Jordan (2014, a squarish techno font for Latin and Cyrillic). Behance link. [Google] [More]  ⦿

    Omega Type Foundry
    [Toshi Omagari]

    Toshi Omagari is a Japanese type designer who grew up in Fukuoka and studied typography and type design at Musashino Art University in Tokyo. After graduating in 2008, Toshi taught graphic design in Fukuoka. He joined the University of Reading in the summer of 2010 and graduated in 2011. He is a type designer at Monotype.

    His graduation typeface Marco (<2011), which is named after Marco Polo, covers Latin, Mongolian, Greek, and Cyrillic, and has sans and serif versions. Inspiration for Marco goes back to Italian humanist typography such as those of Nicholas Jenson or Aldus Manutius, and general influences from calligraphy. Marco is a true superfamily, with wide utility and superb legibility---not surprisingly, it won an award at Modern Cyrillic 2014. The text styles were professionally produced in 2015 by Type Together in 2015---each style has over 1900 glyphs.

    His chancery hand typeface Tangerine (2010) is part of the Google font directory (for free web fonts).

    Typefaces from 2013: Metro Nova (Linotype: a sans family with a strangely circumcised lower case f). Metro Nova won an award at TDC 2014.

    Typefaces from 2014: Neue Haas Unica and Neue Haas Unica Pan European. A digital update of the Helvetica alternative Haas Unica, which was originally released in 1980 by the Haas Type Foundry for phototypesetting.

    In 2015, he made Cowhand (Monotype: a Western typeface). All words typed in Cowhand are of equal width, whether they contain one character or twenty (the maximum the font allows).

    For Monotype, he made the custom typeface Quentin Blake (2016) that emulates the irregular handwriting of Sir Quentin Blake, acclaimed illustrator of Roald Dahl's novels.

    In 2017, Toshi Omagari designed the Wolpe Collection for Monotype, all based on Berthold Wolpe's distinctive typefaces: Wolpe Pegasus, Wolpe Tempest, Wolpe Fanfare, Sachsenwald (blackletter: a revival of Berthold Wolpe's Sachsenwald from 1936), Albertus Nova.

    In 2018, Linda Hintz and Toshi Omagari published the large geometric sans typeface family Neue Plak that revives and extends Paul Renner's Plak (1928).

    Nadine Chahine and Toshi Omagari collaborated with Akira Kobayashi and Monotype Studio on Avenir Next Arabic (2021).

    At his own foundry, Omega Type, he released these typefaces in 2021: Klaket (a bold and monolinear Arabic display typeface that was inspired by classic Egyptian film posters in a free form Ruqah style), Platia (a modern revival of the 19th century font Hellenic Wide).

    At ATypI 2011 in Reykjavik, he spoke about Mongolian scripts. At ATypI 2015 in Sao Paulo, he revealed his research on the Siddham (post-Brahmian). Speaker at ATypI 2016 in Warsaw on BubbleKern (a new kerning algorithm). Speaker at ATypI 2017 Montreal on Sini: Arabic calligraphic styles from the Far East.

    Fontsquirrel link. Dafont link. Klingspor link. I Love Typography link. Google Plus link. Interview by MyFonts in 2022. [Google] [MyFonts] [More]  ⦿

    Omtype
    [Oleg Macujev]

    Omtype is Oleg Macujev's Russian foundry and studio (est. 2008) located in Novokuznetsk in the Kemerovskaja region of Siberia, or more lately in Telbes, Russia. Graphic and type designer, calligrapher and typographer Oleg Macujev was born in Novokuznetsk in 1984. He graduated from Lomonosov Moscow State University (design of mass media specialization). In 2004-2007 he studied at the Alexander Tarbeev Type Design Workshop of Moscow State University of Printing. From 2004 to 2009 Oleg worked as a graphic designer in different Moscow design studios and publishing houses. In 2007-2008 he also lectured on type and calligraphy at the National Institute of Modern Design. He received the second prize for excellence in type and graphic design in a student competition organized by ParaType for his Epiphany typeface (2008). He has obtained the Certificate of Excellence in Type Design at the Modern Cyrillic 2009 competition for the Epiphany and Fry typefaces. Since 2009 he has been living in Novokuznetsk and working as a freelance graphic designer. Samples of his calligraphy. Alternate URL. Behance link. His name is also written Oleg Matsuev. Klingspor link. His great collection of typefaces:

    • Default (2010). A condensed monospaced sans for Latin and Cyrillic.
    • Epiphany (2008). A monoline script based on Old Russian skoropis (cursive writing) of the 15th, 16th and 17th centuries. Award winner at Paratype K2009).
    • Fry (2008). A comic book style typeface that won an award at Paratype K2009 under the name Fray, and a Certificate of Excellence in Type Design at the Fry ProModern Cyrillic 2009 competition. Fry also received Second Prize in the display typeface category at Granshan 2011. Fry Pro (Latin, Greek, Cyrillic) was released in 2013. Oleg writes about this round sans: Fry was developed in 2008 specially for the Sky-Fish company (fish and seafood dealer). This type is designed for small texts and has a friendly and a fairytale historic flavor. Fry takes the openness and dynamism of humanist sans serif, the simple and softness of lubok's letters (primitive style) and the fluidity of shallow marine fry.
    • Lansere. An art-deco typeface inspired by lettering of Russian graphic artist, painter and sculptor Evgeniy Lansere (1875-1946), whose name is also spelled Eugene Lanseray.
    • Mamontov (2007-2008). A wood type with large incisions for ink traps. It has 25 weights and is based on Clarendon, except that the serifs are asymmetric (missing on one side). Mamontov won an award at Modern Cyrillic 2014.
    • Pich (2014). Hand-drawn, almost a comic book typeface.
    • Ryba Kit (Fish-whale). Designed for large headlines and display typography, and based on halfustav handwriting.
    • Siberian (2013). A geometric unicase sans serif inspired by Russian avant-garde typography and old Siberian runic scripts (Orkhon-Yenisey script): The idea was to create a typeface so simple, cold and beautiful as the snow in Siberia. This typeface with its numerous stylistic sets could be used for Cyrillic simulation. Siberian won an award at Modern Cyrillic 2014.
    • Slovolitnaya (2008). A pixel typeface based on the old forms of Cyrillic and works of the Russian style artists like Mihail Vrubel and Ivan Bilibin, who revived these forms in their design in the beginning of the 20th century.

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

    On Embedding

    Russian type and type tools site. [Google] [More]  ⦿

    oninfo.ru

    Cyrillic font archive. The captchas---one per font---make this impractical for mass downloads. [Google] [More]  ⦿

    Open Printing Project

    Free fonts by the Information-technology Promotion Agency at this Japanese site: IPAGothic, IPAMincho, IPAPGothic, IPAPMincho, IPAUIGothic. These 2003 fonts all cover kanji, hiragana, katakana, as well as Latin, Greek and Cyrillic, and are Unicode compliant. A nice alternative for the proprietary MS Mincho and MS Gothic. See also here. [Google] [More]  ⦿

    Open Source Publishing (or: OSP)
    [Harrisson]

    Free software project based in Belgium and run by four people (and I quote from their web page):

    • Harrisson: Graphic designer and typographer, based in Liege and Brussels. Started to use as much Open Source software as possible on his Macintosh, as part of a research project The Tomorrow Book at the Jan van Eyck Academy in Maastricht.
    • Pierre Huyghebaert: Exploring for eighteen years several practices around graphic design, he currently drives his own studio Speculoos. Interested to use free sofware to re-learn to work in others way and collaboratively on cartography, type design, web interface, schematic illustration, teaching and book design.
    • Nicolas Malevé: Systems- and software developer from Brussels with a long interest in the politics and practice of software. Uses Linux since 1998 and makes publishing- and distribution systems for collaborative work.
    • Femke Snelting: Graphic designer and artist based in Brussels. Most of her current work is for the web. Recently switched to Linux after using Apple Macintosh for more than ten years.
    Alternate URL. They also describe interesting autotrace software included in Inkscape and UNIX batch tools for good autotracing of images. Designers of free fonts:
    • Alfphabet (2009). Based on the Belgian road signage system in use from 1945 until 1975. It came from Minneapolis to Brussels with 3M.
    • Broodthaers.
    • Cimatics (2009). Totally experimental. This font was designed in July 2009, for the graphic identity of Cimatics A\V Platform. It gathers glyphs from FreeSerif, FreeSerifItalic, DejaVuSans, DejaVuSerif, the OSP_frog mascot, the Cimatics two piece heart, a baronchon_palm_tree from Open Clip Art Library and private use dingbats drawn for Cimatics (Cimatics_scare_eye, white_pentagon).
    • Crickx. A digital reinterpretation of a set of adhesive letters.
    • Distilled Spirit and Whisky Jazz. In September 2009, Harrisson and Jean Baptiste Parre from LPDME remixed URW Gothic (Avant Garde) and published the free fonts Distilled Spirit and Whisky Jazz.
    • DLF. DLF stands for Dingbats Liberation Fest.
    • Libertinage. In August 2008, Harrisson designed 26 variations on Philipp H. Poll's 2006 font Libertine, and called the new family Libertinage. It covers Greek, Latin and Cyrillic.
    • Limousine. This font was made for a poster to support nine people accused of "criminal association for the purposes of terrorist activity". They were arrested the 11th of November 2008, in France. They and others are the victims of a witch-hunt where the word "terrorism" was applied to any idea or practice which challenges the status quo. An international movement is emerging in their support. For the poster, we re-mixed an open font, the Free Sans from Free UCS Outline Fonts. Open Font Library link.
    • Logisoso. Logisoso is a reinterpretation of the Delhaize logo lettering.
    • NotCourierSans. NotCourierSans is a reinterpretation of Nimbus Mono and was designed in Wroclaw at the occasion of Linux Graphics Meeting (LGM 2008). We took Nimbus as the base of the design. We proceeded to remove the serifs with raw cuts. We did not soften the edges. We are not here to be polite.
    • OSP-DIN (2009). The first cut of OSP-DIN was drawn for the festival Cinema du réel.
    • Polsku Regula (2010). Polsku Regula is inspired by polish signage, street signs and shop windows lettering.
    • Reglo (2011) was used for the new identity of Radio Panik.
    • Sans Guilt (2011). The three Sans Guilt fonts have been produced during "Read The Fucking Manual", an OSP workshop at Deparment 21 (Royal College of Art), using Gimp, Fonzie and Fontforge. They are different versions of Gill Sans based on three different sources. Sans Guilt MB: based on a rasterized pdf made with the Monotype Gill Sans delivered with Mac OSX. Sans Guilt DB: Based on early sketches by Eric Gill Sans Guilt LB: Based on lead type from Royal College of Arts letterpress workshop. Open Font Library link.
    • Univers Else (2010-2012). A geometric sans, about which they write: Univers Else is an experiment, a first attempt to escape the post ’80 era of geometrical purity that is so typical of Postscript vector based font drawing. The shapes of Univers Else were obtained from scanning printed textpages that were optically composed by cheap phototypesetting machines in the sixties and seventies. Some of Univers Else beautiful features are: round angles, floating baselines, erratic kerning. More precisely in this case, George Maciunas of the Fluxus group used an IBM composer (probably a Selectric typewriter) for most of his own work, and as a former designer, for all Fluxus work. In the 1988 book Fluxus Codex, kindly given to Pierre Huyghebaert by Sylvie Eyberg, the body text is typeset in a charmingly rounded and dancing Univers that seems to smile playfully at its dry swiss creator. Different scans were assembled by Grégoire Vigneron following different grids. These huge bitmaps were processed with appropriate potrace settings by the Fonzie software* through a .ufo font format as a working format, and an OpenType as output. Some testing and fine-tuning was done by Pierre Marchand, Delphine Platteeuw and Pierre Huyghebaert in FontForge and the font was ready, in a finished state enough to typeset the book. The oblique versions was simply slanted on the fly.
    • VJ12 (2009).
    • W Droge. In 2008, they ran a workshop in Wroclaw, Poland, to design a font in a day with the free tools Inkscape, Gimp and FontForge---called W Droge. It was based on Polish traffic signs. Cooperation with Dave Crossland, Alexandre Prokoudine and Nicolas Spalinger. The designers were Malwina Pukaluk, Marcin Wajda, Anna Bartoszek, Kacper Lenczuk, and Ludivine Loiseau.
    • Le Patin Helvète (2011) is a slab typeface derived from Nimbus L. It covers Latin, Greek, Cyrillic and Hebrew: Patin Helvete is a attempt to turn the slick propergol purity of the modernist lines back to the coal dirt of the iron horse by going backward in time and space through little pieces of rail. Designed by Harrisson, Ludi Loiseau and Sebastien Sanfilippo.
    • Mill (2012) is an architectural style typeface that has been created for engraving building instructions into the wood of a bench.
    • Sans Guilt Wafer (2012) is described by OSP as follows: Gill Sans eats a Gaufrette.
    [Google] [More]  ⦿

    Opennet.ru

    A 1.1MB file with these Cyrillic type 1 families: ArialCyrMT, CourierCyrPS, TimesNRCyrMT, all by Monotype; CourtierC by Dmitry Komissarov, TeamAxis, 1994; ERKurier (Gavin Helf, 1995; changes in 1996 by Andrey A. Chernov and in 1997 by E.V. Demidov); Pragmatica; TimesET. [Google] [More]  ⦿

    Origami Studio

    Okada (Studio origami) is based in St. Petersburg, Russia. Behance link. Creator of great type posters such as the rope skipper (2009). [Google] [More]  ⦿

    Orlin Valtchev

    Orlin Valtchev (SoftPlus) designed the free Latin / Cyrillic typeface family SP Ariel BG in 2016. Free download at Npoekmu. [Google] [More]  ⦿

    Orwell
    [O. Dag]

    Russian site with the Unicode fonts Palatino Linotype, Arial Unicode MS, Lucida Sans Unicode, XSerif Unicode, Bitstream Cyberbit, Code 2000. It also has the Microsoft core fonts, as well as the Cyrillic fonts Yu C Izhitsa (1990-1992, ParaGraph), VictorianCyr (1994, URW), Glagoljica Obl, and Glagoljica UGL. Alternate URL. [Google] [More]  ⦿

    Oscar Yáñez

    Oscar Yáñez (b. Mexico City) has a Bachelor's degree in Graphic Communication Design from the Universidad Autónoma Metropolitana (UAM) and a Master's degree in Typographic Design from the Centro de Estudios Gestalt. He studied Project Management in the Instituto Tecnológico Autónomo de México and a Masters degree in Type Design at Centro de Estudios Gestalt. He was involved and leading designs and redesigns in more than fifty magazines, newspapers and websites like Time Inc Expansion, Editorial Televisa, Reforma, El Universal and Khaleej Times newspapers. Nowadays he is Group Design Director for Harper's Bazaar Arabia and is based in Dubai.

    Designer of Fabrica Texto (Italica, Versalita, Bold, 2008) and Lucrecia Texto (Itálica, Versalita, Bold), both winners in the Tipos Latinos 2008 competition for best text family. Grand prize winner at Tipos Latinos 2010 for his titling type family Carlota. Other typefaces by him include Aion, Moneda, and Condesa.

    Viga (2011, free at Google Web Fonts) is a heavy angry macho sans.

    In 2012, he created Amate, a type that was designed for a newspaper in Cuernavaca. Calavera (2012, Cocijotype) is an ornamental display typeface that is based on the Mexican Tuscan letter style and on the work by Mexican engraver Manuel Manilla. It won an award at Tipos Latinos 2014. Dorotea (2012) is a Latin / Greek / Cyrillic typeface family created for text in books and periodicals. The name is in honor to Dorothy Abbe, typographer, puppeter and close friend of William Addison Dwiggins.

    At ATypI 2009 in Mexico City, he spoke eloquently about Boudewijn Ietswaart and the development of the Balduino typeface (by the Círculo de Tipógrafos).

    In 2014, he created the curly ronde script typeface Bistro for Gastronomie Magazine.

    He lives in Mexico City and is Design Editor at GEE. Founding member of Círculo de Tipógrafos in Mexico.

    In 2010, Cristobal Henestrosa strated work on Charter, which is based on an experimental typeface named Charter, designed yet never fully finished by William Addison Dwiggins. It is an upright italic, unconnected script typeface, whose main features are a pronounced contrast, condensed forms and exaggerated ascenders. While Dwiggins worked on this project from 1937 to 1955, he only completed the lowercase and a few other characters. However, it was used to set a specimen in 1942 and a short novel in 1946. The sources that Cristobal used for Royal Charter (and later, Mon Nicolette) were the original sketches by WAD as well as printing trails kept at the Boston Public Library, and a copy of the 1946 edition of The Song-Story of Aucassin and Nicolette. This gorgeous typeface can be used successfully in headlines, subheads and short passages of text from 12 points onwards. It was published in 2020 as Mon Nicolette at Sudtipos, where the help of Oscar Yanez was acknowledged. Mon Nicolette also comes in a variable format with weight and optical size axes. [Google] [More]  ⦿

    Ossip I. Lehmann Type Foundry
    [Johannes Lehmann]

    Foundry in St. Petersburg in the late 19th century, est. 1854. Their typefaces include Renata (1901), Gasetny Chorny (Newspaper Black), Black Grotesk (1874), Yelisavetinsky (1904-1907, a didone family for Baltic, Cyrillic and Latin with shapes that go back to the Russian Academy of Sciences in the 18th century, after designs by Alexander Leo; for a free digital revival, see Elisabethische (2018) by Oleg Matison), Diamant (1937, a 3d shadow headline lineale), Obiknovennaya (1940s) and Obiknovennaya Novaya (1940s).

    Revivals include Standard Poster (a Paratype font by V. Yefimov, 1992, which was based on a design from 1986 at Polygraphmash, and which in turn was inspired by the fat didone styles of the Ossip Lehmann type foundry), Chekhovskoy (2017, by Marath Salychow), Elisabethische (by Marath Salychow, 2018), and Elizabeth (Paratype).

    In 2013, Vasily Biryukov published the Peignotian typeface Romanovsky at Paratype: Romanovsky is a font developed on the base of samples from the catalogue of Ossip Lehmann foundry in Sankt Petersburg. Original Latin design that was used for Romanovsky can be found in Feder Grotesk by Jacob Erbar. The current digital font is not a scanned version of Lehman's samples but a newly drawn typeface that differs from the original in many details.

    In 2018, Albert Kapitonov and Dmitry Kirsanov revived the early 20th-century typeface Lehmann Egyptian from the Berthold and Lehmann type foundries in St. Petersburg, and published it at Paratype.

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

    OSTYPE
    [Yury Ostromentsky]

    Yuri Ostromentsky is a type and graphic designer. He is a graduate of the Moscow State University of the Printing Arts (2002), where his graduation project was done under the supervision of Alexander Tarbeev. He has worked as a designer and art director for publishers and design studios. From 2004 to 2012, he served as art director of the magazine Bolshoi Gorod (Big City), for which he created several display typefaces as well as several original typefaces and Cyrillic versions of Latin fonts in collaboration with Ilya Ruderman. His typefaces were honored at the Contemporary Cyrillic 2009 and 2014 competitions. In 2004 he and Ruderman, Dmitri Yakovlev and Darya Yarzhambek created DailyType, a website.

    Yuri ran OSTYPE as part of KunstGroup.ru. His typefaces include PrinsenGracht [Text (+Caps, +Italic), Display (+Caps, +Italic)], Poza, SSN Antique, Pilar, and Gegangen. His type system Best Life Serif (codesigned with Ilya Ruderman) won an award at Paratype K2009.

    He became associated with Custom Fonts, and designed RIA in 2013. RIA won an award at Modern Cyrillic 2014.

    In 2014, Ilya Ruderman and Yury Ostromentsky founded CSTM. In 2015, Ilya and Yury published Kazimir, a didone typeface family for Latin and Cyrillic, taking as a model the typeface used in The History of Russian Philology by P. N. Polevoy (1900, A. F. Marx Publishing House).

    Typefaces from 2017: Stratos Cyrillic (at Production Type, with Ilya Ruderman; a Cyrillic version of Yoann Minet's 2016 geometric grotesque typeface Stratos: it received a Type Directors Club New York Certificate of Excellence 2017), Pseudo Russian.

    Co-designer with Nikita Kanarev and Ilya Ruderman at CSTM Fonts of the 18-style exprimental typeface family Lurk (2020). It is based on an earlier version that was specially designed for the Russian youtuber Yury Dud.

    Typefaces from 2021: CSTM Xprmnntl 03 (in uncial Cyrillic, gothic blackletter and inbetween styles). In 2021, CSTM Fonts released the 42-style sans family Loos (Latin, Cyrillic, Georgian), a typeface designed by Yury Ostromentsky, Ilya Ruderman, and Daria Zorkina. Advisers on Georgian included Alexander Sukiasov and Lasha Giorgadze. At the end of 2021, Ostromentsky designed and published the 20-style (+variable font) Elzevir-inspired Maregraphe at CSTM / Type Today wth the help of Mikhail Strukov and Ilya Ruderman.

    Typefaces from 2022: Zhivov (an experimental Latin / Cyrillic typeface based on early Cyrillic graphics). [Google] [MyFonts] [More]  ⦿

    OT Lab
    [Denis A. Serikov]

    Denis Serikov (OT Lab) is the Moscow-based Russian designer of DionisiiOTF (2003), the caps font Remeslo (2002), the Cyrillic font Clip Condensed (2002), the dingbat fonts EL Symbols (2003), Notice (2002-2007, a useful dingbat family), Notice2 (2006) and Notice3 (Notice3 (2007, household icons) DisplayOTF (2002, dot matrix), Display (2009, +3D, gridded typefaces), Remeslo STD (2009, ornamental didone), Rusticus STD (2009, roman), Rusticus (2004, semi-uncial), Agatha (2001, like Toulouse Lautrec), Display 3D (2003, pixelized face), Grafoman (weather and finger dings), DestinyLight, Shashki (2010, a game of checkers font), and the Latin/Cyrillic font Joke. His commercial typefaces are listed here. They include Pi (2009, weather and other dingbats), TUI Type Pro (a rounded sans, 2008, at Dalton Maag) and White Wind (2005, a pixel face, at Dalton Maag). Scazanie (2005) is a future project.

    Metrofont (2013, free) contains navigation and warning signs for transportation systems.

    In 2018, he published the free Latin / Cyrillic / dingbat font Dacha.

    Forum / Blog (in Russian). Dafont link. Behance link. Font Squirrel link. [Google] [More]  ⦿

    OTC (Odyssey Type Company)
    [Hein Boekhout]

    OTC (Odyssey Type Company) was founded in 2020 by Dutch type designer Hein Boekhout and is based in The Hague, The Netherlands. Hein studied informatics at The Hague University and media technology at Leiden University, and has worked as a graphic designer and web developer before becoming a type designer. In 2020, he released the squarish typeface OTC Underground which covers Latin, Cyrillic and Greek. He writes: OTC Underground is a geometric condensed display font, presenting a compressed letterform structure with an even stroke contrast. The font is inspired by Gustav F. Schroeder's Othello from 1886 and the lettering on the 1967 album cover from The Velvet Underground & Nico. [Google] [MyFonts] [More]  ⦿

    Otto Lerma

    In 2015, surrealist illustrator Otto Lerma (Machaca Corp, Monterrey, Mexico) designed the modular circle-based typeface Mex76, which pays tribute to the Olympic Games of 1976. He also created the free communist propaganda font Propaganda Black (2014, Latin and Cyrillic). Other typefaces include Lithium (2016, a neon font), Puro Chile (2015, spurred), Cucha (2015), Clove (2015, Asian style emulation), Bitter (2015), the free font Guapinsky (2015), the free handcrafted typeface Kiddo Soup (2015), La Dominguera (2015, upright rounded script), and Ombligo (2015, rounded decorative sans).

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

    Overtype
    [Evgeniy Agasyants]

    Udmurtia, Izhevsk, Russia-based type foundry, est. 2018. Their typefaces are mostly in the comic book or cartoon genre. They include OT Puppy (2018: brush style) and Chekharda (2018). Home page. [Google] [MyFonts] [More]  ⦿

    Owen Earl
    [Indestructible Type]

    [More]  ⦿

    OwenCyrillic

    Kazakh font. Dead link. [Google] [More]  ⦿

    Oxana Bu

    Samara, Russia-based designer of the Latin display typeface Bjork (2016). Behance link. [Google] [More]  ⦿

    Oxana Doubovic

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

    Ozersk

    Russian type 1 archive: AgitProp-Medium, AirportCyr, CranberryCyr, DSCenturyCapitals, DSCoptic, DSCrystal, DSEraser2, DSGoose, DSGreece, DSKork, DSMechanicalBold, DSMoster, DSNarrow-Extra-condensedMedium, DSNote, DSPixelCyr, DSPoster, Galaxy, Macaroni, Prospect, hooge05_55Cyr. [Google] [More]  ⦿

    P. Kusanian

    Russian type designer who at Poligrefmash&Intermicro designed GranitC (1993-1996). [Google] [More]  ⦿

    Pablo Balcells
    [Graviton]

    [MyFonts] [More]  ⦿

    Pablo Impallari

    Very prolific Argentinian type designer (b. 1976) located in Rosario. His extensive repertoire:

    Dafont link. Fontspace link. Google font directory link. Klingspor link. Abstract Fonts link. Fontsquirrel link. Google Plus link. On Snot and Fonts link. Another Google Plus link. Creative Market link Behance link. Blog. Home page. [Google] [More]  ⦿

    Paleofonts V. 2
    [Vasil Gligorov]

    Vasil Gligorov from Skopje, Macedonia, has a 16MB file with almost 300 truetype fonts that represent 30 ancient scripts: Luwian, Ugaritic, Aramaic, Runic, Syriac, Glagolitic, OCS Cyrillic, Persian Cuneiform, Egyptian Hieroglyphs, Demotic, Linear A (Complex signs), Linear B, Proto-Greek, Ancient and Medieval Greek, Ancient and Medieval Latin, Gothic, Etruscan, Oscan, Phoenician, Galilean, Celto-Iberian, Coptic, Meroitic, Cypriot, Vina, Ancient Hebrew, Samaritan, Sanskrit, Ugaritic, Manichean, Ogham, Umbrian, Asomtavruli Mrglovani, Siloam type-Inscription. Alternate URL. [Google] [More]  ⦿

    Pana Type and Studio
    [Ajusia]

    Indonesian is a graphic designer based in Bandung, Indonesia. Her type designs are published at her foundry, Panatype.

    Typefaces from 2017: Baysoir Script, Baysoir Sans , Saltery Brush.

    Typefaces from 2018: Harvels (a vintage font), Melastory, Casterio (signature script), Balig Script (a signature font), Thistails Font Duo.

    Typefaces from 2019: Alios Script, Fiest (font duo), Bulgis (a monoline script).

    Typefaces from 2020: Monzo (with Boyan Nurdiansyah), Roylands Font Duo. [Google] [MyFonts] [More]  ⦿

    Pangram Pangram Foundry
    [Mathieu Desjardins]

    Mathieu Desjardins (Pangrampangram) is a senior art director in Montreal, who created the free geometric sans typefaces Charlevoix Bold, and Pier Sans (2015), and the condensed sans typeface Stellar in 2015. However, at Graphicriver, we learn that he is selling Charlevoix Bold (2015), Stellar (2015) and Pier Sans (2015).

    In 2016, he designed Supply Mono (which could be used for programming), the (free for personal use) 7-weight geometric sans font family Pangram and the (free for personal use) Fuji Sans.

    In 2017, he published Chronos Serif, which is also free for personal use.

    In 2018, he designed the grotesque typefaces Formula Condensed, Neue Montreal (together with Sebastien Tremblay; advertized as a great replacement of Helvetica) and Radio Grotesk, the warm and fluid text typeface Woodland, the wide display sans Monument Extended (version 2 appearing in 2020), Casa Stencil and Gosha Sans (influenced by Futura and Russian constructivism; contains Cyrillic as well).

    Typefaces from 2019: Hatton (a collaboration with London-based design studio Two Times Elliott, Hatton is a homage to the history of the London diamond trade district, Hatton Garden), Editorial New (a partly free editorial text font family), Neue Machina (inspired by the aesthetics of robotics and machines, this powerful variable opentype typeface family is characterized by monospace/geometric features and deep ink traps; designed by Mathieu Desjardins and Vasjen Katro / Baugasm). It is inspired by the aesthetics of robotics and machines).

    Typefaces from 2020: Neue World (an 48-style and variable cut modern serif with roots in vintage display type).

    Typefaces from 2021: Pangram Sans V2 (with Valerio Monopoli: 144 styles, and a 3-axis variable font; Pangram Sans was originally published in 2015; followed by Pangram Sans Rounded (2021)), Editorial New Version 2.0.

    Graphicriver link. Personal home page. [Google] [More]  ⦿

    Panos Vassiliou
    [Parachute]

    [MyFonts] [More]  ⦿

    Par Défaut
    [Nathanael Dorange]

    French designer of these typefaces:

    • New Odyssey (2020). An 14-style informal sans.
    • Basique Black (2020). A heavy geometric sans typeface for Latin, Greek and Cyrillic.
    • Basique Pro (2020). A 5-style geometric sans typeface for Latin, Greek and Cyrillic.
    • Block S (2021). A squarish blocky family in 98 styles.
    • Stallman (2021). A squarish font family with 100 styles, +a variable font. Stallman Round (98 styles) followed layter in 2021. It is unknown whether these typefaces are named after the Free Software guru Richard Stallman.
    • Decart (2021). A retro display font.
    • Rouge Gorge (2021). A warm and fuzzy serif family in 42 styles, with two variable fonts.
    • Rollman (2021). A squarish typeface family.
    • Lonie (2021). An 11-style monolinear rounded for Latin, Greek and Cyrillic. It includes a variable font. Followed by Lonie Soft (2021).
    • Codeworld Mono (2021). An 11-style geometric monolinear sans family.
    • Maincode Mono (2022). In seven weights, seven widths, +oblique, and a variable font. Followed by Maincode (2022), which also has 98 styles.
    [Google] [MyFonts] [More]  ⦿

    Parachute
    [Panos Vassiliou]

    London, UK, and Athens and Kifissia, Greece-based type foundry started in 2001 by Panos Vassiliou. It specializes in fine multilingual (usually Latin, Greek and Cyrillic) typeface families. He is a graduate of the University of Toronto, Canada with a major in Applied Science and Engineering. Following his University of Toronto graduation, he studied Graphic Communications at Ryerson University. Panos Vassiliou has conducted numerous seminars for Canadian companies such as Bank of Nova Scotia, Royal Bank and Sony Canada. He graduated from the University of Toronto/Canada, where he studied Applied Science and Engineering. He has been Creative Director for the Canadian design firm AdHaus, former Publisher of the monthly magazine DNA (Greece) and Secretary-General for the Hellenic Canadian Congress (Ontario, Canada). He has been designing typefaces since 1993, including commercial fonts as well as commissions from Vodafone, Nestlé, Ikea and National Geographic. He started Parachute in 2001 setting the base for a typeface library that reflected the works of some of the best contemporary Greek designers, as well as creatives around the world obsessed with type. Apart from its commercial line of typefaces, Parachute offers bespoke branding services for corporate typefaces and lettering. Customers include Bank of America, the European Commission, UEFA, Samsung, IKEA, Interbrand, National Geographic, Financial Times, National Bank of Greece, Alpha Bank and many others.

    Myfonts link. Behance link.

    Other type designers at Parachute include Kanella Arapoglou, Alexandros Papalexis, Dimitris Foussekis, Aggeliki Skandalelli, Helen Gabara, Babis Touglis, Vangelis Karageorgos, George Toumbalis, Eva Karapidaki, Charis Tsevis, Pavlos Levendellis, Panos Vassiliou, and George Lygas.

    At Granshan 2010, Vassiliou won Second Prize in the Greek text typeface category for PF Encore Sans POro, and First and Second Prizes in the display typeface category for PF Regal Pro and PF Champion Script Pro, respectively. Typefaces:

    • Adamant
    • PFAgora Pro: Agora Sans, AgoraSerif, AgoraSlab.
    • Amateur
    • PF Archive Pro (2004). He received a design award for his typeface Archive at the E AWARDS 2004. It has special typographic features and multilingual support for all European languages including Greek and Cyrillic.
    • Armonia
    • Astrobats
    • Bague Universal and Bague Sans (2014). A geometric grotesk that dares to be different. Accompanied by Bague Slab Pro (2014), PF Bague Inline Pro (2014), and PF Bague Round Pro (2014).
    • Baseline
    • Beatnick
    • Beau Sans (2011). Inspired by Bernhard Gothic.
    • A custom didone font for Greece's Benaki Museum (2020-2021).
    • PF Benchmark Pro (2014).
    • Bodoni Script (2009).
    • PF Brummell (2016). A sans characterized by sharp angled terminals and a diamond dot on the i.
    • Bulletin Sans (2000-2005)
    • Centro (Centro Sans, Centro Serif, Centro Slab) a typeface originally developed for the redesign of the Financial Times Deutschland. PF Centro Pro family (Sans, Serif, Slab, a trillion styles) won an European Design Award in May 2008 in Stockholm and at Paratype K2009. It was completed by PF Centro Serif Compressed, PF Centro Sans Condensed and PF Centro Sans Compressed in 2015. In 2016, he published PF Centro Slab Press.
    • PFChampion Script Pro (2004-2008). A much lauded connected calligraphic script that is based on a calligraphic script by Joseph Champion, 1709-1765. Winner at Paratype K2009 and Granshan 2010. Images: i, ii iii, iv, v. The 4245-glyph family comprises Cyrillic, Latin and Greek subfamilies.
    • Cosmonut (sic) (2002). A retro futuristoc typeface made by Dimitris Foussekis.
    • PF Das Grotesk Pro (2014). Panos writes: Das Grotesk was inspired by earlier nineteenth-century grotesques, but it is much more related to American gothic designs such as those by M.F. Benton.
    • DaVinciScript (2001-2006). A Treefrog-style script typeface by Vassiliou and Dimitris Foussekis.
    • PF Dekka (2014). This solid elliptical sans family was influenced by Monaco's outline version called MPW. It includes PF Dekka Mono.
    • PF DIN (2010): PF DIN Display (2002-2005), PF DIN Mono, PF DIN Serif (2016; this great serif version of DIN---a first---contains a wealth of goodies: just look at the great weather icons; it won an award at Granshan 2016), PF DIN Stencil Pro (2010), PF DIN Stencil, PF DIN Stencil B (2016), PF DIN Text Pro, PF DIN Text Condensed, PF DIN Text Compressed, PF DIN Text Arabic, and PF DIN Text Universal. With Latin, Cyrillic and Greek coverage, each font has about 1300 glyphs. The designs go back to the lettering of the Prussian railways around 1900. In 2013, PF Din Text Pro was published. In 2021, the three-axis (weight, width, italic) variable type system PF DIN Max saw the light.
    • Eco Park. A 3d outline face.
    • PF Encore Sans (2009). A rich and versatile sans family supporting Greek, Latin and Cyrillic.
    • PF Fuel Pro
    • PF Fusion Sans (1996-2006)
    • PF Garamond Classic.
    • PF Goudy Intials and PF Goudy Ornaments. A winner at Paratype K2009.
    • PF Grand Gothik (2019). A large grotesque typeface family with three subfamilies and a variable font option. He writes: Grand Gothik is a postmodern, multiscript, multifaceted and variable type system which shines at its heavier extended versions with its hip, expressive, almost brutal energy. Grand Gothik's design space includes 3 axes for weight, width and one for italics. It is available as a variable font or as five separate opentype families---compressed, condensed, normal, wide and extended. Each family comes with 9 weights spanning from Extra Thin to Black plus italics.
    • PF Handbook (2005-2007, sans family)
    • HausSquare
    • HellenicaSerif. Chiseled look, Greek simulation face.
    • PF Highway Sans (2001-2015). Highway Sans Pro is based on the standard typefaces used for highway signs and other byways open to public travel in the United States. These standards were established by the US Federal Highway Administration in 1966 following several studies which were conducted at the California Department of Transportation in the 1940s. It covers Latin, Greek and Cyrillic.
    • House Square. A Bank Gothic lookalike.
    • PF Isotext (2005). Meant for technical documentation, it is modeled after Isonorm.
    • Kids, KidsStuff
    • Libera
    • Lindemann and PF Lindemann Sans (2012).
    • PF Marlet (2019). A sharp-edged humanist sans family fit for fashion mags: Marlet Titling, Marlet Finesse, Marlet Swash, Marlet Display, Marlet Text. PF Marlet, collected three awards one after the other, a year after appearing on Luc's best-of-2019 list. First, the coveted TDC Certificate of Typographic Excellence 2020 (at 23RDC), followed by another one from European Design Awards, a third distinction from Tokyo TDC and a fourth crown, Red Dot Award 2020, all in 2020.
    • Mechanica A and B, 2002-2006. Octagonal families.
    • PF Mellon (2019). A modernist variable grotesque influenced by nineteenth and early twentieth century condensed sans serif typefaces such as Stephenson Blake's Grotesque No.77 and ATF's Alternate Gothic.
    • PF Monumenta (2002-2006). A majestic lapidary roman family.
    • Muse
    • Online (One, Two and Three). Pixelish family.
    • PF Ornamental Treasures (2008). Byzantine ornaments and borders.
    • PF Pixelscript
    • Playskool
    • Psychedelia (2003, Dimitris Foussekis). A psychedelic typeface.
    • Regal Pro and Regal Finesse Pro: Award-winning high fashion display didone families, 2010-2012, originally designed for the Grazia magazine. Awards include Red Dot Awrd 2012, Communication Arts Annual Competition 2012, Creative Review Type Annual 2011, European Design awards 2011, EBGE awards 2011, Granshan Awards 2010. See also PF Regal Swash and PF Regal Stencil.
    • PF Reminder Pro (2003). A hand-printed typeface.
    • Scandal
    • PF Spekk (2020). A simple versatile geometric sans for Latin, Greek and Cyrillic.
    • PF Square Sans Pro, PF Square Sans Condensed Pro (2013).
    • PF Stamps (2002-2006). A grungy stencil typeface by Panos Vassiliou and George Lygas.
    • PF Synch Pro (2006). An industrial strength slab-serif typeface.
    • PF UEFA Super Cup (2013).
    • PF Uniform
    • PF Venue (2017). Semi art deco, and free-spirited, a great poster typeface family.
    • VideoText
    • PF Wonderbats (2003). Funky and strange animals.
    • Wonderland (2006). By Dimitris Foussekis.

    Their type blog is called Upscale typography.

    Catalog. View all typefaces designed by Parachute.

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

    ParaType

    The main digital type foundry in Russia. ParaType was established as a font department of ParaGraph International in 1989 in Moscow, Russia. At that time in the Soviet Union, all typeface development was concentrated in a state research institute, Polygraphmash. It had the most complete collection of Cyrillic typefaces, which included revivals of Cyrillic typefaces developed by the Berthold and Lehmann type foundries established at the end of 19th century in St. Petersburg, and artwork from Vadim Lazurski, Galina Bannikova, Nikolay Kudryashov and other masters of type and graphic design of Soviet time. ParaType became the first privately-owned type foundry in many years. A license agreement with Polygraphmash allows ParaType to manufacture and distribute their typefaces. Most of Polygraphmash staff designers soon moved to ParaType. In the beginning of 1998, ParaType was separated from the parent company and inherited typefaces and font software from ParaGraph. The company was directed by Emil Yakupov until February 2014. After Yakupov's death, Irina Petrova took over the reins.

    Products include FastFont, a simple TrueType builder, ParaNoise, a builder for PostScript fonts with random contours, FontLab, a universal font editor and ScanFont, a font editor with scanning module. Random, customized fonts. Multilingual fonts including, Latin, Cyrillic, Arabic, Greek, Georgian and Hebrew fonts for Macintosh and Windows.

    Catalog. Designers. Alternate URL.

    Famous typefaces by Paratype include Academy, Pragmatica, Newton, Courier, Futura, Petersburg, Jakob, Kuenstler 480, ITC Studio Script, ITC Zapf Chancery, Amore CTT (2004, Fridman), Karolla, Inform, Hafiz (Arabic), Kolheti (Georgian), Benzion (Hebrew).

    The PT Sans (Open Font Library link), PT Serif and PT Mono families (2009-2012) are free. PT stands for Public Type. Another download site. PT Sans, for example, consists of PTSans-Bold, PTSans-BoldItalic, PTSans-Caption, PTSans-CaptionBold, PTSans-Italic, PTSans-Narrow, PTSans-NarrowBold, PTSans-Regular.

    Other free ParaType fonts include Courier Cyrillic, Pushkin (2005, handwriting font), and a complete font set for Cyrillic.

    Type designers include Vladimir Yefimov, Tagir Safayev, Lyubov Kuznetsova, Manvel Schmavonyan and Alexander Tarbeev. They give this description of the 370+ library: The Russian constructivist and avant garde movements of the early 20th century inspired many ParaType typefaces, including Rodchenko, Quadrat Grotesk, Ariergard, Unovis, Tauern, Dublon and Stroganov. The ParaType library also includes many excellent book and newspaper typefaces such as Octava, Lazurski, Bannikova, Neva or Petersburg. On the other hand, if you need a pretty typeface to knock your clients dead, meet the ParaType girls: Tatiana, Betina, Hortensia, Irina, Liana, Nataliscript, Nina, Olga and Vesna (also check Zhikharev who is not a girl but still very pretty). ParaType also excels in adding Cyrillic characters to existing Latin typefaces -- if your company is ever going to do business with Eastern Europe, you should make them part of your corporate identity! ParaType created CE and Cyrillic versions of popular typefaces licensed from other foundries, including Bell Gothic, Caslon, English 157, Futura, Original Garamond, Gothic 725, Humanist 531, Kis, Raleigh, and Zapf Elliptical 711.

    Finally, ParaType offers a handwriting font service out of its office in Saratoga, CA: 120 dollars a shot.

    View the ParaType typeface library. Another view of the ParaType typeface collection. [Google] [MyFonts] [More]  ⦿

    ParaType News

    ParaType news, in Russian. De-Fis is ParaType's e-zine. Russian type glossary. [Google] [More]  ⦿

    ParaType Synonyms

    Font name equivalence list at Paratype with many of the Cyrillic fonts cross-referenced and grouped. [Google] [More]  ⦿

    Parmigiano Typographic System

    Italian type designers Riccardo Olocco and Jonathan Pierini reinterpreted Bodoni's work in 2014. Their Parmigiano Typographic System, which is named after Parma, the city where Giambattista Bodoni (d. 1813) established his printing house, attempts to revive, interpret and boldly extend Bodoni's work. There is not a single official original Bodoni---Bodoni's Manuale Tipografico contains many slightly different examples---, and so, the first challenge was to create coherent relationships between various optical sizes (Piccolo, Caption, Text, Headline) and weights. Besides the Parmigiano Serif family, Olocco and Pierini also developed the creative extension Parmigiano Sans. There are also Stencil, Typewriter, Egyptian styles, to name a few. Finally, the language extensions include Parmigiano Arabic (by Rana Abou Rjeily), Parmigiano Cyrillic (by Irina Smirnova) and Parmigiano Greek (by Irene Vlachou). The Parmigiano Typographic System was published in 2014 by Typotheque, but was developed a few years before that. [Google] [More]  ⦿

    Paul D. Hunt
    [Pilcrow Type]

    [MyFonts] [More]  ⦿

    Paul Glazkov
    [Level Up]

    [More]  ⦿

    Paul Gorodyansky

    Freeware Russian fonts and keyboard software. Lots of useful links and information. Russification page for Netscape/Windows. [Google] [More]  ⦿

    Paul James Miller
    [PJM Homebrew Fonts]

    [More]  ⦿

    Paul Kehra

    Designer at ACME of PostSoviet AF (2001, geometric sans family; with Cyrillic and Latin letters; weights called Culture, Free Latvian, Free Revolution, Ideology, Revolution).

    Klingspor link. [Google] [More]  ⦿

    Paul Kravchenko

    Australia-based designer of the Cyrillic/Latin font Ticker Tape (2001). [Google] [More]  ⦿

    Paul Kuznetsoff

    Designer of PaulBoxes (1993), a font modified in 1999 by Oleg Martos. Has Cyrillic glyphs too. [Google] [More]  ⦿

    Paula Nazal Selaive

    Santiago de Chile-based creator of Selaive (2011, Latinotype), a geometric monoline sans with an extreme hairline weight, a bold, and several curly alternates. She also made the curly swashy script typeface Dulce (2011; Dulce Pro appeared in 2013 at Latinotype). Dulce has slight teardrop terminals.

    In 2012, she and Daniel Hernandez created the Bosque family at Latinotype, which comes with six variants, Normal, Wood, Shadow, Wood Shadow, Dingbats and Shadow One. Julieta is a curly swashy thin monoline typeface family. Romeo (Latinotype) is a swashy curly condensed unicase typeface.

    In 2013, with Daniel Hernandez, she designed the layered type system Trend, also at Latinotype. See also Trend Rough (2014).

    In 2014, together with Daniel Hernandez, she created the upright good-spirited coffee shop script Showcase. It is morally supported by a set of Ornaments and a few Sans and Slab styles.

    Revista (2015, Paula Nazal Selaive, Marcelo Quiroz and Daniel Hernandez, at Latinotype) is a typographic system that brings together all the features to undertake any fashion magazine-oriented project. It has Revista Script (connected style), Revista Stencil, Revista Dingbats, Revista Inline and the didone Revista all caps set of typefaces. Revista won an award at Tipos Latinos 2016.

    In 2016, she designed the delicate display didone typeface family Camila (Latinotype), for which she was influenced by Coco Chanel.

    In 2017, Paula Nazal and Daniel Hernandez co-designed Trenda, a geometric sans family based on the uppercase of Trend. The rounded edge version of Trenda is Boston [corrections and review by Alfonso Garcia and Rodrigo Fuenzalida].

    In 2018, Paula Nazal and Daniel Hernandez co-designed the monoline connected script font Save The Date.

    Facundo (2020, Paula Nazal Selaive and Daniel Hernandez, at Latinotype) is a 14-style geometric sans family. [Google] [MyFonts] [More]  ⦿

    Paulo Silva

    Portuguese type designer in Porto, b. 1972, who created NewBodonesque (2004-2005) as part of Pedro Amado's Typeforge open source font project. Creator of Gentesque (2009), an Open Font Library family based on a scan of the Gentium family. Aka Nitrofurano.

    In 2009, he and others started work on OpenDinSchriftenEngshrift, an open source typeface that is as close as possible to the original DIN font done for the Prussian Railways. It was made with open source tools such as Inkscape and FontForge.

    In 2014, he published Cyrillic versions of Not Courier Sans (2008, Ludivine Loiseau).

    One download site. And another one. Kernest link. Behance link. Old Typeforge link. [Google] [More]  ⦿

    Pavel Bolotov

    Designer of the foliate typeface Leaf Cut (2016) and Stencil-And-Grunge (2017). [Google] [More]  ⦿

    Pavel Drakunov

    Art director and calligrapher based in Moscow. In 2017, he published the wonderfully dramatic free vector format semi-uncial calligraphic typeface Beresta for Latin and Cyrillic, and the free experimental slavonic emulation typeface Mart. Creative Market link. [Google] [More]  ⦿

    Pavel Efremov

    In 2014, Pavel Efremov, Danil Plyutenko and Aleksander Smolnikov co-designed the Praktik typeface during their studies at BHSAD in Moscow. [Google] [More]  ⦿

    Pavel Emelyanov

    Pavel Emelyanov (b. 1982, Kandalaksha, Russia) is a graphic designer, art director and web designer based in Murmansk. He is part of Ivan Gladkikh's typeType team.

    With Ivan Gladkikh, he designed the free font Prosto (2012), which covers Latin, Cyrillic and all East-European languages [see also Google Web Fonts].

    In 2018, Ivan Gladkikh and Pavel Emelyanov, with the technical assistance of Marina Khodak, Vika Usmanova and Nadyr Rakhimov, designed TT Commons. TT Commons is a universal sans family originally created for the branding and in-house use of TypeType, but it was finally released due to many requests. Pavel also helped with the design of TT Norms in 2018.

    In 2019, Pavel Emelyanov and Ivan Gladkikh released the 20-style geometric sans typeface TT Hoves, which is intended for use in architecture, design, industry, science, astronomy, drawing, high tech, research, space and statistics.

    Co-designer of TT Norms Std Condensed (2020: an 18-font family by Pavel Emelyanov, Yulia Gonina and the TypeType Team).

    In 2020, he was part of the Type Type team that designed TT Ramillas, a 20-style high contrast transitional serif by Pavel Emelyanov, Marina Khodak, Yulia Gonina and Kseniya Karataeva. TT Ramillas also contains variable styles.

    In 2021, Antonina Zhulkova, Pavel Emelyanov and Yulia Gonina (aided by Radik Tukhvatullin and Marina Khodak) co-designed the 32-style geometric sans TT Fors which comes in standard, display and variable versions. Still in 2021, she co-designed TT Commons Classic (a 24-style geometric sans by Ivan Gladkikh, the TypeType Team, Pavel Emelyanov and Marina Khodak; it includes two variable fonts). [Google] [MyFonts] [More]  ⦿

    Pavel Isaenko

    Art director in Moscow who created the circular typeface Garnitura Round in 2006 for Latin and Cyrillic scripts. [Google] [More]  ⦿

    Pavel Korneev

    Russian designer of Fontocide, the Cyrillic/Latin version of Berry Brook's grunge font Fontocide. [Google] [More]  ⦿

    Pavel Korzhenko
    [Vintage Voyage Design]

    [MyFonts] [More]  ⦿

    Pavel Kuzanyan

    Also written Kusanyan. Russian type designer, book designer, graphic artist, illustrator and calligrapher, who lived in Moscow, 1901-1992. Creator of calligraphic typefaces such as PT Decor (1979), which was digitized at ParaType in 1989 by Gennady Baryshnikov with the assistance of Vladimir Yefimov. He made the severe typeface Granit in 1966 at Polygraphmash type design bureau. He also made Mir, Pushkinskiy dekorativnyi (1970), Narrow Modern Antique (1958), and the text families Kuzanyan and Neva (digital version and bold styles were designed for ParaType in 2002 by Lyubov Kuznetsova). ParaType link. Scan of a Cyrillic alphabet from 1967.

    Klingspor link. [Google] [More]  ⦿

    Pavel Laulin
    [TBBS Portal]

    [More]  ⦿

    Pavel Michailovich Kuzanshn

    Russian type designer, b. 1901. Faces include Garnitura Kuzanshna (1961), Granit (1967), Neva (1970), Mir (1970), Puschkinskiy Dekorativny (1973) and Dekor. [Google] [More]  ⦿

    Pavel Nevsky

    Illustrator, graphic and type designer, and 3d modeler, b. 2001 in Moscow. He graduated from MGHPA (Faculty of Graphic Design of the Stroganov Academy) in 2018.

    In 2022, Matthew Grouss, Ksenia Churilova and Pavel Nevsky released the 16-weight constructivist typeface Nowar, a variable typeface that features Latin, Cyrillic and Hebrew scripts. [Google] [MyFonts] [More]  ⦿

    Pavel Pavlov
    [Studio Punkt]

    [More]  ⦿

    Pavel Potapov

    Omsk, Russia-based designer of the rounded sans stencil font Trans Siberian (2015; Latin and Cyrillic). [Google] [More]  ⦿

    Pavel Radok

    Russian designer of BB Play (2006, Art Lebedev). [Google] [More]  ⦿

    Pavel Skrylev

    Russian type designer who contributed to the GNU Freefont project: Cyrillic Extended-A (U+2DEO-U+2DFF) as well as many of the additions to Cyrillic Extended-B (U+A640-U+A65F). [Google] [More]  ⦿

    Pavel Storchilov
    [Airunreal]

    [More]  ⦿

    Pavel Tsakhilov

    Moscow-based designer of the hairline deco typeface Natalie (2019). [Google] [More]  ⦿

    Pavel Zertsikel

    Pavel Zertsikel (Rostov na Donu, Russia) has some nice calligraphic examples. [Google] [More]  ⦿

    Pavel Zyumkin

    Russian designer of the high-contrast deco typeface Zum-Zum (2020, Art Lebedev Studio). [Google] [More]  ⦿

    Peach Creme
    [Gulya Yeap]

    Gulya Ju or Gulya Yeap is a Kuala Lumpur, Malaysia-based designer who specializes in calligraphic, penmanship and wedding script typefaces. Her fonts in 2017: The Styled Edit, Maison de Fleur, Adora Boutron, Wild Moon, Oh Darling, Eternal Paris Script.

    In 2018, she designed Balzak, Faustine, Antoinetta (a wonderful wild calligraphic script), Breathe Poetry (boudoir calligraphy), Bonjour (a modern calligraphic typeface), Agonia Lyubvi (a calligraphic script for Latin and Cyrillic), Darling Modern, Floral Theory, Roseberry&Beatrice, Santorini (a luxury signature font), Blush Society, Sophia Ronald, Beloved Gray (a delicate swashy calligraphic script) and Floral Hearts.

    Typefaces from 2019: Modernista (script), Sugar Bade, Elegantessa, Haute Atelier, Hermitage (calligraphic script), Lolita (script), Blackstone (an inky script), Manuscript 1284 (fine art calligraphy), La Bohemia, Saint Gerald, Bellmont, Dostoevsky (calligraphy), Feminist, Bloom Pretty.

    Typefaces from 2020: Chic Societe, Abramo (Serif, Script), Houstonfield, Baltazak (an inky and wonderfully messy script typeface; this is just Balzak), Leyla Mark, Julie Edgar (a signature script), Printed Moments, Adorn Story (a delicate decorative serif and script pair).

    Typefaces from 2021: Palm Honey (an inky script), Romes (a stylish mini-wedge serif), Floristica (script), Chelsie Hilton (a signature script), Honey Vineyard (script), Chocolate Peaches (a scrapbook script), Luxe Atelier (a signature script), Printed Moments (script), Raks (a curvy display typeface), Petite Kisses (script), Palm&Honey (script), August Roma (a font duo).

    Typefaces from 2022: The Stylish Babes (a thin script), Autumn Melody (a wild script), Blackberry Macarons (a script family for Viennese coffee shops or quaint Cape Cod stores), Small Business Club (a fat finger script), Vintage Heirloom (a stylish wild penmanship script), Southern Margarita (a great wild calligraphic script), Maribon Script (a font dup consisting of a script and a fashionable all caps sans). [Google] [MyFonts] [More]  ⦿

    Pétur Helgason

    Icelandic linguistics professor at the University of Stockholm. Since 1989, he has made fonts for phonetic transcription and fonts for writing out Old Icelandic as it appears in Icelandic manuscripts. He also works with the Árni Magnússon Institute in Iceland, an institute devoted to the preservation and publication of Icelandic manuscript texts. With two other Icelanders, Jörundur Hilmarsson and Sigurdur H. Pálsson, he has made these fonts, which hopefully will soon be available for free download:

    • Reykjavik, and Akureyri: For the transliteration of Old Icelandic manuscripts.
    • I-E Font 1 through 4: For Indo-European comparative linguistics.
    • Stentoften: an advanced runic font.
    • Latinskij historik: A Cyrillic font that includes symbols useful for work in Slavic historical linguistics.
    [Google] [More]  ⦿

    Pedro Arilla

    Spanish type foundry, est. 2016 by Pedro Arilla (b. 1984, Ejea de los Caballeros), who runs Don Serifa, a beautiful and informative Spanish type blog, and is based in Zaragoza, Spain. Pedro studied graphic design at Escuela Superior de Diseño de Aragón. In 2018, he joined Fontsmith as type designer.

    His typefaces include the free didone typeface Valentina (2012).

    In 2016, he published the humanist sans typeface family Mestre, which, in his own words, is a German & Dutch-inspired geometric sans-serif.

    In 2017, Pedro graduated from the University of Reading with the multi-script typeface pair Rock (for Latin, Greek and Cyrillic) and Roll (for Latin, Arabic and Japanese).

    In 2018, Fontsmith published the mammoth sans family FS Industrie.

    Still in 2018, Arilla released FS Neruda at Fontsmith. This transitional storytelling text family is named after Chilean poet Pablo Neruda.

    The Lost & Foundry family of fonts was designed in 2018 by Fontsmith's designers Stuart de Rozario and Pedro Arilla together with M&C Saatchi London: FS Berwick FS Cattle, FS Century, FS Charity, FS Marlborough, FS Portland, FS St James. The campaign was developed by Fontsmith, M&C Saatchi London and Line Form Colour. The crumbling typefaces of Soho were recovered to be sold online as a collection of display fonts, to fund the House of St Barnabas's work with London's homeless.

    In 2020, Monotype released Bunbury, FS Rosa (a soft serif family influenced by Cooper Black and Windsor), FS Renaissance, a stencil serif typeface by Pedro Arilla and Craig Black.

    Behance link. Home page for Pedro Arilla. [Google] [MyFonts] [More]  ⦿

    Peliken
    [Ksenya Kuznetsova]

    Or Ksenia Kuznetsova. Moscow-based designer of the tribal patterned color typeface Aleut (2018) and the dry brush typeface Drum (2018).

    In 2018, she added the stars-and-stripes color font America, the color ransom font Anon, the color font Mexifont, and the children's book font Hands Up.

    Typefaces from 2019: Handsup (a children;s book color font), Catsme (a cat-themed opentype SVG font), Crochet (an opentype SVG font).

    Typefaces from 2020: Branch (a Latin / Cyrillic typeface whose Latin component could be used for slavonic emulation purposes). [Google] [MyFonts] [More]  ⦿

    Pen Art
    [Max Orloff]

    Russian site in Moscow. Ubo is the designer of the free font Soviet Stencil (2009). Alternate URL where we learn that Ubo is Max Orloff (b. 1984). [Google] [More]  ⦿

    Pepper Type
    [Oleh Lishchuk]

    Odessa, Ukraine-baded designer of the Peignotian sans typeface Alethia Pro (2016, Mint Type) for Latin and Cyrillic. In 2016, Oleh Lishchuk and Andriy Konstantynov co-designed the rounded scientific or technical paper font Midpoint Pro. In 2017, they published the 64-style geometric grotesque sans-serif typeface family Opinion Pro, which is characterized by its extra-large x-height. Deposit Pro (2017) is a wide slab-serif family with low x-height.

    In 2018, Oleh published Rolleston (a rigid 42-style serif font family with peculiar spiky serifs), the music poster Latin / Cyrillic typeface family Stereonic (Mint Type) that features multiline, stencil, inline, contour, overline and underline styles.

    He published the programming font Vin Mono Pro in 2018 at Mint Type. Vin Mono Pro is a squarish monospaced font family with extra-large x-height and rounded corners. Related typefaces include Vin Sans Pro, Vin Slab Pro

    Typefaces from 2019: Ditch (octagonal), Spaceland (a minimalist sans), Alethia Next, Mazzard (a 54-style geometric grotesque with three different x-heights), Mazzard Soft.

    Typefaces from 2020: Daikon, Monospaceland (a 21-style monospaced monolinear organic sans), Mantonico (a small x-height transitional text family), Ruberoid (described as a squarish geometric sans-serif family reminiscent of Italian designs of 1950s and 1960s, but featuring considerably rounder shapes to give it a more contemporary feel), Geraldton (a geometric sans family), Shtozer (a chamfered typeface family).

    Typefaces from 2021: Zerno (an 18-style flared lapidary typeface family), Golca (a 16-style geometric sans for Latin, Greek and Cyrillic), Steclo (an 18-style tall condensed minimalist sans). [Google] [MyFonts] [More]  ⦿

    Perestroika

    Several shareware Russian fonts archived here. [Google] [More]  ⦿

    Perestroika--Cyrillic Fonts

    Free downloads of five TTF fonts: Arial Relcom KOI-8 Cyrillic, ER Bukinist 1251, ER Bukinist KOI 8 Normal, ER Kurier, and ROL-KOI8/Courier. [Google] [More]  ⦿

    Perpetual Motion

    Perpetual Motion (Moscow, Russia) created some experimental geometric typefaces in 2013. [Google] [More]  ⦿

    Pesic
    [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, like nearly all his 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.

    Typefaces from 2016: Narration (a crisp serif font family), Tact Slab New, Train Of Thought (based on vintage and retro posters of the 19th and 20th centuries; with Ana Pesic), Tact New.

    Typefaces from 2017: Days Like This (2017, an angular handcrafted dadaist counterless pair of typefaces; with Ana Pesic).

    Typefaces from 2018: Glint (a redesign of the elliptical typeface BigBang). [Google] [MyFonts] [More]  ⦿

    Petar Ivanov

    Bulgarian illustrator and graphic designer in Varna. Creator of the multiline modular typeface Element (2011). [Google] [More]  ⦿

    Peter Bilak
    [Typotheque]

    [MyFonts] [More]  ⦿

    Peter Klassen

    Pete "The Hutt" Klassen (Germany) created the "Lord of the Rings" movie logo font, Ringbearer Medium (2002), as well as Aniron (2004, Latin & Cyrillic), an uncial typeface that was used in the credits of the same movie. See also here and here and here. There is also a small rune archive.

    The all caps Three Point Six Roentgen font (2019) is inspired by HBO/Sky's TV miniseries Chernobyl.

    Alternate URL. [Google] [More]  ⦿

    Peter R. Rudneff

    Designer of the Cyrillic font Myfont1 (1995). [Google] [More]  ⦿

    Peter Specht

    Designer who created the pixel grid typeface z001-rom (2008), Katerina (2010, almost LED face), Kinryu (2010), Kinryu No. 14 (2009), z001-rom_v10.4, Normal (2009, pixel face), Elektrogothic (2008, futuristic), Laurier Test (2009, serifed), Laurier No. 7 (2009, an extensive Unicode typeface that covers Latin, Greek, Cyrillic, most Indic languages, Thai, Hebrew, Lao, Tibetan, runic, Khmer, and mathematical, chess and other symbols), Kinryu No. 8 Regular (2009, an extension of Laurier towards Japanese), Clucky Duck (2008, rounded), and the double-scratch handwriting typeface Wild Freak (2008). [Google] [More]  ⦿

    Peter Zeenoviev

    Russian designer at FontStruct in 2008 of BFEksika and BF Mnemonika Regular (pixel face). In 2009, he made PZ Grotepix Book. Aka petrzee. Dafont link. [Google] [More]  ⦿

    Peter Zharnov

    Russian type and logotype designer. His fonts include EmpPix (2008) and Zhizn (2012, hand-printed).

    Dafont link. [Google] [More]  ⦿

    Petra Cerne Oven

    This Slovenian researcher in languages and typography obtained her Ph.D. at the Department of Typography and Graphic Communication from the University of Reading, UK, in 2004 on the topic of the development of special characters in Slavonic languages. She won a typographic excellence award from the Type Directors Club of New York in 1999. In 2008 she won an invited tender for visual identity of Ljubljana---World Book Capital 2010, and was recipient of The most beautiful Slovene book award in 2011. She is the ATypI delegate for Slovenia and was a graphic designer and teacher in Ljubljana. In 2008 she started to teach at the Academy of Fine Arts & Design at the University of Ljubljana, where sh is presently Associate Professor.

    At ATypI 2004 in Prague, she spoke about "The development of diacritical marks".

    With Paul Stiff, she emabarked upon a project called The optimism of modernity. It aims to tell the story of an incomplete and now almost forgotten project: that of modernity in British typography. This is envisaged as a matter not of style but of design as a visible form of social philosophy and as an optimistic claim on enlightenment. They wrote: The modern typographers included professional practitioners and academics; their reasoning was channelled into unpaid work in study groups and expert panels, working parties, and internally circulated policy papers. (Examples: in 1965 the Typographers' Computer Working Group, TCWG, was constituted; and 1966 saw the first meeting of the Working Party on Typographic Teaching, WPTT.) Some of their work emerged in British Standards on publishing and printing, in professional periodicals, in academic journals and monographs. But most of their invisible work has lain dormant since completion or suspension. This work is largely undocumented. Many of the principal participants are dead: Anthony Froshaug, Maurice Goldring, Ernest Hoch, Jock Kinneir, Herbert Spencer. We will interview surviving participants and establish facts about the existence and accessibility of documents. We hope for access to the papers of some British Standards panels; we will interview participants in the work of the WPTT and the TCWG, and other groups. We will establish registers of documents, chronologies of events, and network diagrams of participants. This work will lead to the writing and publication of an account of this brief enlightenment in British typography.

    Speaker at ATypI 2016 in Warsaw on Designing young readers through typography.

    Link at Reading, where she is a Research Fellow. LinkedIn link. Ljubljana university link with a full bio. Facebook link. Another URL. [Google] [More]  ⦿

    Phantom Power (was: Phantomphonts)
    [Stefan Claudius]

    German type designer Stefan Claudius (b. 1971, Essen) studied in Wuppertal and Essen (industrial design) and became an independent graphic designer in 2000. He runs Phantom Power and co-founded Cape Arcona (in 2002, with Thomas Schostok).

    In 2021, he designed CA Edwald (a 10-style serif in the Cooper Black and Windsor genre; with Thomas Schostok), CA Slalom Compressed, CA Slalom Condensed, and CA Slalom (an all-purpose 12-style grotesk for Latin and Cyrillic).

    In 2020, he released CA Mechano (an octagonal mechanical typeface family).

    Typefaces from 2019: CA Saygon Text (a grotesque family) and CA Saygon (with Thomas Schostok: a formidable experimental sans that evokes an internal clash between 90-degree angles and smooth arcs).

    Earlier typefaces: CA Rough Rider (2015, weathered typeface), CA Rusty Nail (2015, handcrafted vintage style), CA Segundo (2014), Yalta Sans (2013: Yalta Sans Pro was published by Linotype), Buenos Aires, Strong Man, Phantom, Play (Real, Roman, Wild, Script, Gothique Superfat (2009) and Dynamic, all at Cape Arcona), Cape Rock (a fat Clarendon, Umbrella Type; with Schostok), Cosmo-Pluto and Cosmo Saturn (2002, at Cape Arcona), CA Normal (2010, grotesque), CA Normal Serif (2011), CA Plushy (2007, a nice brush script at Cape Arcona), Styroscript (at fontomas.com), Caseprintitalic, Caseconected, Malermeister, CA Oskar (2012, originally a custom typeface for the international Traumzeit music festiva), CA Postal (2013), PhantomItalic, Product (stencil font), Untitled1, Pizzeria Hamburg, Dekoria (2006, a saloon font), CA Subbacultcha and CA Zaracusa (2006, a sans family at Cape Arcona), Minimal Punctuation, Futile extraoutitalic, Kalish-Normal, Malermeister (2001, white oblack stencil), PhantomItalic (2001, techno), Product (2001, a rough handpainted stencil), Melancholie4, Low (2001), CA Texteron (2010, an award-winning text font family), Koenigsbrueck (2002, handwriting).

    Stefan was at one point part of the Chank Army, where you can buy his ultra-thin font Sensuell Thin (2002, a gorgeous fashion mag hairline face, also at Cape Arcona).

    Designer of Dekoria (2004, Fountain).

    Designer of Melancholie at Fontomas.

    Designer at Volcano Type of Hermaphrodite (a sans with serif genes).

    Interview. FontShop link. Dafont link. Klingspor link. Fountain Type link. Linotype link. Linotype interview. [Google] [MyFonts] [More]  ⦿

    Phil Chastney
    [Amadeus Information Systems]

    [More]  ⦿

    Philatype
    [Kosal Sen]

    Kosal Sen (b. 1982, Philadelphia) is a graphic and identity designer, aka Koleslaw. He used to live in Philadelphia, but is now in Anaheim, CA.

    • His early typefaces, some of which were free, include the graffiti typeface Drupal (2005), Unnamed Sans (2009), "Kosal Says Hy" (sic, 2003), Olney (2010, a basic square sans), Gravity Sans (2010, slab serif; +GravityNova, GravitySupernova), Merge (2011, a plumpish round monoline sans family), Philly Sans (2008, comic book style face) and the comic book typeface Arfmoochikncheez (2006).
    • In 2009, he founded Philatype. At Philatype [Twitter link], he created Olney (2010; inspired by the Bank Gothic style; Olney Light is free), Ryno Slab (2009, macho), Markup (2007, a fresh hand-printed comic book style face), Gravity (2010, slab serif), Tryst (2013, transitional: free download), Lovato (2014, a 5-style wedge serif family with a free Lovato Light style), and Merge (2011, free). Merge Pro Greek and Cyrillic (2012) are co-designed with Elexei Vanyashin.
    • Creator of this heavy slab face (2006) in true Western wood type style.
    • Regalia (2014) is a heavy angular typeface.
    • Sen is a free 3-style geohumanist sans.
    • Toddle (2015): a sans modeled after Google's logo.
    • In 2016, he started work on Grotesque MetaUltra.
    • Regalia (2018). Inspired by Emigre's typeface Brothers.
    • Tylerwolf (2018). An architectural marker font.
    • In 2021, he released the octagonal typeface Brothers Circus.
    • Lansen (2021).
    • Bourse (2021). An all-caps wedge serif typeface based on the letters adorning the entrance of the historic Philadelphia Bourse building. Has a chiseled version as well. .

    Kosal was embroiled in a minor controversy. He claimed that Wilton's commercial font Shallow (2005) was based on Kosal Says Hi. Wilton subsequently removed it from its site.

    Also called Typophilesal Ko, and Koleslaw. 1001 Fonts link. Klingspor link. Behance link. Dafont link. Behance link. Fontspring link. Alternate URL. Creative Market link. [Google] [MyFonts] [More]  ⦿

    Philip Barton Payne

    President of The Payne Loving Trust, which owns Linguist's Software (Edmonds, WA). A selection of the fonts of "Payne Loving Trust" that are floating around in cyberspace includes AradLevelVI, CityBlueprint, CountryBlueprint, EuroRoman, EuroRomanOblique, Graeca, PanRoman, Romantic, RomanticBold, RomanticItalic, SansSerif, SansSerifBold, SansSerifBoldOblique, SansSerifOblique, SuperFrench, Supergreek, TbilisiCaps, TbilisiText, TbilisiText13215, Technic, TechnicBold, TechnicLite. Apparently, Linguist's Software calls upon a battery of nameless typographers for font design. They also sell LaserIPA fonts (IPARoman, IPAKiel, IPAKielSeven and IPAExtras). [Google] [More]  ⦿

    Philip Burok

    This Russian graffiti artist and illustrator created a stunning brush alphabet in 2012. [Google] [More]  ⦿

    Philip Garnham

    London-based Phil Garnham joined Fontsmith in June 2003 as designer to assist in the development and production of new alphabets for the Fontsmith font library. He is a 2002 graduate of Middlesex University. Many of his fonts are co-designed with Jason Smith. His typefaces:

    • FS Albert (2009). Codesigned by Mitja Miklavcic, Jason Smith and Phil Garnham, FS Albert supports Greek, Cyrillic, and Latin, covering 60 languages.
    • FS Aldrin (2016). A rounded sans.
    • FS Alvar (2007, Jason Smith and Phil Garnham). A modernist utilitarian octagonal headline font family inspired by the work of Alvar Aalto. Almost a stencil font.
    • Bjorn (2021, Monotype). A soft sans family in four styles.
    • FS Clerkenwell (2004). A slab serif typeface by Jason Smith and Phil Garnham.
    • FS Conrad (2009). A multiline display face.
    • FS Emeric (2013). A large humanist slightly angular sans family. Dedicated web site.
    • FS Industrie (2018). A 70-style techno / mechanical sans family by Fernando Mello and Phil Garnham.
    • FS Kitty (2007, Jason Smith and Phil Garnham). In the Japanese kawaii style.
    • FS Lola (2006). Originally designed for Wechsler Ross&Portet by Phil Garnham, it is advertised by Fontsmith as a transgender type.
    • FS Me (2009). A sans family designed for readers with a learning disability. It was co-designed by Mitja Miklavcic, Jason Smith, Emanuela Conidi, Fernando Mello and Phil Garnham. FS Me was researched and developed in conjunction with---and endorsed by---Mencap, the UK's leading charity and voice for those with learning disability. Mencap receives a donation for each font licence purchased.
    • FS Pele (2007). An ultra fat typeface by Jason Smith and Phil Garnham.
    • FS Sally (Jason Smith and Phil Garnham). FS Sally Pro won an award at Granshan 2016.
    • FS Silas Sans (2008, Jason Smith, Bela Frank, Fernando Mello and Phil Garnham).
    • FS Sinclair (2008). A rounded octagonal typeface by Jason Smith and Phil Garnham.

    He made a custom face for the Northern Ireland Tourist Board in 2010. View Phil Garnham's typefaces. [Google] [MyFonts] [More]  ⦿

    Philip Tagg

    Philip Tagg from the Faculty of Music at the University of Montreal has these fonts on his page: Athenian, Cyrillic, CyrillicBold-Italic, CyrillicBold, CyrillicNormal-Italic, MSReference1, MSReference2, SILDoulosIPA, SILManuscriptIPA, SILSophiaIPA, Translit98, Translit98Bold, Translit98BoldItalic, Translit98Italic, Treefrog, Webdings, GeographicSymbols-Normal, Keypunch-Normal, Keystroke-Normal, Kids-Normal. [Google] [More]  ⦿

    Philipp Caroline Neumeyer
    [Rüdiger]

    [More]  ⦿

    Philipp Fomin

    Russian graphic and type designer. His typefaces are mostly experimental and explore interesting paths: PF Square One (2009, +Rounded), PF Pixel, PF Beaten Pixel, PF Energetic (interesting high-legged pixel face), PF Alefbet. Alternate URL. [Google] [More]  ⦿

    Philipp H. Poll
    [Libertine Open Fonts Project]

    [More]  ⦿

    Philipp Nurullin

    Or Phill Nurullin. Designer from Saint Petersburg, Russia, specializing in type design, typography and web design, active at TypeType. His typefaces include TT Backwards (2017): an experimental script and grotesque font family inspired by the typographic scenery in the USSR in the late 70s and early 80s, designed by Tanya Cherkiz, Sergey Kotelnikov, Philipp Nurullin and the TypeType Team.

    In 2017, Vika Usmanova, Philipp Nurullin, Olexa Volochay and the TypeType Team designed the condensed modular geometric grotesk typeface TT Tunnels.

    In 2018, Phill Nurullin, Nadyr Rakhimov, Olexa Volochay and the TypeType Team designed the humanist sans typeface family TT Wellingtons, while Nadezhda Polomoshnova, Vika Usmanova, Phill Nurullin, Nadyr Rakhimov and the TypeType Team co-designed TT Jenevers. In 2018, Sofia Yasenkova, Philipp Nurullin, and Vika Usmanova designed the modern serif TT Tricks at TypeType. TT Tricks has many stencil styles.

    In 2018, Ivan Gladkikh, Alexander Kirillov, Philipp Nurullin, Vika Usmanova, Marina Khodak, and Nadyr Rakhimov published TT Severs. Still in 2018, Sergey Kotelnikov, Philipp Nurullin, Nadezhda Polomoshnova, Marina Khodak and the TypeType Team designed the not-quite-geometric 18-style typeface family TT Smalls, which is characterized by a small x-height and modulated joins. The TT Rounds family was reworked in 2018 into TT Rounds Neue by Ivan Gladkikh, Philipp Nurullin and the TypeType Team. TT Firs Neue (2018) is a cold Scandinavian sans family by Philipp Nurullin and Ivan Gladkikh, characterized by polyline early-Futura-like glyphs.

    Typefaces from 2020: TT Runs (a 20-style sports sans by the TypeType team in cooperation with Vika Usmanova, Antonina Zhulkova and Philipp Nurullin).

    In 2020, Philipp Nurullin and Konstantin Bulenkov published the free programming font family JetBrains Mono for Latin and Cyrillic. Google Fonts link. Fontsquirrel link. [Google] [MyFonts] [More]  ⦿

    Philippe Dabasse
    [Tstype]

    [More]  ⦿

    Photoshope.ru

    Medium-sized (ca. 730 fonts) archive for Latin and Cyrillic fonts. [Google] [More]  ⦿

    Picador
    [Maciej Wloczewski]

    Warsaw, Poland-based type designer who studied at Warsaw Academy of Fine Arts. His company is called Picador Studio. Some of his typefaces are also available from the new Polish type foundry Capitalics. Creator of the sans typeface Fela (2014). Fela was designed for books and posters for young children by employing simple handcrafted glyphs. Graphen (2014) is a handcrafted typeface family that seems destined for posters. Mato Sans is a large sans family for Latin and Cyrillic.

    Kaboom (2015) is an animal dingbat font.

    In 2016, he designed the high-contrast poster typeface family Artigua (with Wiktoria Galecka).

    Praho Pro (2017) is a high-contrast didone-inspired typeface family for headlines that mixes wedge serifs with traditional rectangular didone terminals. Covering both Latin and Cyrillic, it is part of Warsaw Types---a project based on Warsaw's local typographic heritage. The project, presented at the Museum of Praga, is a collaboration of 12 young Polish type designers.

    In 2018, he published the flared terminal typeface Picador Sans and the art deco typeface Disalina.

    Typefaces from 2019: Kotto Slab, Jagerlay (a branding font, slightly retro sci-fi, yet strong and angular).

    Behance link. Newer Behance link. Home page. Behance link for Picador Studio. [Google] [MyFonts] [More]  ⦿

    Pilar Cano
    [Letterjuice]

    [MyFonts] [More]  ⦿

    Pilcrow Type
    [Paul D. Hunt]

    Type and graphic designer from Joseph City, AZ. His first degree was from Brigham Young University. He was a type designer at P22/Lanston from 2004-2007. In 2008, he obtained an MA in typeface design from the University of Reading where he designed the typefaces Grandia and Grandhara (Indic). In January 2009, he joined Adobe just after Thomas Phinney left. He lives in San Jose, CA. His talk at ATypI 2014 in Barcelona was entitled The history of non-Latin typeface development at Adobe.

    He created Howard (2006, a digitization of Benton's Sterling), P22 Allyson (2006, based on Hazel Script by BB&S; a winner at Paratype K2009), the P22 FLWW Midway font family (2006-2018: Midway One, Two and Ornaments; based on the lettering found on the Midway Gardens working drawings of Frank Lloyd Wright from 1913---tall-legged and casual), Kilkenny (2005, P22), a Victorian-style font based on the metal types named Nymphic and Nymphic Caps which were designed by Hermann Ihlenburg in 1889. This typeface has almost 1000 glyphs and comes in OpenType format. It includes Cyrillic characters. Check the studies here and here. For another revival of Nymphic Caps, see Secesja by Barmee.

    Designer of the display typefaces Seventies Schoolbook (2004) and Interlocq (2004).

    Hunt also digitized Goudy's Village (2005). Village was originally designed by Fredric Goudy in 1903 for Kuppenheimer & Company for advertising use, but it was decided it would be too expensive to cast. It was later adopted as the house face for Goudy's and Will Ransom's Village Press. The matrices were cut and the type cast by Wiebking. The design was influenced by William Morris's Golden Type. This Venetian typeface was digitized by David Berlow (1994, FontBureau) and by Paul D. Hunt (2005). Hunt's version was eventually released in 2016 by P22/Lanston as LTC Village.

    He revived Hazel Script (BB&S), which he renamed Allyson (2005).

    Still in 2005, he created a digital version of Sol Hess' Hess Monoblack called LTC Hess Monoblack.

    In 2006, he published a nice set of connected calligraphic script fonts, P22 Zaner. Bodoni 175 (2006, P22/Lanston) is a revival of Sol Hess' rendition of Bodoni. He was working on Junius (2006), a revival/adaptation of Menhart Antiqua. Frnklin's Caslon, or P22 Franklin Caslon, was designed in 2006 by Richard Kegler and Paul Hunt in collaboration with the Philadelphia Museum of Art. This slightly eroded font set includes faithfully reproduced letterforms digitized directly from images of impressions made by Benjamin Franklin and his printing office circa 1750. It comes with a set of ornaments.

    In 2007, he used Goudy's 1924 typeface Italian Old Style in the development at P22/Lanston of LTC Italian Old Style. That typeface was remastered and extended to cover several languages by James Grieshaber in 2011.

    In 2014, Paul Hunt finished work on the wood type revival font HWT Bulletin Script Two (P22 & Hamilton Wood Type). This backslanted psychedelic typeface can be traced back to the wood type manufacturers Heber-Wells (Bulletin Condensed, No. 5167), Morgans and Wilcox (Bulletin Script No. 2, No. 3184), Empire Wood Type (1870: Bulletin Script), Keystone Type Foundry (1899: Bulletin Script), Hamilton (117), and Wm. H. Page & Co (No. 111 through No. 113).

    Free fonts at Google Web Fonts: Source Sans Pro (2012; Source Sans Pro for the TeX crowd), Source Code Pro (2012, a companion monospaced sans set by Paul D. Hunt and Teo Tuominen). Source Serif Pro, its Fournier-style relative, was developed at Adobe by Frank Grießhammer. They can also be downloaded from CTAN and Open Font Library.

    Fun creations at FontStruct in 2008-2009: Possibly (a stencil loosely based on the Mission Impossible series logo), Probably (same as Possibly but not stenciled), Med Splode, Arcade Fever, negativistic_small, New Alpha_1line, New Alpha_4line, New Alpha_bit, New Alpha_dot [dot matrix font], New Azbuka [after Wim Crouwel's New Alphabet from 1967], positivistic, slabstruct_1, slabstruct_too, structurosa_1, structurosa_bold, structurosa_bold_too, structurosa_caps, structurosa_faux_bold, structurosa_leaf, structurosa_script, structurosa_soft, structurosa_tape, structurosa_too, structurosa_two, Slabstruct Too Soft, Structurosa Clean Soft, Structurosa Script Clean, Structurosa Clean, Structurosa Clean Too, Structurosa Clean Leaf, Structurosa Boxy, Stucturosa Script Heavy.

    In 2010, he designed he programming font Sauce Code Powerline. Well, this is probably a renaming of Source Code by some hackers. Just mentioning that sauce Code is on some Github pages.

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

    Piotr Grochowski
    [Type Design]

    [More]  ⦿

    Pippi Draws

    Designer of the sans typeface Freedom (2017), which covers Latin and Cyrillic. [Google] [More]  ⦿

    piskunov

    The A920 font family (Cyrillic, truetype). And Bann920. [Google] [More]  ⦿

    Pitirim

    Cyrillic fonts Book Antiqua (Monotype) and Bruskovaya (Soft, 1992). [Google] [More]  ⦿

    Pixel Buddha

    Volgograd, Russia-based designer of the script typeface Alannah (2017) and the rounded all caps national park typeface Forestion (2021). [Google] [MyFonts] [More]  ⦿

    Pixelbrush

    Russian download site. [Google] [More]  ⦿

    Pixelogical (was: Unicorg)
    [Christos Chiotis]

    Korydallos and Athens, Greece-based designer who ran Unicorg and later Pixelogical. He created the free Latin handwriting font Unicorg Hand in 2014. His commercial typefaces include LK Cassandra (2016), LK Boreas (2016), LK Andromeda (2016), Zinon (2015, Latin and Greek), Zoe Handwritten (2015, Latin and Greek), Medina Brush (2015: brush face), Chapman Handwritten (2015, handcrafted, Latin and Greek), Hand Grunge Outline (2014), Hipsta (2014), Unicorg Comedy (2014, a comic book family in Latin, Greek and Cyrillic), Domenico Serif (2014), Strog Sans (2014), Olive (2014, thin hand-drawn script), Vindence (2014), and Agape (2014, a neo-grotesque sans advertised as an alternative for Helvetica).

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

    Pixelwerk (was: Sobaka Pavlova)
    [Natasha Anisimova]

    Sochi and/or Moscow, Russia-based designer of Stuva (2018: futuristic), Geometric Pattern (2016), the fine poster typeface Tall Stripes (2016, for Latin) and the colored EPS format deco typeface Five Decor (2016). [Google] [More]  ⦿

    PJM Homebrew Fonts
    [Paul James Miller]

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

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

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

    PK Silver

    Small Cyrillic font set: ArialMT, ArialNarrow, FranklinGothic-DemiCond, FranklinGothic-MediumCond. [Google] [More]  ⦿

    Plamen Atanasov

    Bulgarian designer with Stefan Stoychev of the notched geometric typeface Plam (2020) for Latin and Cyrillic. [Google] [MyFonts] [More]  ⦿

    Plamen Bliznakov's page

    Plamen Bliznakov's page on Glagolitic (Bulgarian) and Cyrillic fonts and font issues. [Google] [More]  ⦿

    Plamen Motev

    Type designer based in Sofia, Bulgaria. As a student working with Fontfabric in Sofia, Bulgaria, Plamen Motev designed the free circle-themed slightly condensed retro typeface Phenomena (done together with Radomir Tinkov) and the free 8-style narrow grotesque family Akrobat for Latin and Cyrillic in 2016.

    In 2017, Plamen Motev and Svetoslav Simov co-designed Uni Neue, a total remake of Fontfabric's earler typeface Uni Sans (2009).

    He was part of the Fontfabric team that designed the 521-font family Zing Rust, Zing Sans Rust and Zing Script Rust in 2017.

    Typefaces from 2018: Gilam (by Ivan Petrov, Plamen Motev and Svetoslav Simov: based on DIN, but more geometric and with obliquely cut terminals).

    Typefaces from 2019: Panton Rust and Panton Rust Script (by Plamen Motev, Stan Partalev and Ventsislav Djokov).

    Typefaces from 2020: Alkes (by Plamen Motev, Nikolay Petroussenko, Kaja Slojewska at Fontfabric: a 14-style text typeface for long passages, designed to harmonize between Latin, Greek and Cyrillic, and featuring a generous x-height, wide letter spacing, large open counters and angled stress contrast so that the typeface is quite readable and friendly).

    Typefaces from 2021: Silverstone (Display, Text) (2021). A custom type system for the Silverstone raceway and British Motorsports by Plamen Motev and Ventislav Dzhokov at Fontfabric.

    In 2022, Vika Usmanova and Plamen Motev co-designed the wayfinding sans family Ways at Fontfabric. Still in 2022, Plamen Motev and Pavel Pavlov released the vampire-serifed variable typeface family Gwen at Fontfabric. [Google] [MyFonts] [More]  ⦿

    Pokras Lampas

    Moscow based self-styled calligraffiti artist. He specializes in calligraphy on girls. [Google] [More]  ⦿

    Poliksena Stamatova

    Graphic designer in Sofia, Bulgaria, who created Poli (2010, an ornamental Cyrillic font) and Grotesk (2012, a Bulgarian Cyrillic sans typeface). Behance link. [Google] [More]  ⦿

    Polina Belenchuk

    During her studies at the British High School of Art and Design in Moscow, Polina Belenchuk designed the outlined display typeface Kapusta (2014). [Google] [More]  ⦿

    Polina Che

    Moscow-based designer of an ink splatter calligraphic (Cyrillic) typeface in 2018. [Google] [More]  ⦿

    Polina Larina

    Graphic designer and illustrator in Moscow. In 2016, she designed these semi-experimental typefaces for Laton and Cyrillic: Boyko, Pilma. [Google] [More]  ⦿

    Polina Loseva

    Moscow-based designer of the free Latin / Cyrillic uncial typeface Legend (2015). [Google] [More]  ⦿

    Polina Ocean

    During her studies in Saint Petersburg, Russia, Polina Ocean created the Latin / Cyrillic stencil typeface Perspectiva (2013). [Google] [More]  ⦿

    Polina Okean

    Saint Petersburg, Russia-based designer of the free semi-stencil typeface Perspective (or Perspectiva) (2015, Latin and Cyrillic). [Google] [More]  ⦿

    Polina Proday

    Moscow-based designer of a blackletter typeface in 2016. [Google] [More]  ⦿

    Polina Sadivska

    Ukrainian graphic designer who made the decorative Cyrillic typeface Forest (2019). [Google] [More]  ⦿

    Polina Sukhomlyn

    During her studies at the Lviv National Academy of Arts in Lviv, Ukraine, Polina Sukhomlyn designed the old slavonic display typeface Koromyslo (2018). [Google] [More]  ⦿

    Polina Titova

    During her studies in Vilnius, Lithuania, Polina Titova designed a modular stencil typeface for Latin and Cyrillic in 2017. [Google] [More]  ⦿

    Polina Tyurnikova

    Graphic designer in Moscow who created the eerie frilly display typeface Wildthings (2016). [Google] [More]  ⦿

    Polina Zimina

    Krasnoyarsk, Russia-based designer of Monster Alphabet (2015). [Google] [More]  ⦿

    Polly Khvostova

    Graphic designer in Samara, Russia, who deconstructed Georgia into a triplet of experimental typefaces in a project called Transformation (2013). She also made a set of icons called Zoo (2013). [Google] [More]  ⦿

    Polygraphmash

    Russian state foundry very active in the second half of the 20th century. MyFonts explains: "ParaType was established as a font department of ParaGraph International in 1989 in Moscow, Russia. At that time in the Soviet Union all typeface development was concentrated in one rather small group which belonged to a state research institute, Polygraphmash. It had the most complete and in fact the only one collection of Cyrillic typefaces. The collection included revivals of Cyrillic typefaces developed by Berthold and Lehmann type foundries established at the end of 19th century in St. Petersburg and artworks of Vadim Lazurski, Galina Bannikova, Nikolay Kudryashov and other masters of type and graphic design of Soviet time. ParaType became the first privately-owned type foundry in many years. A license agreement with Polygraphmash allows ParaType to manufacture and distribute their typefaces. Most of Polygraphmash staff designers soon moved to ParaType." Designers included Vera Chiminova, Igor Zhikharev, Mihail Grigorevich Rovenskiy, Svetlana Yermolaeva, Henrik Mnatsakanyan, Elvira Slysh, Vadim Vladimirovich Lazurski, Solomon Telingater, Elena Tzaregorodtseva, Emma Zakharova, Lyubov Alexeyevna Kuznetsova, Nikolay Nikolayevich Kudryashev, and Zinaida Maslennikova. [Google] [MyFonts] [More]  ⦿

    Popkern
    [Anna Seslavinskaya]

    Letterer, open source supporter, and visual designer from Russia (b. 1988) who is based in San Francisco. Graduate of BHSAD (the British Higher School of Art and Design) in Moscow, class of 2013. She founded Popkern. Her typefaces:

    • The hexagonal (student project) display typeface Sanity (2013). Free download.
    • The oriental simulation typeface Sangha (2014). free download. see also here. Extended to the free Sangha Kali in 2018. Both Sanity and Sangha cover Latin and Cyrillic.
    • The hipster typeface La Revolution Française (2015).
    • At Popkern, she published the oblique all caps sans typeface Twelkmeyer (2017). It was inspired by the pathos of the late revolutionary asceticism and architectural projects of V.F. Twelkmeyer. Dedicated site for Twelkmeyer.
    • Luftayah (2018).
    • The free blackletter typeface Health Goth. For a retail, version, see Type Tomorrow.

    Github link. Type Tomorrow link. [Google] [MyFonts] [More]  ⦿

    Posterizer KG
    [Lazar Dimitrijevic]

    Lazar Dimitrijevic, who set up the foundry Posterizer KG, was born in 1981 in Bajina Basta, Serbia, and lives in Kragujevac, Serbia. He obtained a Master of Graphic Design from the Department of Graphic Design, FILUM Kragujevac, Serbia. Presently, he is art director at Design Studio BOX.

    His first font, Art Decor (2009), is a brush typeface in the style of Treefrog. Koma Latin (2009) is a roughly outlined script face. Bajka (2010) is a wonderfully entertaining Baskerville family (Latin, Cyrillic, dingbats, ornamental caps) made for children's fairy tale books. Scarface (2010) is a sublime scratchy hand ideal for torture movies. Kaligraf Latin (2010) is a rough-edged calligraphic face.

    In 2012, he published Collage BB (hand-drawn didone), the heavy Egyptian typeface Posterizer KG at DizajnDesign. This font was created for Celebration of 5 years anniversary of Design Studio Box from the city of Kragujevac (KG), the industrial city of Serbia. Posterizer KG (+Rounded) contains all the Latin and Cyrillic glyphs. Posterizer KG Inline and Posterizer KG Rough (a letterpress emulation version) were added in 2013. Posterizer KG Sketch followed in 2015.

    Still in 2012, he designed the ink splatter typeface Oops, and the calligraphic typefaces Cal Humanistic Cursive (a renaming of Cal Humanist Corsiva, posibly under pressure from Monotype), Cal Humanist Minuscule and Cal Humanist Corsiva.

    He also creates stunning calligraphic works.

    Cal Roman Capitals (2012) is a Trajan typeface. In the same calligraphic series, we find Cal Rustic Capitals (2012), Cal Square Capitals (2012), and Cal Uncial (2012).

    Typefaces from 2013: Posterizer KG Sketch, Cal Expressive, Cal Bakerly (calligraphic script in the style of Arthur Baker), Cal Cursive Roman, Cal Rustic Black, Cal Neuland Bold (after the German expressionist typeface Neuland by Rudolf Koch), Cal Gothic Bastard, Cal Gothic Fraktur, Cal Fraktur Modern, Cal Rotunda, Cal Gothic Textura, Cal Carolingian Minuscule, Cal Carolingian Gothic, Cal Insular Minuscule, Cal Insular Majuscule, Cal Beneventan Minuscule.

    Typefaces from 2014: Cal Neuland Shadow, Mozzart Sketch (a decorative hand-sketched version of Mozzart Sans, a slightly rounded, neo-Grotesque corporate font, that was originally created for the Belgrade-based company Mozzart DDO; followed in 2015 by Mozzart Rough).

    In 2015, he designed Drina (brush typeface), My Way (a TreeFrog style handwritten face).

    Typefaces from 2016: Bali Beach (brush script), Omorika (a rustic handcrafted sketched serif typeface).

    Typefaces from 2017: Workshop Brush (dry brush), Workshop Marker, Workshop Pencil.

    Typefaces from 2018: Miro (after the lettering in Joan Miro's art), Ernest (based on the hand of Ernest Hemingway), Natron (rounded condensed sans; +Pictograms).

    Typefaces from 2019: My Tara (a thick brush script), Natron Rough, Kalli Hand, Kalli Sketch.

    Typefaces from 2020: Panorama KG (based on the principle nothing below the baseline), Hubble (a rhythmic display typeface with thorny serifs), Liceum (a rhythmic calligraphic script for Latin and Cyrillic), Cal Fraktur Brush, Cal Roman Black, Cal Roman Modern, Cal Uncial Rough.

    Typefaces from 2021: PKG Roman Capitals (Trajan capitals with a hand-drawn finish, for Latin and Cyrillic), Monodia (a slab serif and its glitched version). [Google] [MyFonts] [More]  ⦿

    Practic

    Russian foundry. Designers of exquisite ornaments and dingbats: Corners (1994), Lines (1994), Modern (1994), Vignette (1994), and Ornament 1 through 6 (1994). [Google] [More]  ⦿

    Precise Creative
    [Artem Velychko]

    Kharkiv and/or Lviv, Ukraine-based designer of the free neogrotesque typeface family Clinton (2017) and the commercial monospaced typeface family Dexford (2018) and the ultra black piano key / Wim Crouwel-style typeface Gereon (2017). [Google] [More]  ⦿

    Predrag Milivojevic

    From Belgrade, Predrag Milivojevic's free Cyrillic truetype font, CRenfrewItalic. Over here, he has C_Sveti_NIKOLA (1993). [Google] [More]  ⦿

    proc.com.ua

    Ukrainian font archive. [Google] [More]  ⦿

    Production First Software
    [John M. Fiscella]

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

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

    Proektor

    Russian design (and occasionally type) mag in which Olga Ru (St. Petersburg) is involved. [Google] [More]  ⦿

    Promodesign
    [Crystian Cruz]

    Promodesign is a Brazilian graphic design company of Crystian Cruz in Sao Paulo. Crystian Cruz and Beto Shibata used to run the Tipos Maléficos foundry. He is also associated with Agencia Africa, where he was type director at Africa Propaganda. Alternate URL. Since 1999 he has been working as art director for a major Brazilian magazines and as type consultant for publishing companies and design studios. Crystian is currently located in Newcastle, Australia. He specializes in commissioned type design.

    He obtained an MA in typeface design from The University of Reading (2009), based on his type family Quartzo, a typeface system for magazines. He lectured at IED Sao Paulo and is currently undertaking a PhD and teaching at the University of Newcastle, Australia. His fonts:

    • His award winning vernacular (wall writing or graffiti) font Brasilero (1998). First prize at the Tipografia Brasilis in display typography 2001. Released in 2003 as a free font. In 2009, he was still improving and extending Brasilero to include optional characters with typical mistakes or alternate forms used for graffiti. At ATypI 2009 in Mexico City, he spoke on the Brasilero project.
    • Cruz Sans (2002). Designed during a workshop led by Bruno Maag
    • Rodan QR (2002). A custom typeface for Quatro Rodas magazine.
    • Smoking (2004). A custom design for the headlines of Brazil's VIP magazine to accompany the text typeface Stainless designed by Font Bureau.
    • Quartzo (2009) comes in Display, Text, Pocket and Cyrillic sets. Its outlines are slightly "broken" to enhance readability at small sizes for magazines. Also, his use of Opentype features to make barchart and ratings characters is quite clever. It is a complete typeface system for magazines.
    • In 2014, Crystian Cruz and Marina Chaccur co-designed the sans custom typeface UOL for the Brazilian internet provider.
    • In 2003, Beto Shibata and Crystian Cruz co-designed a beautiful Casa Dings font for the Brazilian home decor monthly magazine Casa Claudia.
    • For Nova, the Brazilian version of Cosmopolitan, he designed Nova Dings (2003).
    • Acremist (2017, by Crystian Cruz and Milton Trajano) is a free cryptographic font based on glyphs created by Bruno Borges, whoch are in turn based Manual do Escoteiro Mirim, a collection of books for childen published in the 1970s.

    Behance link. Speaker at ATypI 2016 in Warsaw. [Google] [More]  ⦿

    Promoinweb

    Cyrillic font archive. [Google] [More]  ⦿

    Protimient.com
    [Ben Jones]

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

    His typefaces:

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

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

    Protium Design
    [Dusan Tomic]

    Podgorica, Montenegro-based creator of the free Neon Alphabet (2015) and the free elegant Latin / Cyrillic typeface simply called Cyrillic (2017). Behance link. Behance link for Dusan Tomic. [Google] [More]  ⦿

    Proxima Software

    Russian outfit that produced many fonts. Some Cyrillic fonts still at the site. They are selling FontExpert, a good Windows font manager. [Google] [More]  ⦿

    Przemyslaw Hoffer

    Przemec Hoffer is the Lodz, Poland-based creator of the hairline titling sans typeface Basicl (2012) and of Basic Title Font (2012, hairline caps).

    In 2013, he designed Madame Klara, Madame Deloblat and Madame Mary, a trio of thin slab serif typefaces for glamour magazines.

    In 2014, he made the octagonal typeface Mechanik. In 2016, he started work on Laktoza.

    In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms. In 2021, with Anna Wielunska added to the list of authors, it was added as a variable font covering Latin, Greek and Cyrillic to Google Fonts. Github link. [Google] [More]  ⦿

    pssr

    Phenomenally big TrueType archive for Cyrillic and joint Latin/Cyrillic fonts. Surrounding directories have tons of fonts as well. The number of fonts is estimated at about 4000. One set is the AG Fonts Collection, created by Andrejs Grinbergs. FTP source for 660 more Cyrillic truetype fonts. [Google] [More]  ⦿

    P.T. Shultz

    Lavra-Plain (a gorgeous art nouveau Cyrillic font), and Russian_NewRoman (by Ilya Talev). [Google] [More]  ⦿

    Purev Khishigbayar
    [Heshke]

    [MyFonts] [More]  ⦿

    Pyotr Bushuev
    [Naum Type]

    [MyFonts] [More]  ⦿

    Qalib Abassov

    Creator of the free font Dekas (2012, OFL). This looks like a copy of Geoffrey Lee's Impact (1965, Monotype), with multilingaul (Cyrillic, etc.) sets added in. I am not sure how kosher this all is. [Google] [More]  ⦿

    Qianqian Fang
    [Wen Quan Yi]

    [More]  ⦿

    Qianqian Fang
    [WenQuanYi Zen Hei]

    [More]  ⦿

    Qilli Design
    [Veronika Golovko]

    Veronika Golovko or Veronika Qilli (Qilli Design, Novorossiysk, Russian Federation) specializes in scrapbook fonts. She designed the brush typefaces Michelly (2015) and Jemmer (2015), and the hand-painted font Bellious (2015). In 2016, she designed Gentle Air, Clouds Caprice, Drawing A Life, Sorcery (a curly vampire script), Magic Snow (brushed), Joy In Night (Halloween font), Autumn Madness (perhaps for children's books), Belles Script, and the brush typefaces Adeline and Melony Script.

    Typefaces from 2017: Hello Love (with heart textutres), Douillet (sketched), Tiny Joy (textured), Playful (paper cutout), Magic Days (brush), Gentle Air (curly script), Mirabelle (calligraphic script), Francy, Celine Modern (artsy beatnik style), La Balade, Mirelia (brush font), De Plaisir Autour (sic) (counterless), Artless (connected script).

    Typefaces from 2018: Golden Day (monoline script), Only Yesterday, Summer Day, Spring Dreams (decorative caps), Just Step.

    Typefaces from 2019: Only Joy, Angel Star, Amber Day (brush font), Magnoly, Clouds Caprice, Spring Dreams, Be Amazing, Starry.

    Typefaces from 2020: Funny Christmas, Starry, Mirabelle Script, Golden Day. [Google] [More]  ⦿

    Quartet Systems
    [Eric Wannin]

    Eric Wannin's French commercial foundry with PC and Mac fonts for all European languages, most Indic languages, Cyrillic, Vietnamese, Amharic, Inuit, Slavonic, Greek, Tibetan, Thai, Lao, Khmer, Burmese, Cri. Hieroglyphic fonts too. Free font family: EuroQuartet. These fonts have one glyph only, the Euro symbol. It has some bar code fonts too.

    Multilingual fonts. They cover Braille, East European languages, Turkish, Baltic, Cyrillic, Icelandic and Greek. According to the Google] [More]  ⦿

    Quba Type (was: Graphic Studio 33)
    [Vladimir Platonov]

    Russian designer of Rubas (2020: octagonal, with eleven inline variants), Triagonal (2020: triangular, ocragonal), Tamitsa (2020: a squarish techno typeface), Falcon Sport (2020, +a squarish stencil), Kianda Pro (2020) and Kianda (2020: a squarish typeface).

    Typefaces from 2021: Eaglesport (an octagonal sports shirt font family). [Google] [MyFonts] [More]  ⦿

    Quentin J. Stavinsky
    [LCT (or: Atelier La Casse)]

    [MyFonts] [More]  ⦿

    quimic

    Cour Cyr and Times Cyr by Proxima Systems, 1994. [Google] [More]  ⦿

    Quinn Anya Carey

    Creator of the old Slavonic typeface Stefanit (1998), which can be found here. Dead link. [Google] [More]  ⦿

    R. M. Cleminson

    Creator of the old Slavonic typeface Dilyana (2008), which can be found here. [Google] [More]  ⦿

    RA
    [Raisa Abramova]

    Vladivostok, Russia-based designer of Orange Mochi (2021: a great informal handwriting script for Latin and Cyrillic), Salty Cracker (2021: an angular typeface true to its name), Basely Bagel (2021: a children's book typeface), Small Baguette (a funky hand-printed typeface), Mooncake (a monolinear display sans) (2021). [Google] [MyFonts] [More]  ⦿

    Rabbit and Pencil
    [Eleonora Petrova]

    Aka Ely Petrova, Travel Rabbit and Sunset Rabbit. Dumaguete, Philippines-based designer of the minimalist futuristic typeface Futare (2017), Chalkee (2017, a crayon font), the vector format Rope Alphabet (2017), and the handcrafted typeface Blacked Doodle (2017). She also designed several sets of icons, including a collection of cacti, Pretty Prickly (2017).

    In 2018, she released the brush typeface The Real Islander.

    In 2020, she designed Papercut (SVG format), the woolly handcrafted typeface Pinkment (for Latin and Cyrillic). Home page. Behance link. Home page. [Google] [More]  ⦿

    Rachmaninov

    Cyrillic fonts: AvantGardeCTT, AvantGardeCTT-Bold, AvGarRBold, AvGarR, BalticaCTT, BookmanCTT, BalticR, DecorCTT, DecR, FSetRBold, FSetR, HoeflerText-Ornaments, JournalCTT, JakR, AXP-Nota1 (music font by ParaGraph, 1994), ParsR, PragCRBold, PragCR, ProunRBold. All fonts except HoeflerText-Ornaments by ParaGraph, 1994. [Google] [More]  ⦿

    Radek Lukasiewicz

    Radek Lukasiewicz studied printmaking at Nicolaus Copernicus University in Poland. He worked as a graphic designer and type designer in London. In 2019 he moved to Reading to study for an MA in Typeface Design, and graduated there in 2020. His graduation typeface was Squeak and Roger. He writes: Roger is a text family that eludes the catego­risatioon of serif or sans. It is taking characteristics from both models to achieve optimal reading. The letter shapes have been developed with consideration for all scripts supported: Latin, Cyrillic, Greek and Arabic. Squeak is a sans serif typeface, tailored for captions, side notes, and short paragraphs that sets aptly in small sizes. After Reading, he started working for CAST and Three Dots Type.

    Other typefaces:

    • The text typeface family Calisia (2014, at T-26).
    • Chorda (Gestalten).
    • four typeface families at FontFont, published in 2020: FF Kaytek Rounded, FF Kaytek Headline, FF Kaytek Slab, FF Kaytek Sans.
    • Szymborska (2014). In 2014, he won the Type Szymborska competition in Poland with a typeface specifically designed for the poetry of Wislawa Szymborska.
    • Radius (2021, at Three Dots Type). A polygonal (and variable) typeface family.
    • Mora (2019). A sans and serif supertype family for Latin, Greek and Cyrillic.
    • Jantar Flow (2019-2021, CAST) and Jantar Sharp (2019-2021, CAST). Jantar Flow is a humanist sans typeface tailored for continuous reading for both printing and screen. With its large x-height and low contrast it also performs very well in captions, side notes, and short paragraphs set in small sizes. Jantar Sharp is a lapidary text family with flared terminals that eludes the categories of serif or sans.
    [Google] [MyFonts] [More]  ⦿

    Radim Pesko
    [RP Digital Type Foundry]

    [More]  ⦿

    Radomir Tinkov
    [RST Fonts]

    [MyFonts] [More]  ⦿

    Radostin Peshev

    Sofia, Bulgaria-based designer of these Latin / Cyrillic typefaces in 2015: ADEC (influenced by DIN and constructivism), Declare, Attorney Bold (slab serif), Sense (sans). [Google] [More]  ⦿

    Rainer Will
    [Will Software]

    [More]  ⦿

    Raisa Abramova
    [RA]

    [MyFonts] [More]  ⦿

    Rajesh Rajput
    [Nav Raw]

    [More]  ⦿

    Ralitza Sofronieva

    Sofia, Bulgaria-based designer of a neon style Cyrillic outline font (2016) and an outlined art deco typeface (2016). [Google] [More]  ⦿

    Ralph Cleminson

    Professor at the University of Portsmouth, UK. Designer of the old Bulgarian font Dilyana (2005), which can be downloaded here and here. [Google] [More]  ⦿

    Ralph du Carrois
    [Carrois Type Design]

    [More]  ⦿

    Ramiz Guseynov
    [TipografiaRamis]

    [MyFonts] [More]  ⦿

    Rapsound

    Russian creator of the font used in the Prince of Persia game by Ubisoft. [Google] [More]  ⦿

    Rasmus Andersson

    Swedish software expert who lives in San Francisco and who has worked for Dropbox, Facebook, Spotify, Lear Corporation and Spray. His own company is called Notion. His typefaces:

    • The Open Source screen typeface family Interface (2017), which builds on Christian Robertson's Roboto. It covers Latin, Greek and Cyrillic. It seems that this family was renamed Inter UI in 2019. Inter is now downloadable at Google Fonts. Github link, where one can find a variable font version. CTAN link.
    • Manix Sans (2019). A minor update of Inter UI.
    • Linik Sans (2019), a further update of Inter and Manix Sans.

    Open Font Library link. Github link. Linkedin link. Aka rsms. [Google] [More]  ⦿

    Rasul Hasanov

    Designer and illustrator in Baku, Azerbaijan.

    He created the elegant Retro Baku (2018; for Latin and Cyrillic), the free experimental font Delogy (2018), a Cryptocurrency Icon set (2018), the free modular typeface Protos (2017), free stone age script Gobustan (2016: named after the 40,000 year old rock art found in Gobustan), the free gaspipe font Big Font AZ (2012), Gazal (2012) and Sharq (2012, Arab simulation face). Home page. Behance link. [Google] [More]  ⦿

    Ray Larabie
    [Typodermic]

    [MyFonts] [More]  ⦿

    Raymond Bobar

    Raymond Bobar holds a BA degree from the University of Arts in Bucharest (Romania) and an MA degree in type design from the University of Reading, UK (2014). His graduation typeface at the University of Reading was the casual handcrafted display typeface Ivera (2014), which covers Latin, Greek, Cyrillic and Georgian. [Google] [More]  ⦿

    Razziatype
    [Mirco Schiavone]

    Mirco Schiavone (Switzerland) set up Razziatype. His fonts at Razziatype include RT Alias (pixelish) and Bowie. He co-designed the Cyrillic version of GT Walsheim (2009-2014) with Noël Leu (Grilli Type, Switzerland). In 2016, he created RT Dromo, which is based on double-gothic typefaces used for impact printing concert tickets during the 1980s.

    RT Rondelle was released in 2019. It is inspired by traffic signage typefaces such as the London Airport Lettering signage typeface Matthew Carter drew for Colin Forbes' signage system for the No. 3 Passenger Building of London Airport. Razziatype explains: Carter's design is based on Standard Bold (the English name for Akzidenz Grotesk) but with a lower uppercase and shortened ascenders and descenders, the typical characteristics of a signage typeface. This way the London Airport Lettering was able to achieve larger letterforms on a spatially limited sign area. Note the steep curve with which the descender of the lowercase y changes its direction and the lowercase g, which has a drastically thinned out descender. Other inspiration came from Marek Sigmund's 1975 typeface Polskie Pismo Drogowe for the Polish road signage. [Google] [More]  ⦿

    Rebecca Bettencourt
    [Kreative Korporation (was: Relay Fonts, or: Kreative Software)]

    [More]  ⦿

    Red Ink
    [Iryna Trigubova]

    Or Ira Trigubova. Kiev, Ukraine-based designer of these typefaces in 2017: the informal typeface School, Königreich (medieval blackletter calligraphic script), Sweetheart (a cutesy children's or Valentine's Day font), Coral Waves, Winter Story (handcrafted), Little Bee (+Sans: letters with bees buzzing around), Schönheit (connected script), Aisling (a monoline script), Rhapsody (connected script), Amanita, Star Dust (handcrafted), Urbano (dry brush), Tulip Garden, Meraki (a dotted ornamental sans).

    Typefaces from 2018: Paper Snow (a paper cutout font), Hunter House, Pop Art (including SVG fonts), Rivendell (uncial), Morning Tea, First Kisses (crayon SVG font), First Kiss (display sans), Summer Jelly (font duo), Fiesta (font duo: Script and Serif), Solomiya (tribal script for Latin and Cyrillic), Friday Feelings (font duo), Nightingale (calligraphy), Monogram (a set of five decorative caps fonts), Red Tomato (script), Alter Ego, Beloved.

    Typefaces from 2019: White Feather, English Channel (an elegant calligraphic font duo), Letter Home, Lettering Box, Rain Soul (SVG style), Rose Petals, Miracles (font duo), Tahiti Sand (a painted brush font in SVG format), Good Feeling, Little Girl, Stonehill, Broadway Lights (font duo), Love is Love (font duo), Summer Cat, Aztec Soul (a tribal / Aztec font).

    Typefaces from 2020: Just Imagine (blackletter). Creative Fabrica link. YWFT link. [Google] [More]  ⦿

    Red Studio
    [Alisa Katrevich]

    Moscow-based designer of Comics Font (2016) and Military Font (2016, a rough Russian military stencil typeface). All her fonts are in vector or image format. [Google] [More]  ⦿

    REECA: Russification of Macs

    [More]  ⦿

    REESweb (University of Pittsburgh)

    Lots of informative links related to Slavic languages, maintained by Karen Rondestvedt at the University of Pittsburgh. [Google] [More]  ⦿

    Remsei Kovács-Nóra

    Graphic designer and cartoonist in Budapest who created the spiky typeface Figura Cyrill (2012). [Google] [More]  ⦿

    Ren Font
    [Kazuo Kanai]

    Ren Font is a Japanese type foundry, est. 2001 by Kazuo Kanai, who won the first Morisawa type design competition back in 1983. In 2002, he also started Font Kai.

    At Morisaw, he published Solution Min-Sora, Solution Min-Moon, Musashino and Moaria.

    At Dai Nippon Pr iting, he designed Shuetai.

    His Type Bank fonts include TB Regular Script, Hon Mincho no Shingana, Fine Mincho and Floren. At Font Kai, his fonts include Gothis, Luna, Pickles and Sunikku. In 2021, he released the casual typeface WaonPro, which covers Japanese (including kanji) and Latin. The award-winning Waon was originally designed in 2005 and took two years to complete. Kanai writes: Each of the characters (kanji, hiragana, katakana, Latin letters, symbols, punctuation, application letters, and numbers) is designed to have musical characteristics, and the characteristics of each are harmonized perfectly. Waon means harmony.

    In 2021, he designed the casual Latin / Greek / Cyrillic typeface Amabile. [Google] [MyFonts] [More]  ⦿

    Rentafont
    [Evgeny Sadko]

    Rentafont is a font service font vending company run by Ukrainian designer and typographer Evgeny (Eugene) Sadko. Sadko studied graphic design at the Kharkov Academy of Design and Arts. At ParaType, he cyrillicized Baker Signet (Arthur Baker in 1965 for Visual Graphic Corporation; first digitized in the Bitstream library) in 2008.

    In 2019, he published the humanist sans Mars Type for Latin and Cyrillic.

    Rentafont specializes in Cyrillic typefaces, both commercial and free, by designers such as Vladimir Yefimov, Ivan Gladkikh, Alex Chekulaev, Manvel Shmavonyan, Isabella Chaeva, Alexander Tarbeev, Alexandra Korolkova, Natalia Vasilieva, Oleg Karpinski, Olga Umpeleva, Maria Selezeneva, Lyubov Kuznetsova, Sergei Shanovich, Gayane Bagdasaryan, Tagir Safayev, Sergiy Tkachenko, Alexander Kustov, Dmitry Kirsanov, Alexander Lyubovenko, Ilya Ruderman, and Isai Sloutsker.

    After the war broke out in 2021, Sadko understandably broke all contact with Russian designers. iFoundries and designers with which Rentadfont coope rates include Alexandra Alexandrova, Aliaksei Koval, Andrij Shevchenko, Andriy Dykun, Andriy Konstantynov, Ani Dimitrova, Anita Jürgeleit, Bohdan Hdal, Catherine Drozd, Daniel Turetskiy Denis Serebryakov, Denis Zhuk, Dmytro Kifuliak, Dmytro Rastvortsev, Edik Ghabuzyan, Eugene Sadko, Francisco Páez, Gennady Zarechnyuk, Gerard Unger, Héctor Barroso, Irene Vlachou, Irina Kudryavchenko, Iryna Dvilyuk, Ivan Kyosev, Jacklina Jekova, Jonathan Hill, Jose Scaglione, Kateryna Korolevtseva, Konstantin Golovchenko, Kyrylo Tkachov, Luis Bandovas, Lukyan Turetskiy, Maksym Kobuzan, Marchela Mozhyna, Maria Sokil, Maria Weinstein, Marina Mykhalska, Mariya Pigoulevskaya, Michael Rafailyk, Mirela Belova, Nicolien van der Keur, Oleh Lishchuk, Oleksandr Donchenko, Oleksandr Komyakhov, Oleksiy Popovtsev, Olexa Volochay, Olha Butyrska, Pablo Balcells, Pavel Pavlov, Plamen Motev, Rodrigo Araya Salas, Sergiy Rodionov, Sergiy Tkachenko, Serhii Makarenko, Simon Dunford, Svetlana Akatieva, Svetoslav Simov, Tatiana Lyashenko., Tetiana Ivanenko, Tom Grace, Toshi Omagari, Valentyn Tkachenko, Vasyl Chebanyk, Veronika Burian, Viktor Kharyk, Vitória Neves, and Yelyzaveta Chepugova.

    Facebook link. [Google] [More]  ⦿

    Renzhi Li
    [Belleve Invis]

    [More]  ⦿

    Repertorium Fonts
    [David J. Birnbaum]

    Project led by David Birnbaum at the University of Pittsburgh: The Repertorium of Old Bulgarian Literature and Letters was conceived as an archival repository capable of encoding and preserving in SGML (and, subsequently, XML) format archeographic, palaeographic, codicological, textological, and literary-historical data concerning original and translated medieval texts represented in Balkan Cyrillic manuscripts. The Repertorium project grew out of an initiative of David J. Birnbaum (University of Pittsburgh), Andrej Bojadiev (University of Sofia), Milena Dobreva (Institute of Mathematics, Bulgarian Academy of Sciences), and Anisava Miltenova (Institute of Literature, Bulgarian Academy of Sciences) in 1994, with early SGML development assistance from Berend Dijk and Harry Gaylord (both then of the University of Groningen). Sub-page with several free fonts for early Cyrillic: Menaion and Menaion Medieval (Victor Baranov), Lazov and Lazov Bold (Rumjan Lazov), Dilyana (Ralph Cleminson), Kliment Std (Sebastian Kempgen), Titus Cyrillic and Titus Cyberbit Basic. [Google] [More]  ⦿

    Revolver Type Foundry
    [Lukas Schneider]

    German type designer born in Frankfurt in 1973. He studied in Offenbach at the Hochschule für Gestaltung. He assisted Akira Kobayashi with some projects, and still lives in Frankfurt. In 2017, Lukas Schneider set up Revolver Type Foundry.

    At Typeoff.de, he created the Western billboard typeface Jeans (2004), AT Stencil (2004) and the kitchen tile typeface Disco3000 (2004). At the Hochschule, he created Gazoline, a grotesk face. Lukas Schneider has free-lanced for companies in Frankfurt as well as for the magazine form and for Linotype. He runs his own studio in Frankfurt, called Protago Graphic, and most recently started Snider Inc, also in Frankfurt.

    In 2007-2008, his masterpiece appeared in the FontFont collection: FF Utility, 15 styles of Bank Gothicalized alphabets specially made for information design. See also YB Utility Slab.

    He custom designed in 2006-2007, under the supervision of Prof. Johannes Bergerhausen and Prof. Ulysses Voelker at Fachhochschule Mainz the Plus family (for the Plus supermarket). In particular, one font is called Plus Exklusiv Medium. Another custom design is DRAFTFB for Eikes Grafischer Hort, a hand-printed typeface that covers Latin and Cyrillic.

    In 2013, he graduated from the Type and Media program at KABK in Den Haag. His graduation typeface was the delicate and quite readable text family Damien, which was created for editorial design.

    In 2016, Lukas published Expose at Indian Type Foundry. This 4-style sans typeface is "constructed" or "engineered" for use in headlines. Free version at Fontshare.

    Typefaces at Revolver Type Foundry: Damien (2017, in Display and Text subfamilies), Dinamit (2016: a terrific DIN Breitschrift, abandoned by the German DIN norming institute around 1936), Mondial Text (2016: a striking didone based on Hans Bohn's Mondial from 1930), Mondial Display (2016), Newson (a low contrast wayfinding sans with plenty of dingbats---hey, Frankfurt Airport managers, is anyone paying attention?).

    Designer of DTL Gros Canon at Dutch Type Library, which writes: The first part of the DTL [Gros] Canon Project included the digitization of three types by the Flemish Renaissance punchcutter Hendrik van den Keere (ca.1540-1580): Gros Canon Flamande (textura type, 1571), Gros Canon Romain (roman type, 1573), and Canon d'Espaigne (rotunda type, 1574). The latter is almost ready for release.

    Typecache link. Klingspor link. FontShop link. Type Network link. Old Snider Inc link. [Google] [MyFonts] [More]  ⦿

    Riccardo Olocco

    Prior to a four-year stint as a lecturer in typography at the faculty of design and Art of the free University of Bolzano (2009-2013), Italian type designer Riccardo Olocco freelanced as a graphic designer in Milan and elsewhere in Italy. He graduated in 2014 from the MATD program at the University of Reading, UK. In 2019, he obtained his Ph.D. at Reading's Faculty of Typography and Graphic Design. In his thesis, A new method of analysing printed type: the case of 15th-century Venetian romans, he focuses on 15th-century Venetian roman types, combining the use of bibliographical knowledge and analysis of letterforms.

    Riccardo writes on type design and type history. Besides his ongoing investigation into Francesco Griffo's roman types, his research with James Clough on Bodoni's types will be published by Codex. He is also a member of the Nebiolo History Project.

    Designer, with Michele Patanè, of the commercial caps typefaces Cordial Bloom (2009) and Cordial Cherry (2009).

    Together with Jonathan Pierini, Olocco reinterpreted Bodoni's work in 2014. Their Parmigiano Typographic System, which is named after Parma, the city where Giambattista Bodoni (d. 1813) established his printing house, attempts to revive, interpret and boldly extend Bodoni's work. There is not a single official original Bodoni---Bodoni's Manuale Tipografico contains many slightly different examples---, and so, the first challenge was to create coherent relationships between various optical sizes (Piccolo, Caption, Text, Headline) and weights. Besides the Parmigiano Serif family, Olocco and Pierini also developed the creative extension Parmigiano Sans. There are also Stencil, Typewriter, Egyptian styles, to name a few. The Parmigiano Typographic System was published in 2014 by Typotheque, but was developed a few years before that.

    In 2014, he was a founding partner in the new CAST type foundry in Bolzano. His typefaces at CAST include

    • Brevier (2014). This typeface was designed for setting long texts in small or very small type sizes---the name Breveir refers to 8 point size in ancient times.
    • Gramma (2014). A compact temporary sans with large x-height.
    • Zenon (2014, for Latin, Bengali, Greek and Cyrillic) and the sans version, Zenans. His graduation typeface in the MATD program at the University of Reading, UK. He writes: is a sum of different styles, from Francesco Griffo to Granjon, from modern typefaces to the first sketches of Times New Roman. Zenon is an apparently Renaissance revival with modernish proportions. A closer look reveals that it is a typographic potpourri. Zenon was published by CAST in 2015.
    • Arzachel (2017, CAST). A flared terminal humanistic sans.
    • In 2018, Luciano Perondi and Riccardo Olocco designed the newspaper and information design typeface Sole Sans. It was originally designed for the leading Italian financial newspaper Il Sole 24 ore.
    • In 2021, Miles Newlyn, Riccardo Olocco and Krista Radoeva co-designed New Spirit, a 10-style typeface that revives the comfort food font Windsor.

    Speaker at ATypI 2018 in Antwerp on the topic of Nicolas Jenson's roman type. [Google] [MyFonts] [More]  ⦿

    Richard A. Ware

    Richard Ware is the designer of the freeware fonts ArtScript, Bonnard, Moulin Rouge FLF (1992, Casady and Greene), MurmanskFWF, OdessaScript, PeignotCiril. Many are for Cyrillic. No web page, as far as I know. He was an in-house designer at Casady and Greene in the late eighties and early nineties. He died in 2008 or just before that. Apparently---but unconfirmed---he once announced that his fonts would be free after the closing of Casady and Greene. [Google] [More]  ⦿

    Richard Lipton
    [Lipton Letter Design]

    [MyFonts] [More]  ⦿

    Ries

    Small foundry in Moscow, ca. 1870. [Google] [More]  ⦿

    Rii Che

    Moscow-based designer of a Cyrillic potato font simply called Potato Font (or Kartofel'nyj in Russian) (2016). [Google] [More]  ⦿

    Rimma Fedetova

    Russian fashion photographer. Behance link. Designer of the modular papercut font Mozaika (2010). [Google] [More]  ⦿

    Ringlet T
    [Lilla My]

    Omsk, Russia-based designer of an experimental Latin typeface created by superimposing circles (2015), and Point (2015). She also created a set of icons and several color fonts in 2015, including the free EPS format typeface Colorplus and the colorful circle-based font Double (2015).

    Typefaces from 2016: Cooking Icons, Font Bracket. [Google] [More]  ⦿

    RIT Creative
    [Gatis Vilaks]

    Gatis Vilaks (RIT Creative, Riga, Latvia) created Weem (2016, free), Thin Line Font (2014), Sunn (2014, a free hand-printed typeface; with Krisjanis Mezulis), Reef (2014, a free rounded sans), and Modeka (2014, a free techno typeface in which elliptical curves are at war with octagonal forces).

    In 2015, he went commercial and published Sunn Pro (Latin and Cyrillic) and Summer (a handcrafted Latin / Cyrillic typeface co-designed with Evita Vilaka).

    Free typefaces from 2016: Vintii (with Evita Vilaks; see also Vintii Extended, 2017), Deepo, Alepo.

    Free typefaces from 2017: Cornera (hexagonal; free), Sunn Line Serif.

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

    Rita Kuchukbaeva

    Saint Petersburg, Russia-based designer of some handcrafted Cyrillic alphabets in 2016. [Google] [More]  ⦿

    Rita Nicolaeva

    During her studies in Moscow, Rita Nicolaeva created the experimental typeface Octopus (2014). [Google] [More]  ⦿

    Robert Jarzec

    Type, lettering, information architecture and user experience designer, who studied at Poznan Fine Arts University and Adam Mickiewicz University. He is currently teaching at Poznan Fine Arts University.

    Robert Jarzec designed these typefaces:

    • The bracketed serif typeface Metrum (2013).
    • For his MA diploma at the Type Design Studio, University of Arts in Poznan, under Krzysztof Kochnowicz and Viktoriya Grabowska, he designed the wonderful text typeface for Latin and Cyrillic, Talia (2016).
    • As part of the Warsaw Types project, he designed the partially free wayfinding typeface Rewir (2016).
    • In 2017, he released Data Sans for use in information design, data visulaization and infographics.
    • Site (2017). A 120-style sans designed to be legible iin information design and wayfinding applications, as well as on positive and negative screens.
    [Google] [More]  ⦿

    Robert Slimbach

    After a start at Autologic in Newbury Park in 1983, this prolific American master craftsman (b. Evanston, IL, 1956) helped pioneer digital type design at Adobe (which he joined in 1987) and created

    • ITC Slimbach (1987).
    • ITC Giovanni Book (1988).
    • Adobe Garamond (1989-1991).
    • Adobe Jenson (1996) and Adobe Jenson Pro. Combining Nicolas Jenson's roman designs with Ludovico degli Arrighi's italics.
    • Utopia (1989-1991) [Utopia Opticals was released in 2002].
    • Minion (1990-1991): Minion was first released in 1990, and became later the first Adobe Opentype font. It has support for Greek and Cyrillic, including polytonic Greek. Minion Cyrillic is from 1992. By 2021, this text typeface featured 32 styles, and was published as Minion3.
    • Myriad (1992, with Carol Twombly). Myriad Arabic and Myriad Hebrew were first published in 2011.
    • Poetica (1992). In 2010, Paulo Heitlinger compared Poetica, in its smooth perfection, with P22 Operina, which is closer to the original chancery models of the 20th century, and he thinks Poetica lacks the vigor and dynamism of the originals (and P22 Operina does not).
    • Sanvito (1993).
    • Caflisch Script (1993, not my favorite script).
    • Cronos (1996). Image by Jamie Groenestein). modeled after Kuester's Today Sans. Image of Cronos Pro Display.
    • Kepler (1996).
    • Warnock Pro (2000), which won an award at the Type Directors Club (TDC2) 2001 competition.
    • Brioso (2002). A calligraphic/renaissance family comprised of over 40,000 glyphs. Images of Brioso: A poster by Kristina Reinholds, a poster by Nick di Stefano.
    • Garamond Premier Pro (2005), based on originals found in the Plantin Museum in Antwerp. Weights include GaramondPremPro-BdItalic, GaramondPremPro-Bold GaramondPremPro-Italic, GaramondPremPro-Medium, GaramondPremPro-MediumIt, GaramondPremPro-Regular, GaramondPremPro-SbIt, GaramondPremPro-Semibold. Greek, Latin and Cyrillic are covered.
    • Arno Pro (2007: typophile discussion) is in the style of Adobe Jenson Pro. Review by Typographica Thomas Phinney: Arno is what you might call a modernized Venetian oldstyle. I think of it as having the same relationship to Adobe Jenson that Minion has to Garamond Premier.
    • Adobe Clean (2009). David Lemon: After more than 25 years in the type development business, Adobe decided to have its own corporate typeface family. The Creative Suite uses were early versions of a family designed by Robert Slimbach. Now that it has been officially adopted at Adobe, I can tell you about our latest design, called Adobe Clean. There is no plan to make it available for licensing, but you will be seeing more of it in Adobe materials and products as time goes on. Our initial question was "Why not just keep using Myriad Pro and Minion Pro?" These typefaces were designed to be timeless, and they are among our most popular families. But that second part points to the catch in this situation: Myriad, in particular, is used to represent many other companies, including businesses close to Adobe's (such as Apple and Verizon). Adobe wanted a fresh look that could remain unique. While some typeface designers do much of their work for corporate clients, this area was new to us. Robert&I met with the leaders of Adobe's Experience Design and Brand teams to develop a design brief. They wanted a 21st-century feel combined with an earnest readability. As the project grew, Christopher Slye led regular follow-up meetings with the client teams to keep them up to date and tease more input out of them. Robert's accustomed to aiming his work at the more general case, so it was an interesting challenge to have a very specific set of design goals. What he produced is as classic as all his other designs, but with an uncharacteristic blend of contemporary touches for on-screen rendering and a more progressive feel.
    • Adobe Text (2010), a transitional family included in the standard font set for Adobe Creative Suite 5. Adobe Text won an award at Modern Cyrillic 2014.
    • Adobe Hand (2012). Adobe Hand also won an award at Modern Cyrillic 2014.
    • Trajan Pro 3 (2011, with Carol Twombly) and Trajan Sans (1989). The Trajan Sans family comprises six weights, ranging from Extra Light to Black (matching the weight range in Trajan Pro 3), with language coverage for Pan-European Latin, Cyrillic, and Greek. Maxim Zhukov advised on the design of the Cyrillic portion of the family, and Gerry Leonidas advised on the Greek, while Frank Grießhammer provided technical production support. Trajan Sans won an award at Modern Cyrillic 2014.
    • Ryoko Nishizuka designed Ten Mincho (2017), a Japanese typeface in the Adobe Originals collection. Ten Mincho also features a full set of Latin glyphs, collectively known as Ten Oldstyle and designed by Robert Slimbach.
    • Pelago (2017). A semi-formal sans family that won an award at TDC Typeface Design 2018.
    • Acumin. A 90-style neo-grotesque typeface family.

    For Warnock Pro, he got an award at the Type Directors Club (TDC2) 2001 competition. In 1991, he received the Prix Charles Peignot for excellence in type design. Minion Pro Greek, Minion Pro Cyrillic&Greek and Brioso Pro won awards at the TDC2 Type Directors Club's Type Design Competition 2002. At TDC2 2006, he won an award for Garamond Premier Pro. Arno Pro won an award at the TDC2 2007 competition. In 2018, he received the Frederic W. Goudy Award for Typographic Excellence at Rochester Institute of Technology. Bio at Linotype. Minion Pro now ships with Acrobat Reader and covers all European languages, including Greek and Cyrillic.

    View Robert Slimbach's typefaces. FontShop link. [Google] [MyFonts] [More]  ⦿

    Roberto Alessi

    TeX and type softawre expert. Together with Bob Tennent and Nikola Lecic , he maintains Old Standard, a Unicode font for classical and medieval studies. Old Standard was orignally designed by Alexey Kryukov, and now exists in both Opentype and type 1 formats. Old Standard reproduces 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 is especially useful for academic texts that combine Greek, Cyrillic and Latin. CTAN link. [Google] [More]  ⦿

    Roberto Teixeira
    [Di Barros]

    [MyFonts] [More]  ⦿

    Robin Abreu

    French designer of the geometric / mechanical (variable) font Tosh (2022, Black Foundry), which covers Arabic, Latin and Cyrillic. [Google] [More]  ⦿

    Robot Smith
    [Evgeny Tkhorzhevsky]

    [MyFonts] [More]  ⦿

    RockBee
    [Ivan Vasilev]

    Graphic, web and typeface designer Ivan Vasilyev runs RockBee in Saint Petersburg, Russia.

    Creator of RockBee Monsters (2009), a bouncy ornamental hand-printed face. Other typefaces include RB Steel (2009, a modular metallic typeface), RB Teknokrat (2009), RB Teknon (2009, techno), RB Naftalin (2009, a free chiseled look face), RB Blockerter (2011), RB Bubble Flight (2012, bubblegum typeface).

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

    Rodrigo Araya Salas
    [Rodrigo Typo (was: RAS Design)]

    [MyFonts] [More]  ⦿

    Rodrigo Typo (was: RAS Design)
    [Rodrigo Araya Salas]

    RAS Design is Rodrigo German or Rodrigo Araya Salas, a designer from Santiago, Chile, b. 1987.

    Rodrigo Typo link. RAS Design link. Dafont link. Dafont linkNewer Dafont link. Behance link. Fontspace link. Fontsy link. Abstract Fonts link. Old URL.

    Creator of many hand-drawn free fonts.

    His typefaces from 2008 and 2009: Super (2009, for signage), Snow (2009), Mari (2009), El Cubano (2009, dingbats of typefaces), Mental Freak (2009, outline), Freak Animals (2009), Brigada Ramona Parra (2009, dingbats), Happie (2009, dingbats), Santiago Icono (2009), Icono Skate Dingbat (2009), 78 Skate (2009), The Sorden (2009), Estilo Urbano (2009, stencil), Tetris (2009), Techno (2009), Kona (2009, childish hand), Parody Logoskate (2009, dingbats), Fat Love (2009), La Rata Bizarra (2008), Tabla (2008), A Mano Alza (2009), Maribel (2009, handwriting), Stencil (2009), Rayando (2008, chalky writing), Klam, Loco TV, Monos Frekis (2008, funny dingbats), Tabla (2008), Happie (2009, more funny dingbats), Funny Icons (2009), Kiltro (2008, dog dingbats), Pokemona (dingbats), Maniatico (scratchy outlined hand), Bizarro 1 (outline hand), Chile (dingbats), Freaky (2008, dingbats), Esquiso (outlined handwriting), Crazy Ras (outlined and hand-printed), Skatelove (2008, dingbats), Los de Abajo (2008, dingbats), Logoskate (2008), David (2008, flowing ultra fat face), Destruccion (2008, grungy), Skateboarding (2008, ransom note face), Mike Valley (2008, skateboard dingbats), Rodney Mullen King (2009, skateboard dingbats), El Chavo del 8 (2008, scanbats), Grande Maradona (2008, scanbats), Saintfont (2009, hand-printed), New Tetris (2009), September 11 Icon (2009, a powerful set of dingbats), Icono BMX (2009, bike dingbats).

    Typefaces from 2010: Commando X (2010, a pixel dingbat typeface for computer games), Raya Irregular, Mari+David, Depressive Icon, Esquiso, Ego (2010), El Cubano (dingbats with typefaces), Barras Bravas (almost graffiti face), Globe Face (award winner at Tipos Latinos 2010).

    Fonts done in 2011: Logo Font, Buen Dia (ransom note face), Drugstore (blackletter), Condorita (dingbats), KingKöng (a nice fat letter comic book face), Rolo (fat letter face), Logo, Comando X (a pixelized dingbat typeface based on video games), Catbox (2011, fat and rounded), Joia (a thin octagonal face), Plop (a "hip hop font").

    Typefaces from 2012: Designio (rounded sans family), Nollie, Rocka (triangulated), Mosku (paint or blood drip face), Gigio Italia Bizarre (dingbats), Conny Rocket, Retro Hand Type (stitched), Wood (wood type simulation), Tritona, Nollie, Zdravo Maria (children's hand), Bordados (stitched typeface).

    Typefaces from 2013: Mexe, Polly, Pintanina (+Pro) (comic book caps face; the Pro version appeared in 2015), Giger Free (inspired by the paintings of H.R. Giger), Rango (fat hand-printed face), Smile (fat signage face), Pequena (a fat finger typeface for children's books; in Latin, Greek and Cyrillic), Children One, Lollapalooza, BRP (dingbats), Koni Black, Cusco, Rorschach, Children One (poster font), Varial Hellflip, Marty (hand-drawn poster font for Latin and Cyrillic), Barricada [not to be confused with the Barricada font by Sudtipos].

    Typefaces from 2014: Marty Spring, Munky Negra (a creamy signage typeface by Rodrigo Araya Salas and Raphael Rodriguez), Tobogan (ultra-black poster face), Lilirun, Peral, Zurita (brush face), Ruba, Street Animals (dingbats), NegritaPro (funky), Ruda (brush face), Muro (thick brush type), Cucho (signage typeface), BRC (hand-printed), Konga (a chocolaty creamy signage script originally from 2012), Pony, Guakala, Alboroto, Loyola (a cartoon script started in 2013, which won an award at Tipos Latinos 2018), Froh (an informal fat stencil), Paihuen Pro (Mapuche-inspired letters), Helenita (perhaps useful for children's books; see also Helenita Dos in 2017), Macabro (a great hand-lettered and weathered typeface family), Box10, Ria, Bototo.

    Typefaces from 2015: Mari+David, Good Friend (a primitive script), Galpon (a great vernacular signage and/or comic book typeface for Latin, Greek and Cyrillic; extended in 2020, with Bruno Jara Ahumada, to Galpon Pro), Smile Pro (a fat multi-style handcrafted poster family of exceptional beauty; together with Andrey Kudryavtsev), Ardilla Small (a rounded organic sans by Rodrigo Araya and Andrey Kudryavtsev), Konga Pro (based on his own creamy script, Konga, from 2012), Mari & David (poster typeface), Forest Puyehue, Skatista (handcrafted script and skateboard dingbats), Ruba Style, Janmeid, Forma (experimental, robotic), Australia Skate (vernacular type), Tobi Black (for comic books and children's books, +Greek, +Cyrillic), Tobi Dirt, Basural (experimental).

    Typefaces from 2016: Bowl, Aliengo (a fun Martian font family done with Andrey Kudryavtsev), Marty Two (a lovely handcrafted typeface, ideal for children's books), Minnie Play (a children's book typeface by Rodrigo Araya and Andrey Kudryavtsev), Camo (a layered typeface family by Rodrigo Araya and Andrey Kudryavtsev), Camo Dirt, Clarence World (with Andrey Kudryavtsev: a rounded cartoon font inspired by the logo of the Cartoon Network series Clarence; followed in 2017 by Clarence Two), Pequena Pro (+Cyrillic) (with Andrey Kudryavtsev), La Mona Kids, Konga Rock, Movskate (a skateboarding culture font by Rodrigo Araya, Juan Sepulveda and Patricio Gonzalez), La Mona Pro (72 styles: A feast of textures!).

    Typefaces from 2017: Hatter Display (a Halloween font), Hatter Display Pro (+extensive dingbats), Hatter Cyrillic Display, Macabro Danger (wall paint style), Checkin Script (with four sets of travel dingbats), Caleuche (a bold weathered typeface, with Andrey Kudryavtsev; but that coauthorship was altered in 2021 to Franco Jonas Hernandez), Pequena Neo, Bike Park, Bike Park Two, Kawaii RT, Clarence Two, Portena, Mi Cocina (restaurant icons and dingbats), Big Foot Forest, Clarence Cyrillic (by Rodrigo Araya and Andrey Kudryavtsev), Galpon Spring, Spike Bot (by Rodrigo Araya and Andrey Kudryavtsev), Forest Two.

    In 2018, Rodrigo Typo published these typefaces: Ding (a great fattish cartoon font, co-designed with Andrey Kudryavtsev and Franco Jonas; see also its extensions, Ding Pro (2019) and Ding Extra (2019)), Squick (a comic book / children's font family by Franco Jonas, Andrey Kudryavtsev and Rodrigo Araya), La Pica Pro (by Rodrigo Araya and Andrey Kudryavtsev), Catshape (dingbats by Rodrigo Araya), Tobi Pro (by Franco Jonas, Rodrigo Araya Salas, and Andrey Kudryavtsev), Spiro (a retro almost psychedelic lettering font based on the series The Boatniks; by Rodrigo Araya Salas and Andrey Kudryavtsev), La KonyBlack (by Rodrigo Araya and Andrey Kudryavtsev), Ruda Two, Nuby (Franco Jonas, Rodrigo Araya Salas and Andrey Kudryavtsev), Garita, Alquitran (based on pixacao), Alquitran Stencil and Alquitran Rust (by Francisco Paez, Rodrigo Araya Salas and Andrey Kudryavtsev), Rague Pro (a stone-cut font by Rodrigo Araya Salas and Andrey Kudryavtsev, which won an award at Tipos Latinos 2018).

    Typefaces from 2019: Hatter Halloween, Clarence Alt (a an almost bubblegum children's book sans by Franco Jonas, Rodrigo Araya Salas and Andrey Kudryavtsev), Nacho Rough, Naguel, Lolapeluza Two, Nacho (a Mexican party font by Rodrigo Araya and Franco Jonas).

    Typefaces from 2020: Minado Rough, Toretto, Diablito One (a two-font and four dingbat-font package by Rodrigo Araya Salas and Bruno Jara Ahumada), Clarence Inline (a plump informal typeface family by Rodrigo Araya Salas and Franco Jonas Hernandez), La Pica Bonus (a vernacular or supermarket style font and dingbat family by Andrey Kudryavtsev and Rodrigo Araya Salas), Ancoa Slanted (an angular display family in 15 styles; by Andrey Kudryavtsev, Rodrigo Araya Salas and Franco Jonas Hernandez), Ruina One (rough, distressed), fj Trance (a reverse contrast Egyptian by Rodrigo Araya Salas, Franco Jonas, Valentina Faundes and Jorge Morales Salas), Tunning (an all caps speed font), Skippie (a comic book family by Andrey Kudryavtsev, Rodrigo Araya Salas, Bruno Jara Ahumada and Franco Jonas, and four sets of dingbats including Skippie Monster Lucha Libre and Skippie Monster Halloween), Ancoa (an angular 19-style layerable typeface by Andrey Kudryavtsev, Rodrigo Araya Salas and Franco Jonas Hernandez).

    Typefaces from 2021: Rinno (a rounded geometric display family by Rodrigo Araya Salas and Franco Jonas Hernandez), Ripster, Elah (a children's book or supermarket font; with Andrey Kudryavtsev), Loyola Next (a 14-style sans by Rodrigo Araya Salas and Bruno Jara Ahumada), Clarence Pro (a vernacular supermarket font by Rodrigo Araya Salas and Franco Jonas Hernandez), Meche Pro (a 12-style ligature-rich poster typeface), Rambi, Willner (a 5-style display sans by Rodrigo Araya and Franco Jonas), Picaflor (a titling or children's book typeface by Rodrigo Araya Salas and Bruno Jara Ahumada), Picaflor Hand (by Rodrigo Araya), Picaflor Soft (a fine national park or children's book family of organic sans fonts by Rodrigo Araya Salas and Bruno Jara Ahumada).

    Vectorlove won an award at Tipos Latinos 2012. Mona won an award at Tipos Latinos 2014. View Rodrigo Typo's typefaces. [Google] [MyFonts] [More]  ⦿

    Roksolana Panchyshyn

    Designer of some handcrafted Cyrillic poster typefaces in 2015. [Google] [More]  ⦿

    Roland Hüse
    [Runes & Fonts (or: My Handwritings)]

    [MyFonts] [More]  ⦿

    Roma Lyubimov

    Russian poster designer. He created the alphading alphabets (fonts, I guess) Killer Instinct and Fury. [Google] [More]  ⦿

    Roma Voroneshski
    [Lebedev Studio]

    [More]  ⦿

    Roman

    Moscovite who made the retro font Director in 2010. Having Latin and Cyrillic characters, it was designed for movie credits and titles. [Google] [More]  ⦿

    Roman Alexeew

    Saint Petersburg-based designer of a 3d Cyrillic alphabet (2013) called Schloss. [Google] [More]  ⦿

    Roman Avdiushkin
    [Uniontype]

    [MyFonts] [More]  ⦿

    Roman Chernyshev

    Roman Chernyshev (Ariy Design) created the vector format typeface Engineer Technical Vector Font (2016). [Google] [More]  ⦿

    Roman Ershov

    Russian type designer. At the end of 2018, TypeType published TT Supermolot Neue (Roman Ershov, Marina Khodak, Nadezhda Polomoshnova, Ivan Gladkikh and the TypeType Team). [Google] [MyFonts] [More]  ⦿

    Roman Gornitsky
    [Temporary State (was: Abstrkt)]

    [MyFonts] [More]  ⦿

    Roman Kalabaev
    [Harmony Type (was: Roman Joki, or:(was: Holytramp)]

    [More]  ⦿

    Roman Korolev
    [Kaer]

    [MyFonts] [More]  ⦿

    Roman Maganet
    [Maganet]

    [MyFonts] [More]  ⦿

    Roman Popov

    Russian designer (b. 1980) who used FontStruct in 2008 to make the pixel typeface Lest. In 2010, he made the fat counterless typeface Fade. He lives in Moscow. Home page. [Google] [More]  ⦿

    Roman Postovoy
    [Supremat]

    [MyFonts] [More]  ⦿

    Roman Shamin

    Moscow-based information designer. For tables and information-packed presentations, he developed the free Latin/Cyrillic sans family Hattori Hanzo (2010, with Jovanny Lemonad). Typetype link. [Google] [More]  ⦿

    Roman Shchyukin
    [Zerotoohero]

    [MyFonts] [More]  ⦿

    Roman Sumtsov

    Moscow-based designer of the decorative inline (Cyrillic) typeface Amperiya Deko (2018) for IQ Goods. Behance link. [Google] [More]  ⦿

    Roman Type
    [Roman Wilhelm]

    Born in 1976 in Germany, Roman Wilhelm graduated in 2004 with a diploma related to a German-Chinese book project. He studied visual communication at the Burg Giebichenstein University of Art and Design Halle (Saale) in Germany and type design at the Academy of Visual Arts Leipzig under Fred Smeijers. He briefly taught type design at the Hochschule für Grafik und Buchkunst in Leipzig. Besides working for Berlin-Beijing-based studio INSIDE A Communications, he is a member of the Multilingual Typography Research Group at the Geneva University of Art and Design. A fluent Chinese speaker, his work focuses on cross-cultural mediation, Chinese-Western bilingual typography and typeface design issues. A frequent visitor of Asia, he has taught at various academies such as the Central Academy of Fine Arts in Beijing, the Hong Kong Polytechnic University School of Design, as well as the Seoul National University College of Fine Art. He is working towards a PhD at the Braunschweig University of Art.

    Roman is primarily a web, book and magazine designer, but in 2009, he did create Sung New Roman, a typeface for Latin-Chinese typography, for which he received the award Ars Lipsiensis in 2009.

    In 2013, he designed a wonderful hand-drawn Chinese typeface, Laowai Song. It has over 28,000 Chinese ideographs, supported by a perfectly matched hand-drawn roman.

    At 3type, he published Hong Kong Street Face (2015), a Hanzi font that reflects the character of Hong Kong.

    His typeface Koex Text (2016) aims to meet the requirements of style-switching typography, i.e., the use of a different style for imported words or special context material [examples of this include katakana in Japanese, or roman letters in blackletter text in 16th century Prussia for words of Latin origin].

    Designer of the octagonal / techno typeface family 946 Latin (2019), Pivnaya-Cyrillic Greek, Pivnaya-Arabic, Pivnaya-Hebrew and Pivnaya-Latin. Pivnaya, a geometric display typeface inspired by Bauhaus and featuring many triangles.

    In 2017, Roman Wilhelm and 3type, a Shanghai-based type foundry, released a six-style extension called Freundschafts Antiqua Neue, a revival and extension of the famous Freundschafts-Antiqua made between 1959 and 1962 by Yu Bingnan during his studies and research under Albert Kapr in Leipzig. 3type has also fashioned a sans-serif member of the Freundschafts-Antiqua Neue family.

    Speaker at ATypI 2012 in Hong Kong on multicultural typography. Speaker at ATypI 2016 in Warsaw on Code Switching, Multi-Style, Diglossia. Speaker at ATypI 2018 in Antwerp on the topic of multilingual typography in Belgium. [Google] [MyFonts] [More]  ⦿

    Roman Wilhelm
    [Roman Type]

    [MyFonts] [More]  ⦿

    Roman Yarosh

    A Moscovite who created a retro font for movie titles called Retrostylefont (2011).

    Another URL. [Google] [More]  ⦿

    Roman Yershov

    Designer of Molot (2008, with Jovanny Lemonad). This squarish grotesk was extended to Supermolot in 2013.

    Blog. Fontsquirrel link. Typetype link. [Google] [MyFonts] [More]  ⦿

    Romane Hupel

    During her studies in Paris, Romane Hupel designed a modular typeface (2017). In 2018, she added the Latin / Cyrillic didone typeface Garasir. [Google] [More]  ⦿

    Romina Mihaylova

    Sofia, Bulgaria-based designer of the Latin / Cyrillic typeface Cubano (2016). [Google] [More]  ⦿

    Romulo Gobira

    During his studies at USPM in Rio de Janeiro, Romulo Gobira designed the free art deco typeface Poste (2015, +Wired, +Outwired) and the free heavy squarish typeface Amrak (2015-2016).

    Typefaces from 2016: Moinho (a free ireegular handcrafted typeface), Kool (free), GOH (free beveled typeface), Grah (free, vector format).

    Typefaces from 2017: Moinho (free handwriting font).

    Typefaces from 2018: Prfecox (a spurred condensed stencil family).

    Typefaces from 2019: Macahe (a widely spaced polygonal slab serif), Hatchway (a 35-style monospaced Laatin / Cyrillic display typeface with rounded corners, suitable for headlines and short passages of text. Hatchway has a tall x-height and unusually short ascenders and descenders), Protocol (pixelated). [Google] [MyFonts] [More]  ⦿

    Ron Gilad
    [Delicious Type]

    [MyFonts] [More]  ⦿

    ROOH

    Cyrillic font archive: Alaruss, ArbatDi, Baby, C, Crystal, DSStamper, Decor, Diploma, Jester-Regular, Kuritza, Lida, Monolyt, Newzelek, Ninepin, SeedsCyr-Medium, Signature-Regular, Target, Tolstyak, Traktir, sofachrome. [Google] [More]  ⦿

    Rosa Type

    Russian foundry, est. 2011, located in the center of Moscow. Their typefaces are free and include ROSA Arion (2011, sans) and ROSA Verde (2011, another sans family). Arial and Verdana, one wonders? Anyway, the font families cover Latin and curillic. [Google] [More]  ⦿

    Rosetta Type Foundry

    Rosetta is an independent foundry, set up in 2011 by David Brezina, José Scaglione and Veronika Burian, with a strong focus on multi-script typography. It is headquartered in Brno, Czechia. Other designers include Anna Giedrys, Amélie Bonet and Titus Nemeth. They specialize in multilingual typefaces.

    Fonts at the time of the start-up include Aisha (Titus Nemeth: Arabic, Latin), Maiola (Cyrillic, Greek, Latin), Nassim (Arabic, Latin), Roxane (Devanagari, Latin), and Skolar (Cyrillic, Greek, Latin, Gujarati, Sanskrit).

    In 2011, they published Neacademia (by Sergei Egorov). Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century Italian punch-cutter Francesco Griffo da Bologna for the famous Venetian printer and publisher Aldus Pius Manutius. The family is designed for lengthy texts.

    In 2012, Arek (Latin/Armenian) by Khajag Apelian was published by Rosetta Type Foundry.

    Interview by MyFonts. [Google] [MyFonts] [More]  ⦿

    Rositsa Petrova

    Sofia, Bulgaria-based designer of a Peignotian Cyrillic typeface in 2015. Behance link. [Google] [More]  ⦿

    Ross Mills
    [STIX Fonts]

    [More]  ⦿

    Rossinsky Mihail

    Graphic designer in St. Petersburg, Russia. He made the counterless geometric fat typeface D23IGN in 2009. [Google] [More]  ⦿

    Rostype
    [Cristian Tournier]

    Type foundry and type cooperative in Rosario, Argentina, providing well-designed free fonts. The type director is Cristian Tournier. Others contributing include Alejo Bergmann, Mariano Diez, Denis Ignatov and Emmanuel Baldor. As of 2019, they have the following fonts:

    • Aldo Sans (2018, Cristian Tournier). Free.
    • Arturito (2019, Cristian Tournier). A free ink-trapped semi-slab octagonal typeface For Latin and Cyrillic.
    • Bulky (2017, Mariano Diez).
    • Bondi (2018, Alejo Bergmann).
    • Catallina (2019). A free all caps art deco sans typeface by Mariano Diez. Cyrillic characters by Denis Ignatov.
    • Cunia (2018, Alejo Bergmann).
    • Don José (2018, Cristian Tournier). A free heavy rounded all caps poster typeface.
    • Facón (2018, Alejo Bergmann).
    • Fuerza Auriazul / Elecciones 2018 (2018). A political 3d commissioned typeface.
    • Lkdown (2020). A free all caps COVID 19-inspired typeface by Mariano Diez. Cyrillic characters by Denis Ignatov.
    • MD Tall (2018, Mariano Diez).
    • NY Bricks (2019, Mariano Diez).
    • Potra (2018, Alejo Bergmann).
    • Rousseau Deco (2019, Mariano Diez).
    • Ramona (2020, Cristian Tournier).
    • Tablon (2020, Cristian Tournier). A free squarish font family based on a sign outside Club Matienzo in Rosario, Argentina.
    [Google] [More]  ⦿

    Roxane Gataud

    Type and graphic designer in Paris (b. 1991) who studied at Ecole Estienne in Paris (class of 2010), ESAAB Nevers (class of 2012), and finally at ESAD Amiens (class of 2014), where she was in the postgraduate program on typography and language. She won the TypeCon 2016 Catalyst Award. She intends to sell her typefaces vi 205 Corp. Her typefaces include:

    • Revival of a typeface by Jacques Devillers for a school project at ESAD Amiens in 2013.
    • Bely (2014). A text and display typeface family for Latin and Cyrillic completed during her studies at ESAD Amiens in 2014. It is characterized by rectangular didone slabs near the baseline and wedge serifs as eaves of some capitals. The high-contrast display style has a negative stress. The typeface was published at Type Together in 2016 and won an award in the TDC Typeface Design competition in 2017.
    • In 2016, as Black Foundry, Jeremie Hornus, Gregori Vincens, Yoann Minet, and Roxane Gataud (and possibly Riccardo Olocco) designed the free Google web font Atma for Latin (in comic book style) and Bengali.
    [Google] [MyFonts] [More]  ⦿

    Roy's Russian Language Resources

    Russian font links. Great jump page. [Google] [More]  ⦿

    RP Digital Type Foundry
    [Radim Pesko]

    RP is a small scale digital type-foundry established in 2009 by Czech designer Radim Pesko, who currently lives in London, and before that, Amsterdam. He is a regular contributor to various publications including Dot Dot Dot magazine. He currently teaches at Rietveld Akademie in Amsterdam and co-guides a project for ECAL/University of Art and Design in Lausanne. His creations:

    • Agipo (2011-2014) and Agipo Mono. A sans workhorse family.
    • A-Gothic (2020).
    • Boymans was originally designed in 2003 as part of the identity developed by Mevis & Van Deursen for Museum Boijmans van Beuningen in Rotterdam. Its primary inspiration was the typeface designed by Lance Wyman for the Olympic Games in Mexico City in 1968. Boymans responded to the identity's need for a flexible as well as playful design. Designed in ten weights, each font has three versions: single line, double line, and triple line. By combining, layering, or coloring these versions, Boymans can generate an endless number of variations.
    • Correspondance: a reconstruction from memory of the typeface created by Adrian Frutiger for the Parisian Metro signage system. Its shapes might resemble those of Frutiger's famous typeface Univers.
    • Dear Sir / Madam. Based on Eric Gill's signs and lettering for W.H.Smith (1903-1907).
    • F Grotesk, in 3 weights.
    • Fugue (2010, 2 weights): Fugue was originally designed for Wonder Years, a book published in late 2008 by Roma Publications to mark the tenth anniversary of the Werkplaats Typografie in Arnhem. It contains genetic material of Paul Renner.
    • Girott (2011-2016). A condensed sans.
    • Larish Alte (2006) was originally designed for the identity of the contemporary art space Secession in Vienna. Its primary inspiration was a series of prints designed by Rudolf von Larisch and published at the turn of 20th century. Larish Alte is not available for licensing.Larish Neue is a by-product of Larish Alte. This version resulted from an attempt to create a contemporary looking typeface with the DNA of the original. Larish Neue is available in a single weight. Its cursive is in process and is expected in 2010.
    • Lyno (2009-2012, Karl Nawrot and Radim Pesko). A straight-edged experimental typeface available in four styles, Ulys(ses 31), Stan(ley Kubrick), Jean (Arp) and Walt (Disney).
    • Merkury: Conceived in 2001, this is an easy-going rounded monoline family.
    • Mitim: a family of fonts characterized by its triangular serifs, developed in collaboration with Louis Lüthi and Stuart Bailey. Mitim is a work in progress exclusively designed for Dot Dot Dot magazine and is not available for licensing. It has many dingbats.
    • Paabo (2021). Squarish with bullet holes.
    • Septima, a typewriter or monoline face, has asymmetrical letter forms that are individually adjusted---according to the space they occupy in a glyph window---in order to achieve equal tone of letter as well as to create highly recognizable forms for each character. Septima is a monospaced font available in a single weight supporting twenty-three Latin and five Cyrillic languages. Septima Cyrillic was developed in collaboration with Roman Gornitsky.
    • Sol (2004). This 3d typeface was created as a continuation of Sol LeWitt's 1974 project entitled "122 variations on incomplete open cubes" which consisted of 122 views of unfinished cubes constructed from wooden planks.
    • Specta (2011-2013). Custom font for the Eastside Projects of Birmingham. Used in BBC headlines. Not for sale.
    • Union is a synthesis of Arial and Helvetica. Union SMA was developed for visual identity of Stedelijk Museum Amsterdam in 2012.
    • Friderick (2015). For the identity of the Fridericianum Museum in Kassel, Germany.

    Klingspor link. [Google] [More]  ⦿

    RR Donnelley

    Design studio. In 2015, Mateusz Machalski and RR Donnelley joined forces to produce the 42-style corporate superfamily Tupper Pro and Tupper Serif for Latin, Greek, Cyrillic, Hebrew and Arabic. [Google] [More]  ⦿

    RST Fonts
    [Radomir Tinkov]

    Radomir Savov Tinkov (RST Fonts) is a Bulgarian type designer. Creator of these typefaces:

    • The clean monoline sans typefaces Usumaru (2009) and Shinbi (2009).
    • RST (2009, techno).
    • Chibi (2009).
    • Toast (2009, ultra-black).
    • The military stencil Pondera (2009).
    • The fat counterless typeface Tenshu (2010).
    • The monoline extended sans family Cillian (2010).
    • The fat geometric typeface Tenshu Extra Black (2011).
    • The monoline sans face Selly (2011).
    • The headline sans Alasar.
    • Nexa Rust (2014, Fontfabric) 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.
    • Muller (2015, Fontfabric). This Hairline-to-Heavy 20-weight Latin / Cyrillic sans family was designed for universal use, and is a tad wider than normal. It is characterized by flush vertical or horizontal terminals. Muller Narrow was added in 2016.
    • In 2015, Ani Petrova, Svetoslav Simov and Radomir Tinkov co-designed the 214-style mammoth font system Intro Rust, a rough version of Fontfabric's Intro. The fonts are partitioned over Intro Rust, Intro Script, Intro Head and Intro Goodies.
    • Qanelas (2015). A 20-weight geometric sans typeface family (+Cyrillic). Made warmer and friendlier in the 2016 release of Qanelas Soft.
    • Sensa (2015, Radomir Tinkov and Svetoslav Simov) is a handcrafted 21-style family divided into the subfamilies Sensa Brush, Sensa Pen, Sensa Wild, Sensa Sans, Sensa Serif and Sensa Goodies.
    • Maya Script.
    • Alasar (2015). A narrow sans family.
    • Ridley Grotesk (2016). A modern sans serif workhorse family.
    • Gilroy (2016). A 20-style geometric sans typeface family.
    • In 2019, Svet Simov, Radomir Tinkov and Stan Partalev designed the 72-strong Noah family of geometric sans typefaces, which is partitioned into four groups by x-height from small (Noah Grotesque) to medium (Noah and Noah Text) to large (Noah Head).

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

    RSU

    Small Cyrillic font archive. Includes DSCenturyCapitals (2000, Dubina Nikolay). [Google] [More]  ⦿

    RTVH

    During his studies in Moscow, RT VH created several experimental typefaces such as Three-Sided Font (2014), Jungle Font (2014) and Faery Font (2013: Latin and Cyrillic). [Google] [More]  ⦿

    Ru Design

    Design site in Russian. Has font links for Cyrillic. [Google] [More]  ⦿

    Ruben Tarumian

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

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

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

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

    Ruble symbol

    A new symbol representing the Russian ruble will be launched in 2007. [Google] [More]  ⦿

    RU-BOARD

    Font information site, in Russian. [Google] [More]  ⦿

    ruCandy

    Moscow-based designer of these fonts in 2014: Funtastic, Silva, Big Three, Big Fish, Disco, Pirate Mars One. Graphicriver link. [Google] [More]  ⦿

    Ru-Eng Fonts

    Archive with Russian/English fonts: ArthurGothic (2006, A.L. Gophmann, art nouveau caps), CricketInlineShadow (1993, Type Market, athletic lettering), FDMedian (2002, Flying Dutchman), PaladinPCRusMedium (rotunda), Shablon (2007, rotunda), Stylo-Bold (Dubina Nikolay), WoodenShipDecorated (2006, Ivan Zeifert, a Showboat face), Zanesennyj (1999, V. Kovtun, snow-capped letters). [Google] [More]  ⦿

    RuFONT

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

    Rumi Kim

    Type designer associated with Heumm Design in North Korea. Creator of the monolinear hand-drawn typeface HU Cookie (2020, with Haerin Lee and ByoungHeon Park). HU Cookie covers Latin, Cyrillic and Greek.

    Typefaces from 2021: HU Dear Molly (an informal monolinear typeface), HU Big Round (a techno typeface by Rumi Kim, ByoungHeon Park and Gahee Kim), HU Rosette (a cursive display serif by Haerin Lee, Rumi Kim, ByoungHeon Park and Gahee Kim).

    Typefaces from 2021: HU Flat White (a tuxedoed sans by Rumi Kim and Jihye Lee), HU Mymyoh (a 6-style techno sans), HU Masking Tape Latin (a masking tape font for Latin, Greek and Cyrillic by Rumi Kim and ByoungHeon Park), HU Life Style (a six-style display sans by Rumi Kim, Yehyeong Lee and Jihye Lee), HU Basic Round (a simple sans by Rumi Kim and Yehyeong Lee). [Google] [MyFonts] [More]  ⦿

    Rumjan Lazov

    Designer of the old Bulgarian fonts Lazov and Lazov Bold (2005), which can be downloaded here. [Google] [More]  ⦿

    Rune Bjørnerås

    Norwegian designer of the free monolinear monospaced typeface Victor Mono (2019). It comes in seven weights and Roman, Italic and Oblique styles, and covers Latin, Greek and Cyrillic. Font Squirrel link. [Google] [More]  ⦿

    Runes & Fonts (or: My Handwritings)
    [Roland Hüse]

    Kazincbarcika, Hungary-based type designer Roland Hüse (b. 1980) sells his fonts through My Handwritings (Kazincbarcika, Hungary), which was renamed Runes&Fonts. His first font is Zuider Postduif (2012, an informal type family). Florida Shark (2012) is a free Death Metal or tattoo version of one of his commercial fonts. Tamiami (2012) is a headline typeface. Granny's Handwriting (2012), Script Demolition (2012), Sharon Lipschutz's Handwriting (2012), Isa Por Es Homou (2012) and Kinga's Handwriting (2012) are hand-printed typefaces. Napping Cat (2012) and Cubic Sub (2012) are angularly designed, while Mgla (2012) is round and plump. Greek Stone (2012) is a squarish Greek simulation face. On The Road (2012) is a textured typeface. Whirly Wood (2012), Hargita (2012, inspired by ancient Hungarian runes), Dreamcatcher (2012) and Bee Ridge Vantage (2012: see also Bee Ridge) are grunge typefaces. Individigital (2012, +Black, +Thin) is a techno set of typefaces.

    Typefaces from 2013: November Sky (art deco sans), Windy Wood, Cool Weekdays, Yellow Peas Light (clean thin monoline sans; free), Back To The Future 4, Yellow Peas Demo (hairline sans), Yellow Peas Bold, Pagan Winter (bilined), Beer Money (brush face), Poor Weekdays (+Serif), Hun Legion (inspired by ancient Hungarian runes), Freehand Roman, Esthajnal (inspired by ancient Hungarian runes), Buffalo Chicken (a connected script), Telihold.

    Typefaces from 2014: Sunny Winter (thin script), Sunny Merry Christmas (dingbats), Fox in the snow (connected hand), Dersu Uzala Brush (Asian brush), Good Karma (connected script), Stitch Warrior, Chickpeas, Jaspers Handwriting, Margarita in August, Wheatland, Slim Extreme (a gorgeous geometric hairline sans), Sparkler (a clean geometric sans), Factory Worker, Brushido (Japanese simulation font), Mojito in June, Mesa Grande, Altering The Future, Black Olives (thin calligraphic script), Hangyaboly (comic book font), Fecske (Peignotian sans), Windy Rain, Rainy Wind (calligraphic script), Comic Roman, Wizard of the Moon, Urban Stone (grunge version of Urban Tour), Urban Tour (avant garde sans), Wacky Sushi (hiragana emulation), Constrocktion (multilined typeface).

    Typefaces from 2015: She Always Walk Alone (handcrafted), Transatlantic Cruise (an outline script), Csemege (upright connected script), Milano Traffic (sketched typeface), Undergrunge Tornado (a great brush font, +Cyrillic, +Hiragana, +Katakana), Dirt Road, Kikelet, Kikelet Brush, Have A Great Day (rough brush script), Sorsod Borsod, City Birds (script), Loonaria, Texas Grunge (brush script), Solaria (minimalist techno), Biloxi Script, Chicken Fried Steak, Texas Grunge (brush face), Sharky Spot, Autumn Chant (connected script).

    Typefaces from 2016: Tribal Case (decorative caps), Shopping Script, Biloxi Calligraphy, Tribal Case (tattoo font), Ting Tang, Alaska Script, Take It Easy (fat finger font), Mi Amor (wide monoline handwriting), Spring Script, Fox in the Snow (connected school script), Kazincbarcika Script (a gorgeous calligraphic script).

    Typefaces from 2017: Interconnected, Bar Hoppers, Ciao Baby (retro signage script), De Rotterdam, Abigail Script.

    Typefaces from 2018: Christmas Wish Calligraphy, Christmas Wish Monoline, Chicago Moonshine (art deco), Poker in October (a layered color typeface), Personalitype (connected monoline script), Yellow Peas (sans), The Laughing Wolf (script), Italian Breakfast, Saturday Champagne, Teach (by Moataz Ahmed), Long Night (signature script), Relapse (rough brush script), Just Be (brush script), Air in Space (stencil), Beach Script, Interconnected, Beaumaris (slab serif).

    Typefaces from 2019: Christmas Wish (calligraphic script), Brachetto (a formal calligraphic typeface developed together with lettering artist Leah Chong), Mulled Wine Season, Colder Weather (spurred), Unlocking Your Dreams (brush script), Gold Under The Mud (a fine scratchy brush script), The Mumbai Sticker (script).

    Typefaces from 2020: Delugional, Roberts Script, Alone Together Script (a swashy tattoo script), Shopping Script (a signature font), Shape Variable Script (a variable script font that can be programmedi to react to music), Jam Session (blackboard bold), Un Jour Merveilleux (a script), Stars + Love.

    Typefaces from 2021: Long Story Short (a monolinear signature script), The Racoon Quest (a condensed all caps typeface), Delugional (Greek emulation), Neon Love (a monolinear neon sign script font released at Schriftlabor).

    Fontspace link. Dafont link. Creative Market link, Old URL. Home page. Another Fontspace link. Creative Fabrica link. [Google] [MyFonts] [More]  ⦿

    RusInfoSite

    Information and links on Russian fonts. Has information on TEX Cyrillic, AMS TEX Cyrillic, Cyrillic screen fonts for Windows and X-Windows. Page by Richard Matthews. Good FTP archive of Cyrillic fonts. [Google] [More]  ⦿

    Ruslan Khasanov

    Ekaterinburg, Russia-based designer of Sauce Type (2014: experimental), Lumen Type (2012, experimental). Other experimental alphabets include Volna (2014, free, Vekta (2013; not to be confused with Neil Summerour's Vekta, and nor renamed Vetka: a prismatic compass-and-ruler font ideal for op-art), Superbugs (2012), Sunbeam (2012), MicroType (2011) and Magma (2012).

    Behance link. [Google] [More]  ⦿

    Ruslan Khasanov

    Yekaterinburg, Russia-based graphic designer and illustrator. Behance link. He created the modul;ar display typeface Horn (2010). [Google] [More]  ⦿

    Ruslan Lobachev

    Russian graphic designer and occasional typographer. Behance link. [Google] [More]  ⦿

    Ruslan Simashev

    Mytishchi, Russia-based designer of the dymo label font Perelom (2013). In 2013, he published the (free) ornamental mechanical tool-themed typeface Flaner and the (free) techno typeface family Stringer.

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

    Ruspismo

    Russian site run by Serge V K, devoted to Russian. It covers the history of the Russian language, its paleography, the Cyrillic script, and the Glagolitic characters. It contains photographs of manuscripts, and has information on fonts made in Russia. [Google] [More]  ⦿

    russbacks
    [Felix I. Shor]

    SlavicSwissTT family in truetype by Felix I. Shor (1992). And the dingbats MTBWidgets by Asymetrix Corp, 1994. [Google] [More]  ⦿

    Russian alphabet

    Pronounciation of the Russian letters. [Google] [More]  ⦿

    Russian Alphabet

    [More]  ⦿

    Russian constructivists

    The Russian constructivists of the 1920s and 1930s include Alexander Rodchenko, Varvara Stepanova, Vladimir and George Stenberg and Gustav Klutsis. Their lettering is always geometrical. A typical Cyrillic family of typefaces was recreated by Tagir Safayev at ParaType in 1996-2002, called PT Rodchenko. [Google] [More]  ⦿

    Russian Fonts
    [Misha Panfilov]

    Misha Panfilov (Russian Fonts, St. Petersburg, Russia) created the free Cyrillic simulation Latin/Cyrillic font Tsarevich (2014). Later in 2014, he published Pribambas (free poster font), Shadow (a strong sans), Galaktika (a rounded sci-fi typeface), the free hand-drawn typeface Beryozki (Latin & Cyrillic) and the free poster typeface Fantazyor.

    In 2016, he designed the Latin / Cyrillic display typeface Ogonyok, the Latin / Cyrillic typeface Gora (+Stencil) and the free constructivist / art nouveau / pre-Petrine Latin / Cyrillic typeface Dobrozrachniy (with Aleksander Moskovskin).

    Typefaces from 2017: RF Rostin (monospaced, ideal for programming), RF Rufo (condensed sans), Krabuler (a fun free children's book or comic book font; free; by Cyril Mikhailov and Misha Panfilov), RF Barbariska (handcrafted and friendly).

    Typefaces from 2018: RF Tone (a geometric sans with short descenders), RF Dewi.

    Typefaces from 2019: RF Takt (a geometric sans).

    Behance link. Home page. Creative Market link. Behance link for Russian Fonts. [Google] [MyFonts] [More]  ⦿

    Russian Fonts and Encodings

    The coding schemes KOI-7 and KOI-8 (UNIX), Code Page 866 (DOS), and Code Page 1251 (Windows) are explained. Links and some fonts. [Google] [More]  ⦿

    Russian Fonts Freeware

    About ten nice Cyrillic truetype fonts, CP1251 encoding. [Google] [More]  ⦿

    Russian foundries, ca. 1870

    This list is extracted from the (German) text of Die Industrie Russlands in ihrer bisherigen Entwicklung und in ihrem gegenwärtigem Zustande mit besonderer Berücksichtigung der allgemeinen russischen Manufactur-Ausstellung im Jahre 1870 Industrielles Handbuch für das Gesammtgebiet des russischen Reiches, Band 1-2 (1872-1873, Friedrich Matthaï, Gera: Griesbach). The Finance Ministry reports ten foundries in 1870. A lot of type was imported from foundries like F. Flinsch (Frankfurt). The leading foundry in Russia was Osip Lehmann (founded in St. Petersburg in 1854). Also in St. Petersburg, one of the main printers there, Moritz Wolf, has started a foundry as well. There are other small foundries associated with the Academy of Sciences, with the Senate, with the Ministry of War, with the Office of the Emperor, and with the Interior Ministry, for example. Other small foundries include W. Besobrasow&Cie in St. Petersburg, and Iwan Glasunow (I presume also in that city). In Moscow can one find the oldest foundry in Russia (for Slavonic scripts), which is associated with the Sinodal printing company. Smaller foundries in Moscow include those of Ries and of Tschuksin. Mr. Steffenhagen runs a small foundry in Mietau. As Russia also comprised Poland then, we learn that Warsaw had three foundries, of which that of S. Orgelbrand (founded in 1836) was the largest and most impoortant. The other two were run by W. Schreiber and P. Swichotzki, respectively. Finally, the Alexander University in Helsingfors also had its own foundry, founded in 1842 and run by H. Hanemann. [Google] [More]  ⦿

    Russian Izhitsa
    [Oleg Motygin]

    Russian Izhitsa is a metafont developed by Oleg Motygin. [Google] [More]  ⦿

    Russian PostScript

    Notes on using Russian fonts in PostScript. [Google] [More]  ⦿

    Russian trueType fonts

    Cyrillic TrueType fonts from commercial sources (for free). Conveniently, one zip file per family. A similar archive is here. [Google] [More]  ⦿

    Russian TrueType Fonts Page

    The Russian versions of the Arial, Kurier, Baltica, Architect and some KOI8 families. [Google] [More]  ⦿

    Russian Unicode Fonts

    A directory with many Cyrillic Unicode-compatible truetype fonts. [Google] [More]  ⦿

    Russify everything

    Great pages on making your computer process Cyrillic letters. [Google] [More]  ⦿

    Russische Schriften

    A Russian book about Cyrillic typefaces published in 1940 by Buch- und Tiefdruck GmbH, Berlin. [Google] [More]  ⦿

    Russkie Shrifty

    Ukrainian font archive. [Google] [More]  ⦿

    Rustam Gabbasov
    [LetterBe]

    [MyFonts] [More]  ⦿

    Rüdiger
    [Philipp Caroline Neumeyer]

    Philipp Neumeyer is a ballet dancer and type designer who studied communication design at the Muthesius Academy of Fine Arts and Design Kiel (MAFAD), Germany, class of 2014. In the TypeMedia program at KABK in Den Haag, Phillipp Victoria (or Beatrix, or Caroline, or Bartholomaeus) Neumeyer designed the typeface Elma and Frederick (2015), about which he writes: Elma has a robust construction with chunky-esque serifs, subtle rough and slightly quirky details but resonates in a yet serious appearance that combines traditional elements with modern functionality.. After graduating from the KABK in 2015, he moved to Berlin and then to Copenhagen, where he worked for Playtype.

    As Rüdiger at Future Fonts, he designed the typefaces Arnold (2018: a monospaced sans for Latin and Cyrillic) and Rainer (2018: a compressed sans). In 2019, he released the condensed sans typeface Theodor for Latin, Greek and Cyrillic.

    In 2021, he published Norbert at Typemates. Norbert is an extensive grotesque with support for Latin and Cyrillic. Subfamilies include Norbert Schmal and Norbert Breit. Award winner at 25 TDC in 2022.

    In 2022, Philipp Neumeyer released Juneau, a friendly geometric workhorse sans for Latin and Cyrillic, at TypeMates.

    Future Fonts link. [Google] [More]  ⦿

    Ryoichi Tsunekawa
    [Dharma Type]

    [MyFonts] [More]  ⦿

    Ryota Doi

    Ryota Doi received his BA in design from Tokyo University of the Arts in 2013. In 2014, he graduated from the MATD program at the University of Reading. Upon earning his master's degree in 2014, he returned to Japan and began working as a type designer at Monotype Japan.

    Ryota's graduation typeface was Raylaw, which was specifically created for multilingula travel magazines. Raylaw has five Latin weights, and covers Greek, Cyrillic and Japanese (kanji, hiragana and katakana) as well. As a map font, it is particularly well executed, combining original elegance with legibility at small sizes.

    He was a member of the type design team at Monotype that created the Tazugane Gothic typeface in 2017. Designed by Akira Kobayashi, Kazuhiro Yamada and Ryota Doi of the Monotype Studio, the Tazugane Gothic typeface offers ten weights and was developed to complement Neue Frutiger. It is the first original Japanese typeface in Monotype's history.

    Speaker at ATypI 2019 in Tokyo on the topic of A Paradigm Shift: How Y. Nakamura's Na-ru and Go-na Influenced the Japanese Type Design Industry in the 1970s. Variable fionts published in 2022: Shorai Sans (a 10-style Latin / Japanese sans by Akira Kobayashi, Monotype Studio and Ryota Doi, designed as a companion typeface to Avenir Next), Shorai Sans Variable, Tazugane Gothic Variable, Tazugane Info Variable. [Google] [MyFonts] [More]  ⦿

    S. Bolotov

    Designer of the Cyrillic/Latin/phonetic font TimesNewRomanStar. [Google] [More]  ⦿

    S. Selivanovsky Foundry

    Extinct 19th century foundry based in Moscow. One of its Cyrillic didones designed between 1826 and 1834 was digitally revived in 2020 by Vincent Lacombe (Marginal Type) in 2020 as Selivanovski. [Google] [More]  ⦿

    Sabit Sugirov
    [Sabomaster]

    [More]  ⦿

    Sabomaster
    [Sabit Sugirov]

    Sabit Sugirov (Sabomaster) is from Almaty City, Kazakhstan, and was born in 1985. He designed >Sabomaster, a gorgeous Cyrillic/Latin display font (2003). He also made Sabomaster-Uh (2003).

    Alternate URL. [Google] [More]  ⦿

    Sacha Rein

    Ettelbruck, Luxemburg-based designer of Aldo (2005; updated to Aldo Pro in 2015) and Spastika (2006, octagonal) at the Trypo foundry in Brussels, which he set up with Gilles Pegel in 2005. Both graduated in 2005 from the ERG (Ecole de Recherche Graphique Brussels) and were born in Luxembourg. In 2006, he created the dot matrix-style typeface Calix (free), which is inspired by Arabic culture and pixel grids. It was intended for a cybercafe named prog, located at La Maison du Citoyen, Schaerbeek, Brussels.

    In 2015, Sacha Rein set up his own commercial type foundry.

    In 2018, he published Arlonne Sans Pro (a humanist sans) and Arlonne Serif. Arlonne covers Latin, Greek and Cyrillic and can also be purchased at Context Ltd. [Google] [MyFonts] [More]  ⦿

    Sadikh Seyidzade

    Baku, Azerbaijan-based designer of Hairline Delicious (2018) and Hexagon Icons (2018). He also designed the handcrafted Manuscript (2018) for Latin and Cyrillic. [Google] [More]  ⦿

    SAfonMT

    Monotype's Latin/Cyrillic SAFonMT in truetype. [Google] [More]  ⦿

    Salih Kizilkaya

    Ankara, Turkey-based designer. In 2019, he created these typefaces: the squarish SK Kape, the semi slab serif SK Karl, the sans typeface SK Rotun, the angular typeface SK Pila.

    Typefaces from 2020: SK One Block (a squarish typeface inspired by Arabic Kufic), SK 1980 Unicase (squarish, in seven styles), SK Reykjavik (16 slab and 16 geometric sans styles), SK Aristo (a 10-style monolinear sans with a flagging left wing in the lower case t), SK Falcon (a 24-style geometric semi-serif), SK Akropol, SK Payidar (a 16-style geometric sans for Latin, Cyrillic and Greek), SK Kalender (a monolinear display typeface), SK Bade (a mini-serif), SK Asya (a demi-serif typeface with flared, almost lapidary, terminals).

    Typefaces from 2021: SK Goldilocks (a 14-style grotesque), SK Merih (a 12-style nearly monolinear simple sans), SK Selanik (a 40-style monolinear almost humanist sans; for Latin, Cyrillic and Greek), SK Clarke (a 20-style display sans), SK Moreau (a 12-style geometric sans), SK Greenland (a 14-style humanist sans that has totally succumbed to hipsterism, especially in its coathanger f), SK Seren (a flared incised typeface family), SK Monaco (a 16-style humanist sans), SK Yok Deve (hand-printed), SK Barbicane (a monolinear organic sans), SK Boncuk (an eight-style industrial sans), SK Ilke Mono (a 22-style monospaced geometric sans, useful as a programming font), SK Zweig (a quirky 52-style serif family inspired by Stefan Zweig's work), SK Anatolia (a display font inspired by Anatolian culture), SK Gothenburg (a 48-style grotesk), SK Curiosity (a 40-style geometric sans). [Google] [MyFonts] [More]  ⦿

    Salika

    Commercial Khmer font producer. Salika Ltd is located in Tokyo. Their Khmer fonts are named Khm-1 through Khm-4. They also have fonts for Bengali, Burmese, Chinese, Latin, Hindi, Japanese, Korean, Mongolian, Nepali, Cyrillic, Tamil, Thai and Vietnamese. [Google] [More]  ⦿

    Sam Haddad

    Graphic designer in Donetsk, Ukraine, who created the spurred vintage Cyrillic typeface Haddad Regular in 2014. [Google] [More]  ⦿

    Sam Risoval

    Designer of the Cyrillic font Vladovskiy, which can be found here. [Google] [More]  ⦿

    Samuil Levich

    It was bound to happen. I am surprised that I had to wait until may 2016 before I saw my first Shit Font, but Samuil Levich (Chelyabinsk, Russia) obliged. [Google] [More]  ⦿

    Samvel Nazaryan

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

    Sana Svyazhin

    Graphic designer in Verkhnyaya Tura, Russia, who created the modular typeface Bossa Nova in 2012. [Google] [More]  ⦿

    SangHyeon Park

    Type designer associated with Heumm Design in North Korea. Creator of HU Bubble (2020, with Haerin Lee) and HU Wind Sans (2020: a 15-style sans for Latin, Greek and Cyrillic by Haerin Lee, SangHyeon Park and ByoungHeon Park).

    Typefaces from 2021: HU Kinderland (a fat finger font by SangHyeon Park and Beopho Choi), HU Battery (a sci-fi typeface by Haerin Lee, SangHyeon Park and Yehyeong Lee), HU Crayon Doodles (by SangHyeon Park, Yehyeong Lee and Jihye Lee). [Google] [MyFonts] [More]  ⦿

    Sanja Grbic

    Graduate of the Faculty of Applied Arts in Belgrade. Creator of the Cyrillic decorative headline typeface Trsoje (2012). [Google] [More]  ⦿

    Sarah Kremer

    Sarah Kremer (b. 1987) is a French graphic and type designer originally from the region of Metz. Graduate of ESAD Amiens (France), 2010-2012, and of ANRT in Nancy under the supervision of Thomas Huot-Marchand, 2012-2013. Between 2014 and 2018 she completed a doctoral research project at the Atelier national de recherche typographique (ANRT, Ensad Nancy) in partnership with the linguistics research group Analyse et traitement informatique de la langue française (Atilf, CNRS, University of Lorrraine). Her research looked at the role of typographic formatting in the development of a lexicographic project.

    Her graduation typeface at Amiens was Bartok (2012). This is a warm typeface with a plump and lasting bouquet. It has four styles: Bartok Book combines references from humanist typography, Bartok Italic uses structures from Chancery Calligraphy, and Bartok Highlight and Poster use block letters inspired by 19th century grotesque typefaces used in advertising. Bartok covers Cyrillic. [Google] [More]  ⦿

    Sarah Lazarévic

    Ex-student at the Ecole Estienne in Paris (b. Estonia) whose diploma work consisted of the creation of typeface in the style of a first century typeface found in an archeological site near Millau in France. Graphic and type designer in the 15th arr. in Paris. Her early typefaces:

    • Métallo (2005): a futuristic text family.
    • Vitalis (2005): titling stone-carved typeface in the style of a first century typeface found in an archeological site near Millau in France.
    • Néva (2005): a Cyrillic didone face.
    • Pop (2005).

    Designer of the Fournier era family Rameau (2011, Linotype). Linotype writes: Sarah Lahzarevic is a graphic designer and typographer. She has worked for ten years with the photographer Max Yves Brandily. She is now working as a freelance graphic and type designer for clients such as the French Post Office (La Poste), Millau City Council and the International Francophone Organisation. She teaches graphics and typography at the Ecole Professionnelle Supérieure d'Arts Graphiques et d'Architecture de la Ville de Paris (Graduate Training School in Graphic Arts and Architecture in Paris). She is also developing her own work in copper-plate engraving. She derived the italics of Rameau from the manuscript of the opera Les fêtes de l'hymen et de l'amour, the music for which was composed by Jean-Philippe Rameau in 1747. Linotype: In the 18th century, musical compositions were published in the form of impressions from copper plates that had been hand-engraved in contrast with books and other texts, which were printed from moveable lead type. The italic letters of Rameau include many ligatures and are thus typical of the engraving style of the period.

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

    Sardiez
    [Sergio Ramírez Llamas]

    Sardiez is a foundry located in Medellín, Colombia, and is run by Sergio Ramírez (b. 1988). He created the ornamental stencil typeface Sra stencil (2008), which was inspired by Colombian colonial times. His typeface Sister won an award at Tipos Latinos 2008 in the non-text typeface category. Trochera (2009) is a Tuscan face. Systopie (2010) is a techno family.

    Codesigner with Manuel Ernesto Corradine of Canciller (2012), an italic roman script.

    At Tipos Latinos 2012, Sergio Ramírez won awards for the following typefaces: Papermov (in the text category) and Panclasta (in the display category: co-designed with Carlos Fabian Guerrero).

    Neuron (2012) is a fantastic 16-style rounded elliptical sans family created together with Manuel Eduardo Corradine over at Corradine Fonts. Tecna (2012) is an 8-style techno sans family also done with Manuel Eduardo Corradine over at Corradine Fonts. Quarzo (2012, with Corradine as well) is a formal copperplate script.

    In 2013, together with Manuel Eduardo Corradine at Corradine Fonts, he created Neuron Angled, Alianza Script (a packaging script), Alianza Italic and Alianza Slab (a good-looking slab family). Mayonez (2013, Sergio Ramirez) is a friendly elliptical text typeface for Latin and Cyrillic.

    Whisky (2015) is a large blackletter family with inlines and fills for layering co-designed with Manuel Corradine. Related to German expressionism, it won an award at Tipos Latinos 2016.

    Typefaces from 2019: Brutman (inspired by brutalist architecture, he explains that he wanted to create a typeface that reimagined the incise style for the 21st century).

    Overview of his work and interview.

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

    Sasha B. Perelman

    Graphic designer in Moscow who made the free vector font Carrote (2015, Latin and Cyrillic), which is based on carrot prints. He also made the free hexagonal typeface Vibrey (2015). [Google] [More]  ⦿

    Sasha Bersym

    During his studies at the School of Type design in Saint Petersburg, Russia, Sasha Bersym designed the monolinear sans typeface Parazit (2016-2017), which covers Latin and Cyrillic. [Google] [More]  ⦿

    Sasha Bokova

    Fashion illustrator in Saint Petersburg, Russia. Wishlist (2013) is an ornamental caps typeface that consists of fashion accessories. [Google] [More]  ⦿

    Sasha Chebotarev

    Art director, designer and calligrapher in Minsk, Belarus. Designer of the nice free rough brush font Reys (2015) for Latin and Cyrillic. Behance link. [Google] [More]  ⦿

    Sasha Ermolenko

    Russian illustrator who created Pixel Antiqua (2011). [Google] [More]  ⦿

    Sasha Iudashkin

    Based in Kiev, Ukraine, Sasha Iudashkin graduated in 2013 from the Brithish Higher School of Art and Design in Moscow. His graduation project there was Quentin (2013), a great wood style display typeface for Latin and Cyrillic designed for movie posters. Inspiration for Quentin came from Italian wood type poster letters, dressed with B-movies flavours. [Google] [More]  ⦿

    Sasha Koggio

    Saint Petersburg, Russia-based designer of the free brush-lettered Latin typeface Handletter (2015). [Google] [More]  ⦿

    Sasha Kolesnik

    Saint Petersburg, Russia-based designer of the symbol font Microbos (2011). [Google] [More]  ⦿

    Sasha Lend

    Belgorod, Russia-based designer of the free techno headline font Illuminateur (2016), the free circle--themed font Nota Subtilis (2016), and the free rounded monoline sans typeface Discographix (2016).

    For a Scandinavian poster, he created a runic hexagonal typeface in 2017. [Google] [More]  ⦿

    Sasha Mouse

    Kharkiv, Ukraine-based designer of the sharp-edged display typeface Beware (2021), which covers Latin and Cyrillic. [Google] [More]  ⦿

    Sasha Osipova

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

    Sasha Pavljenko

    Graphic designer in Rostov on Don, Russia, b. 1995. Designer of the all caps Latin Peignotian typeface Novoposelensky (2022). [Google] [More]  ⦿

    Sasha Saulich

    Graphic designer in Saint Petersburg, Russia. Creator of a high-contrast fashion mag Latin typeface called Creative Font (2013). [Google] [More]  ⦿

    Sasha Selezneva

    Moscow-based designer of the painted Latin / Cyrillic typeface Looser (2019). [Google] [More]  ⦿

    Sasha Snoom

    Sasha Snoom (Sestroretsk, Russia) works for KVO Crew. She designed the official LVO Crew font in 2014 in a ghoulish style. Behance link. [Google] [More]  ⦿

    Saska Munjas

    Novi Sad, Serbia-based designer of the fat rounded typeface Takovo-Swisslion (2014, Latin and Cyrillic). [Google] [More]  ⦿

    Satia Hayu Prabowo

    Indonesian designer of the heavy script typeface Arucard (2017) and the script typefaces Standley (2017) and Homeland (2017). In 2021, he published Bloery (a 14-style+2 variable font neo-grotesque family with wide glyphs), the 18-style semi-didone family Madone (for Latin and Cyrillic) and the 18--style (+2 variable fonts) condensed sans typeface family Kolage at Runsell Type.

    In 2022, he released the 14-style geometric sans typeface Grotica at Runsell Type. [Google] [MyFonts] [More]  ⦿

    Satsuyako

    Japanese designer of the free Google Font Yomogi (2021). Yomogi is extra thin hand writing font that is easy to read and makes a strong impression. It includes Google Latin Plus, hiragana, katakana, JIS level 1 and 2 kanji glyphs. Github link.

    Between 2012 and 2019, Satsuyako developed the hiragana / katakana / Latin bubblegum font Cherrybomb. In 2020, he released the free old style Latin / Cyrillic / Greek / Japanese text typeface Hina Mincho.

    Github link for Satsuyako. [Google] [More]  ⦿

    Saza Pict

    Russian design and type blogger, b. 1985. [Google] [More]  ⦿

    Schriftgestaltung
    [Georg Seifert]

    Georg Seifert (Schriftgestaltung) is a Bitterfeld-Wolfen and/or Jena, Germany-based designer, born in Halle in 1978. He was a student at the Bauhaus University Weimar and runs Schriftgestaltung.de. He is best known for the free font editor Glyphs, released in 2011. Seifert lives and works in Berlin. His typefaces include

    • Olive Green Mono (2008). A monospaced typeface designed for his own use in email and programming code. Covers Greek and Cyrillic. Published by Schriftgestaltung.
    • Rosa Stencil (2008). A calligraphic stencil typeface. Published by Schriftgestaltung.
    • Azuro (2011). A 4-style screen family developed by Georg Seifert and fine-tuned by Jens Kutilek.
    • Graublau Sans (2005), 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. Retail versions at MyFonts: Graublau Sans Pro (2008, FDI), Graublau Slab Pro (2012, FDI).
    • Pen (2006). A handwriting font.

    At ATypI 2009 in Mexico City, he introduced his (free) font editor Glyphs to the world. Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2016 in Warsaw.

    Klingspor link. Behance link. Older German URL. [Google] [MyFonts] [More]  ⦿

    Scorpy Design Studio
    [Michael Golovachev]

    Samara, Russia-based designer of several experimental typefaces, mostly, but not exclusively from 2009 until 2013. These include Ringrid (experimental), Jamaica, Stubdetail, Elisabeth, Displace, Oshi Kito (patterns), Radius (an arc-based minimalist font), Squarefont, SOS, Applefont2 (based on Apple's logo), Egypt Concept (hieroglyphic simulation font), Punto, Anomaly (2005), Worm Form, Middle, Bendliner (paperclip font), Mobile Module, Constructure, Twillinger (modular), Longliner (piano key typeface in Crouwel's style), Anomaly2 (connect-the-dots face), Anomaly Quadro, New Display, Strange Font, Ptich (Martian font), Eleven Element (circle and arc font), Home Station (octagonal, techno), Horizontal (squarish and modular), Strategy (swastika-based typeface), Twirl (wavy), Microtwirl, Absolute Logic, Minim, Moonoom, Hybread, Breakthrough (numerals), Industrial Garbage (2013), Unnecessary Element, Electro Station (2009-2010), Circle In Sphere, New Paisley, Vertigo Vertical.

    Noteworthy projects include Limiting Concentration (2010), an experiment with concentric circles.

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

    Scott Sullivan
    [1919 Type Foundry]

    [More]  ⦿

    Sea Types
    [Jefferson Cortinove]

    Sea Types is the partly free partly commercial type foundry of Jefferson Cortinove (artist, designer, teacher, sailor and wine maker) and publicist Márcio Duarte in Florianopolis and Marilia, Brazil, est. 2007. Their initial typefaces include FloriGlyphos (2013, multilined alchemic typeface based on petroglyphs found on Santa Catarina island), TCC Sans (2013), Cort9Hand (hand-printed), Ink9 (2009), Leftheria (2009, condensed; based on the Greek Ionic columns; improved to Leftheria Pro in 2017), Prostimo Sans (2011), Lilith, Sailing (2011, a flowing type), Decliv9 (techno face), Wabi MD (2009, a free typeface by Marcio Duarte), Nucleo (2010, a free sci-fi typeface by Duarte), Ladle (2013, hairline organic sans), Text Box (2010-2013, a free regular and stencil family by Marcio Duarte), 9Sans (2013), Coffee (2013, hairline sans), Elancho (2013, vernacular typeface).

    Typefaces from 2014: Nautikka, Metric Navy (a thin monoline architectural lettering font, followed in 2015 by Metric Navcy Pro), Cambirela (a 12-style superelliptical typeface family for Latin and Cyrillic).

    Typefaces from 2015: Buozzi (a text typeface inspired by sketches and notes by Sao Paulo-based printer Walter Buozzi), Add (circle-based decorative typeface).

    Typefaces from 2016: Kareemah (humanist sans typeface family), Hercilio (inspired by the architectural forms of the Hercilio Luz Bridge in Florianopolis).

    Typefaces from 2017: DiGrado (after the book cover lettering in the 1960s by Brazilian designer Vicente Di Grado).

    Typefaces from 2018: Ballarih (humanist sans), Agake (a comic book or cartoon font), Selma.

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

    Séamas Ó Brógáin
    [Seirbhísí Leabhar]

    [More]  ⦿

    Sebastian Fischer
    [Hubert and Fischer]

    [More]  ⦿

    Sebastian Kempgen
    [KODEKS]

    [More]  ⦿

    Sebastian Kempgen
    [MacCampus]

    [More]  ⦿

    Sebastian Schubmehl

    Trier, Germany-based designer of these typefaces:

    • Mohyla Sans (2019). A heavy modular tombstone font for Latin and Cyrillic.
    • Muzey (2019). A fantastic sketched typeface.
    • Novos Grotesk and Novos Roman Serif (2020). Created at Hochschule Trier in August 2019 under the supervision of professor Andreas Hogan and Sven Fuchs.
    • Oh Boi (2019). A dry brush font.
    • Zabuta (2019). A typeface inspired by a cyrillic alphabet found on an old stone in front of the Museum of Ancient Ukrainian Books in Lemberg / Lviv, Ukraine.
    [Google] [More]  ⦿

    Segey Golosov

    Digital artist in Moscow who made the Cyrillic hand-printed typeface Princeska (2011). [Google] [More]  ⦿

    Seirbhísí Leabhar
    [Séamas Ó Brógáin]

    Séamas Ó Brógáin (Seirbhísí Leabhar) is an Irish type specialist based in Dublin. He has a page on type measurements, with a proposal for reform. His typefaces are all free:

    • Clara (2015). A text typeface created specially for printing A Dictionary of Editing (2015). The family includes italic, bold, bold italic, and small capitals, while the character set includes Greek, Cyrillic, phonetic and mathematical ranges, scribal abbreviations, and other specialist characters. CTAN link, with TeX support, maintaned by Daniel Benjamin Miller.
    • Florea (2013). Floriated type borders based on a sixteenth century model.
    • The traditional minuscule (angular) Celtic font Gadelica (2007). Based on the first authentic examples from the seventeenth century.
    • Germanica (2010-2012). A textura quadrata typeface based on a model by Fust and Schöffer (ca. 1457).
    • Valida (2012). A font for creating ISBN barcodes.

    Old URL. [Google] [More]  ⦿

    Semen Mareev

    At Open Font Library, we find a number of free Latin / Cyrillic typefaces in the VAG Rounded LT Cyr W10 family, dated 2014. It is unclear if these are just cyrillizations of the old Monotype VAG Rounded family. [Google] [More]  ⦿

    Semyon Voronov

    Russian designer of the free octagonal / constructivist Latin / Cyrillic typeface Semyon Soviet (2020). Open Font Library link. [Google] [More]  ⦿

    Serbian Orthodox Church

    Links for Greek, Georgian and Greek polytonic fonts. They offer 60 Latinica fonts (Direct access) and 60 Cirilica fonts by Dino Art Corporation (1993) (Direct access). The font names: Cirilica60, Cirilica80, AmerigoYU, AmericanTypewriterBoldYU, AmericanTypewriterYU, AmericanUncialCirilica, ArabiaCirilica, AardvarkCirilicaBold, AardvarkCirilica, ArialCirilicaBold, ArialCirilicaItalic, Arial-Cirilica, ArialCirilicaBoldItalic, AristonCirilicaBoldItalic, AtletaCirilica, AvantGardeBoldYU, AvantGardeYU, AvantGardeBoldYU, AvantGardeLightYU, BahamasYU, BahamasCirilica, BahamasBoldYU, BahamasHeavyYU, BahamasLightYU, BangkokYU, BangkokBoldYU, BangkokCirilicaBold, BangkokCirilica, BarnumYU, BedrockCirilica, BekerCirilicaBold, BlippoBoldYU, BodnoffYU, BodoniYU, BodoniBoldYU, BodoniBoldItalicYU, BodoniItalicYU, BodoniCirilicaBold, BodoniCirilicaItalic, BodoniCirilica, BodoniRomanCirilica, BodoniCirilicaBoldItalic, BookCirilicaBold, BookCirilicaItalic, BookmanYU, BookmanBoldYU, BookmanBoldItalicYU, BookmanItalicYU, BookCirilica, BookCirilicaBoldItalic, BremenCirilica, BroadwayBoldYU, BroadwayCirilica, BrooklynBoldYU, BrooklynBoldItalicYU, BrooklynItalicYU, BrooklynYU, BrunswikBoldYU, BrunswikBoldItalicYU, BrunswikItalicYU, BrunswikYU, BrushScriptCirilica, CalligraphYU, CalligraphBoldYU, CalligraphBoldItalicYU, CalligraphItalicYU, CaligraphCirilica, CasablancaBoldYU, CasablancaBoldItalicYU, CasablancaItalicYU, CasablancaYU, CasperOpenFaceYU, CenturionOldBoldYU, CenturionOldYU, CenturionOldItalicYU, CenturyCirilicaItalic, CenturyCirilica, CharterYU, CharterBoldYU, CharterBoldItalicYU, CharterItalicYU, CheltenhamYU, CheltenhamBoldYU, CheltenhamBoldItalicYU, CheltenhamItalicYU, ChinaYU, ClarendonYU, ClarendonBoldYU, CloisterYU, CzarCirilicaBold, CzarCirilicaItalic, CzarCirilica, CzarCirilicaBoldItalic, GoliatCirilicaBold, Goliat-Cirilica, HelveticaCirilicaBold, HelveticaCirilicaItalic, HelveticaCirilica, HelveticaCirilicaBoldItalic, HippoCirilicaBold, Hippo-CirilicaOutline, Madrone-Cirilica, MemorandumCirilica, Miroslavljeva-Cirilica, MurmanskCirilica, OdessaScriptCirilica, RenfrewCirilica, SouthernCirilicaItalic, Southern-Cirilica, TimesCirilicaBold, TimesCirilicaItalic, Times-Cirilica, TimesRomanCirilicaItalic, TimesRomanCirilica, TimesRomanCirilicaBoldItalic, TimesCirilicaBoldItalic, UnicornCirilica. [Google] [More]  ⦿

    Serebryakov Type Foundry (or: Serebryakov TF, S TF; was Onetypethree Foundry, or: 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). In 2016, it was updated to Appetite Pro. In 2017, it was extended to Appetite Pro Rounded.

    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, +Displace 2.0 in 2019, +Displace Serif in 2019) 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.

    Typefaces from 2016: Nature Product.

    Typefaces from 2017: Canapa (humanistic sans), Rozza (a curvy decorative stencil typeface).

    Typefaces from 2018: Epos.

    Typefaces from 2019: AMDG (a sans commissioned by Artox Media design Group).

    Typefaces from 2020: Nekst (a 7-style geometric sans with a reference to bent metal tubing; +a variable style).

    Typefaces from 2021: Taler (a 7-style avant-garde slab serif featuring plastic stiffness).

    Type Tomorrow link. [Google] [MyFonts] [More]  ⦿

    Serezha Zhigarev

    Moscow, Russia-based designer who worked for BBDO, Q10, and HC Spartak Moscow. Designer of Russian Avant Garde Olympics Pictograms (2019) and the Latin / Cyrillic industrial font Radiotechnika (2021). [Google] [More]  ⦿

    Serg Borovikov

    Saint Petersburg-based creator of the free Latin / Cyrillic display typeface Odin (2013). [Google] [More]  ⦿

    Serge Agronsky

    Designer at Graphic bureau Az-Zet of the zodiac sign font LifeSigns (1995), the Cyrillic/Latin fonts AZGaramondExtraBoldC (1990-1995), ParagonNordC (1990-1995), and ELIZAZPS (1993). [Google] [More]  ⦿

    Serge Lapin
    [Lapin Design]

    [More]  ⦿

    Serge Pronin

    Designer from Moscow. Behance link. He created the pixel typeface Biznesgrad1 (2009). [Google] [More]  ⦿

    Serge Shi

    Graphic designer in Saint Petersburg, Russia, b. 1980, whose typefaces have a universal beauty. Creator of SS ADEC (2010, a bilined art deco face, + Cyrillic, +Adec 2.0, 2011), Alkee (2010) and Korben (2010, organic; +Light, Cyrillic, Dekor, Non-Eye), Cony (2011, free squarish family; + Cyrillic), Boldin (2011, free rounded squarish family), SS Boldin (2011, rounded yet squarish), Grogy (2011, a (free) heavy poster typeface for Latin and Cyrillic).

    In 2012, Serge published the fashionable high-contrast sans typeface SS Drebeden.

    SS Vivas (2013) is a free techno font.

    Home page. Free download of Adec. Dafont link. [Google] [More]  ⦿

    Sergei Anenko

    Moscow-based designer of the comic book Latin typeface Mr. Bean (2013).

    Behance link. [Google] [More]  ⦿

    Sergei Egorov

    Born in Moscow in 1963. A graduate of Moscow Institute of Physics and Technology in 1985, he became a TeX specialist. Since 2003, he creates his own typefaces. Gaithersburg, MD-based designer of a Cyrillic Venetian typeface (2004) called Bucentoro. At TypeArt 05, he received awards for Bucentero and SPQR Caps. He is working on Bucentoro Greek (2006). In Bucentoro's low-contrast design, we can find influences of Nicholas Jenson, Francisco Griffo and Vadim Lazursky. Currently, Sergei Egorov lives in the Washington, DC, area.

    His Neacademia (2009, +Kursiv) won an award at Paratype K2009. It was published in 2011 at Rosetta Type: Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century Italian punch-cutter Francesco Griffo da Bologna for the famous Venetian printer and publisher Aldus Pius Manutius. The family is designed for lengthy texts. Neacademia Subhead (Rosetta) followed in 2015. This typeface family has all the renaissance character and typographic finesse that was promised---it is absolutely stunning. In 2016, he added Neacademia Small text.

    Klingspor link. MyFonts link to his own foundry. [Google] [MyFonts] [More]  ⦿

    Sergei Kolesov

    Illustrator in Nizhniy Novgorod, Russia. Creator of the geometric bicolored Latin alphabet Retro (2014). [Google] [More]  ⦿

    Sergei Serov

    Sergei Serov is the president of the Golden Bee, an international biennale of graphic design, and of the Golden Bee Association, Moscow. He is the Editor in Chief of Soyuz Dizaynerov, a Russian journal of design. He is the academic secretary of the Academy of Graphic Design, Moscow, and the director of the Russian Design Centre. [Google] [More]  ⦿

    Sergey Bykov
    [zao4nik]

    [More]  ⦿

    Sergey Chekhonin

    Sergey Vasil'evich Tchehonine (Chekhonin) (b. 1878, Valdayka, Novgorod province, d. 1936, Loerrach, Germany) was a Russian graphic artist, portrait miniaturist, ceramicist, and illustrator, who belonged to the World of Art (Mir Iskusstva) group in early 20th century Russia. He was a master vignette, logo and illuminated letter drawer. Wikipedia: In 1928, Chekhonin left the Soviet Union and emigrated to Paris. There he worked in the field of artistic industry and stage set design. He also lived in Germany, worked in theaters and engaged himself in painting porcelain and working on book design, preferring them to decorative multi-color printing painting on fabrics.

    His lettering style influenced several type designers. Here are a few examples:

    [Google] [More]  ⦿

    Sergey Epifanov
    [Banzai Tokyo]

    [MyFonts] [More]  ⦿

    Sergey Gladinov

    Ekaterinburg, Russia-based designer of Xeno (2014, a Latin/Cyrillic hipster font). [Google] [More]  ⦿

    Sergey Godovalov
    [True Story Letterworks]

    [MyFonts] [More]  ⦿

    Sergey Golyashov

    Russian designer of the Cyrillic/Latin font OgilvieCyr (the original was by Kiwi Media). [Google] [More]  ⦿

    Sergey Kanatyev

    Moscow-based designer who created several unnamed modular Latin fonts in 2013. [Google] [More]  ⦿

    Sergey Kazakov

    Russian designer of the Cyrillic/Latin version of Galaxy (a font originally done by Fontalicious), Agitprop (1998-2000, originally from ICG: Latin and Cyrillic constructivist typeface), Prospect (original by ShyWedge), and the Cyrillic/Latin fonts CheapPizza and Macaroni (2000).

    Dafont link. [Google] [More]  ⦿

    Sergey Kharlamov

    Russian designer of the Cyrillic version of Porsche. [Google] [More]  ⦿

    Sergey Komarov
    [ASCON]

    [More]  ⦿

    Sergey Korkin

    Russian designer of the scratchy typeface Harizmix (2017) and the sans typefaces Serkorkin Standart (sic) (2013) and Serkorkin Poster (2013). [Google] [More]  ⦿

    Sergey Kotelnikov

    Russian motion and 3D designer based in Nizhny Tagil. In 2017, Sergei graduated from the six month font design course at TypeType Education. His graduation typeface there is the modrrn geometric Catrine.

    His typefaces include TT Backwards (2017): an experimental script and grotesque font family inspired by the typographic scenery in the USSR in the late 70s and early 80s, designed by Tanya Cherkiz, Sergey Kotelnikov, Philipp Nurullin and the TypeType Team.

    In 2018, Sergey Kotelnikov, Philipp Nurullin, Nadezhda Polomoshnova, Marina Khodak and the TypeType Team designed the not-quite-geometric 18-style typeface family TT Smalls, which is characterized by a small x-height and modulated joins. [Google] [MyFonts] [More]  ⦿

    Sergey Kulistov

    Russian designer of the Latin lettering typeface Bubble Handsketched (2015). Creative Market link. [Google] [More]  ⦿

    Sergey Lavrenov
    [Siberian Art]

    [More]  ⦿

    Sergey Melnikov

    Designer in Kiev, Ukraine. Creator of the fat poster typeface Noko (2013), the experimental typeface Fract (2012), and the anthroposophic Latin/Cyrillic typeface Cedar or Kedr (2013). In 2014, he designed the free art deco typeface Sideboard, the free vector format font Moriarty. Typefaces from 2015 include Flomic.

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

    Sergey Merkurov

    Sergey Dmitrievich Merkurov (b. 1881, Alexandropol, d. 1952, Moscow) was a prominent Soviet sculptor-monumentalist of Greek-Armenian descent. He was a People's Artist of the USSR, an academic at the Soviet Academy of Arts, and director of the Pushkin Museum of Fine Arts from 1944 to 1949. Merkurov was considered the greatest Soviet master of post-mortem masks. He made the three biggest monuments of Joseph Stalin in the USSR. In 1931, he published an erotic alphabet. [Google] [More]  ⦿

    Sergey Mikheev
    [Sergio Storm]

    [MyFonts] [More]  ⦿

    Sergey Mironov

    Moscow, Russia-based professional photographer. Designer of the blackletter fonts Manuscript (2015) and Modern Gothic Blackletter (2015). In 2016, he designed the fat typeface Brush (2016).

    Typefaces from 2018: New Blackletter. [Google] [More]  ⦿

    Sergey Pleshkov

    Together with Julia Krysanova (or Julia Artamanova), Moscow-based Sergey Pleshkov designed the flared (lapidary) Latin / Cyrillic text typeface Flandria in 2013. This typeface has its dedicated site. Flandria comes in Regular, Italic, Display and Poster (stencil). [Google] [More]  ⦿

    Sergey Poluhin

    Sergey Poluhin (Saint Petersburg, Russia) created the Latin font Svod Display in 2015 and wrote: Svod is a display typeface inspired by the forms of architectural vaults of medieval cathedrals and the shape of their stained-glass windows. [Google] [More]  ⦿

    Sergey Ryadovoy

    In 2016, Sergey Ryadovoy (Yekaterinburg, Russia) and Jovanny Lemonad co-designed the free black typeface Peace Sans (2016). [Google] [More]  ⦿

    Sergey Shanovich

    Designer at Type Market (Moscow) of the Cyrillic fonts Fita_church (1994), Fita_Poluustav (1995), Fita_Vjaz (1995), HeliosCond (1993), OpiumNew (1996), Palladium-Bold (1994), Romul (1995: after Carol Twombly's Trajan Pro), Secretary (1996, based on ITC American Type Writer). See also here. Klingspor link. [Google] [More]  ⦿

    Sergey Shapiro

    Moscow-based graphic and print designer, whose lettering in his logos is stunning. Behance link. [Google] [More]  ⦿

    Sergey Shapovalov
    [Shapovalov Fonts]

    [MyFonts] [More]  ⦿

    Sergey Skrebnev

    Designer of Chessmaster (2005), a free OpenType chess font. [Google] [More]  ⦿

    Sergey Slyusarev

    Designer of the free Cyrillic / Latin font Certege Italic (2008). Aka Semaforo. [Google] [More]  ⦿

    Sergey Steblina

    Graphic designer in Odessa, Ukraine, who made the hand-printed Latin / Cyrillic typeface Strel (2012, with Jovanny Lemonad), and the free hand-drawn polygonal Latin/Cyrillic typeface Underdog (2012, free at Google Web Fonts).

    Behance link. [Google] [More]  ⦿

    Sergey Tarayan
    [Ochag Company Turkmenistan]

    [More]  ⦿

    Sergey Titov
    [Titov Design Studio (or: Reformer)]

    [MyFonts] [More]  ⦿

    Sergey Vasenin

    Moscow, Russia-based designer. In 2020, Maxim Krasheninnikov and Sergey Vasenin co-designed the free painted letter font Maler, the display and brush pair Karlo Cham, and the octagonal typeface dead Author. Dribble link. [Google] [More]  ⦿

    Sergey Vladimirovich Kuznetsov
    [Character webzone]

    [More]  ⦿

    Sergey Volhonsky

    Moldovan designer of the beautiful unconnected calligraphic script typeface Diana (2002, Paratype), which covers both Latin and Cyrillic.

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

    Sergey Yakunin

    Bored with Arial, Sergey Yakunin (Ekaterinburg, Russia) created the Latin sans serif typeface Rayon (2013). He writes: Rayon is a sans-serif typeface in four weights, all with small caps. This typeface intended for heading text, large inscriptions and logotypes.

    Behance link. [Google] [More]  ⦿

    Sergio Ramírez Llamas
    [Sardiez]

    [MyFonts] [More]  ⦿

    Sergio Storm
    [Sergey Mikheev]

    Saint Petersburg, Russia-based designer who studied at studied design courses at: Michigan State University and at California Institute of the Arts. In 2022, he released Gardariki (in the style of Wim Crouwel's piano key typefaces; for Latin and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Sergio Trujillo

    Professor at he University of Monterrey (UDEM) in Mexico. Sergio has a bachelor's degree in Information Design from the Universidad de las Americas Puebla, a Masters degree in Graphic Branding and Identity from the London College of Communication, and a Masters degree in Typeface Design from the University of Reading (MATD program at the University of Reading, class of 2015). His graduation typeface at Reading was Satira (for Latin and Greek): Satira is a multi-script type family conceived for editorial purposes (satirical journalism). Its big x-height, small ascenders and descenders, and slightly narrow proportions make it a well-suited choice for magazines, newspapers or any kind of space-saving typesetting situations. Satira covers Latin, Greek, Cyrillic and Tai-Ahom, a script used in the Indian Assam region. It won an award at Tipos Latinos 2016. Speaker at ATypI 2017 Montreal and at ATypI 2018 in Antwerp (on the topic of heavy metal type). [Google] [More]  ⦿

    Sergiy Kulikov

    Ukrainian graphic designer. Designer of the free rune emulation font Rurik Viking (2021) for Latin and Cyrillic. In 2020, he published the free dystopian typeface Two Twenty. [Google] [More]  ⦿

    Sergiy Kurilenkov

    Almaty, Kazakhstan-based designer of the Latin / Cyrillic typeface Kiddy Kitty Kazakh (2018), Futura Round (2018) and cyrillizations of Panforte Pro (2018: called Panforte Pro KZ, after the Zetafonts original from 2013) and Bliss Pro (2018: called Bliss Pro KZ). [Google] [More]  ⦿

    Sergiy Tkachenko
    [4th February]

    [MyFonts] [More]  ⦿

    Sergiy Tkachenko
    [Sport Betting Spot]

    [More]  ⦿

    Serj Nikolaev

    Serj Nikolaev (Moscow) created a prismatic alphabet in 2013. Behance link. [Google] [More]  ⦿

    Seryozha Rasskazov
    [Zeh Foundry]

    [More]  ⦿

    Sete Std
    [Alexandre Ruda]

    Brazilian designer of the stencil typeface STP Stencil (2019) and the octagonal typeface STP Display (2019). In 2020, Anderson Ruda and Alexandre Ruda released STP Display Cyrillic (all caps, octagonal) and STP Stencil Cyrillic (all caps, octagonal). [Google] [MyFonts] [More]  ⦿

    SevenType
    [Vitoria Neves]

    SevenType is a type foundry set up in 2017 by letterer and type designer Vitoria Neves, who is based in Portimao, Portugal. Luis Bandovas joined the foundry briefly in 2019. In 2017, Vitoria created the connected script typeface Kamila.

    In 2019, Luis Bandovas and Vitoria Neves co-designed the monoline script typeface family CoolKids, and Vitoria released Comodot, and the octagonal typefaces Klapt, Klapt Arabic and Klapt Cyrillic.

    Home page of Vitoria Neves. Behance page for Vitoria Neves. [Google] [MyFonts] [More]  ⦿

    Severin Meyer

    Swiss creator of the free squarish techno (futuristic) typeface Xolonium (2011, Open Font Library), which covers Latin, Greek and Cyrillic. The typeface was updated in 2016. In 2019, he published another squarish techno family, Oxanium. Google Fonts link. Github link.

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

    Sexp

    Experimental graphical studio in Russia. Creators of the Latin / Cyrillic typeface J Sans (2012). [Google] [More]  ⦿

    Sgt Pepper

    FontStructor who made Industrial Serif (2011, squarish typeface for Latin and Cyrillic). [Google] [More]  ⦿

    SHAGAA
    [Mikiya Nishimura]

    Mongol truetype fonts (Cyrillic, by SoftCom, 1995): AcadHoCTT-regular, CrrCTT-Regular, CrrCTT-Bold, InformCTT-Regular, NewtonCTT-Regular, NewtonCTT-Italic, NewtonCTT-Bold, NewtonCTT-BoldItalic. Plus the Cyrillic Mongol font tuva-mongol-uni (2003) by Mikiya Nishimura (Shagaa). This is a renamed copy of NewtonCTT (1994, SoftComn). At the site, other fonts such as New-Times-New-Roman and New-Arial by SHAGAA (2005). [Google] [More]  ⦿

    Shapes for Cash
    [Timothy Donaldson]

    British calligrapher, signwriter, lettering artist, and type designer. He teaches typography at Stafford College and is a Research Fellow at the University of Lincoln. His typefaces:

    • At ITC: ITC Cyberkugel, ITC Digital Woodcuts, ITC Farmhaus Normal, ITC Farmhaus Not So Normal (he says that Farmhaus is where Neil Young meets Paul Renner), Flight (1995), Pneuma, Scruff, Spooky, Telegram, Trackpad, ITC Humana Serif, ITC Humana Script Light, Medium, and Bold, John Handy, ITC Klee, ITC Talking Drum (1990s, interpreted in 2007 by Nick Curtis as Monkey Business), ITC Musclehead, ITC Riptide, Ruach, Ulysses, ITC Airstream, ITC Angryhog, Etruscan, Green, ITC Jellybaby, Neo Neo, Orange (1995, a liquid font).
    • At Letraset: Pink (Peter Hanley's review of Pink), Uffington, TwangLetPlain (scribbly).
    • At FontFont: Fancy Writing (or: FF Fancy, 1996).
    • At Adobe: Immi 505, Postino, Banshee, Coriander.
    • At the Indian Type Foundry: Rozha One (2014, free Google web font). This is a heavy didone typeface with large x-height, high contrast, and a harmonious balance between its Devanagari (designed by Tim Donaldson and Jyotish Sonowal) and Latin (designed by Shiva Nallaperumal). Github link.
    • At his own type foundry Shapes for Cash (est. ca. 2018): Donaldsans Code (2019: a programming font), Billy Mozz (2019), Amadeo (Timothy: this is a 20-year old design that won a prize in a Morisawa competition in the 1990s. It is a deliberately crude, unevenly weighted set of simulated incisions that now attempts to challenge the chocolate-box hegemony of perfect Instagraphy, and maybe to invoke the spirit of Imre Reiner), Cowgirl, Hipsterpotamus (a chubby puppy, a chunky monkey, a bestially bloated beauty of corpulent cuteness), Pointyhead (an exercise in absurdity; to create the most atrociously spiky, thorny blackletter; to give it a set of roman uppers along with brutal fraktur majuscules).
    • Other fonts: Cult.
    He runs Kingink.

    At ATypI 2004 in Prague, he spoke about The world's even bigger Hamburgefonts. At ATypI 2008 in St. Petersburg, he spoke about the resurrection of the pencil. He states in the abstract: During research for my recently published book, "Shapes for sounds", I investigated the Glagolitic alphabet created by the brothers Cyril and Methodius. This alphabet was the mother of Cyrillic. I learned to write the letters, an activity that took on a life of its own and led to a body of interpretation bordering on the obsessive. My talk will focus on the history, development, and subsequent abandonment of the Glagolitic alphabet and will show the new drawings, sculptures, scripts and typefaces I have produced as a result of this investigation. Speaker at ATypI 2010 in Dublin. Speaker at ATypI 2011 in Reykjavik.

    In 2012, he won the Akashi award in the Latin category of the Morisawa Type Design Competition for Jara (a fat signage script).

    Klingspor link. Linotype link.

    View Timothy Donaldson's typefaces. [Google] [MyFonts] [More]  ⦿

    Shapovalov Fonts
    [Sergey Shapovalov]

    Russian graphic designer and lettering artist who studied in Moscow and Saint Petersburg. Designer of the pixel typeface Pixerius (2020) and the condensed sans Triplepass (2020), which has an octagonal version (Chop) and a stencil version (Stencil), and covers both Latin and Cyrillic.

    Typefaces from 2022: Leapfrog (a rounded children's book sans). [Google] [MyFonts] [More]  ⦿

    Sharkshock
    [Dennis Ludlow]

    Dennis Ludlow (Sharkshock Productions, Raleigh, NC) started making mostly free fonts in 1999. On August 28, 2001, Dennis announced that he would stop producing fonts, forever. To prove himself wrong, he became more prolific trhan ever, and ultimately started designing retail fonts as well.

    His early typefaces include Hot Pizza (2001), Hawaiian Punk, Royal Acidbath, Little Caesar, Subway, Holiday India, Mobsters, Dallas Cowboys (Western look, 2004), Dark Crystal, Queen of Camelot (2015), Green Eggs and Spam (2015), Ludlow Strong Ale (2015, German beer label font), Space Angel (2014), Electrox, Cowboys, Dolphins, Viking Stencil, Lexust (2002), Padaloma (2002), Fujita Ray (2002), Willy Wonka, Hursheys, Grinched (a Halloween or beatnik font), Honda, Busch Gardenz, Holiday India (2000), Simpsons, Blockbusted, IHOP, Chicken Fool A, Playtoy (2000: like the masthead of Playboy), Cowboys (2001), Dreamscar (2001, has a Cyrillic version), Mr. Goodbaur, Dr. Peppers, Oreos, Air Millhouse, Fruitopia, Raiders, TGI Friday, Jolly-Raunchy, Mouser, Pirate-Keg, Fujita Ray (2015), Modeccio (2015, art deco), Wendyville (2015, Western), Vonique 64 (2015, avant-garde style), Your Royal Majesty (2015, a unique blackletter-inspired vampire script), Hackney Block (2015), Thunder Lord (2015, an outlined variant of Raiderfont), Republica Minor (2015), News of the World (2015: a news headline font), TH3 Machine (2015), Funkrocker (2015, inky, grungy), Tiki Tropic (2015: a tiki font), TypoGraphica (2015, a strong geometric sans), Vonique 92 (2015, circle-based fashion sans), Reisenberg (2015, a black titling sans; v2.0 dates from 2018). There is also a medium-sized categorized archive, with subsections such as cartoon fonts and movie fonts.

    Typefaces from 2016: Twiddlestix, Konigsberg (rounded sans), Wicked Mouse (looney tunes typeface), Heathergreen (a tall condensed sans), Wonderbar (psychedelic), College Block (athletic lettering), Death Star, Ring of Kerry (uncial style), Blockletter (octagonal), Café Françoise, Cronus (round monoline sans), Suissnord (a wide sans display typeface), Grinched 2.0 (an update of Grinched), Red Seven (futuristic), Enchanted Land (derived from the blackletter genre), Freakshow (ornamental ransom note font), Deutschlander (a condensed sans for movie credits and similar applications).

    Typefaces from 2017: Lemonade Stand, Dark & Black, Hennigar (a heavy compact sans in the spirit of Impact), Durango Western, Banbury (a heavy display didone), United Kingdom (techno), Goldoni, Kingsmen.

    Typefaces from 2018: Bloomsburg (a 6-style organic sans; +Cyrillic), Stupid Meeting (an all caps display typeface), Medusa Gothic, Carson (tall grotesque), Collegeblock 2 (an octagonal varsity font), Medusa Gothic, Royal Crescent (sans), Praetoria, Papaya Sunrise, Helmswald Post (blackletter).

    Typefaces from 2019: Deutschlander 2.0 (an organic monoline sans, with coverage of Cyrillic and Greek), Zanzabar (a genie lamp or Arabic emulation typeface), Vonique 43 (an organic fashion mag sans), Delacorso Outlines (tall decorative caps), Kwixter Sketch (for Latin and Cyrillic).

    Typefaces from 2020: Stupid Meeting (an all caps sans with a comic book feel, appropriately named to describe most COVID era Zoom work sessions), Toyster (a plumpish typeface), Wonderbar 2 (psychedelic, all caps), Boldstrom (a tightly spaced heavy industrial sans), Reisenberg, Snicker Snack, Crosshatcher (a sketched font), Czesko (a skyline font), Storybook Ending (a mix of uncial and Tuscan), Toyster (a bubblegum font).

    Typefaces from 2021: Kamryn (a display serif), Mouser (an organic geometric sans in six styles), Dottingham (a Victorian typeface), Tempestua (a sharp bold display sans), Lemonade Stand, Brontoburger (a vernacular typeface).

    Typefaces from 2022: Jumbalo (a bubblegum font).

    Abstract Fonts link. Creative Fabrica link. [Google] [MyFonts] [More]  ⦿

    Shimanov Types
    [Alexander Shimanov]

    Russian graphic designer, graffiti writer, and lettering artist, b. 1980, USSR.

    Typefaces from 2022: ST Titan (retro futuristic).

    He released these Latin / Cyrillic typefaces in 2020 and 2021: Druzhba (a retro bold display font), Komsomol (stylish retro grotesque), Kooperativ (Soviet poster), Petrovica (Russian Emperor), ST-Bubblegum (ultracondensed), ST-Departament (80-90s sci-fi), ST-Druzhba (retro bold display), ST-Gaidar (cartoonish; a Flintstone or chiseled rock font), ST-Nizhegorodsky (Neo Cyrillic), ST-SimpleSquare (simple square), ST-Tokyo (oriental emulation), ST Saturn (retro futuristic), Stengazeta (retro grotesque). In 2019, he designed Meteoritika (a retro science font) and Agitaciya (Soviet propaganda). [Google] [MyFonts] [More]  ⦿

    Shin & Del
    [Vukasin Delevic]

    Shin and Del is the Belgrade-based team of Vukasin Delevic (photography) and Adel Fares (graphic design). In 2016, they created the text typeface Delevic (for Latin and Cyrillic) and the script font Fares Script. [Google] [More]  ⦿

    Shinn Type
    [Nick Shinn]

    Nick Shinn (b. London, 1952) is an art director and type designer. He teaches at York University in Toronto, and is a founding member of the Type Club of Toronto. He writes regularly for Graphic Exchange magazine, and has contributed to Applied Arts, Marketing, Design, and Druk. He founded Shinn Type in 1999, and made fifteen type families. Interview by Jan Middendorp, in which he describes himself as a contrarian. Pic by Isaias Loaiza. Pic by Chris Lozos at Typo SF in San Francisco in 2012. Custom typefaces have been produced for newspapers such as The Birmingham News (Alabama), The Chicago Tribune, The Daily Express (London), The Daily Mail (London), The Globe and Mail (Toronto), The Montreal Gazette, and The St. Petersburg Times (Florida). Custom fonts, with exclusive rights, have been created for corporations such as Thomson Nelson, Enbridge, Rogers Communications Inc., and Martha Stewart Living. Nick organizes type evenings in Toronto all year long.

    Shinn Type fonts at MyFonts. Behance link.

    He is the designer of Fontesque (a wild family of curly glyphs), the monospaced font Monkey Mono, Artefact (1999), Beaufort (a sharply serifed family done in 1999; in 2008, he published a 10-style extension called Beaufort Pro), Bodoni Egyptian (1999), Alphaville (2000, techno typeface with straight mono-width strokes), Brown, Brown Gothic, Duffy Script (2008, in 4 styles: an interpretation of the lettering of contemporary illustrator Amanda Duffy, aka Losergirl), Handsome (1999, cursive handwriting family, since 2005 available in OpenType), Merlin, Oneleigh (1999, masterful!!), Paradigm (1995, updated in 2008, inspired by 15th century letterforms), Shinn, Walburn (1996) [note: Walburn and Brown were originally commissioned for the 2000 redesign of the Globe and Mail. Walburn is an adaptation of a didone typeface by Erich Walbaum, c.1800], Worldwide (1999).

    In 2001, he designed the Richler font in honour of the memory of Mordecai Richler. The Richler font was only available to the Giller Prize, Random House and the Richler family until its public release in May 2013 at MyFonts, where Richler (+Cyrillic, +Greek) is advertised as a 21st century antiqua book face.

    In 2002, he published Goodchild (a Jenson revival; see also Goodchild Pro (2017). Goodchild is a Venetian with clean (not antiqued!) outlines and a larger-than-Jensonian x-height. It comes in 4 styles and is targeted at sophisticated academic typography) and the liquid lettering family Morphica, exclusively at Veer.

    In 2003, he released the absolutely gorgeous "modern" sans Eunoia (which has a unicase weight), and the quirky sans family Preface (2003; Preface Thin is a hairline weight; Preface Light is free at FontShop). In 2003, he also published the mmonowidth unicase family Panoptica (2003), which includes styles called Regular, Sans, Egyptian, Doesburg and Octagonal, to name a few.

    In 2004, he released Nicholas, a Jensonian serif family, which is the headline version of Goodchild.

    Additions in 2006 include Softmachine (VAG Rounded/comic book style family). Sexy type from Toronto is an article by Erin Kobayashi about Shinn's work published in the Toronto Star on April 15, 2007. Nick Shinn designed the type for the redesign of The Globe and Mail in April 2007: Globe and Mail Text [look at the f], Globe and Mail Sans (or GM Sans), Globe and Mail News (or GM News).

    In 2008, these typefaces went retail. One typeface is called Pratt, named after David Pratt, the design director at The Globe and Mail who commissioned the typeface for his redesign of the paper. The companion typeface will be called Pratt Sans.

    Additions in 2008: Figgins Sans (4 styles), Scotch Modern (a 5 style didone family that revives the typeface used in New York State Cabinet of Natural History), Scotch Micro. Paul Shaw writes: Scotch Roman, beloved by D.B. Updike and W.A. Dwiggins, was a standard in the typographic repertoire of pre-World War II printers but fell out of favor after the war, supplanted by Bodoni. Nick Shinn of Shinntype has made a bid to resurrect this oft-maligned typeface with Scotch Modern. Scotch Modern is not a revival of the familiar Scotch Roman of Linotype and Monotype, but of a more modern design attributed to George Bruce, the great 19th-century New York punchcutter. Shinn used a sample of the typeface from the New York State Cabinet of Natural History's 23rd Annual Report for the Year 1869 (printed in 1873) as a model. He drew it by eye, aided by a sharp loupe: no photographic enlargements, no scans, no tracing. The ends of the strokes are slightly rounded, to capture the effect of metal type being impressed into soft paper. Shinn contends that the 19th-century Scotch types were "eminently readable" and a factor in the rise of modern literacy. His rendition, an OpenType font, aims for readability in all situations with display, regular, and microtype versions. The display roman includes a unicase font-a nod to Bradbury Thompson's Alphabet 26 experiment-and the italic has elegant swash caps. Scotch Roman has never been a typeface for those seeking eternal beauty or anyone desperate for typographic kicks. Dwiggins gave it a 10 for legibility (where 10 was "reasonable human perfection") but only 4 for grace and 0 for novelty. Shinn's Scotch Modern, with its many OpenType extras, scores well on all three counts. It's a typeface for those who prefer a mature single malt: simple at first, but more complex as it is savored. Photograph. At ATypI 2008 in St. Petersburg, his talk was entitled Scotch Modern. Several catalogs have been published by Shinntype. Particularly noteworthy is The Modern Suite (2008, Nick Shinn, Coach House Press, Toronto), which showcases Figgins Sans and Scotch Modern. Sample of some Scotch Modern dingbats.

    Production in 2010: Sensibility (a humanist sans superfamily), Sense (a modernist sans superfamily), Bodoni Egyptian Pro (a monoline slab Bodoni experiment---the Pro version of a 1999 family by him).

    In 2011, he created Checker, an all caps 3d black and white-tiled typeface, and Parity (a roman unicase pair).

    Naiad (2013) is a didone, or neoclassical, typeface with Victorian curlicues thrown in to create a Victorian look.

    Pratt Nova (2014) is a 17-style large x-height typeface family that attempts to achieve visual and semantic opulence, equipping the typographer with a comprehensive array of harmonized fonts, all rigorously drawn, superbly fitted iterations of a single, profoundly original design. Neology (2014) is a 15-style sans family subdivieded into Deco, Grotesque and plain sans subfamilies.

    Brown Pro (2016) is a classic grotesque, distinguished by its semi-condensed proportions and slight flaring of the edges and some ink traps.

    Figgins Standard (2016) is a take on the low-contrast original sans typefaces designed in the 1830s in industrial London.

    Gambado (2016). This is a collection of shaken typefaces with bouncing letters. Particular fonts include Gambado Sans and Gambado Scotch.

    Dair (2017) is a revival of Canada's first home-grown typeface, Cartier, which was completed by Carl Dair in 1967 and named after 16th century explorer Jacques Cartier, who mapped the Gulf of St. Lawrence in the 1530s. Dair 67 and Dair 67 Italic are facsimiles of the original fonts. Dair and Dair Italic are fully-featured 21st century fonts.

    In 2018, Nick Shinn published Phiz, a diverse suite of 27 decorative fonts based on Figgins Sans Extra Bold.

    Designer of Boxley (2016), a superelliptical sans typeface family.

    At the end of 2020, he published the 14-style condensed rounded sans typeface family Aptly. o

    Typefaces from 2021: Buslingthorpe (a tall-necked typeface in which the x-height is only 29% of the ascender height, beating classic tall fonts such as Rudolf Koch's Koch Antiqua, and Lucian Bernhard's Lucian and Bernhard Modern).

    Speaker at ATypI 2017 Montreal.

    MyFonts interview. I Love Typography link. FontShop link. Klingspor link.

    View Nick Shinn's typeface library. [Google] [MyFonts] [More]  ⦿

    Shobhika
    [K. Ramasubramanian]

    A free Devanagari / Latin / Cyrillic typeface developed at IIT Bombay in 2016 in the context of the Science and Heritage Initiative, IIT Bombay and the Cell for Indian Science and Technology in Sanskrit, IIT Bombay. The font was developed at IIT Bombay under the guidance and supervision of Professor K. Ramasubramanian and Professor Girish Dalvi, members of the Cell for Indian Science and Technology in Sanskrit (CISTS), and the Industrial Design Centre (IDC), respectively. The project was conceptualised and led by Aditya Kolachana at the CISTS. There were various contributions by Yashodeep Gholap, Vishvendra Singh Poonia, Abhishek Sharma, and Rohit Saluja.

    Shobhika is based in part on Yashomudra (2015, copyright of Rajya Marathi Vikas Samstha) and PT Serif (2010, Paratype). The Latin component of the font not only supports a wide range of characters required for Roman transliteration of Sanskrit, but also provides a subset of regularly used mathematical symbols for scholars working with scientific and technical documents. [Google] [More]  ⦿

    Shriftovik Foundry
    [Tikhon Reztcov]

    At ATFI (Moscow) and later Shriftovik Foundry (also in Moscow), Tikhon Reztcov designed the free blocky typeface Markh (2018), SK Pencil (2018), Futark (2018), the free contructivist Latin / Cyrillic typeface ReSquare (2018), the free monoline display sans typeface ForestSmooth (2018) and the free scratchy font Ustroke (2018) for Latin and Cyrillic.

    Typefaces from 2019: SK Irrationalist (originally, a free constructivist typeface), SK Primo, SK Eliz (a free pixel font.

    Typefaces from 2020: SK Concretica (a caps only monumentalist or hipster typeface for Latin, Greek, Cyrilllic, Hebrew, katakana and hiragana), SK Brushwood (co-designed with Alexandra Valuikina), SK Cuber, SK Moralist (a fat finger font), SK Cynic (a pixel emulation font).

    Typefaces from 2021: SK Shriftovik (constructivist; Latin and Cyrillic), SK Phlegmatica (a square-shaped letter font), SK Glypher (almost a tape font). Behance link for Shriftovik Foundry. [Google] [MyFonts] [More]  ⦿

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

    Andreas Stötzner (b. 1965, Leipzig) is a type designer who lives in Pegau, Saxony. Graduate from the Hochschule für Grafik und Buchkunst Leipzig and the Royal College of Art in London (1994). Since then, free-lance. Started making typefaces in 1997. He edits the sign and symbol magazine Signa. He spoke at Typo Berlin 2004 and at ATypI 2005 in Helsinki where his talk was entitled On the edges of the alphabet. Coauthor with Tilo Richter of Signographie : Entwurf einer Lehre des graphischen Zeichens. He set up SIAS in 2006-2007 and started selling fonts through MyFonts.

    He created Andron Scriptor (2004, free), with original ideas for Greek and Cyrillic alphabets. The Andron project intends to extend this Venetian text typeface in many directions: right now, it covers Latin, Greek, Coptic, Gothic, runes, Cyrillic, Etruscan and Irish scripts, musical symbols, astronomical and meteorological symbols, and many dingbats. The Andron MC Corpus series (2012) contains Uncial, Mediaeval and Capital styles. He also created Andron 1 Monetary (2014), Andron 1 Alchemical and Andron 2 ABC (2014, for children's literature).

    On or before 2006, he created a few typefaces for Elsner & Flake. These include EF Beautilities, EF Ornamental Rules, EF Squares, EF Topographicals, EF Typoflorals, EF Typographicals, EF Typomix, EF Typosigns, EF Typospecs, EF Typostuff.

    Fonts from 2007-2010: Gramma (2007, three dingbats with basic geometric forms), Andron Corpus Publix (2007, dingbats including one called Transport), SIAS Freefont (2007, more dingbats), SIAS Lineaturen (2007, geometric dingbats) SIAS Symbols (2009), Andron Freefont (2009, text font), Andron 1 Latin Corpus (2009), Andron 1 Greek Corpus (2009), Andron Kyrillisch (2009, consisting of Andron 1 CYR, Andron 2 CYR and Andron 2 SRB where SRB stands for Serbian), Andron 2 English Corpus (2010, blackletter-inspired alphabet), Andron 2 Deutsch Corpus (2010), Andron Ornamente (2012), Reinstaedt (2009, blackletter family), Crisis (2009, economic sans).

    Lapidaria (2010) is an elegant art deco sans family that includes an uncial style and covers Greek. Hibernica (2010) is a Celtic variant of Lapidaria. Symbojet Bold (2010) is a combination of a Latin and Greek sans typeface with 400 pictograms.

    Rosenbaum (2012) is a festive blackletter face, obtained by mixing in didone elements.

    In 2013, he published Arthur Cabinet, a six-style inline art deco caps collection of typefaces, with accompanying Arthur Ornaments and Arthur Sans. Meanwhile, Andron Mega grew to 14,700 unicode glyphs in 2013.

    Typefaces from 2014: Behrens Ornaments (art nouveau ornaments based on Behrens Schuck by Peter Behrens, 1914), Fehlian (an open capitals typeface family with Plain, Gravur and Precious styles), Happy Maggie (a hand-drawn script based on Maggie's sketches when she was 13 years old), Abendschroth (for lullabies, girl's literature, murder poems, short stories and Christmas gift books), Abendschroth Scriptive, Albyona English No. 1 (as Andreas writes, suitable for children's books, fantasy literature, crime novels, natural food packaging and poison labeling, for infancy memories, vanitas kitsch items, dungeon museum bar menu cards, introductions to herbalism and witchcraft manuals), Lindau (a Venetian Jensonian typeface with considerable flaring in the ascenders), Grund (based on the 1924 art deco signage in Leipzig's Untergrundmesshalle Markt whose architect was Otto Droge), Leipziger Ornamente (based on variopus buildings in Gohlis, Leipzig, dating from the 1920s-1950s), Kaukasia Albanisch (ancient writing system of the Caucasus region, allegedly created by Mesrop Mashtots who also invented the Armenian alphabet in 405).

    Commissioned fonts include Runes (commission by Ludwig Maximilian University Munich), Lapidaria Menotec, Old Albanian, Dania (a special notation for Danish dialectology. Font extension of Latin Modern Italic (Open source), commissioned by the Arnamagnanean Institute, Copenhagen Universit).

    Typefaces from 2015: Andron 2 EIR Corpus (uncial, Gaeli), Artemis Sans (Greek version of Arthur Sans), Ardagh (a Gaelic / Irish version of Arthur Sans). Don Sans (a sturdy sans).

    Typefaces from 2016: Popelka (an uncial fairy tale font modeled after the opening sequence of the 1973 movie Drei Haselnüsse für Aschenbrödel).

    MyFonts. Behance link. Abstract Fonts link. Klingspor link.

    Showcase of Andreas Stötzner's typefaces at MyFonts. View the SIAS typeface library. [Google] [MyFonts] [More]  ⦿

    Siberian Art
    [Sergey Lavrenov]

    Sergey Lavrenov (Siberian Art) designed the curly handcrafted decorative typeface Elf Line in 2016. [Google] [More]  ⦿

    SibProject

    Basic Cyrillic truetype font set. [Google] [More]  ⦿

    Silva Vasil

    During his studies at the High School of Graphic Design in Moscow, Silva Vasil designed a dada typeface called Brooklyn (2013). [Google] [More]  ⦿

    Simon Thordal

    Simon Thordal (College of Visual Communication, Haderslev, Denmark) designed the free experimental geometric typeface Cryptex (2015), the experimental geometric typeface Encoded Mosaic (2016), and the wedge serif Latin / Cyrillic typeface Rust Modern (2016). Behance link. [Google] [More]  ⦿

    Simona Nasteva

    Sofia, Bulgaria-based designer of the Cyrillic typeface Laik (2016). [Google] [More]  ⦿

    Sinodal

    Printer in Moscow, ca. 1870, which had its own foundry. It was Russia's oldest foundry. [Google] [More]  ⦿

    Sipanji (was: Straightwell)
    [Muhammad Panji]

    Known as Si Panji, Muhammad Panji and Panji Ramdhani, b. 1998. Indonesian designer of the handcrafted typefaces Kiddie Love, Roadart Grafiti (2021), Baby Magpies (2020), Street Of Zeus (2020: a graffiti font), Dashtin Brush (2020), Vope Dome (2020: a graffiti font), Giecella Kids (2020), Seventeen Winter (2020), Cute Lime (a bubblegum font) (2020), Ben Kidoz (2020: all caps and rounded, for children's books), Xandercode (2020: an all caps graffiti font), Nightvandals (2020: a graffiti font), Wolvins (2020: an all caps beatnik font), Pumpkinos Horror (2020: a dripping blood horror font), Dirty Lizard (2020: graffiti style), Amazing Grafiti (2020), Dance Kitty (2020), Los Porttal (2020), Cute Lime (2020), SpaceBro (2020), Wigenda, Wofferine (handcrafted), Swadi Marker (2020), Veruzza Hollow (2020), Veruzza Italic (2020), Veruzza (2020), Good Summer (2020), Hayven (2020), Break Flames (2020), Molusca (2020), Digital Space (2020), Wolvins (2019), Rocketboss (2019), Straightwell (2019: a steampunk slab serif typeface) and Zhivanii (2020; for Latin and Cyrillic).

    Typefaces from 2021: Ashlyn (a brush script), Black Brody (spurred), Notress Graffiti, Dastin Toxic Graffiti, Fallaxe Drip Graffiti, Red Bubble Graffiti, Thick or Melted (a graffiti font), Thick or Melted (a graffiti font), Death Stinger Horror (a dripping blood font), Zigatos Graffiti, Vandalust Graffiti, Street Air (a graffiti font), Hello Velisha, Trick or Bite, Black Magnet (a death metal font), Magnekidz (a death metal font), Night Franklin (a horror font), Beluga Road (a graffiti font), Love Twins Solid (a scrapbook font), Lucky Boy (handcrafted), Tight Hug (a fat finger font), Punch of Love (a scrapbook font), Ruckshack (a dry brush script), Afterlife Party (a genie bottle font?), Nala Junior (a goofy font for children), Kaindra (a brush font), Wushand Graffiti, Jamstreet Graffiti, Gheamarker (a marker pen font), Gracelyn (hand-printed), Nightfate (a graffiti font), Kids Touch, Locked Monster (a graffiti font), Thiny Bunny (a condensed display typeface), Foolish Hand (a fat finger font), Snakehead Graffiti, Spring Butter (a wild calligraphic script), Happy Dinosaur, Sword Art (a dry brush font inspired by the samurai), The Bossman (a graffiti font), Cyberwar (cyberpunk, DeLorean style), Boldist (German expressionist).

    Typefaces from 2022: Dark Razoor Graffiti, Wild Gang Graffiti, Spiky Frog Graffiti, Street Eagle Graffiti, Crazy Rooster (a graffiti font), Dragon Scribble (illegible graffiti), Java Temple (a lava lamp font), Weely Honey (a retro dancing baseline font, useful for cartoons). [Google] [MyFonts] [More]  ⦿

    Siqna Filatova

    Sofia, Bulgaria-based designer of several Cyrillic display typefaces in 2015, including a calligraphic typeface. [Google] [More]  ⦿

    Sir Basil

    Dead link. An 8MB font file, with plenty of Cyrillic fonts by SynthesisSoft, including TmsCyr (1993), UnvEe UnvCyr, CourierCyr, CourierEe, CyrillicaBgEpigraph, CyrillicaBulgarian, CyrillicaOchrid1, CyrillicaOchridEpigraph, CyrillicaShafarik, CyrillicaShafarikEpigraph, Etymolog1, Etymolog3, OldCyr. Also some fonts by DEGA Systems, such as HebarU and TimokU (1997). And from Orbitel in Moscow, LERA (1998). [Google] [More]  ⦿

    Slanted Hall
    [Jeff Kellem]

    Slanted Hall features the type designs of Jeff Kellem, who is located in the Silicon Valley Bay Area, California. In 2012, after a 20+ year hiatus, Jeff Kellem returned to type design. The first typeface release of 2013, 1403 Vintage Mono Pro, includes Latin (including Vietnamese), Cyrillic, Greek, and Hebrew. An updated version was released in early 2016. He writes: 1403 Vintage Mono was inspired by the 1960s era IBM 1403 mainframe line printer and the 52 glyphs on the A and H print chains. It is an all uppercase, monospace (fixed width) font and has been expanded way beyond what the original printer supported. He is working on 1403 Hebrew Sans.

    In the 1980s, Jeff focused on music notation fonts while working on music notation software research and is also designing new typefaces for scoring, with planned releases in 2020. [Google] [More]  ⦿

    Slava Antipov
    [Black Orbit Art]

    [MyFonts] [More]  ⦿

    Slava Kirilenko
    [Astronaut Design]

    [MyFonts] [More]  ⦿

    Slava Krivonosov

    Based in Kemerovo, Tomsk, Siberia, Slava Krivonosov created the free organic Latin typefaces Wikingg (2013) and Lampa (2013).

    In 2014, he added the free modular Latin / Cyrillic typeface Johny Strocker, the free sans titling typeface Docker (+Shaded, +Outline), and the free script typeface Hitchhiker. In 2016, Slava published the image format typeface Juicy. Graphicriver link. [Google] [More]  ⦿

    slavic--gw-cyrillic

    Two TrueType Cyrillic fonts. [Google] [More]  ⦿

    Slavisten und ihre Font-Probleme
    [Nikolaos Trunte]

    A thorough discussion of the glyphs and characters needed for Slavic languages, by Dr. Nikolaos Trunte at the University of Bonn. [Google] [More]  ⦿

    Slavka Bozhinova

    Graphic designer from Sofia, Bulgaria, now based in London. Creator of a circular arc experimental Cyrillic typeface in 2012. She also created the experimental typeface Former (2012). The Plant (2012) is a modular geometric font experiment. In 2016, she designed a grid-based modular typeface and a monoline wavy typeface. [Google] [More]  ⦿

    Slavka Jevcinova
    [Into the Type]

    [MyFonts] [More]  ⦿

    slavmir

    One zip file with Cyrillic fonts, such as the Academy family, Yuri A. Lyamin's SkazkaForSergeMedium, ParaGraph's StandardPosterCyrillic, and BetinaScript. [Google] [More]  ⦿

    Slavonic Fonts
    [Nikita Simmons]

    Nikita Simmons categorized the Slavonic / Orthodox typefaces. I reproduce his classification system here. For links, information and downloads, please visit his site.

    • Ustav Fonts - representing the handwritten system of Paleoslavonic, Old [Church] Slavonic, AND including the Glagolitic script.
      • Glagolitic fonts
      • Cyrillic fonts
      • Dual fonts
      • Packaged fonts
    • Slavonic Incunabula - representing the primitive typographic tradition of the first editions of Venice, Krakow (Dr. Francisk Skorinja), and other locations in the Balkan lands (Skopie, etc.).
    • Poluustav Fonts - this can be divided into three sub-families:
      • Oldstyle Poluustav
      • Newstyle Poluustav
      • Kievan Poluustav
    • Synodal Era Slavonic Fonts - Following the lead of the Moscow Synodal Typografiia, all of the other Slavic lands (with the exception for Kievan and Old Believer editions) adopted a style of modernized typography which was heavily influenced by elements of western European typography.
    • Modern Slavonic Fonts - This includes font designs of the past 30 years which have cast aside all pretense of using historical typefaces as models.
    • Civil Script Fonts - This includes any modern Unicode and legacy-encoded fonts (both serif and san serif typefaces) containing Slavonic characters redesigned to match Latin letter forms, which are primarily used for academic purposes.
    • Decorative Slavonic Fonts - This includes the whole range of historical letter forms used for ornamentation. This family can be subdivided as:
      • Bukvitsa Fonts ("drop caps")
      • Zastavka and Viaz' Fonts (titling fonts)
      • Artistic Text and Titling Fonts (non-standard, innovative styles)
      • Balkan Decorative Fonts
      • Romanian Latinitsa Fonts
      • Symbol Fonts
    • Handwriting Slavonic Fonts
      • Skoropis' Fonts
      • Modern Cursive Fonts
      • Calligraphic Fonts
    • Chant Notation Fonts - This includes neumatic notations (Byzantine and Znamenny notation) and Kievan Square-note notation.
    • Other Languages
    [Google] [More]  ⦿

    Slavput

    Source of many free Old Slavonian typefaces from various sources. We find ARussDecor (by Arsenal Co.), A La Russ, Archimandrite, Arhimandrite_2, Blagovest-Four, BukvicaUCS, Bukyvede-Italic, Bukyvede, Church-NewAI, CyrillicHover, CyrillicOldFace, CyrillicaBulgarian-Normal, DSCyrillic, DSRussiaDemo, Dilyana, Drevnerusskij, Evangelie, Fita_Poluustav, Fita_Vjaz, Flavius0, Freske, FrontistesUos, GrebnevUCS, Indycton-ieUcs, IndyctonUcs, Inok, Izhitsa, IzhitsaC, IzhitsaCTT, IzhitsaCyrillic, IzhitsaShadowC-Regular, Izhitza, Kalinov_Most, KarnacOne, KirillicaWincyr, Klimentovica&Kurilovica, Knijitsa, Lazov, MenaionMedieval, MiroslavljevoDEN, Moscowit-Capital, Moscowit, Nikodym, OldCyr-Bold, OrthodoxLoose, OstromirovUCS, PechatnyDvorUCS, Pelagy, Pelagy_SG, Plyusnin, PoluUstav, Psaltyr, Runic, RunicAlt, RunicAltNo, Serebro, SkrljaniMiroslav, Slavjanic, StaroslovenskoNaslovno, Stefanit, Svetozar, Tchekhonin1, Tushka, Uglich, Velesovitsa, VityazCyr, Wilno-Ostrog, Wilno-Ostrog_2, WilnoCapsUcs. [Google] [More]  ⦿

    slayer

    Some Russian truetype fonts: Jester, NewZurica, Scribble. [Google] [More]  ⦿

    Slnc Design

    Russian designer of the free pixelized cross stitch font Retrogression for Latin and Cyrillic. [Google] [More]  ⦿

    Sloth Astronaut (or: Cosmic Store)
    [Tanya Butskaya]

    Tanya Butskaya (Sloth Astronaut, Almaty, Kazakhstan) designed the Latin / Cyrillic wood print emulation typeface Wood Burn (2016), the poster typeface Snow On The Roof (2016), the grungy Disappear (2016), Waterfall (2016), and the handcrafted Ugly Alligator (2016).

    Typefaces from 2017: Love at First Bite (Latin and Cyrillic poster typeface).

    Typefaces from 2018: Lost in Space (a futuristic color SVG font), Bomond (a textured ink font), Into the Wild.

    Typefaces from 2019: Tomatino. [Google] [More]  ⦿

    Slovo (German)

    Links to and help for Slavic and Cyrillic languages. In German. Slovo Russian page. [Google] [More]  ⦿

    Slovo: Multilingual Unicode truetype fonts

    Web page with plenty of unicode compatible truetype fonts, collected by Christoph Singer. Included are Andale Mono, Arial, Athena Roman, Bitstream Cyberbit, Book Antiqua, Bookman Old Style, Century Gothic, Code 2000, Comic SansMS, Courier New, Garamond, Georgia, Haettenschweiler, Impact, Lucida Sans Unicode, Metropol 95, Monotype Corsiva, Tahoma, Times New Roman, Vera Humana 95, Verdana, XSerif Unicode. [Google] [More]  ⦿

    Slovolitni de Grande Tartaria
    [Dima Pole]

    Dima Pole (Slovolitni de Grande Tartaria, Yalta, Russia) is a Russian type designer [as a joke, he claimed on Behance to be from Russellstown, Ireland and on Hellofont he said that he was in Berjozovskii, Iceland].

    Designer of the clean sans typeface Hinton (2016), the lapidary typeface Gor (2016), and the handcrafted typefaces Pocherk 26, Zelo (calligraphic), Rusich, Etruria (based on Etruscan inscriptions, this handcrafted font tries to accurately simulate the writing of the Etruscans; published in 2018), Hors, Fufluns, and Fufluns Luna. Most of his fonts cover both Latin and Cyrillic.

    In 2017, he designed Garuspik (ultra-condensed; in Krug, Original and Kvadrat styles), Konung, which is a mixture of various medieval central European styles for Latin and Cyrillic. He also designed the contrast-rich typeface Retra, the blackletter typeface Getman, the eroded typeface family Hors, the Celtic typeface Keltichi, and the angst-ridden Dubrove (which was inspired by Moravian angular type design of 1930-50s) in 2017.

    Typefaces from 2018: Tartaria, Osovec (a wedge serif text typeface in one style), Maribor, Vinneta (a Latin / Cyrillic italic).

    Typefaces from 2019: Arkaim (East Slavic simulation style). [Google] [MyFonts] [More]  ⦿

    Smirnoff Timur

    Moscow-based designer of Bovardia (2017), a Cyrillic typeface that mixes Bodoni and Gvardia. [Google] [More]  ⦿

    Snezhina Doncheva

    Graphic designer (b. 1988, Sofia) in Sofia, Bulgaria, who graduated from the National Academy of Art in Sofia in 2012. She created a Cyrillic display face in 2012.

    Behance link. [Google] [More]  ⦿

    Snow.coil.ru

    Small Russian archive. Contains Helios, the AG fonts, and Paratype DIN Condensed Cyrillic. [Google] [More]  ⦿

    Socker One
    [Hector Ramirez]

    Located in Ciudad de Mexico, Hector Ramirez (Socker One) created Street Helvetica (2013), a script version of Helvetica. He also designed the pixel typeface Tetris Sans (2013) and the geometric Latin/Cyrillic sans typeface Fontmaker (2013).

    In 2015, they published Materiam Bold (a geometric industrial all caps sans), Fuencarral (a sans typeface family) and the tweetware font Librofest Stencil. [Google] [More]  ⦿

    Sofia Fadeeva

    Saint Petersburg, Russia-based designer of the Cyrillic typeface Stroenie (2017). She also drew various calligraphic and other alphabets. Home page. Behance link. [Google] [More]  ⦿

    Sofia Popiordanova

    At National Art Academy in Sofia, Bulgaria, Sofia Popiordanova designed the clean Bulgarian Cyrillic sans typeface Chirilik (2016). [Google] [More]  ⦿

    Sofia Yasenkova

    Sofia (Saint Petersburg, Russia) has a Masters degree in information technology. As a student at TypeType Education, she designed the modern serif typeface Ditar (2018) for Latin and Cyrillic. In 2018, Sofia Yasenkova, Philipp Nurullin, and Vika Usmanova designed the modern serif TT Tricks at TypeType. TT Tricks has many stencil styles.

    Still in 2018, she helped Alex Slobzheninov with the Cyrillic part of the design of Object Sans. [Google] [MyFonts] [More]  ⦿

    Sofiya Dobreva

    Sofia, Bulgaria-based designer of a custom sans typeface (Latin / Cyrillic) for the TV show Dnes (2017). [Google] [More]  ⦿

    Soft Union
    [Nikita Vsesvetskii]

    Cyrillic font makers whose type designer, Nikita Vsesvetskii, produced these fonts between 1993-1995: Arsis [similar to Monotype Onyx (1937, Gerry Powell), first cut by ATF], Cotlin [extension of Leslie Usherwood's Caxton of 1981], Debby, DesignCD, Diamonds (dot matrix), Dots (dot matrix), Dynar [extension of Alan Meeks' Dynamo (Letraset, 1968), which in turn borrows from K. Sommer's Dynamo (Ludwig and Mayer, 1930)], EdgeLine, Evangelie (1994, with A. Shishkin), Half-Ustav (1994), Luga [extension of Lubalin Graph by Herb Lubalin, 1974], LugaShadow, MotterTektura [similar to Othmar Motter's 1975 typeface by the same name], PerfoOval (dot matrix), PopularScript [based on Friedrich Poppl's Poppl-Exquisit, 1970], Psaltyr, Radar [based on Onyx by Gerry Powell, 1937], Ralenta-ExtraBold [based on Carl Dair's Raleigh, 1967], Secession, Secession Wien, Simeiz [based on IC Fenice, Aldo Novarese, 1977-1980], Tavrida, TrooverRoman [an extension of Trooper Roman, VGC]. Alternate URL. FontShop link. [Google] [More]  ⦿

    SoftCom

    Producers of some Cyrillic/Latin fonts such as AcadHoCTT-regular (1995), CrrCTT, InformCTT, NewtonCTT. [Google] [More]  ⦿

    Software Ignegneria

    Italian site which offers a free Courier face: CourNewIngeSoft. This has Greek, Arabic, Cyrillic and East-European blocks of glyphs. [Google] [More]  ⦿

    Sofya Ozbozkurt

    Moscow-based graphic designer. She created the geometric alphabet Circle (2010). [Google] [More]  ⦿

    Soixantedeux

    New York-based designer. He made a TrueType version of the old Apple bitmap font Venice in 2006 and placed it at Dafont as Venice Classic. Another Apple bitmap font, Athens, was revived in 2007 as Athens Classic. He also remade Fixedsys 62 (2007), an old Windows systems font, complete with Greek and Cyrillic characters.

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

    Sol Matas
    [Huerta Tipográfica]

    [More]  ⦿

    Sol Matas

    Argentinian type designer born in Buenos Aires who graduated from Universidad de Buenos Aires, and worked initially at Saatchi & Saatchi agency in Buenos Aires. Since 2001 she runs her own studio Sonnenshine specializing in branding and custom type design, working for companies from Latin America, Europe and the United States. She co-founded the type foundry Huerta Tipografica with fellow Argentinian designers in 2009. iIn 2013, she moved to Berlin, where she focused on developing fonts for Latin, Cyrillic, Greek, Oriya and Devanagari. Since 2019 she runs Hungry Type Society.

    Award winner at Tipos Latinos 2010 for her caps only text typeface Parque Chas (done with Juan Pablo del Peral), created for maps and information design.

    At Huerta Tipográfica [an Argentinian type foundry and coop that unites Juan Pablo Del Peral, Carolina Giovagnoli, Sol Matas and Andrés Torresi], she published Bitter HT (2011, a contemporary slab serif) and Parque Chas HT. Bitter is free at Google Web Fonts. Specially designed for on screen use, it won an award at Tipos Latinos 2012. Bitter HT was Sol's graduation typeface at FADU-UBA and covers Latin and Cyrillic. Bitter was extended to the Devanagari typeface Kadwa in 2015, which can be obtained for free at Google Web Fonts.

    In 2016, Abhaya Libre was published by Google Fonts, which writes: Abhaya Libre is the Unicode compliant and complete libre version of Pushpananda Ekanayakes's FM Abhaya font, the most popular Sinhala typeface on Earth, with a new and original Latin [didone style] designed by Sol Matas. [Google] [More]  ⦿

    Soledad Degl'Innocenti

    Graphic designer in Buenos Aires who created the lovely Chambéry typeface in 2012. In 2013, she published the Latin / Greek / Cyrillic text typeface Archigram, which was designed for architecture manuals. [Google] [More]  ⦿

    solid.ru

    Russian archive with 1040 Cyrillic truetype fonts. Sources: Gavin Helf, ParagGraph, Teslefantic, Microsoft, KoleSoft (Kiev), TeamAxis (fonts by Dmitry Komissarov), Atech, Type Market (fonts by A. Kustov), Yuri A. Lyamin, Night Graphics (fonts by Victor Lubarsky), Corel, Richard A. Ware, AzBuki Press, VNLabs, Eurotype, NPO "Polygraph Mash" Moscow, Monotype, URW, Diplomat, Smena-SPSL, Adobe, InterMicro, AG Fonts (fonts by Andrejs Grinbergs), Bitstream, Graphic Bureau "Az-Zet" (fonts by S. Agronsky), AG Baltia. All fonts made before 1996. [Google] [More]  ⦿

    Solomon Benediktowitsch Telingater

    Soviet book and type designer, b. Tiflis, 1903, d. Moscow, 1969, best known for his constructivist work. His typefaces include Telingater Display (1959, Polygraphmash), Titulvnash Telingater (Titulnaya) and Akzidentnash Telingatera (or Akzidentnaya) (1955--1962). Telingater Display was awarded of the Silver Medal at the International Book Art Exhibition (IBA-59) at Leipzig (Germany) in 1959. See also here. He was a maestro of pictorial and decorative typography, as one can see in these posters and prints from 1927 and 1930.

    Julia Vazhova (Moscow) created a series of posters and sketches on Telingater in 2014, including a great portrait. [Google] [More]  ⦿

    Sonia Grig

    Graphic designer in Moscow, who created the outlined Cyrillic typeface Karkas (2015). [Google] [More]  ⦿

    Sonia Grin

    Saint Petersburg, Russia-based designer of the decorative caps typeface Phobos (2014). [Google] [More]  ⦿

    Sonja Kochina

    Graphic designer in Saint Petersburg, Russia. She created Drs (2012), a dingbat typeface with icons for different medical specialists. [Google] [More]  ⦿

    Sony Design
    [Akira Kobayashi]

    In 2013-2014, Sony Design and Akira Kobayashi (Monotype) created the SST typeface family for corporate use. It is a sharp-edged universal sans that can be used in 93 languages, including Japanese, Arabic, Thai, Russian and Greek, to name a few. Interesting to see that Chinese is not covered, and that the design of a sharp-cornered typeface comes at a time when just about everybody else is into rounded sans typefaces. Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. Subfamilies include SST Hebrew (2017), SST Arabic, SST Thai, SST Vietnamese, SST Japanese (which is a cooperation of Kobayashi with Isao Suzuki, Hideyo Ryoken and Saori Ooshima of Type Project). The typophiles complain that the Arabic is out of place and wonder what the utility is of yet another Frutiger. [Google] [More]  ⦿

    Sonya Korshenboym

    London, UK-based creator of a hand-printed Cyrillic typeface for a show called Milk Kitchen. She works as an illustrator. [Google] [More]  ⦿

    Sophia Evgenyeva Gannushkina

    Russian type designer, b. 1947, Moscow. [Google] [More]  ⦿

    Sophia Nikolaeva

    Graduate of the British Higher School of Art&Design. Moscow-based designer of a diamond-themed typeface in 2016. [Google] [More]  ⦿

    Sophia Safayeva

    Russian ex-graduate student of typography at the University of Reading, 2006. Creator of Novinka (2006; award winner at Paratype K2009), a Latin/Cyrillic family with a slab serif feel (in a broad sense). [Google] [More]  ⦿

    Sophie Azzheurova

    As a student at Moscow State University, Sophie Azzheurova designed the tall Latin / Cyrillic display typeface Azzfont (2016). [Google] [More]  ⦿

    Soufiane Abid
    [Listener Foundry (or: Listener Studio)]

    [MyFonts] [More]  ⦿

    Source Han Sans

    In July 2014, Adobe and Google jointly announced the publication of the free Asian typeface family Source Han Sans for Chinese (traditional (both Taiwan and Hong Kong) and simplified), Japanese, Korean, Greek, Cyrillic and Latin. This project, based on designs originally due to Ryoko Nishizuka, a senior Adobe designer in Tokyo, started in 2010. The fonts and original code are downloadable from SourceForge and GitHub. Blog page at Typekit. Blog post at Google. The other name for the family, Noto Sans CJK, is used by Google.The open source license even permits modification of the glyphs.

    The 42 fonts are designed for small devices, and thus, the glyphs are monolinear and simple. Each font weight in the family has a total of 65,535 glyphs (the maximum number of characters supported in the OpenType format), and the entire family contains just under half a million total glyphs. Adobe sought expertise from foundries such as Iwata Corp to expand the Japanese glyph selection, Sandoll Communication, designer of Korean Hangul and Changzhou SinoType, Adobe's longtime collaborator in China.

    On the Google side of the project, where the fonts are added to the Noto Sans and Noto Serif (which covers all major languages of the world and many others, including European, African, Middle Eastern, Indic, South and Southeast Asian, Central Asian, American, and East Asian languages, and, since the joint release with Adobe in 2014, Chinese, Japanese, and Korean, and minority languages related to them), users can download all Noto fonts freely in a 43 MB file.

    References: Ken Lunde (Adobe) on the design and development of Pan-CJK fonts (2010). Inside the fonts, we find these credits: Ken Lunde (project architect, glyph set definition & overall production), Masataka Hattori (production & ideograph elements), Ryoko Nishizuka (kana & ideographs), Paul D. Hunt (Latin, Greek & Cyrillic), Wenlong Zhang (bopomofo), Sandoll Communication, Soo-young Jang & Joo-yeon Kang (Hangul elements, letters & syllables).

    At ATypI 2014 in Barcelona, the project was explained by product managers Stuart Gill of Google and Caleb Belohlavek of Adobe. [Google] [More]  ⦿

    Source Han Serif

    Source Han Serif is the serif-style typeface family companion to Source Han Sans. This free superfamily covers Chinese (traditional (both Taiwan and Hong Kong) and simplified), Japanese, Korean, Greek, Cyrillic and Latin. This project, based on designs originally due to Ryoko Nishizuka, a senior Adobe designer in Tokyo, started in 2010. The designers of Source Han Simplified and Traditional Chinese, and Source Han serif Japanese and Korean are Frank Griesshammer, Ryoko Nishizuka, Soohyun Park, Wenlong Zhang and Yejin We. The Chinese glyphs, both simplified and traditional, were designed by partner type foundry Changzhou SinoType. The Korean glyphs were designed by partner type foundry Sandoll Communications.

    Source han Serif won an award at TDC Typeface Design 2018. [Google] [More]  ⦿

    Southern Software Inc. (SSi)

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

    Soviet Typography

    Examples of type in use in Russia. [Google] [More]  ⦿

    SovInformBureau

    Links and instructions on russification of your computer. For Windows, Mac, X11, UNIX, Amiga, OS/2 and DOS. [Google] [More]  ⦿

    Spacejump
    [Vladimir Tomin]

    Vladimir Tomin is a graphic designer from Khabarovsk, Russia. Behance link. Paperworld (2009) is an alphabet (not a font) based on crumpled paper. In 2014, together with Alex Frukta, he created the type cooperative Nord Collective. Their first free font in that coop is called Nord (2014). In 2015, Frukta and Tomin published the free geometric sans typeface Kolikö. Creator of Kaboom (2010, a png-format collection of glyphs). Home page. [Google] [More]  ⦿

    Spacemotion

    Eilat and Tel Aviv, Israel-based type foundry that consists of a creative team that was formed at the Faculty of Graphic Design of the Stroganov Academy in 2018. This team includes Matthew Grouss, Ksenia Churilova and Pavel Nevsky.

    In 2022, Matthew Grouss, Ksenia Churilova and Pavel Nevsky released the 16-weight constructivist typeface Nowar, a variable typeface that features Latin, Cyrillic and Hebrew scripts. [Google] [MyFonts] [More]  ⦿

    spb.ru

    54MB zipped font file. Thousands of Cyrillic fonts, including pretty sizeable collections of ParaType, Arsenal and Soft fonts. Truetype. Plus some older font utilities such as FontLab 2.5. Subdirectory. [Google] [More]  ⦿

    Sport Betting Spot
    [Sergiy Tkachenko]

    Sports Betting Spot is an unlikely organization to get involved in fontmaking, but miracles do occur. At Fontsquirrel, we find the free athletic lettering typeface Sports World (2012). The web site conveniently forgot to mention that its designer is the talented Ukrainian type designer Sergiy Tkachenko. The font covers both Latin and Cyrillic. Behance link. [Google] [More]  ⦿

    SPSL
    [Igor Nastenko]

    SPSL is a Russian foundry, offering mostly fonts made by Igor Nastenko. These include Brush (1990, based E. Shaar and S. Hess's Flash No. 373), Chess (1989, Paratype), Circles, Clarendon (1990, based on H. Eidenbenz's Clarendon of 1953), Elegant (1996, based on Middleton's Coronet), Garland (1996, based on F. Scott Garland's font Enviro done at Letraset in 1982), GeomSlabSerif (1996, a Cyrillic extension of Frutiger's face), Hair-V, Hill, Keys, Old King (1995; based on B. Wolpe's Albertus, 1936, Profont, Ribbon, Russia (1993), Russia-Church, Russian Ornament1, Russian Ornament2, Russian Souvenir (1996), New Serif Condensed (1996, based on Gerry Powell's Arsis from 1938, now an Elsner&Flake font), New Skoryna (1993, now at Paratype), SOS (Morse coding), SQ2, Swordsman (1990, based on Clarendon Condensed), Ustav II (1996). FontShop link. Klingspor link. [Google] [More]  ⦿

    Sri Aurobindo

    Cyrillic fonts such as QuantAntiquaCTT, TimesNRCyrMT, Translit98. [Google] [More]  ⦿

    St. Michael Ukrainian Catholic Church

    The font Old Ukrainian (truetype, 1994) was made by Hrycak Graphics. [Google] [More]  ⦿

    Stanford University

    The MACCTimes family (Cyrillic), in truetype. And ASAPSILCharisRegular, ASAPSILDoulosRegular, ASAPSILManuscriptRegular, ASAPSILSophiaRegular, phonetic fonts from the Summer Institute of Linguistics. [Google] [More]  ⦿

    Stanislav Chiganov

    Saint Petersburg, Russia-based designer of the Latin / Cyrillic calligraphic typeface Antarctic (2018) and the Latin / Cyrillic skyline typeface Journalism (2016). [Google] [More]  ⦿

    Stanislav Semin

    Moscow-based designer of the Cyrillic typeface (or alphabet) Shrift Proletarskij (2014). [Google] [More]  ⦿

    Stanislava Dimitrova

    Plovdiv, Bulgaria-based designer of a Cyrillic rounded sans typeface in 2016. [Google] [More]  ⦿

    Star Brand

    Moscow-based designer of Vogue font (2016) for Latin. [Google] [More]  ⦿

    Stars Soft
    [Viktor Kalgin]

    Kazakhstan-based designer of the modular Latin / Cyrillic typefaces School Type (2020: octagonal), Octavia VV (2020) and STARSsoft Nika (2020). He also designed Tender Veronica (2020: a monoline rounded sans). [Google] [MyFonts] [More]  ⦿

    Stas Arsenyev

    Saint Petersburg, Russia-based creator (aka Scilla) of the Latin / Cyrillic typeface Violet (2012). Behance link. [Google] [More]  ⦿

    Stasia Popova

    Saint Petersburgm, Russia-based designer of the striped handcrafted display typeface Stripe (2016, for Latin and Cyrillic). [Google] [More]  ⦿

    Station 52

    Has a few fonts such as the Cyrillic font Politika Cirilica. [Google] [More]  ⦿

    STC Practik

    Russian foundry. The font names have the STC prefix. [Google] [More]  ⦿

    STC Practik

    Vignette (borders) type designer in 1994 at Paratype. The font is simply called "Vignette" [Google] [More]  ⦿

    Stefan Chinoff

    Art director in Sofia, Bulgaria. Designer of the free octagonal Latin / Cyrillic soccer font April 1876 (2017) for the Bulgarian national soccer team. [Google] [More]  ⦿

    Stefan Claudius
    [Phantom Power (was: Phantomphonts)]

    [MyFonts] [More]  ⦿

    Stefan Kostic

    Graphic designer in Novi Sad, Serbia, who created the monoline Cyrillic typeface Neonka (2017). Neonka is a contraction of Neon and Azbuka (alphabet in Serbian). In 2018, he designed the all caps Cyriilic typeface Aria. [Google] [More]  ⦿

    Stefan Kovachev

    Russian designer of this Cyrillic typeface in 1971, which won Third Prize at the Comecon competition. [Google] [More]  ⦿

    Stefan Milic
    [Mist Design]

    [More]  ⦿

    Stefan Peev
    [Local Fonts]

    [More]  ⦿

    Stefan Peev
    [Context Ltd]

    [More]  ⦿

    Stefan Stoychev

    Sofia, Bulgaria-based designer of these typefaces:

    • The constructivist typeface Block (2019), which is based on the drab apartment complex architecture from the old USSR era.
    • Autoprom (2019) and Autoprom Pro (2020: 24 styles). Based on the boxy shapes of old Soviet and east block cars.
    • Skaklia (2020). A modernist display sans.
    • The notched display typeface Plam (2020: by Stefan Stoychev and Plamen Atanasov) for Latin, Greek and Cyrillic.
    • Lyu Lin (a 24-style geometric sans for Latin, Greek and Cyrillic including the Bulgarian and Serbian versions of Cyrillic) (2022).
    [Google] [MyFonts] [More]  ⦿

    Stefan Vanli

    Russian who studies at Erasmus University Rotterdam, b. 1992. He created the logo typeface Airport (2009) and the grungy Acogessic (2009). Typetype link. [Google] [More]  ⦿

    Stefan Yatanski
    [Yatanski]

    [MyFonts] [More]  ⦿

    Steffenhagen

    Small foundry in Mietau, Russia, ca. 1870. [Google] [More]  ⦿

    Stepan Omyshev

    Solikamsk, Russia-based designer of Polygon 3D Typeface (2015), which was specially designed for animation and use in Cinema 4D. [Google] [More]  ⦿

    Stepan Roh
    [DejaVu Fonts]

    [More]  ⦿

    Stepan Yurov

    Russian creator of the fat market signage typeface Fleshburger Juice (2012). [Google] [More]  ⦿

    Stephania Kosyug

    Tomsk, Russia-based designer of the Latin crow-themed display typeface Birdy (2016). Behance link. [Google] [More]  ⦿

    Stephen M. Knouse
    [Essqué Productions]

    [MyFonts] [More]  ⦿

    Stephen Schrenk
    [Arev Fonts]

    [More]  ⦿

    Steran Kuzhnetsov

    Russian designer of the pixel typeface Our Quinny (2016, FontStruct). [Google] [More]  ⦿

    Steve Gardner
    [Explogos]

    [MyFonts] [More]  ⦿

    Steve Massie

    Designer of the free font K1FS (2015), which is an assembly of the Arabic glyphs from KacstOne V5.0, and the Latin / Cyrillic / Hebrew / Greek glyphs from GNU FreeSans. [Google] [More]  ⦿

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

    [More]  ⦿

    STIX Fonts
    [Ross Mills]

    Non-profit free font project, which started in 2001. The (free) fonts were released in May 2010. The designer is Ross Mills, Tiro Typeworks Ltd, with portions copyright of MicroPress Inc., and with final additions and corrections provided by Coen Hoffman, Elsevier (retired). From the web page: The mission of the Scientific and Technical Information Exchange (STIX) font creation project is the preparation of a comprehensive set of fonts that serve the scientific and engineering community in the process from manuscript creation through final publication, both in electronic and print formats. Toward this purpose, the STIX fonts will be made available, under royalty-free license, to anyone, including publishers, software developers, scientists, students, and the general public.

    The project is supported by six publishers, the American Chemical Society (ACS), the American Institute of Physics (AIP), the American Mathematical Society (AMS), the American Physical Society (APS), Elsevier Science, and the Institute of Electrical and Electronic Engineers (IEEE).

    The fonts are unicode-compatible. They are designed to be useful for mathematical documents in XML pages on all browsers. They say that they have awarded the font development contract to a respected font development company. Press release. Chairman: T.C. Ingoldsby, American Institute of Physics, Melville, NY. AMS page on STIX. CTAN page on Stix.

    In 2016, STIX Two, a major update, became available at CTAN. The letterspacing and kerning of the text fonts have been significantly improved. True small capital variants (Latin, Cyrillic, and Greek), accessible via the OpenType font feature smcp, have been added for all text fonts. Text (lowercase or oldstyle) numerals, available via the font features pnum and onum, have been added, in addition to natural-spacing figures. Alphabetic superscripts and numeric sub- and superscripts, accessible via the subs and sups font features, have been added. Fractions are available via the frac feature, as well as numerators (numr) and denominators (dnom). The STIX Two fonts consist of one Math font, two variable text fonts (STIXTwoTextVF-Roman and STIXTwoTextVF-Italic), and eight static text fonts (Regular, Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, and Bold Italic) derived from the variable fonts.

    Truetype versions of the family (2007) by Oleguer Huguet Ibars: STIXGeneral-Bold, STIXGeneral-BoldItalic, STIXGeneral-Italic, STIXGeneral, STIXIntegralsDisplay-Bold, STIXIntegralsDisplay, STIXIntegralsSmall-Bold, STIXIntegralsSmall, STIXIntegralsUp-Bold, STIXIntegralsUp, STIXIntegralsUpDisplay-Bold, STIXIntegralsUpDisplay, STIXIntegralsUpSmall-Bold, STIXIntegralsUpSmall, STIXNonUnicode-Bold, STIXNonUnicode-BoldItalic, STIXNonUnicode-Italic, STIXNonUnicode, STIXSize1Symbols-Bold, STIXSize1Symbols, STIXSize2Symbols-Bold, STIXSize2Symbols, STIXSize3Symbols-Bold, STIXSize3Symbols, STIXSize4Symbols-Bold, STIXSize4Symbols, STIXSize5Symbols, STIXVariants-Bold, STIXVariants.

    OpenType versions at the official site: STIXGeneral-Regular, STIXGeneral-Bold, STIXGeneral-BoldItalic, STIXGeneral-Italic, STIXIntegralsD-Bold, STIXIntegralsD-Regular, STIXIntegralsSm-Bold, STIXIntegralsSm-Regular, STIXIntegralsUp-Bold, STIXIntegralsUpD-Bold, STIXIntegralsUpD-Regular, STIXIntegralsUp-Regular, STIXIntegralsUpSm-Bold, STIXIntegralsUpSm-Regular, STIXNonUnicode-Regular, STIXNonUnicode-Bold, STIXNonUnicode-BoldItalic, STIXNonUnicode-Italic, STIXSizeFiveSym-Regular, STIXSizeFourSym-Bold, STIXSizeFourSym-Regular, STIXSizeOneSym-Bold, STIXSizeOneSym-Regular, STIXSizeThreeSym-Bold, STIXSizeThreeSym-Regular, STIXSizeTwoSym-Bold, STIXSizeTwoSym-Regular, STIXVariants-Regular, STIXVariants-Bold. Not all unicode ranges are covered, but math symbols, Greek and Cyrillic are. There are also monospace, blackletter, calligraphic scipt, informal script, and sans styles. But small caps are still missing. The general look is that of a Times font. The fact that any publisher can use these fonts free of charge (after signing a license though) is positive. The main negative is that the style chosen is slightly boring, but that is not unexpected for scientific publications.

    In 2018, Paul Hanslow, Ross Mills and John Hudson co-designed the free STIX Two family, which is based on Times Roman.

    At this CTAN site, one can download the entire STIX collection. Designer URL: MicroPress Inc. STIX Two (type 1) at the CTAN site. STIX Two (OpenType) at the CTAN site.

    Also worth pointing out is the free 163-font collection Schticks (2017) by Adam Twardoch, which is based on STIX Two.

    Google Fonts link for STIX Two Math. Github link for the STIX fonts. [Google] [More]  ⦿

    Stjepan Fileki

    Serbian designer of the calligraphic Cyrillic/Church Slavonic script Miroslavs gospel, which is based on calligraphic characters from the 12th century. NeoplantaBG (2009) is a didone face for Latin and Cyrillic. See also here for a free download. [Google] [More]  ⦿

    Storm Type Foundry
    [Frantisek Storm]

    Storm Type is a major Czech foundry that offers the inspiring work of Frantisek Storm (b. 1966, Prague). Most typefaces are made by Storm himself. The typefaces:

    • Aaahoj: a ransom note font.
    • Abald (2005): Abald adds to the number of "bad-taste" alphabets as seen on faded commercial inscriptions painted on neglected old houses.
    • Academica: Josef Týfa first published Academia in 1967-68. It was the winning design in a competition for scientific typefaces, announced by Grafotechna. It was cut and cast in metal in 1968 in 8 and 10 point sizes in plain, italic and semi-bold designs. In 2003 Josef Týfa and Frantisek Storm began to work on its digital version. The new name Academica distinguishes the digital execution (and modifications) from the original Academia. In 2021, Frantisek Storm added Academica Sans.
    • Aichel: originally designed for use in architecture (in this particular case for a UNESCO memorial plaque for a church built by Jan Santini-Aichel on Zelenà Hora). It has a stone-chiseled look.
    • Alcoholica
    • Alebrije (2015). A 42-cut exaggerated cocaine-driven typeface family with instantly recognizable v and w that have slabs on their baselines.
    • Amor Sans and Amor Serif (2005).
    • Amphibia (2016). A lapidary typeface family.
    • Andulka (2004): 24 weights for use in books, mags and newspapers. Extended in 2011 to Andulka Sans.
    • Antique Ancienne, Moderne&Regent (2000): Baroque typefaces.
    • Anselm Sans and Serif (2007): 20 styles about which Storm writes The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. It won an award for superfamily at TDC2 2008. It covers Greek as well.
    • Areplos (2005): Based on Jan Solpera's 1982 typeface with serifs on top and serifless at the bottom.
    • Bahnhof: poster typeface from the 1930s.
    • Baskerville Original Pro (2010) comprising Baskerville 10 Pro, Baskerville 10 Cyr, JBaskerville, and JBaskerville Text. This is an important and thoroughly studied execution starting from photographs of prints from Baskerville's printing office, ca. 1760.
    • Beletrio and Beletria (2018). Beletria (26 styles) is intended as a modern book type. Beletrio is a peaceful accompanying sans.
    • Bhang (2011) is a flat brush signage family of exceptional balance.
    • Biblon (2000; note: ITC Biblon is a watered down version of Biblon, so please go for the original, not the ITC version). Biblon Pro (2006) is even better; 6 weights.
    • Briefmarken (2008): letters that look dented like postage stamps.
    • The 64-style Carot type system (2020), which consists of Carot Sans, Carot Display, Carot Slab and Carot Text.
    • Clara Sans and Clara Serif (2014). Based on sketches by Rotislav Vanek, and published at Signature Type Foundry.
    • Clichee
    • Cobra (2001)
    • Comenia Script (Radana Lencov&acaute;), an upright script with a handwritten look for teaching writing.
    • Comenia Text (2006): a serif family for school books. Also called Comenia Pro Serif.
    • Compur (2000).
    • Coroner (2018). A blackletter first sketched in 1988.
    • Defender (2008): a heavy slab family.
    • Digita (2004)
    • Dracula (2017). A great blackletter family.
    • Dynamo Grotesk (1995): Storm's 60-weight sans family going back to the early sans traditions. In 2009, this was updated to Dyna Grotesk Pro.
    • Enamelplate (2011).
    • Etelka (2005, 42 styles): a corporate identity sans family, which became commercial in 2006. Four Etelka Monospace styles were added in 2008. Etelka Sans and Etelka Slab were released in 2019.
    • Evil
    • Excelsior Script (1995-1996), perhaps renamed Excelsor Script around 2000.
    • Farao (a great Egyptienne font in 3 weights)
    • Friedhof (2011). A family based on tombstone lettering from ca. 1900. It contains handtooled and shaded (Geist + Deko) variations.
    • Gallus Konzept (2007, in many weights):
    • Carolingian-Roman-Gaelic-Uncial script, or an exploration into how the Latin alphabet could look were the evolution of the Carolingian Minuscule to stop in the 8th century AD in Sankt Gallen.
    • Genre: a modern face.
    • Fenix 21 through 23 (2010): An elliptical sans family that includes a hairline (21).
    • Header (2009): a magazine headline family.
    • Hercules (2001). A didone family originally influenced by Monotype's fat face Falstaff (1935).
    • Hexenrunen (2006, + Reverb): a runic simulation face.
    • Ideal Gothic
    • Inicia (2018). A sans originally drawn in the 1980s.
    • Jannon (this is a formidable Garalde family). Jannon Pro appeared on MyFonts in 2010.
    • Jannon Sans (2011).
    • Jannon Text Moderne (2001): thicker hairlines and smaller x-height than Jannon Text, thus more generally useful
    • Jasan (2017). A 36-strong sans family with lots of wide styles.
    • JohnBaskerville (2000)
    • JohnSans (2001, a 72-weight sans version of Baskerville)
    • Josef Sans (2013, with Jan Solpera). A humanist sans family related to Josef Tyfa's Tyfa Roman (Tyfa Antikva).
    • Juvenis (2003)
    • Kompressor: techno typeface
    • Lexicon Gothic: newspaper and magazine type family, created in 2000. Renamed Lexon Gothic.
    • Libcziowes: based on the oldest lettering found in Bohemia, on a gravestone in Libceves dating from 1591
    • LidoSTF (2001, free): a redrawn Times with lots of individuality, yet still a newspaper typeface
    • Lokal Script (2009): a large hand-printed letter family.
    • ITC Malstock (1996-1997), a condensed film poster face.
    • Mediaeval
    • Metron (2004, a digital version by F. Storm and Marek Pistora after a huge sans design from 1973 by Jiri Rathousky, which was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. In 1986, the metro started using Helvetica): this typeface is eminently readable!
    • Modell: techno
    • Monarchia [The Monarchia family, consisting of three designs, is a transcription of "Frühling" of the German type designer Rudolf Koch, enriched by a bold and text design]
    • Moyenage (2008): a 25-style blackletter family for Latin and Cyrillic, almost an experiment in blackletter design and flexibility. Winning entry at Paratype K2009.
    • Mramor (1988-2013). A roman caps typeface with lower case added. Storm: The text designs are discontinued since they were replaced by the related Amor Serif family (along with its -sans version). Even so, ten display styles are left.
    • Negro
    • Ohrada: condensed upper case
    • Ornaments 1+2
    • Ozdoby 1+2 (great dingbats): The set includes heraldic figures, leaves, decorative endings, various skull forms, weather signs, borders and many more.
    • Patzcuaro
    • Pentagramme
    • Pentagraf: a slab serif
    • Pepone and Pepone Stencil. Designed for setting belles-lettres, this serifed family defies classification.
    • Pivo (2006), a connected diner script inspired by Bohemian beer labels.
    • Plagwitz (2000, blackletter). Plagwitz poster by Lissa Simon (2012).
    • Politic (2004): a clunky fat octagonal family made for billboards, flyers, posters, teabags, and matches for the green Party in the 2004 Czech elections. Caps only.
    • Preissig Antikva + Ornaments: a 1998 digitization and interpretation of Preisig's polygonal type from 1925. The Pro version is from 2012.
    • Preissig 1918: a typeface by Vojtech Preissig cut in linoleum
    • Preissig Ozdoby
    • Regent Pro (2015): a rustic Baroque typeface that oozes energy out of its semi-transitional semi-didone orifices.
    • Quercus Whiteline, Quercus 10, Quercus Serif, and Quercus Sans (2015). Four large families, created for informational and magazine design, corporate identity and branding. The sans has a Gill flavor.
    • Regula Text and Regula Old Face. Regula is named after the secular monastic order Regula Pragensis. Initially, the digitized font (regular old Face, which is now free) had jagged edges and a rather narrow range of applications until the summer of 2009, when Storm added text cuts. Regula was a baroque alphabet faithfully taken over from a historical model including its inaccuracies and uneven letter edges.
    • Rondka (2001)
    • Sebastian (2003, a sans with a funky italic), about which he writes: Sans-serif typefaces compensate for their basic handicap---an absence of serifs---with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs. More# Why do we love old Garamonds? Beside beautifully modeled details, they possess aspect-ratios of parts within characters that timelessly and beauteously parallel the anatomy of the human body. Proportions of thighs, arms or legs have their universal rules, but cannot be measured by pixels and millimeters. These sometimes produce almost unnoticeable inner tensions, perceptible only very slowly, after a period of living with the type. Serifed typefaces are open to many possibilities in this regard; when a character is mounted on its edges with serifs, what is happening in between is more freely up to the designer. In the case of grotesques, everything is visible; the shape of the letter must exist in absolute nakedness and total simplicity, and must somehow also be spirited and original.
    • Serapion (a Renaissance-Baroque Roman typeface with more contrast than Jannon)
    • SerapionII (2002-2003): early Baroque
    • Solpera (digitization of a type of Jan Solpera, 2000)
    • SplendidOrnamenty (1998, a formal script font)
    • Splendid Quartett: an Antiqua, a sans, a bold and a script. Stor writes: The script was freely transcribed from the pattern-book of the New York Type Foundry from 1882, paying regard to numerous other sources of that period.
    • St Croce (2014). Based on worn-out lettering on tombstones in the St. Croce Basilica in Florence, this is a flared lightly stenciled typeface family.
    • Technomat (2006): this typeface takes inspiration from matrix or thermal dot printers.
    • Tenebra: a combination of the Baroque inscriptional majuscule with decorative calligraphic elements and alchemistic symbols
    • Teuton (2001): a severe sans family inspired by an inscription on one German tomb in the Sudetenland
    • Traktoretka
    • Trivia Sans (2012), Trivia Serif (2012, a didone), Trivia Serif 10 (2012), Trivia Grotesk (2012, 48 cuts), Trivia Gothic (2013), Trivia Slab (2012), and Trivia Humanist (2013, a strong wedge serif family: I wanted a clear and majestic typeface for book jackets, LP cover designs, posters, exhibition catalogues and shorter texts).
    • Tusar (2004): a digitization of a type family by Slavoboj Tusar from 1926
    • Tyfa ITC + Tyfa Text: Designed by Josef Týfa in 1959, digitized by F. Storm in 1996.
    • Vida Pro (2005), a big sans family designed for TV screens. Vida Stencil Demo is free.
    • Walbaum Text (2002). Walbaum 10 Pro (2010) and Walbaum 120 Pro (2010) are extensive (and gorgeous!) didone families, the latter obtained from the former by optical thinning. Storm quips: I only hope that mister Justus Erich won't pull me by the ear when we'll meet on the other side. Advertised as a poster sans family, he offers Walbaum Grotesk Pro (2011).
    • Wittingau (2016). A wonderful decorative blackletter typeface family, with a great set of Wittingau Symbols.
    • Zeppelin (2000): a display grotesk
    This foundry cooperates in its revivals with experienced Czech designers Ottokar Karlas, Jan Solpera and Josef Týfa.

    Alternate URL. Myfonts write-up.

    At ATypI 2004 in Prague, he spoke about his own Czech typefaces, on his Czech Typeface Project, and on the life of Josef Týfa.

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

    Strahinja Aparac

    Novi Sad, Serbia-based designer of the Latin / Cyrillic display typeface Judith (2014). [Google] [More]  ⦿

    Stranichka kirilizacii

    Russian font resource page (in Russian). [Google] [More]  ⦿

    Studio Buchanan
    [Jonathan Gibson]

    This London-based foundry evolved from Gibson Type Foundry in 2016. It is run by Jonathan Gibson, a digital designer in the UK, who worked at Design London. His typefaces include Swahbuckle (2014, quixotic and piratey; sold by YWFT), and Roehampton (2014, condensed sans, +Avenue, +Boulevard; sold by YWFT).

    In 2016, he designed Beaumont (a tuxedoed art deco sans called postdeco by Gibson), Clutch Sans (for Latin and Cyrillic: rounded and condensed) and Brand Neue (a condensed rounded sans).

    Typefaces from 2017: Halcyon, Monolisk (a rigid gothic almost brutalist typeface).

    Typefaces from 2019: Kamber.

    Typefaces from 2020: Compita (an 8-style slightly condensed workhorse sans), Bloxic (chunky and counterless), Thorben (named after the old Norse legend of Thorben Odinson), Acklebury (a chunky reverse contrast Western slab serif typeface, with a Tuscan sub-style). You Work For Them link. [Google] [MyFonts] [More]  ⦿

    Studio Dezygn
    [Zahar]

    Russian studio where the blockish font Quasimode was designed by "Zahar". [Google] [More]  ⦿

    Studio Domahoka

    Studio Domahoka in New York City published the elegant thinly serifed Latin / Cyrillic / Greek caps typeface Uchronia in 2013. It explains: Uchronia is a classic serif titling typeface ideal for setting at large sizes; slightly condensed, light, with a very fine weight on its thinnest strokes. Uchronia is based on the hand lettered titles from a series of 1950s artist folios. The word "Uchronia" was coined by French author Charles Renouvier in 1876. A Uchronia is a sort of nostalgic utopia of yesteryear that often exists more in memory than in fact. The simple and graceful forms of Uchronia reference such an idyllic time.

    Behance link. [Google] [More]  ⦿

    Studio Punkt
    [Pavel Pavlov]

    Studio Punkt operates in Polvdiv, Bulgaria. Pavel Pavlov is a fraffiti artist from Sofia, Bulgaria, who initially designed some typefaces such as Weston (2011), a free rounded slab-serif font designed released by Fontfabric.

    In 2019, Pavlov (& Punkt) co-designed a few styles of Plovdiv, a free font family based on the handwriting of Plovdiv's citizens. These include Plovdiv Script, Plovdiv Maina Mode (with Alexander Nedelev) and Plovdiv Pictograms (with Alexander Nedelev and Georgi Vasilev).

    In 2022, Plamen Motev and Pavel Pavlov released the vampire-serifed variable typeface family Gwen at Fontfabric. Behance link for Pavel Pavlov. Behance link for Georgi Lazarov. [Google] [More]  ⦿

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

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

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

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

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

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

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

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

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

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

    Studiowhiz

    Russian type and font download site for both Latin and Cyrillic. [Google] [More]  ⦿

    Subud Russia

    Some Russian TrueType fonts, and info on Russification of web pages. [Google] [More]  ⦿

    Suitcase Type Foundry
    [Tomás Brousil]

    Suitcase Type is a Czech foundry, est. 2003 by Tomas Brousil (b. 1975), who lives in Prague. He graduated from the Prague Academy of Arts, Architecture and Design (Type Design and Typography, MgA. 2009) where his graduation project was the 96-family Tabac typeface system, published in 2010. He teaches in the Type Design and Typography department of the Prague Academy of Arts, Architecture and Design.

    The Tabac family started with Tabac Sans in 2010. It was augmented in 2012 with Tabac Slab and Tabac Mono, which have a full range of weights from Hairline to Black. Tabac Glam, a fashionable Peignotian high contrast sans, was added in 2016, and Tabac Micro in 2018. In 2019, he published Tabac Big Glam, Tabac Big Sans, Tabac Big Slab and Tabac Big.

    Other typefaces from 2008-2010 include Monopol (a six-weight condensed sans that includes a hairline weight), Idealista (2010, organic, a mix of styles), Nudista (2009, a multistyle take on DIN with a superb fashion mag hairline, Nudista Thin), Kulturista (2009, a part slab part serif extension of Nudista), Comenia Sans (2008, a 12-style complementary family to Storm's Comenia Serif for school textbooks), Metalista (2008, unicase octagonal metallic face).

    2007 was a successful year. Brousil created Bistro Script (2007, fifties diner style script), Corpulent (2007), and Gloriola (2007, a sans in 14 styles, including a hairline. The last typeface family won an award at TDC2 2008 and at Typographica's Best of 2007. Stephen Coles likes its position between the cool sterility of de Groot's monolinears and the warmth of Latin designers: With a broad range of weights, a complete Western character set, and a sack of ligatures and alternates, Gloriola has the depth required for complex identity systems and publication design. This shrewd response to the fashions of today is going to be useful for many years to come.). The year 2007 also saw Purista (a 10-style cousin of Eurostile), which includes hairline weights. Ellen Lupton says this about Purista: I've been feeling hungry for a stylish, edgy sans who enjoys evenings out on the town and long mornings of crisp conversation. In other words, I've been craving a font who likes to party but who can also help out with the dishes.

    Production in 2005-2006: Teimer's Antiqua (2006: a didone family based onn unpublished 1967 design by Pavel Teimer), Rokoko (2006, an octagonal custom typeface for the Rokoko Theatre in Prague), Sandwich (2006, a lively display caps set), Vafle (2006: based on an original concept by Marek Pistora from 1997, with minor adaptations and 11 new weights), Dederon Sans and Serif (2005, the sans version being inspired by TypoArt's Liberta; see also here for a comparison with Underware's Dolly), Dederon Serif.

    Typefaces from 2004 or earlier include Fishmonger (2004, a sans family), RePublic (a 2004 revival, done with Radek Sidun, of Public by Stanislav Marso, 1955. Note that Public was used to set the text of a Czechoslovak Communist party newspaper, Rudé Právo), Botanika (2005, a sans family including many typewriter styles and several mono weights), Atrament (2003, a narrowed grotesque inspired by the lettering used on the title of the almanac "Devetsil - Revolucni slovnik" (1922) edited by Karel Teige, in 30 styles!), Magion (2004, a simple geometric font), Fishmonger (2004, a broad 50-weight futuristic family), Katarine (2004, a warm sans family with appropriate dingbats added in), and Orgovan (2004-2005, a punk/brush family).

    Typefaces from 2013 include the roundish sans family Ladislav: The Ladislav font revitalises Sutnar's legacy, while not explicitly copying any of his original fonts. It however keeps true to their technicist character and initial principles of character creation - a simple modular system of combined geometrical segments. This approach affects all round shapes of capital and lowercase letters, as well as the shapes of the majority of numbers. The g consists of two disjoint circles.

    Typefaces from 2014: Urban Grotesk (a very airy, open grotesque typeface with large x-height and uniform grayness).

    Typefaces from 2015: Pacifista (stencil).

    Typefaces from 2016: BC Novatica (by Tomas Brousil and Marek Pistora (Briefcase Type): Novatica was created based on a commission from the Czech commercial television station Nova in 2007. Marek Pistora worked with Tomas Brousil to create an alternative to a readable, simply designed sans. They naturally called the typeface Novatica. In 2014 TV Nova decided to abandon Novatica for good, and in so doing it released the exclusive licence it had been using. Novatica thus became a new typeface offered by Briefcase Type Foundry.

    Typefaces from 2017: Jaroslav (monolinear sans, named after Jaroslav Benda, followed in 2020 by Benda), Pepi and Rudi (a sans and slab pair based on basic shapes such as circles, rectangles and triangles).

    Typefaces from 2020: Atyp BL (+variable), Atyp (+variable). A 25-style sans family remotely influenced by Bauhaus.

    Typefaces from 2021: Crabath (a 72-style transitional typeface family based on the 1761 specimen book of Czech typefounder Vaclav Jan Krabat; this family covers several optical ranges, from Subhead to Display to Text, and features wonderful initial caps).

    Typefaces from 2022: Atyp Kido (a 6-weight and variable rounded sans family for Latin, Greek and Cyrillic).

    Brousil made many corporate or identity fonts. Examples include Brzda (a custom font for Czech artist Pavel Brazda), Budovatel (a custom font for the Bohemian National Hall in New York), and Union (custom webfonts for the Czech graphic design union).

    MyFonts page. Behance link. Klingspor link. MyFonts interview.

    View Tomas Brousil's typefaces. [Google] [MyFonts] [More]  ⦿

    Sulekha Rajkumar

    Senior designer in Banagalore. Creator of the Latin / Cyrillic constructivist typeface Privet (2013). Other fonts by her include Earth Song (2013, a recycling-themed typeface) and Multiplicity (2013, a counterless geometric sans), both done for a commercial project.

    Designer of Anek Bangla as part of Ek Type's award-winning family Anek (2022). [Google] [More]  ⦿

    Suleyman Yazki

    Istanbul-born graphic designer and typographic researcher, now located in Geneva, Switzerland. During his studies in the Master of Graphic Design program in Rennes (France), he created Lita (2012), a thin grotesk typeface. L'Atelier (2012) is an experimental typeface designed with Colophon Foundry (UK) for the international Chaumont graphic design festival.

    In 2013, he created the distinctive typeface Auger for Auger Paris: Created by Raymond Jacquet in 1946, the studio, which has the distinction of being one of the last existing typography and wood engraving studios, has been managed by the typographer and engraver Vincent Auger since 2004, who perpetuates this prestigious studio. To improve the image of the studio, the aim of the new identity was to think up a character relating to the book and its history. The design is based on a more contemporary didone, while strongly influenced by Art Deco aesthetics.

    He joined Studio Dumbar in Rotterdam. Graduate of the School of Applied Arts of Rennes (France) and of DSAA LAAB Academy in 2014. In 2014, he started work at Prologue Films in Los Angeles. At Fontfabric, he published the free Latin / Cyrillic stencil font Rafale (2014) and the art deco font Auger.

    Behance link. Old URL. Another Behance link. [Google] [More]  ⦿

    Sun-Ext

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

    Superior Type
    [Vojtech Riha]

    Type foundry in Prague, Czechia, est. 2014 by Vojtech Riha (b. 1989), who studied at the Technical School of Ceramics in Karlovy Vary, and at the Studio of Typography of the Academy of Arts, Architecture and Design in Prague.

    His typefaces:

    • Vegan (2014): a modern, structured sans featuring delicate, humanist elements. Vegan was inspired by Stanislav Marso's distinctive shadow font Vega (1956, Grafotechna). This workhorse family has six styles and six matching italics.
    • Kunda Book (2015). This text won a bronze medal at the European Design awards.
    • The sans typeface family Hrot (2016). He writes: Grown organically from the soft aesthetics of Swiss and German airline posters, Hrot is a versatile sans-serif family with eighteen distinctive cuts. Works perfectly in elegant headlines and gives perfect impact to any logotype.
    • At Briefcase Type, he published BC Dres (partly octagonal), Kakao (hand-drawn: when drawing Kakao, he frequently referenced Bohumil Lanz and Zdenek Nemecek's book Typeface in Advertising (published by Merkur Publishing House, Prague, 1974)), BC Pramen Sans and Slab, BC Motel Sans and Slab and BC Steiner in 2014. Dres reappeared in 2019 at Superior Type.
    • In 2018, Vojtech Riha and Matyas Machat co-designed Slavia and Slavia Press + Repress. The former is a socially awkward 1910-era grotesque, and the latter two typefaces are letterpress style cousins.
    • In 2020, Riha released the geometric sans typeface family Raptor.
    • Lenora (2021). A fashion mag didone that flirts with the fatface in its heavier weights. Covering Latin, Greek and Cyrillic. John Boardley opines: A kind of RuPaul meets Bodoni in this self-assured, sassy and supremely sumptuous new family.
    [Google] [MyFonts] [More]  ⦿

    Supremat
    [Roman Postovoy]

    Roman Postovoy is a web and graphic designer based in Dedovsk, Russia. His typefaces mostly return to the Bauhaus period and the era of Swiss typography. In 2020, he published the 5-style wide geometric headline sans Benzin, the all caps Bauhaus typeface Weimar for Latin and Cyrillic, and the extra wide and heavy Hitchcockian typeface Anker.

    Still in 2020, he released Rigel, an all caps blackletter typeface which was inspired by a 1936 poster by American artist and illustrator Katherine Milhous for the Ephrata Cloister.

    Typefaces from 2021: Nucliometer (a piano key font), Lifeform (experimental), Uranus (a Latin // Hangul sci-fi typeface). [Google] [MyFonts] [More]  ⦿

    Svarog Inc

    Creator of the old Slavonic typeface Velesovitsa, which can be found here. [Google] [More]  ⦿

    Sven Mündnerand& Ilya Shipilovskikh

    For an exhibition at the Russian National Centre for Contemporary Arts, an untitled Cyrillic stencil typeface was developed in 2014. This project was curated by Sven Mündnerand& Ilya Shipilovskikh. [Google] [More]  ⦿

    Sveta Sebyakina

    As a student in the British Higher School of art and Design, under the leadership of Ilya Ruderman, Sveta Sebyakina designed Alien (2009), a pixel font, and an experimental Plastic Cup font (2009). [Google] [More]  ⦿

    Svetlana Akatyeva

    Russian graphic designer. She made the soothing curly informal Cyrillic typeface Ackat in 2009. [Google] [More]  ⦿

    Svetlana Kolodiazhnaia

    Graphic designer in Moscow who created the pixel font Smetype (2015). [Google] [More]  ⦿

    Svetlana Kovaleva

    Moscow-based designer of the surrealist Cyrillic typeface called either Piranha or Guard Dogs of Surrealism (2020), which celebrates Salvador Dali and Luis Bunuel. [Google] [More]  ⦿

    Svetlana Kovylina

    During her studies at BHSAD in Moscow, Svetlana Kovylina designed Stone (a great Cyrillic display typeface). [Google] [More]  ⦿

    Svetlana Lovkova

    Moscow-based designer of the Cyrillic sans typeface MK Medium (2014). [Google] [More]  ⦿

    Svetlana Makarovskaya

    Moscow-based creator of the Latin / Cyrillic display typeface Atmosphere (2015). [Google] [More]  ⦿

    Svetlana Maksimova

    Moscow-based designer of the Cyrillic text typeface Sveta (2017). [Google] [More]  ⦿

    Svetlana Morozova

    Or jsut Sveta Morozova. Russian type designer. In 2013, she published the ultra-black slab display typeface Fatum at Paratype. [Google] [MyFonts] [More]  ⦿

    Svetlana Putintseva

    Moscow-based designer of of the blocky Latin / Cyrillic typeface Blanco (2015). Behance link. [Google] [More]  ⦿

    Svetlana Radenkovic

    Belgrade-based designer of a few typefaces in 2011, like Blab (hand-drawn outline). Latin and Cyrillic. [Google] [More]  ⦿

    Svetlana Sebyakina

    Russian creator of a number of Cyrillic pixel fonts in 2007. In 2011, her low-contrast readable serif typeface Alike (codesigned in 2009 with Alexei Vanyashin at Cyreal) was made available for free download in 2011 at Google Font Directory. [Google] [More]  ⦿

    Svetlana Sebyakina

    Designer of the Latin/Cyrillic multi-faceted family Alike (2009), which was part of her diploma work at the Moscow Department of Higher British Design School. [Google] [More]  ⦿

    Svetlana Solovyowa

    Moscow-based designer of the Cyrillic typeface Matchball (2013). [Google] [More]  ⦿

    Svetlana Tingaeva

    Graduate of Nizhny Novgorod State Pedagogical University, who is now located in Samara, Russia. Designer of a watercolor script typeface in 2015 and some vector format brush typefaces in 2016. Creative Market link. [Google] [More]  ⦿

    Svetlana Tsyganenko

    Siberian designer of the handcrafted typefaces Jungle (2016, African-themed font set), Elephant (2016), Elephant Lines (2016) and Tribal Elephant (2016). Aka Swet TS. [Google] [More]  ⦿

    Svetlana Vucic

    Belgrade, Serbia-based designer of the hand-printed Latin / Cyrillic typeface Scarlet Book (2014). [Google] [More]  ⦿

    Svetlana Yermolaeva

    Russian type and graphic designer at Polygraphmash. She made the Cyrillic typeface Izhitsa (1988), based on Kyrillitsa (1982), inspired by the typographic poluustav of the Printing Office of the Russian Empire Academy of Science (late 19th century). A decorative (shadow) style was added at ParaGraph by Alexander Tarbeev in 1994, and a Latin alphabet followed in 2009 thanks to Oleg Karpinsky.

    At Intermicro, she designed Mysl (1992-1996, together with Isay Slutsker and Emma Zakharova). She also made Tip Bodoni, Kirillitsa, Izhitsa and created a Cyrillic version of ITC Anna (with Vladimir Yefimov and Alexander Tarbeev).

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

    Svetlin Balezdrov

    Graphic designer in Sofia, Bulgaria. In 2016, Svetlin Balezdrov and Ventsislav Yordanov co-designed the free geometric Latin / Cyrillic inline typeface Socium. They explain: The font is a fresh look at the aesthetics of Bulgarian socialism that interprets in a memorable way the achievements of the Bauhaus.

    In 2015, Svetlin Balezdrov and Svetoslav Simov co-designed Simbal. In 2016, Svetlin Balezdrov & Ventsislav Yordanov co-designed Leks and the free font Balkara. In 2013, Svetlin Balezdrov designed Balezdrov11. In 2016, he designed the dot matrix typeface Knoway, and in 2017 Karano. Behance link. Npoekmu download site. [Google] [More]  ⦿

    Svetoslav Simov
    [Fontfabric]

    [MyFonts] [More]  ⦿

    Swill Klitch

    Designer in Novosibirsk, Siberia. In 2016, he created the (Latin) blackboard bold typeface Leemtant. [Google] [More]  ⦿

    sympad.net

    Russian truetype archive stacked with over 600 fonts. [Google] [More]  ⦿

    Synaxis

    Dead link for Cyrillic and Old Slavonic font sources. Downloads included ALBXHRNormal (1994, I.M. Grhgorioy), Altrussisch, AltrussischBold, AltrussischBoldItalic, AltrussischItalic, Bukvica (1999, URW), Byzantine (2005), Constantin (1994, L. Jake Jacobson/Slavic/University of Pittsburgh), ConstantinBold, ConstantinItalic, DSCoptic (2000, Dubina Nikolay), DSCyrillic (1999, Dubina Nikolay), DSRussiaDemo (1999, Dubina Nikolay), DSUstavHand (1999, Dubina Nikolay), DSYermak_D (2000, Dubina Nikolay), Evangelje-Plain (1995), FaithOrnaments (1994, religious dingbats by Proclaim Communications, Inc), HellasSouv (1994, I.M. Grhgorioy), KALIGRAFIKA (1997, I.M. Grhgorioy), KirillicaWincyr, Knyazcyr, LCBagira, Lavra-Plain, Methodius (1994, L. Jake Jacobson), MtAthos, NB-Byzantine-NB (1999, Nikolaos), Neobyzantine, Nestor-Condensed, Nestor (1999, V. Romanov, Moscow), Novgorod-Plain, OldChurchSlavonicCyr, OldChurchSlavonicGla, OrnamentTM (1993, Type Market Ltd. Moscow), OrnamentTT (1994 by Dmitry Komissarov, ParaGraph), OrthodoxOrnament (1997-2000, Solovetsky Monastery), PigraphBTT (1994 by Dmitry Komissarov, ParaGraph), Prosphora (2005, religious dingbats by Nikita Simmons), Saltan (2005), TitusAsomtavruliMrglovani (2000, Jogi Weichware, Frankfurt), TitusAsomtavruliNuskhuri, TitusNuskhaKhutsuri, TitusOldGeorgian, Triod, UB-Byzantine-Italic (1996, Unibrain S.A.), UB-Byzantine, Ukrdings (2004, Ukrainian dingbats), VityazCyr (1999), WP-CyrillicA, WP-CyrillicB. [Google] [More]  ⦿

    SynthesisSoft

    Russian foundry active in the early 1990s. Fonts are shattered over the web. They include Cyrillica Bulgarian (1994), Glagolica Bulgarian (1993), OldCyr Bold (1992), TmsCyr (1993), UnvEe UnvCyr, CourierCyr, CourierEe, CyrillicaBgEpigraph, CyrillicaOchrid1, CyrillicaOchridEpigraph, CyrillicaShafarik, CyrillicaShafarikEpigraph, Etymolog1, Etymolog3, OldCyr. [Google] [More]  ⦿

    Systema 81
    [Mitiya Masuda]

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

    Szanowa.narod.ru

    Russian site for free Glagolitic fonts. We can download

    • By Vladislav V. Dorosh, Calmius Software, 2003: 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.
    • By SoftUnion Ltd - A. Shishkin and N. Vsesvetskii; NAAsoft - N. Andrushchenko, 1994 and 2003: Orthodox.tt-Ucs8-Caps-SpacedOut, Orthodox.tt-Ucs8-Caps-tight, Orthodox.tt-Ucs8-Caps, Orthodox.tt-Ucs8-Drop-Caps, Orthodox.tt-Ucs8-SpacedOut, Orthodox.tt-Ucs8-tight, Orthodox.tt-Ucs8, Orthodox.tt-eRoos-SpacedOut, Orthodox.tt-eRoos, Orthodox.tt-ieERoos-SpacedOut, Orthodox.tt-ieERoos, Orthodox.tt-ieUcs8-Caps-SpacedOut, Orthodox.tt-ieUcs8-Caps, Orthodox.tt-ieUcs8-Drop-Caps, Orthodox.tt-ieUcs8-SpacedOut, Orthodox.tt-ieUcs8, Orthodox, OrthodoxDigits, OrthodoxDigitsLoose, OrthodoxLoose, OrthodoxOrnament.
    • By Nikita Simmons, 1994. Adapted to UCS by Vladislav V.Dorosh, 2001: 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]  ⦿

    Szymon Sznajder

    Szymon Sznajder (b. 1977) graduated from the Poznan University of Arts. He currently works as a typographer and font and book designer in Poznan, Poland and occasionally teaches at the Poznan University of Arts. He runs or ran Typolis.

    His typefaces include

    • Shelf (a 27-style humanistic wayfinding sans for Latin, Cyrillic and Hebrew; released as a retail typeface in 2021).
    • Grind (angular expressionist style).
    • Oneweek.
    • Simonella (2009).
    • Zaklad (2016: a free brutalist typeface done as part of the Warsaw Types project).
    [Google] [MyFonts] [More]  ⦿

    T. Christopher White
    [I & O Media (or: Iset and Osiri, or: Imagine and Ordain)]

    [MyFonts] [More]  ⦿

    Tag Design
    [Denis Kara]

    Saint Petersburg, Russia-based designer of Morion Bold (2016). The Latin part is not free. The Cyrillic part, including some arrows, is free.

    In 2018, he designed the octagonal typeface Salut. Graphicriver link. [Google] [More]  ⦿

    Tagir Safayev

    Tagir Safayev is a Russian type and graphic designer. He created more than one hundred fonts, among which ITC Stenberg (1997, Cyrillic simulation face), which was originally called Rodchenko (a stencil font). Tagir Safayev is also active in book design and advertising. From 1991 until 2003 he worked as a type developer for ParaType. In 1995 he received the Rodchenko Award of the Society of Designers of Russia for Rodchenko typeface [look for Rodchenko here (italic version) and here, or for the ParaType family (1996-2002)]. He is a member of the Moscow Artists Union and of the Association Typographique Internationale (ATypI), and a co-founder of the Type Designers Association, Moscow. He won an award at Bukvaraz 2001 for Serp'n'Molot (2001, meaning hammer and sickle; forms inspired by lettering of Sergey Chekhonin (1878-1936)). Professor of the National Design Institute of the Designers Union of Russia. Teacher at the Higher Academic School of Graphic Design in Moscow. Currently staff designer at ParaType in Moscow. Faces: Bloc (designed at ParaType in 1997 by Tagir Safayev for advertising and display typography; based on Block of H. Berthold, 1908 by Heinz Hoffmann), Black Grotesk (1997, based on Gasetny Chorny ("Newspaper Black"), of the O.I. Lehmann foundry, St.Petersburg, 1874, and Kompakte Grotesk (Haas)), PT Courier (1990, ParaGraph), PT Courier Monotonic Greek (1990), PT Courier Polytonic Greek (1990), PT DIN Condensed (1997), Birch (1995, handwriting, ParaGraph), PT FreeSet (1991-2000, based on the Frutiger typeface family), LEF Grotesque (1999), PT Epsilon (1995, handprinting), Etienne (Kremlin Pro (2010, Paratype), PT Hermes (1993; Based on Placard MT Condensed typeface (Hermes Grotesk by Wilhelm Woellmer, 1911) of the Lange type foundry (St.-Petersburg), an adaptation of Hermes Grotesk, of the Woellmer type foundry (Berlin, 1911). This sans serif with its old-fashion stability looks well in advertising and display typography), Bitstream Humanist Cyrillic 521 (1999), PT Plain Script (1995, comic book lettering), PT Irina (1995, caps-only comic book face), ITC Kabel Cyrillic (1993, after the Original Kabel, 1976, Vic Caruso), Frutiger (1992, after the 1976 original), Meta+ Cyrillic (2000), Mirra (1999), ITC New Baskerville Cyrillic (1993, ParaGraph), ITC Banco (2000: the Cyrillic version of the font by Phill Grimshaw, 1997, which in turn was based on Roger Excoffon's Banco at Fonderie Olive in 1952), Bank Gothic (1997: a Cyrillic version of the 1930-1933 original by Morris Fuller Benton at ATF), ITC Officina Sans Cyrillic (1995), PT Proun (1993, a Cyrillic version of Choose One/Ten), PT Rodchenko (1996), ITC Stenberg (1997), ITC Stenberg Inline (1997), Swift Cyrillic (2002), PT Yanus (1999, originally created as a corporate identity for Aeroflot), PT Unovis (2001, inspired by the Russian avant garde of the 1920s), this unfinished Cyrillic version of Trajan (1994-1996), and Serp n'Molot (2001). At ATypI 2008 in St. Petersburg, he spoke about the various Cyrillic adaptations of Cheltenham done in the last century, prior to his own Cyrillic extension for NYTimes Cheltenham, done in 2008.

    View Tagir Safayev's typefaces. [Google] [MyFonts] [More]  ⦿

    Taisiia Shkarlinska

    Poznan, Poland-based graphic designer. In 2020, she created the church slavonic style Cyrillic typeface Kalyna. [Google] [More]  ⦿

    Taisiya Lushenko

    Aka Taya. Russian designer at Art Lebedev Studio of these typefaces:

    • The sans family ALS Story (2008, together with Zakhar Yaschin).
    • The text family ALS Meringue (2009, with Olga Balina).
    • The antiqua typeface Flai (2015, with Vera Evstafieva).
    • Yandex (2013). A corporate typeface by Ksenia Erulevich, Taisiya Lushenko, and Elena Novoselova.
    • Zaryadye (2017). A humanistic grotesque, created specifically for Zaryadye park.
    • Ivolga (2018). A playful yet conservative formal script.
    • The elliptical sans typeface ALS Horizon (2019).
    [Google] [MyFonts] [More]  ⦿

    Tajiki Truetype Fonts

    Fonts for Tajiki, made by the Summer Institute of Linguistics: TajikiCharisBold, TajikiCharisBoldItalic, TajikiCharisItalic, TajikiCharisRegular, TajikiDoulosBold, TajikiDoulosBoldItalic, TajikiDoulosItalic, TajikiDoulosRegular, TajikiManuscriptBold, TajikiManuscriptBoldItalic, TajikiManuscriptItalic, TajikiManuscriptRegular, TajikiSophiaBold, TajikiSophiaBoldItalic, TajikiSophiaItalic, TajikiSophiaRegular. [Google] [More]  ⦿

    Talbot Type
    [Adrian Talbot]

    Adrian Talbot (b. 1964, Worthing, Sussex, England) heads the type foundry Talbot Type in London. He made the Bauhaus-style Bremner family in 2000 for the visual identity of Mute Records.

    In 2012, he designed these typefaces: Kinghorn 205 (Egyptian), Kinghorn 105, Kamerik105 (+Kamerik 105 Cyrillic, 2014), Kamerik205 (an avant garde type family with many weights, including a hairline), Karben, KarbenMono (a mono-width sans family in the style of DIN), Karben 205 Mono, Karben 205, Karben 105, Karben 105 Mono, Kessel105, Kessel205 (a geometric sans family influenced by Futura; see also Kessel 105 Remix, 2016, and Karben 105 Stencil, 2016), Kettering105, Kettering205 (a slabby almost typewriter typeface influenced by Lubalin and similar avant garde styles), Kiruna (a legible and very open sans family), Kursk105, Kursk205 (constructivist), Kaleko 105 and 205 (Gill Sans-style sans families with large x-heights; see also Kaleko 105 Remix (2016) and Kaleko 105 Round Remix (2016), and the more geometric and medium x-height families Kaleko 105 Text and Kaleko 205 Text (2018)).

    Typefaces from 2013: Kilburn (a gothic sans serif), Kroppen Round (a geometric stencil), Kampen (square-spaced family), Kaleko 205 Round, Kaleko 105 Round.

    Typefaces from 2014: Kelso (an outline font with outlines that consist of a single continuous line), Klef (a geometric sans influenced by Avant Garde), Kenwyn (a playful bullet-holed Egyptian; +Stencil), Korbin (a semi-geometric grotesque family), Kandel 105 and 205 (geometric, tri-line, display and headline font).

    Typefaces from 2015: Kinsey.

    Typefaces from 2016: Keith (a sans family with layerable Umbra-like shadow styles), Korto (a geometric sans inspired by Futura and Avant-Garde).

    Typefaces from 2017: Kittle Round (stencil), Kittle Rough, Kitami (monoline sans), Keymer (a sans typeface family inspired by Margaret Calvert's Transport typeface), Keymer Thug (distressed), Keymer Radius (a rounded version), Keymer Block (a grungy version).

    Typefaces from 2018: Kessel 105 Text, Klamp 105 (a tall geometric sans with a handicapped g, followed in 2019 by Klamp 105 Mono), Klamp 205 (a tall geometric sans with a fine two-storeyed g, Klamp 205 Mono).

    Typefaces from 2019: K-haus 105, K-haus 205 (to celebrate 100 years of Bauhaus, an organic typeface family based on Herbert Bayer's universal alphabet), Kong Script.

    Typefaces from 2020: Koi (an inline / outline typeface close to a paperclip font), Kamerik 105 Text, Kamerik 205 Text.

    Typefaces from 2021: Kelso Round (a paperclip font), Benelux (a 10-style rounded monolinear sans).

    View Adrian Talbot's typefaces. [Google] [MyFonts] [More]  ⦿

    Tamar Fonts
    [Hillel Glueck]

    Type designer from Israel. In 2021, he created Phone Pro and Phone Pro Hebrew and wrote: Designed with the intention of harmonizing between four scripts---Latin, Cyrillic, Greek and Hebrew. The Phone typeface is in a way evoking the feeling of some Gaelic font and of the [Egyptian] Papyrus font (by Chris Costello, though, not being based on neither of those), having an exotic and an exquisite look, under the category of Soft Fonts and Friendly Faces. [Google] [MyFonts] [More]  ⦿

    Tamara Pesic

    Graduate of the Faculty of Applied Arts in Belgrade. Creator of the serifed Cyrillic typeface Carreta (2012). [Google] [More]  ⦿

    Tamara Pilz

    Austrian designer of Hildegard (2014-2015). See also Typeclinic 11th International Type Design Workshop for more work on Hildegard.

    At Typeclinic 12th International Type Design Workshop in 2016, she designed the angry angular typeface Grimmig.

    In 2018, she graduated from the University of Reading's MATD program. Her graduation typeface, Kombucha, is a flexible type system with distinctive horizontal stress, designed to perform well for setting easy breezy online content. It covers Latin, Greek, Cyrillic and Nyiakeng Puachue Hmong.

    In 2021, Tamar Pilz and Lisa Schultz co-published Grimmig (a 10 style angular and gloomy typeface family by Lisa Schultz and Tamara Pilz) at Schriftlabor. [Google] [MyFonts] [More]  ⦿

    Tamara Ristic

    Graphic designer in Belgrade, who designed the lapidary typeface family Monarch in 013 for Latin and Cyrillic. [Google] [More]  ⦿

    Tamara Vukich

    Novi Sad, Serbia-based designer of the free handcrafted Latin / Cyrillic typeface family Katona (2016). [Google] [More]  ⦿

    Tambov State Technical University

    Huge archive with mainly Russian truetype fonts (maybe over 2000), and some Latin, symbol, unicode, and dingbat fonts. There are too many fonts to mention single typefaces. Noteworthy is the TeamAxis collection from 1994 by Dmitry Komissarov (ArtSans, CourtierC, KarinaC, KursivC, TenseC), the Soft collection, many ParaGraph fonts (such as the Cyrillic version of Didot, PG_Didona_Cyr, 1992). Alternate URL. [Google] [More]  ⦿

    Tambov State Technical University

    Russian Orthodox font archive with plenty of fonts used by that church. A non-exhaustive list of mostly Cyrillic fonts:

    • From DoubleAlex Team: Blagovest.
    • From SoftUnion: Half-Ustav and Evangelie, both by A. Shishkin and Nikita Vsesvetskii, 1994.
    • From TypeMarket: Ustav, Fita_Poluustav (1995), Fita_Vjaz (1995), Fita_church (1994), all by Serge Shanovich.
    • From Intersignal: SlavonicGothic, Slavonic-Plain, SlavonicCond-Plain, all made in 1991.
    • By Andrei Izotov (Moscow State University): Church AI (1995), Church plus (1995).
    • From VNLabs: CyrillicOld (1992).
    • From DS Studio: DSCyrillic (1999), DSRussia Demo (by Nikolay Dubina, 1999), DS Sholom (by Nikolay Dubina, 1999), DS UstavHand (by Nikolay Dubina, 1999).
    • From Atech: Decor-Bold (1991).
    • From Payne Loving Trust: Graeca (1993), a Greek font.
    • From Galaxie Software, Garland TX: Greek Parse (1992).
    • From Calmius Software: Irmologion (by Vladislav V. Dorosh, 1996).
    • From ParaGraph: Izhitsa (Dmitry Komissarov, 1992).
    • By Peter R. Rudneff: Myfont1 (1995), a Cyrillic font.
    • By Vladimir Romanov: Nestor (1999).
    • By Yuri A. Lyamin: SkazkaForSerge, a Cyrillic version of Arnold Boecklin.
    [Google] [More]  ⦿

    Tanchik
    [Tanya Savchenko]

    Or Tetiana Savchenko. Kyiv, Ukraine-based graphic and type designer. Creator of the Latin / Cyrillic hand-printed typeface Qundart (2021) and the almost hexagonal typeface Black Acute (2021). [Google] [MyFonts] [More]  ⦿

    Tanja Stevanovic

    Graduate of the Faculty of Applied Arts in Belgrade. Creator of the decorative yrillic typeface Orasi that was by the illustrations for the book "Hedgehog's House". [Google] [More]  ⦿

    Tanya Butskaya
    [Sloth Astronaut (or: Cosmic Store)]

    [More]  ⦿

    Tanya Butskaya

    Almaty, Kazakhstan-based designer who created the great eroded Latin / Cyrillic typeface Disappear (2015). She also created the typeface Wood Burn (2015). [Google] [More]  ⦿

    Tanya Cherkiz

    Ekaterinburg, Russia-based lettering artist. Designer, with Ivan Gladkikh (Jovanny Lemonad), of the free retro script typeface Magnolia Script (2016), published by Typetype in Russia.

    TT Backwards (2017): an experimental script and grotesque font family inspired by the typographic scenery in the USSR in the late 70s and early 80s, designed by Tanya Cherkiz, Sergey Kotelnikov, Philipp Nurullin and the TypeType Team.

    In 2019, she set up her own type foundry, and prompltly published the connected monoline script typeface Austen Script. [Google] [MyFonts] [More]  ⦿

    Tanya Chursina

    Moscow, Russia-based designer of the textured Latin typeface Wood Type (2015). [Google] [More]  ⦿

    Tanya Dunaeva

    Moscow-based designer of Simba Modul (2018) for Latin and Cyrillic. [Google] [More]  ⦿

    Tanya Emelyanova

    Illustrator in Saint Petersburg, Russia, who created several children's alphabets and a set of Funny Cactus icons in 2014. In 2015, she designed the handcrafted typeface Neva. Creative Market link. [Google] [More]  ⦿

    Tanya Farba

    Moscow, Russia-based designer of the hand-painted Cyrillic typeface Handmade Font (2016). [Google] [More]  ⦿

    Tanya Laleva

    Designer of the old church Slavonic font Kirilttf (with Miguel Angel Durán Pascual, Filología Eslava, Universidad Complutense, Madrid, 1994). [Google] [More]  ⦿

    Tanya Lyashenko

    Kyiv, Ukraine-based designer of the old Slavonic emulation typeface Kalinka Malinka (2015, FontStruct), which covers Latin and Cyrillic. At FontStruct, she is known as Gutiusha. Behance link. [Google] [More]  ⦿

    Tanya Savchenko
    [Tanchik]

    [MyFonts] [More]  ⦿

    Tanya Shukina

    Omsk, Russia-based designer of a painted Cyrillic typeface in 2018. [Google] [More]  ⦿

    Taras Sgibnev

    Moscovite Taras Sgibnev says this about his experimental modular typeface Tatlium (2012): Tatlium was designed with a modular grid that was based on the photographed Tatlin's Tower replica inside Mayakovski's museum in Moscow [sic]. [Google] [More]  ⦿

    Tarek Samir Al-Sawwa
    [TS Fonts (or: Fonttat)]

    [More]  ⦿

    Tatar fonts

    Free Tatar fonts. [Google] [More]  ⦿

    Tatar language

    Esa Anttikoski's page with Tatar links. Tatar is in the Turkish family of languages and is spoken in the Republic of Tatarstan, in a number of districts in Bashkortostan, Mari El, Udmurtia, Mordovia, in most regions of Russia and in a few districts of Uzbekistan, Kazakhstan, Azerbaidzhan, Kirgizia, Tadzhikistan and Turkmenistan. This page has a free Tatar truetype font from Kheter Publishers. Description of some Tatar fonts. [Google] [More]  ⦿

    tatar.ru

    Free Tatar fonts at this governmental web site. [Google] [More]  ⦿

    Tatarstan foreign affairs department

    Almost 2MB worth of Tatar fonts packed in .arj format. [Google] [More]  ⦿

    Tatarstan Internetta

    Free Tatar truetype font. Click in lower left corner. [Google] [More]  ⦿

    Tatiana Emeljanova

    Russian designer of Motion Light (2001). [Google] [More]  ⦿

    Tatiana Fasenda Biserova

    Codesigner with Jovanny Lemonad of the free squarish typeface Kazmann Sans (2016). [Google] [More]  ⦿

    Tatiana Kostakova

    Designer of the Latin/Cyrillic children's book family Murz (2010) while she was a student at the British Higher School of Art and Design in Moscow. She writes: Murz --- a child's nickname --- funny, ringing, short, easily pronounced. Murz is designed for the family project Mi LeTaLi, exactly for the second book Murz's ABC. [...] Yje typeface should be amiable, with «smile», positive like a pleasant fairy-tale, a bit strange, fairly strt, accurate like primers --- it is just what fascinating antique Murz is: Fervent like a baby's curl, rounded and soft like a child's cheek. Promotional material for Murz: i, ii, iii, iv, v, vi, vii, viii. [Google] [More]  ⦿

    Tatiana Kostysheva

    Tatiana Kostysheva (Tatiana Kost Design, Russia) designed a hand-sketched ampersand set and a collection of snowflakes in 2015. She also designed the watercolor splash font simply called Ink (2015). [Google] [More]  ⦿

    Tatiana Kostysheva

    Tatiana Kostysheva (Tatiana Kost Design) is a Russian illustrator. In 2015, she created Ink Brush Font. [Google] [More]  ⦿

    Tatiana Kovaleva
    [Cmeree]

    [MyFonts] [More]  ⦿

    Tatiana Kuzmiichuk

    Saint Petersburg, Russia-based designer of the wavy typeface Razrabotka (2015). [Google] [More]  ⦿

    Tatiana Lyskova

    Russian type and web designer associated with ParaGraph. Since 1999, she is a head of Taitl Design (USA). She designed the Cyrillic version of Bernhard Condensed (1993, based on Lucian Bernhard's typeface from 1912 for the Bauer company), ITC Bauhaus (1994, ParaGraph, with assistance of Elvira Slysh) and ITC Beesknees (1994, ParaGraph, with Elvira Slysha), and ITC Franklin Gothic (with Isay Slutsker). She also made the art nouveau typeface PT Karolla (1994, ParaGraph, based on Karola Grotesk, of H. Berthold and Bauersche type foundries, and Haas' Boutique. URW has Latin and Cyrillic versions of PT Karolla. Its bold style is based on Hercules (early 20th century) and was added for ParaType by Manvel Shmavonyan in 2002).

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

    Tatiana Nazarova

    Russian graphic and type designer. Creator of the prickly vampire font Stervella (2021), which covers Latin and Cyrillic. [Google] [MyFonts] [More]  ⦿

    Tatiana Nikitina

    Moscow-based designer of a Cyrillic steampunk-themed typeface in 2015. [Google] [More]  ⦿

    Tatiana Roshal

    Saint Petersburg, Russia-based designer of an experimental Cyrillic typeface (2018). [Google] [More]  ⦿

    Tatiana Rusalovskaya

    Graphic designer in Moscow who created Friendly Font (2013, Latin and Cyrillic). [Google] [More]  ⦿

    Tatiana Rusalovskaya

    Under the supervision of Igor Mustaev, Tatiana Rusalovskaya designed the modular logotype Totem (2011) at the British Higher School of Art and Design in Moscow. [Google] [More]  ⦿

    Tatiana Udalova

    Student at the British Higher School Of Art and Design, and a designer in Moscow. She is a chuild of the remix era, and remixed Baskerville into Baskerville Pinthread (2011). [Google] [More]  ⦿

    Tatiana Zhukova

    Graphic designer in Saint Petersburg, Russia. She created the display typeface Orava (2012). I also like her experimental typography in a dada-styled poster entitled Philippe Soupault (2012).

    Behance link. [Google] [More]  ⦿

    Tatjana Kovalevskaja

    During her graphic design studies in Vilnius, Lithuania, Tatjana Kovalevskaja created Drop Font (2015), Modul Experimental (2015), Super Contrast (2015, art deco), and Upright Regular (2015, a sans for Latin and Cyrillic). Behance link. [Google] [More]  ⦿

    Tatjana Malakhova

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

    Tatsiana Kandrashova

    Balarussian designer of the alchemic or geometric doodle typeface Cosmic (2015). [Google] [More]  ⦿

    TBBS Portal
    [Pavel Laulin]

    Russian mini-archive: Academy-Italic, Academy, ArtScript, BetinaScriptC, Calligraph, Corrida-Bold, CyrillicChancellor, CyrillicGoth, CyrillicRibbon, Decor-Bold, Decor-Italic, Decor, FuturisShadowC, SkazkaForSergeMedium, Slipstream, a_AlgeriusBlw, a_Assuan-Bold. [Google] [More]  ⦿

    tcherom.ru

    ParaGraph's AXP-CorridaC font. [Google] [More]  ⦿

    Te Julia

    Moscow-based designer of the octagonal (Latin) typeface family Tuby (2013). [Google] [More]  ⦿

    Te Yosh

    Belgrade-based designer of the Latin / Cyrillic typefaces Plain Font (2012) and Wired (2012). [Google] [More]  ⦿

    TE5KPZ

    The Cyrillic family C-Times. [Google] [More]  ⦿

    Team 77
    [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 co-designed 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 (1974, Compugraphic, and Team77). This is Alternate Gothic No. 2 in the early Bitstream collection, and goes back to Morris Fuller Benton's typeface from 1903.
    • 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 was commercially unavailable for a long period thanks to Linotype and Scangraphic. Linotype especially stood to lose a lot of Helvetica money if it ever appeared somewhere else. Michael Hernan digitized Unica Deux in 2006. And then finally, in 2014, Linotype itself released a digital version, Neue Haas Unica (by Toshi Omagari). PDF of Unica. The Ministry of Type calls it the ultimate archetypal sans serif face.
    • Media77 (2015), published at Optimo, after an orih=ginal design for Bobst Graphic going back to 1974. They write: In 1974, the designers André Gürtler, Christian Mengelt and Erich Gschwind were commissioned by Bobst Graphic to draw a new text typeface specifically conceived for phototypesetting. Rather than a constraint, they considered that the technical parameters of the composing system could bring interesting typographic solutions detached from the usual historical classifications: not another historical replica, but the design of a contemporary typeface with a modern aesthetic. Media was originally released by Bobst Graphic in 1977 and immediately featured in the issue 8/9 of Typographische Monatsblätter. Forty years later, the redrawing of Media by Team 77 is extraordinarily sophisticated: very legible at small sizes and full of refined details at display sizes, Media77 proposes a unique asthetic for text and headlines..

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

    Ted Holden

    Designer of the Cyrillic fonts CyrilGothicNormal, CyrillicBasicNormal, HTEBasicCyrilli, HTEBasicCyrillicNormal (1991). [Google] [More]  ⦿

    Teja Smrekar
    [Fleha Type]

    [MyFonts] [More]  ⦿

    Teknike
    [Thoma Kikis]

    Thoma Kikis is a New York City-based graphic designer, photographer, filmmaker and entrepreneur.

    Typefaces from 2016: Ithaka (script).

    Publisher of these handcrafted typefaces in 2017: Anamorphic, Evangelos, Passagem, Privé, Qipao (momospaced felt marker pen font). Teknike also created Nautis (sans), Cycladic (sans), Vantagram (blackletter), Uny (slab serif perhaps for athletic lettering), Fugues (star-studded textured style inspired by organic geometry as apparent in the work of Antoni Gaudi; started in 2015), Jadeite (sans) and Designator (a squarish modular monospace font).

    Typefaces from 2019: Omoshiroi (a handcrafted monospace typeface), Cote (a hand-lettered monospace font), Penzance (a monospaced handcrafted typeface), Monadic (a monospaced textured typeface), Chartreux (a geometric monospaced display sans typeface), Originator (a squarish monospaced font family), Quantour, Prive (a display handwriting font).

    Typefaces from 2020: Receptor (a monospaced squarish typeface), Departe (a dot matrix font), Eleusis (monospace, all caps), UNY (slab serif). All his fonts cover Latin and Greek. Some cover Cyrillic and Hebrew too.

    Typefaces from 2021: Ermou (a Greek emulation typeface). [Google] [MyFonts] [More]  ⦿

    Tektov Dmitry Type
    [Dmitry Tektov]

    Ramenskoye, Russia-based type designer making Latin / Cyrillic fonts. In 2021, he released TD Stargorod (a Slavonic emulation font) and the all caps art deco typeface TD Kinoteatr.

    Typefaces from 2022: TD Kareliya (an unusual display typeface for Latin and Cyrillic), TD Pobeda (a pixelish poster typeface for Latin and Cyrillic), TD Empire (a tall accidental font), TD Fabrika (a sports font for Latin and Cyrillic).

    Typefaces from 2022: TD Skazka (an old Slavonic font for Latin and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Teleserviss un Telebusiness

    Latvian page with about ten mixed Latin/Cyrillic TrueType fonts: the Atunt family, and CNtunt, a Courier New family. [Google] [More]  ⦿

    TeleType

    Russian commercial fonts. [Google] [More]  ⦿

    Temporary State (was: Abstrkt)
    [Roman Gornitsky]

    Moscow, and before that, St. Petersburg, Russia-based foundry, first called Abstrkt, and later extended to The Temporary State. All fonts are by Roman Gornitsky (b. 1986, Leningrad). In 2020, the foundry was located in Leipzig, Germany. Roman's fonts:

    • Krisis Sans (2008).
    • Lawyer Gothic (2008).
    • Littera Plain (2008) and Littera Text (2008). An interpretation of the most popular sans family in Russia.
    • Proto Sans (2008). A 42-style constructivist family.
    • Vremena (2009) and Vremena Grotesk (2009) each have eight styles, and are their interpretation of Times and Arial, respectively. See also Nowie Vremena (2011). Vremena was extended in 2016-2017 to the free typeface Wremena.
    • 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).
    • Differentura (2010). A grotesk.
    • Lineatura (2011). A great art deco-meets avant garde family.

      Twentytwelve (in styles Slab N, Sans R, Sans C, Serif C, Sans G, Sans). Created in 2011-2012 at the Jan van Eyck Academy in The Netherlands, and inspired by Paul Renner's original designs for Futura. Extended in 2017 as Five Years Later.

    • Manege (2016). Manege was initially designed for the celebration of 200 years of Manege Central Exhibition Hall in Moscow: The shapes of the typeface are heavily influenced by monumental typefaces of late 1950s Stalinist architecture, as well as hand-drawn title pages of Soviet books of the same period and typefaces like Telingater, Lazurski, Trajan and even some Romain du Roi. Initially designed for all caps typesetting, Manege tries to combine in itself monumentality with clumsiness, a particular mixture of feelings one often gets from looking at old stone-carved inscriptions.
    • Panama and Panama Monospace (2017). A text typeface in the style of Century.
    • Soyuz Grotesk (2017). This free almost experimental sans is based on a Cyrillic version of Helvetica made by two students of the Moscow print Institute in 1963, Yuri Kurbatov and Maxim Zhukov.
    • Steinbeck (2018). A playful sans.
    • Gramatika (2020). Initially developed as a Helvetica-like typeface for Experimental Jetset's new visual identity of V-A-C Foundation (Moscow/Venice), it became a retail font (with some additions and changes) in 2020. Special attention was paid to spacing and multi-language diacritics, as well as dingbats that include arrows, chess symbols and weather icons.
    • Pressuru (2020). A compact sans.
    [Google] [MyFonts] [More]  ⦿

    Teodora Erac

    Or Teodora Eratz. Belgrade, Serbia-based student-designer of the Cyrillic typeface Prizma (2016). [Google] [More]  ⦿

    Teona Cupic

    Novi Sad, Serbia-based designer of a few handcrafted Latin and Cyrillic typefaces in 2018. [Google] [More]  ⦿

    TEPKOM

    About ten English-Russian fonts by Gavin Helf. Plus AntiDecor_Bold_Italic, NadejdaBold and Stylo_Bold (D-Studio), and DSZombieCyr (Patrick Broderick/rotodesign). [Google] [More]  ⦿

    Tereza Cenic

    Graphic designer and digital artist (b. 1987) from Nis and Belgrade, Serbia, who created some experimental fonts in 2009. These include a Cyrillic face, Creative Type (2010-2011, technical drawing typeface family) and Cutting Edge. In 2015, she made the hipster typeface Eliot Type. In 2017, she added the playful Fox Typeface (for Latin and Cyrillic).

    Aka Egotreep. Dafont link. Behance link. [Google] [More]  ⦿

    Tero Kivinen

    Finnish designer of the bitmap font Sshlinedraw (Tero Kivinen and SSH Communications Security Oy, linedrawing characters for VT100 terminal, 1997). He also discussed the Microsoft truetype collection, EstrangeloEdessa (by Paul Nelson and George Kiraz, 2000, Syriac Computing Institute), ITC Franklin Gothic, Gautami (Microsoft, 2001), Latha (Microsoft, 2001), LucidaSansUnicode, MV Boli (Agfa-Monotype, 2001), Mangal (Microsoft, 2001), PalatinoLinotype (1998, a Unicode font), Raavi (Microsoft, 2001), Shruti (Microsoft, 2001), Sylfaen (Microsoft, 1999). All of these fonts are basically Unicode for all European languages, Cyrillic, Armenian, Hebrew, Arabic, basic mathematics, and Greek. But the site disappeared. [Google] [More]  ⦿

    Terra Stitch

    Russian designer of some great illustrations and lettering for Cafe Bar Afrika in 2014. [Google] [More]  ⦿

    Terrapin Font Services

    British font service house: can sell you most of the commercial fonts. Sells also fonts for Albanian, Arabic, Bengali, Bulgarian, Croatian, Czech, Estonian, Farsi, Greek, Gujurati, Hindi, Hungarian, Japanese (Katakana, Hiragana, Kanji), Latvian, Lithuanian, Polish, Punjabi, Russian, Serbian, Slovak, Slovene, Thai, Turkish, Ukrainian, Vietnamese, Welsh. Has barcode fonts, and is a special distributor of the Royal Mail Barcode font. [Google] [More]  ⦿

    Teslefantic

    Designers of the Cyrillic typeface Teslic's Document Cyr Normal (1993), which can be downloaded here. [Google] [More]  ⦿

    TeX Gyre Project

    The TeX Gyre Project was started in 2006 as the brainchild of Hans Hagen (NTG). It is described in The New Font Project (Hans Hagen (NTG), Jerzy Ludwichowski (GUST) and Volker RW Schaa (DANTE e.V.), presented at BachoTeX2, 2006). From the project, which is being implemented by GUST's e-foundry guys, Boguslaw Jacko Jackowski and Janusz M. Nowacki aka Ulan: All of the Ghostscript font families will eventually become gyrefied as the result of the project. Gyrefication, also called LM-ization, was first applied to the Computer Modern Fonts and their various generalizations with the result known as the Latin Modern (LM) Fonts. The Gyre fonts each have 1200 glyphs that cover basically all European scripts (including Latin, Cyrillic and Greek), and have Vietnamese characters added by Han The Thanh, and Cyrillic glyphs by Valek Filippov. Available in Type 1 and OpenType, they come under a very liberal license (free, modifiable, unlimited use, and a request to rename altered fonts). The TeX Gyre fonts are

    • Adventor: family of four sansserif fonts, based on the URW Gothic L family, which in turn is based on ITC Avant Garde Gothic, designed by Herb Lubalin and Tom Carnase in 1970. Open Font Library link.
    • Bonum (2006), based on the URW Bookman L family: TeXGyreBonum-Bold, TeXGyreBonum-BoldItalic, TeXGyreBonum-Italic, TeXGyreBonum-Regular.
    • Cursor: based on URW Nimbus Mono L, which itself mimics Bud Kettler's Courier.
    • Heros (2007): based on the URW Nimbus Sans L family, but heavily extended---eight typefaces of 1200 glyphs each. With the release of Heros, their QuasiSwiss fonts becomes obsolete. This is, in fact, the Gyre version of Miedinger's Helvetica. .
    • Pagella (2006), based on the URW Palladio L family (and thus, indirectly, Zapf's Palatino): TeXGyrePagella-Bold, TeXGyrePagella-BoldItalic, TeXGyrePagella-Italic, TeXGyrePagella-Regular. In 2013, we find Tex Gyre Pagella Math in opentype format, by Boguslaw Jackowski, Piotr Strzelczyk and Piotr Pianowski. Greek symbols were taken from the Math Pazo font by Diego Puga. The calligraphic alphabet was taken from the Odstemplik font. The Fraktur is based on Euler. The sans part is DejaVu Sans, and the monospaced alphabet is taken from Latin Modern Mono Light Condensed.
    • Termes (2006), based on the Nimbus Roman No9 L family (and thus, by transitivity, Stanley Morison's Times-Roman): TeXGyreTermes-Bold, TeXGyreTermes-BoldItalic, TeXGyreTermes-Italic, TeXGyreTermes-Regular. In 2013, we find Tex Gyre Termes Math in opentype format, by Boguslaw Jackowski, Piotr Strzelczyk and Piotr Pianowski. The Fraktur part is based on Peter Wiegel's Leipziger Fraktur. The sans serif part uses TeX Gyre Heros. The monospaced part is based on TeX Gyre Cursor. In 2017, the Open Font Library published a slightly updated and darker TG Roman.
    • Schola (2006, based on the URW Century Schoolbook L family, designed by Morris Fuller Benton in 1919: TeXGyreSchola-Bold, TeXGyreSchola-BoldItalic, TeXGyreSchola-Italic, TeXGyreSchola-Regular.
    • Chorus (2007): derived from handwritten letterforms of the Italian Renaissance as used by Hermann Zapf in ITC Zapf Chancery (1979). TeX Gyre Chorus is based on the URW Chancery L Medium Italic font, but heavily extended. The Vietnamese and Cyrillic characters were added by Han The Thanh and Valek Filippov, respectively.
    Articles: The New Font Project (BachoTeX 2006 article by Hans Hagen (NTG), Jerzy Ludwichowski (GUST) and Volker RW Schaa (DANTE e.V.), TeX Gyre Project (2006) by Bogusaw Jackowski, Janusz M. Nowacki and Jerzy Ludwichowski, and TeX Gyre Project II (2007) by the same three authors.

    Fontspace link. [Google] [More]  ⦿

    TFaces
    [Alexander Tarbeev]

    Alexander Tarbeev is Russian type designer, graphic artist and tutor. He graduated from Moscow Electrotechnical Institute of Communication in 1979 and Moscow Polygraphic Institute in 1988, and worke in the type department of NII Polygrafmash (Institute for Scientific Research of Printing Machinery, Moscow). Between 1989 and 1997, Tarbeev worked as type designer at ParaGraph. He set up the type studio TFaces in Moscow.

    Designer of Cyrillic versions of ITC typefaces like ITC Garamond, ITC Benguiat Gothic, Friz Quadrata and other Cyrillic typefaces. Other typefaces by Alexander Tarbeev include BetinaScript, BigCity, Dagger, DenHaag, Diderot, Gauge, Jakob, Lissitzky, Montblanc, Matterhorn, Pankov, Pollock, Smarty and Tauern. He also designed typefaces for Russian magazines such as Afisha, Bolshoi Gorod, Kak, Smart Money, Ezhenedelny Zhurnal, and (the Russian version of) L'Officiel, and for newspapers such as Vedomosti and Noviye Izvestiya.

    Alexander Tarbeev is professor and head of type design department at Moscow State University for Printing Arts (currently a branch of Moscow Polytechnic University). He also taught at British Higher School of Art and Design (Moscow), and Moscow State University, Faculty of Journalism..

    Showcase of Alexander Tarbeev's typefaces at MyFonts.

    List of the new designs and the old typefaces designed since 1988 for NPO Poligraphmash, ParaGraph/ParaType and TFaces: Academy, AdverGothic, ITC Anna, ITC Baltica, ITC Benguiat Gothic (1994-1997, ParaGraph; he made the Hebrew typeface Benzion in 1991 based on Benguiat Gothic as well), ITC PT Benzion, FF Beowolf, PT Bernhard, PT BetinaScript (1992, based on the handwriting of the German graphic artist Betina Kuntzsch), PT Bodoni (1989-1997), MathFont 1 (1987, Polygraphmash, based on the math font of Kudryashevskaya Encyclopedicheskaya, 1960-74, a typeface by Nikolai Kudryashev and Zinaida Maslennikova), PT Compact, PT Courier (1997; the original Cyrillic weights were done by Tagir Safayev), PT Crash (1995), PT Dagger (1996), Den Haag, Dots, DoubleClick, PT Drunk (1997), Exposure, PT FixSys (1995, pixel font), ITC Friz Quadrata (1997, ParaGraph, based on the typeface by Ernst Friz for Visual Graphic Corp. in 1965), PT Futuris, ITC Garamond (1993-1995, based on Tony Stan's 1975 version), PT Graffiti (1996, ParaGraph), PT Hermes (1993, ParaGraph), Inform, Izhitsa (1994: he added a shadow syle to Svetlana Yermolaeva's 1988 original), PT Jakob (1994), [kAk), Lazurski, PT Matterhorn (1993), PT MonoCondensed (1990), PT Montblanc (1993), PT Newton (1994, ParaGraph, a phonetic font), PT Pollock (1995), PT Pragmatica (1989), Sketch, PT Star (1995), PT Tauern (1993, extra compressed), Titanic, PT Wind (1995, based on TextBook, 1987, by Emma Zakharova).

    Honorable Mention at the 3rd International Digital Type Design Contest by Linotype Library for Linotype Den Haag.

    Free fonts made for fun at FontStruct in 2008: giammba, schlange, squaresans, squaresans_heavy, TFa BCode (extremely condensed), TFa KnightRider.

    In 2019-2020, he designed the large text, headline and letterpress family Gauge (Type Today). [Google] [MyFonts] [More]  ⦿

    Thatcher Ulrich

    New York-based programmer who created the free sans family Tuffy (2005). It has a large character set that covers Greek, Cyrillic, and Indic, and has the new rupee symbol. In 2010, Barta Karoly updated the Tuffy package and placed it here.

    Thatcher writes: Karoly Barta did a ton of work creating Greek, Cyrillic and accented characters for Tuffy, which he has generously contributed back to the public domain Tuffy. Also, Michael Everson created a Tuffy-derived font, Rupakara, which adds the new Indian Rupee Sign, plus many other currency symbols, and a full set of letters commonly used to transliterate Indian languages. Rupakara is under the SIL Open Font License, but Michael also agreed to let me merge his new characters into the public domain Tuffy.

    Kernest link. Klingspor link. Dafont link. Abstract Fonts link. Open Font Library link. [Google] [More]  ⦿

    The ABCs of Dobrolet

    Russian revolution poster showing a nicely decorated Cyrillic all-caps alphabet related to early 20th century aviation. [Google] [More]  ⦿

    The Cyrillic charset soup

    The mess with Cyrillic encodings explained by Roman Czyborra. [Google] [More]  ⦿

    The Fontmaker
    [Jordan Jelev]

    Jordan Jelev (The Fontmaker) is the Varna, Bulgaria-based graphic and logo designer (b. 1975, Varna) who specializes in wine label design. He set up The Fontmaker in 2011. Their typefaces:

    • The calligraphic Cyrillic alphabet Kaloyan (2008).
    • The double-lined Grant (2009, with Svetoslav Simov, Fontfabric).
    • FM Clog (2011, with Vassil Kateliev, done at The Fontmaker). This font has Openface, Shadowed and Engraved styles.
    • FM Bolyar (2012) is a copperplate typeface jointly designed by Jordan Jelev and Vassil Kateliev at The Fontmaker. See also the spurred version FM Bolyar Ornate Pro ansd the weathered family FM Bolyar Typecarft. In 2019, after a full year of development, they published the 63-style all caps sans family FM Bolyar Sans Pro.
    • FM Valentines Pro (2012). For Valentine's Day messages.
    • FM Christmas 2.0 (26 hand-lettered Christmas greetings), done in 2012.
    • FM Ephire (2013). A lively script family, done with Vassil Kateliev. It comes with a useful caps companion, FM Ephire Frames.
    • FM Easter Pro (2013). For Easter wishes.
    • FM Thank You (2014). Thank you hand lettering.
    • FM Birthday 1.0 (2015) consists of 26 birthday-related words and phrases.
    • The enormous typeface family FMBolyar TypeCraft (2016) Jordan Jelev and Vassil Kateliev. This family has Engraved, Shadow, Rust, Rough and Woodcut subfamilies. Many styles are spurred. Caps only, though.

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

    The Golden Names of Russian Type Design

    Paratype lists the golden names of Russian type design: Alborov Lev, Babalyan Anastasia, Bagdasaryan Gayaneh, Bannikova Galina, Baryshnikov Gennady, Chaeva Olga, Chekulaev Alexey, Dumbadze Anton, Fridman Genady, Gordon Illarion, Gordon Yuri, Kapitonov Albert, Karpinsky Oleg, Kirsanov Dmitry, Kryukov Andrey, Kudryashev Nikolai, Kudryavtsev Anatoliy, Kulagina Ekaterina, Kuzanyan Pavel, Kuznetsova Lyubov, Lazurski Vadim, Lyskova Tatiana, Malanov Lev, Mnatsakanyan Henrik, Pavlikov Vladimir, Polovodov Igor, Popov Boris, Rovensky Mikhail, Safayev Tagir, Shchukin Anatoly, Shmavonyan Manvel, Slutsker Isai, Slysh Elvira, Smirnova Irina, Tarbeev Alexander, Tzaregorodtseva Yelena, Vasilyeva Natalia, Yaschin Zahar, Yefimov Vladimir, Yermolayeva Svetlana, Zakharova Emma, Zhikharev Igor. [Google] [More]  ⦿

    The inkpot fonts
    [Maria Danilova]

    The Inkpot is Maria Danilova's Russian foundry. Many Western pages on type are translated here in Russian. Her fonts at D-Studio include Shirley (2003), Intersidereal, Single Girl, Classmate (2003, handwriting). Link site. She also made Goedemorgen (2004, hand-printed), TheQuest (2004), Olivia (2004), Special Labwels (2004, dingbats) and PunchScript (2004, comic book face), Birds (2004, dingbats). Alternate URL. [Google] [More]  ⦿

    The Klen

    Branding studio in Moscow, which created a special Cyrillic typeface for Theater Na Maloy Bronnoy in 2015. [Google] [More]  ⦿

    The Lettering Art: Works by Moscow Book Designers 1959-1974

    A book published in 1977 that paints a full picture of Russian typography at that time. [Google] [More]  ⦿

    The Linux Cyrillic HOWTO

    Help page by Alexander L. Belikoff. [Google] [More]  ⦿

    The Type Fetish
    [Michael Wallner]

    Born in Minneapolis, MN, in 1967, Michael J. Wallner (now in St. Paul, MN) graduated from the College of Visual Arts. In 2001, he set up The Type Fetish.

    His typefaces include Pushki Pro (2011, a slabby poster typeface based on some hand lettering found on a Russian poster), Lard Pro (2011, very fat and high-contrast typeface; +Greek, +Cyrillic), Brogue (2009), Casualties Pro (2009, grunge), Kari Sans (alyered typeface family), Fabricate (2007, fururistic), Idiot Boy (2010, grunge), Numbskul (2007, grunge), Parcel (2007, grunge), Reverend Jim (2007, handwriting; with Jim Laitinen), Recreant (1998, grunge), Used (2002, grunge), Calligraphy-Unicase (2007), Commuter (2008, gridded letters), Fabricate-Inline, Fabricate-Regular, Fabricate-Thin (2009, techno family), Grimm (2008, a German expressionist blackletter), Fucsimile (2009---no idea what this is), S4QUFX (2009, dot matrix face), Amrep 026, Borough Pro (2010, random width squarish sans set), Broken Vows, Casualties, Cheapo, Cubage, Dimentia, Discharge (grunge), DIY-One (2002), DIY-Two (2002), Dimerit, Filth, Fucsimile (degraded fax or old typewriter), Insurgent (2009, grunge), Kaaos (2005, eroded stencil), Maim, Nascent, Quadrate, Refuse (2009, grunge), Sabotage, Squarish, Straphanger (2009, dot matrix face), The Crew (stencil font), Universally Corrupt, Whore, Xiphoid and Zen Arcade.

    Michael did not publish any fonts between 2011 and 2018. In 2018, he returned with a mammoth 50-font layerable typeface family, Apnea, which are based on old painted signs.

    MyFonts.Com is selling the fonts. The free font Sabotage (2002) can be downloaded here.

    Dafont link. Klingspor link. Behance link. Hellofont link. Home page. [Google] [MyFonts] [More]  ⦿

    The Zyme
    [Babis Touglis]

    Babis Touglis (Athens, Greece) 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 2000, he founded The Zyme.

    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 ZF Ydor (2017, originally designed for the Christodoulou family's website), PF Pixel Script, PF Basic and PF Alfa Pix. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Thoma Kikis
    [Teknike]

    [MyFonts] [More]  ⦿

    Thomas Foley

    Or Tom Foley. Graphic and type designer in London. Foley obtained an MA in Communication Design Central from Saint Martins in 2009. Visiting lecturer on The MA Communication Design course at Central Saint Martins and the BA Visual Communications Course at Bristol University of Art&Design. In 2018, he became Creative Type Director at Monotype.

    His typefaces:

    • The transitional text typeface Nib (2010). Developed under the guidance of Freda Sack.
    • The sans family Hewitt (2010).
    • Intel Clear Cyrillic, for which Dalton Maag, Tom Foley, Mary Faber, Stuart Brown and Hanna Donker won a Granshan 2014 award.
    • Bressay (2015). A Scotch roman designed by Stuart Brown and the Dalton Maag team (including Tom Foley, Sebastian Losch, and Spike Spondike). Bressay won an award at TDC 2016.
    • Tom Foley and Sebastian Losch published the rounded slab serif typeface family Gelo at Dalton Maag in November 2017.
    • Cotford and Cotford Variable (2021, Monotype). A 16-style text and display serif family, accompanied by a variable font. Monotype writes: Cotford is a languid serif that ranges from delicate thins, bending and reaching like flower stems, to bold heavy weights that command the page and screen with confidence and vintage charm.

    Speaker at ATypI 2010 in Dublin, where he discussed the history of Irish type and the roots of his book family, Nib. [Google] [MyFonts] [More]  ⦿

    Thomas Phinney

    Font technology expert who runs his own type tech blog. Thomas Phinney (Portland, OR) has MS in printing from the Rochester (NY) Institute of Technology, and an MBA from UC Berkeley. He is freelance type consultant, font detective and type designer.

    Thomas Phinney was in Adobe's type group from 1997 until December 2008, mostly as Product Manager for Fonts&Global Typography, based in Seattle. At Adobe, he was involved in the technical, design, historical and business aspects of type, and worked closely with other font developers and customers. In 2008, he joined Extensis, where he was senior product manager for font solutions. In 2014, he joined the FontLab team, where he became Vice President and then CEO. In 2019, he left FontLab to become a full-time font detective.

    Phinney created Geode (2004, Adobe) and Hypatia Sans (2005-2007, Adobe, an elegant geometric sans family, complete with coverage of East European languages, Greek and Cyrillic). Hypatia Sans Pro (2009) is a more complete family that was finished with the help of Paul Hunt.

    In 2012, he started work on Cristoforo, a revival of Hermann Ihlenburg's Victorian typeface Columbus (1890, ATF) and its accompanying American Italic, also by Ihlenburg. Kickstarter project. Phinney notes that it is known as the typeface of Call of Cthulhu, the H.P. Lovecraft roleplaying game, and as the original logo for Cracker Jack. In 2013, Cristoforo Italic, a cooperation with Andrea Leksen, was shown at Leksen Design.

    In 2019, he worked on Science Gothic, a revival and mega-extension of Bank Gothic. He writes: Science Gothic is a variable font, designed for Google Fonts. Thomas Phinney based the regular master on Morris Fuller Benton's Bank Gothic (1930-1934), created for American Type Founders. Science Gothic builds on and extends Benton's design by adding a lowercase, dramatic variation in weight and width, and a contrast (YOPQ) axis, somewhat reminiscent of Benton's Broadway (1927) and other period designs such as R. Hunter Middleton's Radiant (circa 1938-1940) for Ludlow. The design was created by a team of designers: Thomas Phinney, Vassil Kateliev and Brandon Buerkle, with a little help from Igor Freiberger early on. See also Merom Sans (2019-2020) at OFL.

    At ATypI 2004 in Prague, he spoke about the demise of multiple masters, and the future of OpenType and type 1. At ATypI 2005 in Helsinki, he announced the phasing out of type 1 at Adobe. He has spoken at nearly all of the TypeTech parts of the annual ATypI meetings, and has been on the ATypI board since 2006. At ATypI 2008 in St. Petersburg, he spoke about web fonts and on OpenType. Speaker at ATypI 2010 in Dublin. His talk at ATypI 2011 in Reykjavik was entitled TSI: Type Scene Investigations. The title of his talk at ATypI 2013 in Amsterdam was Free Fonts: Threat, or Menace? Speaker at ATypI 2016 in Warsaw.

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

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

    [More]  ⦿

    Thorsten Schraut
    [Hi-Type]

    [More]  ⦿

    Tibor Lantos

    Budapest-based creator (aka Frodo 7) in 2009 at FontStruct of FontMoot 01 (pixel face), Brego, Magor (minimalist, De Stijl typeface), Andromeda Strain, Elrond (Tengwar font), Oil Stencil, Optill 2A and 2B and 3A and 3B (optical illusion fonts), Rivendell (Celtic weaving), Cubeology (patterned cubes), The Two Towers, Mike Wazowski (emoticon face), Edoras Stencil, Elessar, Earendil, LE Meta (dot matrix), Coccinella (dot matrix), +Two, +TwoB, Picosec, Picosec Rounded (ultra fat retro), Palindrome, Valimar, Fundin Eco, Fundin Regular, Lost Entropy (series of rectangular fonts), Bombs and Men (2009, modular and blocky), Eärendil, Chromosomes, Denethor-Sans (octagonal), Edoras-, Elspeth-, Elspeth-Grey, FontMoot-01 (pixel face), French-Defence-v2 (chess font), French-Defence (chess font), Gilgalad-v2, Gilgalad (octagonal), Hommage-a-Escher-LC1, Hommage-a-Escher-LC2, Legolas-Codex-Stencil, Legolas-Codex (blackletter family), Legolas-Stencil (+v2; art nouveau style), Mirkwood-Regular and Mirkwood Outline (pixel typefaces), Nimrodel-FS, Faramir (gridded), Faramir Black (octagonal, mechanical), Elessar, Vertebrae, Etudes Pour Noir et Blanc (01, 02, 02 Vertebrae), Eomer FS, Karyotype (horizontal stripes), Snooker Ball, Aragorn, Mirkwood Nano (pixel face), Mirkwood Second Iteration, Mirkwood First Iteration, Haldir (pixel face).

    Creations in 2010: Hasta Siempre (military stencil), Hasta Siempre Supplement (Fontstruct rendering of the iconic photograph of Che Guevara by Alberto Korda), Belfalas, Fractal Font, Sierpinski White, Sierpinski Black, Sierpinski Dalmatian, Remolino Stencil, Boikot Stencil, Legolas Pixel, Brego, Vortices (dings), Gamling, Coccinella Two (+B), Cyrillic 02, Waves, Hommage à Escher v2 extLat.

    Creations in 2011: Midori Dot (2011, a dotted kana face), Sierpinski Black Initials (a stunning decorative caps typeface based on Sierpinski triangles), Fontstructivism (constructivist Latin/Cyrillic face), Sierpinski White Initials, Vasarely Squares (experimental---letters based on Victor Vasarely's work), Hurin (counterless, created after Nagasaki by Tom Muller), Strider (an optical illusion 3d multilined face), Dot Dot White (texture face), Dot Dot Black (texture face), Garamond Italic SP (a pixelized version of Garamond Italic), Rohan (+NE01, +NE03: a textured lined 3d logotype family, +NE04, +NE10), Gray Scale (a very interesting texture experiment in which gray scales are "simulated" by simple font mechanisms).

    Fonts made in 2012: Font Neuf, Khazad (stencil font), Oktogon Stencil, Oktogon Outline, Thorin Stencil (army stencil), Deagol Stencil.

    Typefaces from 2013: the Voxelstorm family (3d, Escher-style), Elendil (3d face), Denethor Sans (strong mechanical sans), Mirkwood Nano (pixel face), Waves (op art).

    Typefaces from 2014: Wrath of Mordor (video game font), Gray Scale, Luthien Pixel (blackletter pixel), Gimli (Bevel Black, Inline Shadow, Inline, Bevel Shadow, Shadow), Zebroid, Hunor, Denethor Sans v2, Vasarely Squares (op-art), Waves (op-art), Ecthelion, Hast Siempre (octagonal stencil).

    FontStruct link. [Google] [More]  ⦿

    Tihana Vukcevic

    Belgrade and now Cologne, Germany-based illustrator and graphic designer. In 2011, Tihana created Fama and Kronopio (art deco; Latin and Cyrillic). In 2014, she designed the Comic Sans-styled typeface Zora. [Google] [More]  ⦿

    Tijana Smiljkovic

    Belgrade, Serbia-based creator of the flared Latin / Cyrillic display typeface Klinopis (2013). She also made an unnamed rubber-band-inspired experimental typeface in 2013. Tea Regular (2013) is an elliptical sans. [Google] [More]  ⦿

    Tikhon Reztcov
    [Shriftovik Foundry]

    [MyFonts] [More]  ⦿

    Tilde (was: AG Fonts)

    Reinis Ludvik's Riga-based Latvian font design and software development company sells high quality fonts (adapted from Bitstream fonts) for Baltic, Cyrillic, Turkish and Eastern European languages. Includes the AG Baltia fonts by Andrejs Grinbergs. Commercial Cyrillic fonts based on Bitstream fonts.

    The Tilde/AG Fonts collection published between 1991-1995 also includes these families designed by Andrejs Grinbergs: AGAalenBold, AGBengaly, AGCenturion, AGCrown, AGFriQUer, AGGalleon, AGGloria, AGLetterica, AGMelanie, AGNewHandbook, AGOpus, AGOpusHR, AGPalatial, AGPresquire, AGReverence, AGZeppelin.

    The Bitstream-based collection comprised these typefaces in 2015: Aachen, Aldine 401, Aldine 721, Allegro, Alternate Gothic, Am Beauty, Amazone, Amelia, Americana, Amerigo, Aurora, Baker Signet, Balloon, Baltic Ornaments, Bank Gothic, Baskerville, Bell Centennial, Belwe, Bernhard Fashion, Bernhard Modern, Bernhard Tango, Blippo, Bodoni, Bremen, Broadway, Brunch Pro, Brush 445, Brush 738, Brush Script, Calligraph 421, Candida, Carmina, Cataneo, Caxton, Century Old Style, Cheltenham, Clarendon, Classical Garamond, Cloister Black, Cloister, Commercial Script, Constellation Pro, Cooper, Copperplate Gothic, Davida, Della Robbia, Dom, Egyptian 505, Elegant Garamond, Empire, English 111, English 157, Engravers Gothic, Engravers Old English, Exquisite Pro, Flareserif 821, Flemish Script, Folio, Formal 436, Fraktur, Franklin Gothic, Freehand 471, Freehand 521, Freehand 575, Freehand 591, Futura, Futura Black, Geometric 231, Geometric 415, Geometric 706, Geometric 885, Geometric Slabserif 703, Gothic 720, Gothic 725, Gothic 821 Condensed, Goudy Handtooled, Goudy Heavyface, Goudy Old Style, Handel Gothic, Hobo, Humanist 521, Humanist 531, Humanist 777, Huxley Vertical, Impress, Impuls, Incised 901, Informal 011, Kaufmann, Kette Pro, Kuenstler 480, Lapidary 333, Letter Gothic 12, Liberty, Libra, Lucian, Lydian, Lydian Cursive, Matt Antique, Mirarae, Mister Earl, Monterey, Murray Hill, News 702, News 705, News 706, News Gothic, Nuptial, OCR-B-10, Onyx, Oranda, Orator 10, Original Garamond, Parisian, Park Avenue, Piranesi, Poster Bodoni, Prestige 12, Raleigh, Revue, Ribbon 131, Rigaer Tango Pro, Robusta, Romana, Roundhand, Schadow, Scintilla Pro, Seagull, Serifa, Shotgun, Snow Cap, Snowbird, Square 721, Staccato 222, Staccato 555, Starfighter, Stencil, Swiss 721, Tango, Tourandot Pro, Transitional 521, Transitional 551, Umbra, University Roman, VAG Rounded, Waldorf Pro, Wedding Text, Windsor, Zapf Calligraphic 801, Zapf Elliptical 711, Zapf Humanist 601, Zurich.

    MyFonts link where one finds Starfighter TL (2012, a font family for gamers), Snowbird (2011, informally hand-printed family), Constellation Pro (geometric sans family), Kette Pro and Rigaer Tango Pro (calligraphic script).

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

    Tim Xez

    Nizhny Novgorod, Russia-based designer of Swampy (2019), Bony (2019), the free bilined Latin / Cyrillic typeface Exterior (2017), the free Latin / Cyrillic bubblegum typeface Airfool (2017) and the free Latin / Cyrillic diamond-studded hipster typeface Komi (2016).

    Behance link. Creative Market link. Open Font Library link. [Google] [More]  ⦿

    Tim Yarzhombek

    Moscow-based creator in 2008 of Beard Alphabet (not fontified yet). In 2015, he designed a handcrafted Latin / Cyrillic set of numbers. [Google] [More]  ⦿

    Timeless Vlad
    [Vladislav Lipovoj]

    Kiev, Ukraine-based designer of the Cyrillic tree limb-inspired typeface Betbe (2014). [Google] [More]  ⦿

    TimesNewRomanCyrACItalic

    Cyrillicized version of Times New Roman. [Google] [More]  ⦿

    Timofei Dekalo

    Inspired by the work of Vladimir Shukhov and the period of industrialization in the Soviet Union, Timofei Dekalo (Marafont, Moscow) created several decorative caps typefaces in 2014. He created quite a few other experimental geometric or multicolored fonts as well. Behance link. [Google] [More]  ⦿

    Timothy Babayev

    The Lego logo inspired Timothy Babayev (Moscow, Russia) to make the rounded Legotype font in 2015. [Google] [More]  ⦿

    Timothy Donaldson
    [Shapes for Cash]

    [MyFonts] [More]  ⦿

    Timour Jgenti

    Russian-born designer of the freeware fonts Tangerine, New World Vibes, MacType and the outline typeface Iron Maiden, all 1996 designs for Lucifer Vision (defunct?). Now living in Paris.

    His fonts are not at his site, but live on at many freeware sites. Alternate URL. Dafont link. Abstract Fonts link. [Google] [More]  ⦿

    Timur Zima

    Novosibirsk, Russia-based graphic designer who created G Display (2017, a free octagonal typeface for Latin and Cyrillic), CyberSiberia (2017, futuristic, for Latin and Cyrillic), Forma Grotesk (2017, a great extra-condensed grotesk for Latin and Cyrillic), C'Est La Vie Sans (2017), which is based on retro grotesques. The Decor style has reverse (Italian) stress. Fellaz (2017) is described as a modern grotesk, and reminds me in many places of the original raw Futura.

    Creative Market link. Home page. [Google] [More]  ⦿

    Tipo Pepel (was: Antaviana Typeface Division, or: Astramat)
    [Josep Pep Patau i Bellart]

    Antaviana Typeface Division is a Catalan foundry, est. ca. 2002. It went also under the name Astramat and was also known as ANTAVIANA SERVEIS INTERACTIUS, SCCL. Located in Lleida, it is run by Josep Patau i Bellart (b. 1971, Les Borges Blanques, Lleida). Patau i Bellart offered free fonts, as well as commercial fonts. He has emerged as one of the most talented contemporary Spanish type designers. In 2011, he started Tipo Pepel [MyFonts link] in Les Borges Blanques. Josep Patau's typefaces:

    • Free typefaces: Lletraferida (2011, a didone), Negrona (2011, a revival of Lucian Bernhard's Bernhard Negro, 1930), Perolet, Lango, Gimenells, Arbeka, Rosango, Antaviana, FoxScript (1996, old typewriter), Unregistered, and FistroRatted (grunge).
    • At Astramat, one could download these fonts: Anmari (2002), Antaviana (1996), Arbeka (2002), FAXADA (2001, by Cel Tico Petit), FoxScriptNormal (1996, old typewriter), Gastada (2001, another grunge font by Cel Tico Petit), Gimenells (2001, pixel font), Gorchs (2007, script font), Klander (1999, pixel font), Lang (2001, pixel font family), Masterfly (2007, T-26), Omellons (2001, pixel font family), Perolet (2001, Bauhaus style), Pixelade (2001, pixel font), Rosango (1996), Tiquet (2001, grunge font by Cel Tico Petit), Ultrafat (2007, T-26), Fistro Ratted. Fontspace link for Astramat.
    • T-26 fonts: the screen typeface PixScript (2004), the screen icon dingbat font Pixelade Icons (2003), the art nouveau headline font Gisele (2003, angular art deco titling face), Masterfly (2007), Gopal (2004), Gourmet (2004, based on a type from the 1923 ATF catalog), Confetti (2006, connected fifties style face based on a 1930 type called Escritura Maravilla and Escritura Energica by the José Iranzo foundry in Barcelona), the pixel family Bit Kit (2003), Houdini Icons (20 pixel web icon dingbat typefaces, 2004).
    • At ATypI 2009 in Mexico City, he explained the typographic work of the goldsmith Manuel Peleguer: The aim of this paper is to give an account of the project Peleguer, the recovering and digitialization of the work of the goldsmiths Manuel Peleguer, both father and son, who cut some printing characters between 1780 and 1784 in response to an order of the "Real Sociedad Económica Valenciana de Amigos del Pais". The result was a modern transitional typeface, with good legibility and neoclasical forms, equal in quality to those made by the Real Press (Imprenta Real) in Madrid by Pradell, Espinosa or Gerónimo Gil. Peleguer founded a press and a font foundry in 1784. Patau Bellart created a type family based on Peleguer's work called Peleguer (2009, + Ornaments).
    • Anduaga, a calligraphic typeface from the 18th century, won the Laus Prize (said to be the Spanish equivalent of the type Oscars). Anduaga is the interpretation of the script that Joseph of Anduaga proposed for teaching the first letters in the 1780 book Arte de escribir por reglas y sin Muestras ...
    • Valliciergo (2011) is a 100+-glyph calligraphic / copperplate script font that is inspired by samples from Caligrafía inglesa published in Madrid in the late nineteenth century by Spanish calligrapher Vicente Fernández Valliciergo.
    • Dafont page, where one can download Ventura Edding (2008, hand-printed).
    • Kids Script (2011). An upright connected school script.
    • Trajana Sans (2011) is a sans-serif typeface family based on the shapes and proportions of the characters on the Trajan Column in Rome.
    • Farrerons Serif (2011) is a very readable family with angular and humanist underpinnings.
    • Chupada (2012) is an ultra-condensed font family noted for their exaggerated x-height, which consists of five different weights.
    • Chopped Black (2012) was inspired by the font Pabst Heavy, designed by Chauncey Hawley Griffith in 1928 for Linotype. It was Linotype's version of ATF's popular Cooper Black.
    • Paralex (2012) is a 12-style geometric slab typeface family.
    • Boxed (2013) is an 18-weight squarish sans family. Followed in 2017 by Boxed Round.
    • Cinta (2013). A large humanist sans family with a full range of weights starting with hairline. It also has Cyrillic.
    • Bridone (2013), for British didone. A didone family that inherits some features from Victorian era British slab serif typefaces. Fashionable, beautiful, and useful.
    • Sisco (2014) is an 18-style elliptical techno family with large x-height.
    • Book Cover (2014) is a fat headline typeface.
    • Tiquet (2014). A dot matrix typeface.
    • Milio (2014). A ten-style wedge-serif transitional typeface family for newsprint and magazines.
    • Naste (2014). A sixteen-style geometric sans family that adds details and character to the classical geometric sans typefaces such as Futura. It is a bit wider than usual and covers Cyrillic.
    • Pobla (2015). A text serif with angular, almost fractured.
    • Dupla. A large multilingual sans family.
    • Trepa (2015). A stencil family with various choices of textures, which was inspired by commercial signs and the 1960s French art movement Graphie Latine.
    • Itaca (2016). A 48-style sans family with very open counters.
    • Mario (2017). A typeface family for arcade games and children.
    • Werdet Script (2017). A calligraphic penmanship script which is named after calligrapher Jean-Baptiste Werdet who was a penman in Bordeaux in 1809 and later a professor at Ecole Normale Superieure in Paris.
    • Geo Deco (2019). A geometric art deco sans family.
    • Frontis (2019). A transitionl roman typeface family inspired by the roman lettershapes that Asensio y Mejorada drew in 1780.
    • Kongress (2019). An elliptical sans family for corporate identities.
    • Labernia (2019). A large didone family based on the font used in Diccionari de la Llengua Catalana (1864, by Pere Labernia, Barcelona): Labernia and Labernia Titling are characterized by ball terminals that are turned inwards.
    • Indecise (2020). A nostalgic 50-style sans family that reminds us of type designs by Enric Crous-Vidal and José Mendoza y Almeida.
    • Frenchute (2020). A great 36-style garalde family inspired by the type used in the 1727 text Le Chemin Royal de la Croix.
    • Gina (2020). A great readable 16-style humanist sans family. Sixteen styles including a hairline.
    • Samplex (2020). Bellart's take on the neutral Swiss sans genre.
    • Bauen (2020). A Bauhaus-inspired geometric sans typeface family.
    • Bazinga (2020). A display typeface family characterized by square counters. Perhaps a children's book font.
    • Romulo (2020). A 12-style transitional roman typeface.
    • Kheops (2020). A 14-style slab serif.

    Additional links: Dafont. MyFonts page. Alternate URL. Fontspace link. Fontfreak page. Patau Bellart is also involved in the type information site Unos Tipos Duros. Klingspor link. Abstract Fonts link.

    Interview by Unostiposduros. Fontspring link. [Google] [MyFonts] [More]  ⦿

    Tipoberba 2012

    Cyrillic type design workshop held during the summer of 2012 in Trsic, Serbia. The orgnizer was Ivana Cirovic, and the mentor was Vedran Erakovic. Guest lecturers included Jana Orsolic and Borut Vild. The eight participants were all former students of the Faculty of Applied Arts in Belgrade: Ilija Lazarevic, Ivana Cirovic, Marija Rnjak, Marijana Orsolic, Nikola Stojanovic, Sanja Grbic, Tamara Pesic, Tanja Stevanovic. [Google] [More]  ⦿

    TipografiaRamis
    [Ramiz Guseynov]

    Ramiz Guseynov was born in Russia and educated as an architect and graphic designer. After moving to the USA in 1991, where he worked as a graphic designer, Ramiz Guseynov became a part-time type designer who published his work at T-26. In 2004, he set up his own foundry, TipografiaRamis in Highland Park, IL.

    Klingspor link. Behance link.

    His typefaces:

    View Ramiz Guseynov's typefaces. [Google] [MyFonts] [More]  ⦿

    Tipografika

    Intro to type (in Russian). [Google] [More]  ⦿

    Tipokujna

    Tipokujna (Typo Kitchen) is a workshop organized in 2013 by Macedonian type designer Lasko Dzurovski and Creative Exchange. The typefaces made during this workshop can be freely downloaded:

    • Cover (Nebojsa Geleski, Goce Veleski, Anke Klein, Vlatko Ristov). A strong-willed sans typeface.
    • Topola (Milan Stojanov, Anastasia Manasievska Georgi night, Elena Gjorgjievska). A thin sans display typeface.
    • Banana (Vanja Stork). A Cyrillic-only hand-drawn typeface.
    • Tube (Sanja Spasovska). A gaspipe sans.
    • Constellation (Martin Kovachki). A connect-the-dots typeface.
    • Kenzo Tange Light & Slab (Mary Veterovska, Irma Velkoska, Igor Delov, Iko Ilievski). A great geometric slab and sans pair.
    • Skorid (Lasko Dzurovski). A heavy octagonal / mechanical typeface that can stop a Russian tank.
    • Mountain (Isaac Vishnjikj). A sans typeface.
    • Bipolar (Mickey Stefanovski). A thin geometric avant-garde sans in which condensed and wide letters can be mixed for dramatic effects.
    • Karmakasha (Alexander Peshevski). A rounded sans.
    • Apron (Alexandra Noveska). A hand-printed typeface.
    • Hoi (Costa Lazarevski).

    Behance link. [Google] [More]  ⦿

    Tipometar

    Type and letter design site run by Olivera Stojadinović, Jana Orsolic (was: Nikolic) and Olivera Batajic Sretenovic from Serbia. Types shown there:

    • Miroslavs gospel, Stjepan Fileki: a great Cyrillic and Church-Slavonic typeface based on calligraphic characters from the 12th century.
    • Intro, Jana Nikolic: Latin and Cyrillic calligraphy.
    • Slovit, Vedran Erakovic: an interpretation of the Cyrillic version of the Renaissance cursive.
    • Tapija, Ivana Kurubic: calligraphic script.
    • Aspera, Olivera Stojadinović: based on pointed brush lettering.
    • Resavska, Olivera Stojadinović, published at ITC.
    Uncommented type includes Tabula (roman), Rastko, Prospera, Miranda, Aram and Anima. [Google] [More]  ⦿

    TipoType
    [Fernando Díaz]

    Tipotype is a foundry, est. 2009 in Montevideo, Uruguay, by Fernando Díaz, b. Montevideo, 1988 (together with Martin Sommaruga and Vicente Lamonaca). Since 2007, he teaches typography at ORT University. He is a founding member of Sociedad Tipografica de Montevideo (Montevideo's Typographic Society). TipoType is an international project, collective and autonomous for distribution of typefaces by typographers.

    Fonts include Quiroga Serif (2009, Fernando Díaz), Muzarela (2011, a 50-style squarish family), Chau Philomène (2010), Chau Trouville (2010), Chau Marbella (2010) and Chau La Madeleine (2010) [all Chau fonts were done by Vicente Lamónaca] and Economica (2007, Vicente Lamónaca; see Economica Cyrillic Pro in 2016, done with Sergiy Tkachenko).

    Fernando Díaz created Quadratta Serif (2007, a slab serif done at Intellecta Design). This typeface won in the best text category at Tipos Latinos 2008. It was renamed Quiroga Serif in 2014 and published at TipoType.

    Sedan (2012, Sebastian Salazar, TipoType) is a delicate early baroque typeface family with tall ascenders, and the elegance of a garalde.

    Other typefaces by Díaz include Logomotion (2012), Fénix (2009-2010, a free soft wedge-serifed typeface not to be confused with Fenix by Frantisek Storm; free at Google Web Fonts), Helena (2011), Libertad (2008-2010, sans) and Libertad Office (2015). Libertad won an award at Tipos Latinos 2016.

    Melina is a 16-style house font that borrows from letters from scripts.

    In 2014, TipoType published the handwriting font La Paz.

    In 2015, Fernando Diaz published the 18-style semi-techno sans typeface family Trasandina. This text typeface won an award at Tipos Latinos 2016.

    Codesigner, with Ignacio Corbo at TipoType, of the part-humanist part-geometric mega-sans typeface family Brother 1816, designed in 2016, to celebrate 200 years since the first appearance of a sans typeface. It has normal and printed (weathered) subfamilies. Winner at Tipos Latinos 2018 of a type design award. We also find Brother XL and Brother XS in 2019.

    The TipoType team published the 24-variant sans typeface family Fieldwork in 2018. It contains Hum (for humanist) and Geo (for geometric) subfamilies. Extraordinarily versatile and appropriate for information design applications, this family is called geohumanist by its creators.

    Typefaces from 2020: Mundial (a 14-style geometric sans), Rotunda (advertized as a modern rational grotesque, and a blend of humanist, grotesque and geometric).

    Typefaces from 2021: Fisterra (a flared all caps display serif), Rustica (an 18-style humanist sans. with two variable fonts).

    Klingspor link. Creative Market link. Fernando's own page. MyFonts link. Behance link. MyFonts interview. [Google] [MyFonts] [More]  ⦿

    Titov Design Studio (or: Reformer)
    [Sergey Titov]

    Homel, Belarus-based designer of the lapidary Latin / Cyrillic typeface Persea SST (2017: free demo) and the fantastic techno typeface family Technoir SST (2017). Behance link. Creative Market link. Newest Creative Market link. [Google] [MyFonts] [More]  ⦿

    TITUS Instrumenta

    Free TrueType fonts of old Christian times, Greek, Cyrillic, Hebrew, Christian Oriental, East European, and ancient languages. The TITUS project is run by Jost Gippert in Frankfurt. They intend to develop a special unicode font. TITUS Ogham is an Ogham font. [Google] [More]  ⦿

    TNAIA
    [Alan N. Po]

    Dr. Alan N. Po (TNAIA) made some Cyrillic/Latin fonts, such as DrPoGothicRu (1998), a Fraktur font, and DrPoDecorRu (1989). [Google] [More]  ⦿

    Tobias Benjamin Köhler
    [www.uncia.de (was: uncifonts)]

    [More]  ⦿

    Tobias Frere-Jones
    [Frere Jones Type]

    [MyFonts] [More]  ⦿

    Todor Georgiev

    Founder and designer at the Sofia, Bulgaria-based type foundry Letter Collective. In 2019, Todor Georgiev and Jacklina Jekova released Grafema LC at Letter Collective. Designer of the free Cyrillic brush font Laptev Brush (2018). [Google] [MyFonts] [More]  ⦿

    Tofutype
    [Tzu-yuan "Erik" Yin]

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

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

    Typefaces from 2019: Typori (a rounded sans).

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

    Toko Type (was: Formika Labs, or: Studio Formika, or: Absolut Foundry)
    [Gumpita Rahayu]

    Gugum Gumpita Rahayu (b. Bandung) is a graphic designer based in Bandung and Jakarta, Indonesia, b. 1991. In 2013, he set up Absolut Foundry. In 2015, he started Gumpita Rahayu (Foundry) and Toko Type. In 2016, he founded Studio Formika, which became Formika Labs in 2017.

    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 West Indian art deco typeface Bandoengsche (2013). 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 Swarha (in Neue and Rounded styles; an art deco sans named after the Swarha Islamic Building in Bandung made by Dutch architect Wolff Schoemaker between 1930 and 1935), Mohave (all caps sans, expanded in 2018 to a free typeface) and Flagship Slab Rounded.

    Typefaces made in 2014: Metrisch (a wide tall x-height geometric sans family; the Behance page attributes it jointly to Gugum Gumpita Rahayu and Deni Anggara), Luzern (a neutral industrial Swiss sans family---two free weights), Dealers.

    Typefaces from 2015: Catesque (grotesque).

    Typefaces from 2017: Celaras (flared, lapidary; renamed Celaraz), Monier (wayfinding sans), Eksikal (sans), Makro XM, Nomina (a 16-style + variable font grotesk family trying to emulate Venus and Akzidenz Grotesk; done in 2021, it is very different from his 2017 typeface called Nomina, which was an angular wedge serif---I can't explain the discrepancy), Gramatika (sans), Median Layer (layered colorable typeface family).

    Typefaces from 2020: Frasa (a 10-style transitional typeface influenced by Caslon), Stroma (a sharp-edged transitional typeface family).

    Typefaces from 2022: Plus Jakarta Sans (a free (variable) geometric sans family n the Neuzeit Grotesk and Futura mould; the fonts were originally commissioned by 6616 Studio for Jakarta Provincial Government program's +Jakarta City of Collaboration identity in 2020)

    Dafont link. Behance link. Creative Market link. Old URL. Studio Formika link. Fontsquirrel link. Google Fonts link. Github link. [Google] [MyFonts] [More]  ⦿

    Tolya Dodko

    Tolya Doodko is a type and graphic designer from Moscow, who studied type design at the British Higher School of Art and Design. In 2018, Tolya created Monogamma and the monline Latin / Cyrillic sans typeface Abrakadabra. [Google] [MyFonts] [More]  ⦿

    Tom Grace

    Born in Boston in 1976. Graduated with an MA in Typeface Design from-the University of Reading and studied at the Rhode Island School of Design. After graduation, he worked briefly for Jeremy Tankard and Font Bureau. In 2005, he worked briefly for Porchez Typofonderie. He currently lives in Heidelberg, Germany.

    He designed these typefaces:

    • Strela (2003). This typeface covers Latin, Cyrillic, Albanian, Belorussian, Bosnian, Catalan, Croatian, Czech, Estonian, Greenlandic, Hungarian, Latvian, Lithuanian, Macedonian, Maltese, Polish, Romanian, Sami, Serbian, Slovak, Slovenian, Turkish, Ukrainian, and Welsh.
    • Deréon (2005, Porchez Typofonderie). This is a 6-font family done together with J.F. Porchez for House of Deréon, the clothing label of Beyoncé and Tina Knowles.
    • Other typefaces done for Porchez: Henderson Serif (2006, black weight and production help), Verspieren (2007, for an insurance company), Le Monde Journal PTF (2007, help with the expansion of the 1994 original by J.F. Porchez), Le Monde Livre PTF (2008, help with the expansion of the 1997 original), Parisine PTF (2006, production assistance), Parisine Office (2006, production assistance), Sabon Next (2002, assistance), Mencken (2005, help with this font for The Baltimore Sun).
    • In June 2007, he won the best Greek display typeface catgory at the Hellenic Alphabet competition.
    • In 2008, he made a bastarda typeface Givry (Type-Together) created in the spirit of the bâtarde flamande as shown in the styles of the prominent scribes Jean Fouquet, Loyset Liédet, and Jean Bourdichon. It has Civilité influences.
    • Trade Gothic Next (2008), with Akira Kobayashi at Linotype.
    • In 2009, he created Alizé (Type-Together), a 3-weight italic beauty based on the chancery italic of the 16th century, with a Garamondesque "h".
    • In 2012, Type Together published his typeface Iskra, a rounded family that covers Latin and Cyrillic. Iskra won an award at TDC 2013.
    • Aeris (2010, Linotype). A flared sans family.
    • Neue Helvetica Compressed (2014, Linotype).
    • In 2014, Akira Kobayashi, Sandra Winter and Tom Grace joined forces to publish DIN Next Slab at Linotype.
    • In 2018, Tom Grace and Steve Matteson published VAG Rounded Next at Monotype. It is an extension of the Volkswagen font VAG Rounded from the 1970s.

    Speaker at ATypI 2017 Montreal.

    Behance link. Old URL. Klingspor link.

    View Tom Grace's typefaces. [Google] [MyFonts] [More]  ⦿

    Tom McAuliffe
    [McLetters Hand-Made Type]

    [More]  ⦿

    Tom N. Mouat
    [MapSymbs.com]

    [More]  ⦿

    Tom Wallace
    [HiH (Hand in Hand)]

    [MyFonts] [More]  ⦿

    Tomás Brousil
    [Suitcase Type Foundry]

    [MyFonts] [More]  ⦿

    Tomas Kindahl

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

    Tomat Design

    Tomat Design is a small team of multi-disciplinary designers based in Moscow. The studio was set up in December 2005 and specializes in concept creation, art direction, branding, typography, illustration and graphic design.

    Behance link.

    In 2011, they created the identity for ICTR (International Center for Tomographic Research), a chain of a specialized tomography diagnostics centers in Moscow. This identity included a liquid Latin/Cyrillic typeface family. [Google] [More]  ⦿

    Tomi Dzurovski

    Macedonian codesigner with Lasko Dzurovski of Sanos (2001, a fat elliptical typeface done at T-26) and Isidium (T-26, 2001). He also created the Latin / Cyrillic typefaces Argena (2012) and Clone Round (2012). [Google] [MyFonts] [More]  ⦿

    Tommi Petrov

    Russian graphic designer and occasional typographer. TommiArt home page. [Google] [More]  ⦿

    Tomo Fonts (was: We Are Tomo)
    [Nicolas Massi]

    Argentinian digital type cooperative foundry run by Nicolas Massi. The fonts published by Tomo Fonts were made by a variety of people. Tomo Fonts created the handcrafted poster typefaces Tomo Claire (2015), Tomo Joseph (a slab serif), Tomo Ernest (a white on black dadaist ransom note font), and Tomo Zomba Pro (2015, described as retro horror).

    Typefaces from 2018: Tomo Acuario.

    Typefaces from 2019: Tomo Bossa (a cartoon font for Latin and Cyrillic), Tomo Haraka, Tomo Fango (a comic book font).

    Typefaces from 2020: TOMO Ziguret (a fat finger font), TOMO Sponge, Tomo Pillo (an expressive blocky typeface), Tomo Trompa Pro (a retro poster font), Tomo Catcher (tall, handcrafted), Tomo Tosca (a stone age font), Tomo Dora Sans (tall, handcrafted), Maryhoid (a casual all caps sans), Mindwalk (a casual hand-printed font), Unione (a geometric sans in 24 styles), Unione GX (a variable font version of Unione).

    Typefaces from 2021: Tomo Nara (a cartoon font).

    Github link for Nicolas Massi. [Google] [MyFonts] [More]  ⦿

    TopTeam Co
    [Anton Zinoviev]

    Bulgarian developer of the free type 1 font package t1-teams for Latin and Cyrillic, which is used in Bulgarian newspapers and magazines of the TopTeam Publishing House. The maintainer is Anton Zinoviev. [Google] [More]  ⦿

    Toshi Omagari
    [Omega Type Foundry]

    [MyFonts] [More]  ⦿

    Total Font Geek
    [Nate Halley]

    Nate Halley (aka Total font Geek) is the creator of free fonts, mostly made with FontStruct. The handwriting typefaces were made with MyScriptFont.

    Typefaces from 2014: Casale Finale NBP, Mozart NBP (pixel face).

    Typefaces from 2013: Halleyvetica Neue NBP (hand-printed), Grishenko Opiyat NBP (inspired by Spaceport, House Industries), Cinema Gothic NBP (octagonal), NBP Readout, Dexter NBP, Roentgen NBP (pixel face), Super Thing NBP, On Strike NBP, Quantifier NBP, Voyager NBP (sci-fi face), Cellblock NBP, Klassiq NBP, Rosenkrantz (pixel face), Octapost (octagonal), Snare Drum One NBP, Meyer Gothic NBP (octagonal), Mindfuct NBP (squarish), Miranda NBP, Spire NBP (squarish), Casale Two NBP (pixel face), Kernel Panic, Sebastian Gothic NBP, Theorem NBP, Signus Digital Round (pixel face), Signus Bold, Saville Row NBP, Kernel Panic NBP, Guru Meditation NBP (pixel face), Mayfair NBP (pixel face), Calibration Gothic NBP Latin (pixel face), Mercutio NBP Basic (pixel family), Plutonium NBP (octagonal), Mr. DNA NBP, Mr. Kamikaze NBP, Kraftwagen Grotesk (inspired by DIN).

    The list of typefaces made in 2012: Astragal NBP (pixel face), Nine by Five NBP (pixel font), Lionel Micro NBP (pixel font), Brighton NBP (2012), Brighton Two (2012, +Sans, +Serif, +Gothika), Synchronizer NBP (pixel face), Blackpool NBP, Forty Seven NBP, Motorik NBP, Spyware NBP, Balthasar Regular (pixel face), Kensington Gothic NBP (sci-fi), Energy Dome NBP, Mushroom Kingdom NBP, Nintendo Dingbats NBP, Skyline Beach NBP (octagonal), Book Report, Stevenage NBP, Northside NBP (fat finger face), Please Don't Leave NBP, Raven Sans NBP (inspired by Bank Gothic), Raven Serif NBP, Grishenko Novoye NBP (+Cyrillic), Nintendo Dingbats NBP, Wensleydale Gothic, Dear Katie (hand-printed), Prospero NBP (pixel font for game consoles), Middle School Crush NBP, Kinderarten NBP, Class Project NBP, Aristotelian NBP (Greek simulation font), Akron NBP (Akron Sans NBP, Akron Serif NBP), Erbos Draco Nova NBP (dot matrix font), Shylock NBP (dot matrix face), JustAnotherDay NBP, Soo Bawlz NBP (athletic lettering font based on the logotype from the Hardcore Devo albums), Beautiful World NBP, Basil Gothic NBP, Halleyvetica NBP, HalleyScriptThin NBP, GradeSkooler NBP, GrishenkoNBP (rounded techno sans), Glasstown NBP, Kinishinai NBP (octagonal), Corporate Gothic NBP, Erbos Draco Monospaced NBP (dot matrix face), Smart Patrol NBP (pixel face), Recombo NBP (+Round), Zarbville NBP (pixel face), Weird Science NBP (sci-fi typeface), Sharp Objects NBP, Casale Micro NBP, Dilithium Pixels NBP, Casale NBP, One Time NBP, Schutzgitterhaus-Grotesk NBP.

    Fontspace link. FontStruct link. Another Fontspace link. [Google] [More]  ⦿

    Totem Design
    [Lasko Dzurovski]

    Based in Skopje, Lasko and Tomi Dzurovski are the designers of Tomidium (T-26, 2001), Isidium (T-26, 2001), and Sanos (2001, a fat elliptical typeface done at T-26).

    They are in Skopje, Macedonia and run Totem Design. One of their fonts is TF Bista (2009). They are working on Revolt (2009).

    The Macedonian Government has licensed (for free download by the general public) Stobi Sans and Stobi Serif, which were created by Lasko Dzurovski in 2009.

    In 2011, Lasko designed the TF Debel display family, in Solid, Open, Script and Glow styles.

    Lasco (2013) is a free comic book / cartoon font. Advertized as better than Comic Sans.

    Skola Sans (2009) is a free 20-style sans family.

    Mamut (2015)---not to be confused with Francesco Loschiavo's Mamut from 2012) is a headline and logo unicase typeface. Lara Soft is a free typeface that shows infliences of ITC American Typewriter.

    During Typeclinic 11th International Type Design Workshop, he created the typeface Elegant Sans (2015).

    At Rosetta Type in 2015: Clone: The lovechild of cyber-culture and genetic font modification takes inspiration from coding, technology and architecture.

    Typefaces from 2016: Skorid (a multilingual octagonal typeface started in 2013).

    Typefaces from 2017: Decoral (art deco).

    Typefaces from 2018: Kino (a free movie font), Decoral Soft.

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

    totwo (or: Atelier Otadoya)

    Yana Kutyina and Andrey Belonogov together form totwo (or Atelier Otadoya), a studio in Moscow. Their typefaces include the award-winning calligraphic Latin / Cyrillic font Kalimantan (2012-2013) by Yana Kutyina. In 2014, they designed the counterless display typeface Nerpa. In 2016, they cooperated with Valery Golyzhenkov on the great vintage typeface system Triplet in Erste, Zweite and Dritte styles. Triplet won an award at Granshan 2017. [Google] [More]  ⦿

    Traint

    Saint Petersburg, Russia-based designer of Andrew's Sketch Font (2014: a 3d hand-drawn typeface for Latin). Behance link. [Google] [More]  ⦿

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

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

    Transparent Language

    pjfonts: 224K Japanese font (self-extracting file). TLAsian, TLCentralEurope, and TLCyrillic2 are made by URW in 1994. [Google] [More]  ⦿

    Transparent.com

    Free truetype fonts for Cyrillic: TLAsian, TLCentralEurope, TLCyrillic2. All made in 1998 by Transparent Language based on earlier fonts from URW. [Google] [More]  ⦿

    Triangle & Cross
    [Vladimir Likh]

    Vlad Likh (Triangle & Cross) is an art director in Moscow. Creator of the free variable width Latin / Cyrillic sans font Konduktor (2013). In 2019 he designed the tall hairline sans typeface Option, which was inspired by geometric architectural fonts. [Google] [MyFonts] [More]  ⦿

    Triple Hely (or: Iris Letters)
    [Olga Ktitorova]

    TripleHely is the personal type foundry of Olga Ktitorova, a graphic designer from Moscow, Russia. After graduation at Moscow Institute of Contemporary Arts, she worked as an editorial designer.

    Creator of the Latin/Cyrillic slab serif typeface Tender (2009) and the script typefaces Cohen (2018: calligraphic), Symply (2017) and Hyptis (2017: brush script). In 2021, she released the brush script Glaciar. [Google] [MyFonts] [More]  ⦿

    Trismigist

    Russian creator of the Monster alphabet in 2008. [Google] [More]  ⦿

    Troika Studios

    Free Russian fonts and font installation instructions for web pages. [Google] [More]  ⦿

    True Story Letterworks
    [Sergey Godovalov]

    Ufa, Russia-based creator of Shihan (2015), which is a free squarish Latin / Cyrillic typeface that was inspired by Bashkirian geometrical ornaments. He also designed the tweetware Latin / Cyrillic slab serif typeface Ikra Slab (2015), and the tweetware constructivist Measure (2015, with special support for Bashkir).

    Typefaces from 2016: Igra Sans (free), the bilined Armatura (2016, a constructivist industrial stencil).

    In 2017, he designed the condensed all caps typeface Green Grove and the techno sans typeface Freezer.

    In 2018, he published the ultra-fat blocky typeface Container. [Google] [MyFonts] [More]  ⦿

    TrueType

    Konstantin Kazarnovsky explains about trueType, OpenType and Unicode for Cyrillic typography. In Russian. [Google] [More]  ⦿

    Truetype Font Tools

    Russian truetype font tool page by Konstantin Kazarnovsky. Mainly links. Cyrillic font jump page. [Google] [More]  ⦿

    TrueType fonts at kiarchive

    An archive of basic Cyrillic truetype fonts, including those from Microsoft. A second archive contains more interesting truetype fonts with unicode encoding. Well done and worth bookmarking. [Google] [More]  ⦿

    TS Fonts (or: Fonttat)
    [Tarek Samir Al-Sawwa]

    Or Tarek Alsawwa, founder of TS Fonts and of the type shop Fonttat which specializes in Arabic type. Istanbul, Turkey-based designer (b. Syria?) of the free plump children's book typeface TS Split Black (2020) for Latin and Arabic. Most of his typefaces cover both Latin and Arabic. A partial list: Anamil (2020: handcrafted), Arabic Bebas Neue Pro (2020: an Arabic family added to Ryoichi Tsunekawa's successful Bebas Neue), Ateq (2021: a modernization of the Fatimid Kufic letters and the old Quran Kufic that is taken from the book of Yusuf Zinun), Damas (2020: sans and slab), Deniz (2021), Fonttat (2021: a free Latin / Cyrillic ?arabic stencil typeface), GTA Al-Muarabis (2020: an Arabic kufi-style font to accompany the Latin font used in the GTA game Pricedown), Hakwaty (2021), Hiba (2020), Kaak Arabic (2020: an arabification of Philip Trautmann's scrapbook font Cookies & Milk, Kairouan (2021: a rounded Latin / Arabic typeface rooted in Moroccan calligraphy), TS Karagoz (2022: a fun Latin/Cyrillic/Arabic cartoon or children's book family), Kufidia (2020), Lineat (2020: blackboard bold), Morabaat, Nas (2021: an 8-style Naskh-based typeface family by Tarek Al-Sawwa and Haider Mami), Pixopedia (2020: a free Arabic video game pixel typeface), Qamus (2020: a geometric sans), Rotger-Arabic (2020: an Arabification of Central Type Company's Rodger by Tarek Al-Sawwa and Mohamed Gallah), Safaa (2020: monolinear, geometric), Shareb Pro Arabic, (2022; an improvement of the Latin / Arabic typeface Shareb; by Abdelrahman Farahat and Tarek Alsawwa), Tarek (2020: 18 styles and a variable font), Zinun (2021: a Fatimid Kufic font for Arabic and Latin whose letters are inspired by the book of Yusuf Zinun).

    Icon sets: Syrian & Turkish Sweets Icons (2020), Cafe Essentials (2020).

    Behance link for TS Fonts. [Google] [More]  ⦿

    Tscherban Yuori

    Designer of the Cyrillic fonts Xorx_Toothy Cyr (2000) and Xorx_windy Cyr (2000), which can be found here and here. [Google] [More]  ⦿

    Tschuksin

    Small foundry in Moscow, ca. 1870. [Google] [More]  ⦿

    Tsimko

    Fontstructor who made the dot matrix typefaces Mercury-130k (2011) and Baykonur (2011). [Google] [More]  ⦿

    Tstype
    [Philippe Dabasse]

    Philippe Dabasse is a French type designer (b. 1972) based in Paris (and before that, Levallois-Perret) who designed Gange (1996-1998) and Remont (1998, free font at Typotek: lettering as on the traffic signs in St. Petersburg, with versions called Symbol, Latin, Cyrillic). [Google] [More]  ⦿

    Tsveta Velcheva

    Based in Sofia, Bulgaria, Tsveta Velcheva created an unnamed op-art Bulgarian Cyrillic typeface in 2013 as a school project. [Google] [More]  ⦿

    Tsvetelina Todorova

    For a graduation project, Veliko Tarnovo, Bulgaria-based Tsvetelina Todorova designed the neatly handcrafted Latin / Cyrillic typeface Muffin (2016) and the mini-serifed Latin / Cyrillic typeface Klavish (2017). [Google] [More]  ⦿

    TT Tsars and Cyrillic in the XVIIIth century

    In 2019, TypeType published TT Tsars, a 20-style font family with five subfamilies. It is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century and seen on book title pages in Russia. A reference for the development was Abram Shchitsgal's book Russian Civil Type. The fonts were designed by Marina Khodak, Inessa Mitrozor, Nadezhda Polomoshnova and the TypeType Team.

    The subfamilies cover these epochs:

    • TT Tsars A. The beginning of the 18th century (Latin and Cyrillic). The Latin is based on Romain du roi. The Cyrillic was matched to it.
    • TT Tsars B. The beginning of the 18th century (Latin and Cyrillic). The Cyrllic is based on the Russian civil type. The Latin followed later, and still resembles the romain du roi.
    • TT Tsars C. The middle of 18th century (Latin and Cyrillic). Based on an evolving Cyrillic.
    • TT Tsars D. The end of the 18th century (Latin and Cyrillic). Fewer decorative elements than in TT Tsars C.
    • TT Tsars E. The beginning of the 18th century (only Latin). A steampunk fantasy typeface. They write: Its theme is a Latinized Russian Сivil type (also referred to as Grazhdansky type which emerged after Peter the Great's language reform), which only includes the Latin alphabet. There is no historical analogue to this typeface. It is exclusively our reflection on what would have happened if the civil font had developed further and received a Latin counterpart. We imagined such a situation in which the civil type was exported to Europe and began its own life.
    [Google] [More]  ⦿

    Tural Alisoy
    [Tural Aliyev]

    Baku, Azerbaijan-based designer (b. 1988) of these typefaces:

    • In 2017: The Latin / Cyrillic sans typefaces Lokbatan, Khojasan and Balakhani.
    • In 2018: Father Script.
    • In 2019: Film Fiction Sans, La Route (a wide fashion mag typeface), Modern Times (for Latin, Greek, Cyrillic, and many other langauges) and the semi-blackletter typeface Neo Paralletter.
    • In 2020: Typefire (an 8-style display serif family), Tatype (a ten-style grotesk), Tappatarap (a display sans with flared stems; for Latin and Cyrillic), Film Fiction Semi Expanded.
    • In 2021: TA Moderustic (a 6-style part geometric part grotesque typeface for Latin, Greek and Cyrillic), TA Father 60 (handwriting).
    • In 2022: TA Bankslab Art Nouveau (a slab serif for Latin and Cyrillic), TA Bankslab Shadow, TA Bankslab (a 10-style slab serif based upon the signs on the art nouveau building of the Northern Bank of St. Petersburg's Baku branch, built in 1903-1905; for Latin and Cyrillic).
    • TA Charged (2022). A display serif with wiggles, notches, the works.

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

    Tural Aliyev
    [Tural Alisoy]

    [MyFonts] [More]  ⦿

    Turkcestan

    Free Uzbeki, Tatar Cyrillic, Tatar Turkish, Kazak, Bashkirian, Azeri and Turkish fonts. Plus links for all these Turkic languages: Altai, Azerbaijani, Balkar, Bashkir, Chagatay, Chuvash, Cuman, Crimean Tatar, Gagauz, Karachay, Karaim, Kazakh, Khakas, Kumyk, Kyrgyz, Nogay, Old Uyghur, Orkhon, Ottoman, Shor, Tatar, Tofa, Turkish, Turkmen, Tuvan, Uyghur, Uzbek, Yakut, Yellow Uyghur. All of this is maintained by Johan Vandewalle in Belgium. KYRG [Google] [More]  ⦿

    tut.ac.jp

    Archive with the NEXT fonts, type 1. Has KaiSu kanji font (type 1) plus the Russian NEXT fonts. The KaiSu font from Jackson Technologies is free but flawed (some characters have their tops chopped off by a bounding box that is too small). [Google] [More]  ⦿

    Tuvan Font
    [J. Eric Slone]

    A free Latin-Cyrillic truetype font called Tuvan, by J. Eric Slone. [Google] [More]  ⦿

    Tygra 3000 CD

    Commercial Cyrillic fonts on a CD published in 2005.

    Opentype fonts: A1010HelvetikaTYGRA-Bold, A1010HelvetikaTYGRA-BoldItalic, A1010HelvetikaTYGRA-Italic, A1010HelvetikaTYGRA, A1011HelvetikaTYGRA-Bold, A1011HelvetikaTYGRA-BoldItalic, A1011HelvetikaTYGRA-Italic, A1011HelvetikaTYGRA, A12HelvetikaTYGRA-Bold, A12HelvetikaTYGRA-BoldItalic, ATWTYGRA-Bold, ATWTYGRA, AkcizTYGRA, AlgerianOTLTYGRA, AlgerianTYGRA, AllsisSVTYGRA, AllurTYGRA, AlphAntiquaTYGRA, AmenhatepTYGRA, AmericanaTYGRA-Bold, AmericanaTYGRA, AntiqueOliveCondensedTYGRA, AntiqueOliveHeavyTYGRA, AntiqueOliveTYGRA-BoldItalic, AntiqueOliveTYGRA-Italic, AntiqueOliveTYGRA, Apostol2TYGRA, ApostolOutlineTYGRA, ApostolTYGRA, ArnoldaTYGRA, ArtScriptTYGRA, AsisaTYGRA, AuroraTYGRA, BabyTeethTYGRA, BalticaTYGRA-Bold, BalticaTYGRA-Italic, BalticaTYGRA, BanBicTYGRA-Bold, BankMediumTYGRA, BeRnTYGRA, BeeBoppTYGRA, BernhardLightTYGRA, BetinaSVTYGRA, BohemaHeavyTYGRA, BohemaLightTYGRA, BohemaTYGRA-Bold, BohemaTYGRA-BoldItalic, BohemaTYGRA-Italic, BohemaTYGRA, BraGgadocioCondensedTYGRA, BraGgadocioTYGRA-Bold, BreMenTYGRA-Bold, BreMenTYGRA, BroadwayTYGRA, CalligraphTYGRA, CashCapitalTYGRA, CheRusTYGRA, ChocTYGRA, ClarendonTYGRA, ColtTYGRA, DelTaTYGRA, DesDemonaOutlineTYGRA, DesdemonaTYGRA, DiseleTYGRA, DustTYGRA, EckmAnnTYGRA, EmpareHvTYGRA, EmpareTYGRA, EmpareUcTYGRA, FerenzSavin, FormularTYGRA, FransisTYGRA-Bold, FransisTYGRA, FutMeETYGRA, GlaCierTYGRA, GlassTYGRA, GopStopTYGRA, GreekaTYGRA, GuberniaTYGRA-Bold, GuberniaTYGRA-BoldItalic, GuberniaTYGRA-Italic, GuberniaTYGRA, HarRierTYGRA-Bold, HarRierTYGRA, HondayTYGRA, HuxleyVerticalTYGRA, IsadoraSVTYGRA, JoraTYGRA, KabikusTYGRA, KabumTYGRA, KolosTYGRA, KonstruktorTYGRA, LCDTYGRA, LatinExtraCndTYGRA, LatinWideHvTYGRA, LiBertyTYGRA, LirussTYGRA, LukianTYGRA, LukianTYGRA, MaderaTYGRA, MandarinTYGRA, MatissTYGRA, MiddlLightTYGRA, MisterTYGRA, MoLisaTYGRA, ModestTYGRA, MurometzTYGRA, NagasakiTYGRA, OxAnaTYGRA, PaRaGonTYGRA, PalazzoTYGRA, PatriciaTYGRA, PenguinTYGRA, PepperoniTYGRA, Pionr-TYGRA, PipelineTYGRA, PlataTYGRA, PlazmaTYGRA, PolLitraTYGRA, PsaltyrTYGRA, QuinolineSVTYGRA, RedZoneTYGRA, RewuTYGRA, RiveraTYGRA, SabrinaTYGRA-Bold, SabrinaTYGRA-Italic, SabrinaTYGRA, ScidosTYGRA, SibeRiaTYGRA-Bold, SibeRiaTYGRA-Italic, SibeRiaTYGRA, TiffanySavinHvTYGRA, TrafficTYGRA, TrashkaTYGRA, VikantTYGRA, VikingTYGRA, VizaviTYGRA, WinsonBoldCondensedTYGRA, WinsonLightCondensedTYGRA, WinsonLightTYGRA, WinsonTYGRA-Italic, WinsonTYGRA, WoodHomeTYGRA, YauzaTYGRA-Bold, YauzaTYGRA, ZingerTYGRA, ZnakiTYGRA, ZsechiTYGRA.

    Truetype fonts: 1920TYGRA, 1921TYGRA, A1010HelvetikaTYGRA-BoldItalic, A1010HelvetikaTYGRA-Bold, A1010HelvetikaTYGRA-Italic, A1010HelvetikaTYGRA, A11HelvetikaTYGRA-BoldItalic, A11HelvetikaTYGRA-Bold, A11HelvetikaTYGRA-Italic, A11HelvetikaTYGRA, A12HelvetikaTYGRA-BoldItalic, A12HelvetikaTYGRA-Bold, ATWTYGRA-Bold, ATWTYGRA, AardvarkTYGRA, AkcizTYGRA, AlgerianTYGRA, AlgerianShTYGRA, AllsisSVTYGRA, AllurTYGRA, AlphAntiquaTYGRA, Amenhatep-TYGRA, AmericanaTYGRA-Bold, AmericanaTYGRA, AntiqueOliveTYGRA-BoldItalic, AntiqueOliveTYGRA-Bold, AntiqueOliveTYGRA-Condensed, AntiqueOliveTYGRA-Heavy, AntiqueOliveTYGRA-Italic, AntiqueOliveTYGRA, ApostolOutlineTYGRA, ApostolTYGRA, ArabicTYGRA, ArtPostTYGRA, ArtScriptTYGRA, AsisaTYGRA, AuroraTYGRA-CondensedBold, BalticaTYGRABold, BalticaTYGRAItalic, BalticaTYGRANormal, BabyTeethTYGRA, BackTYGRA, BanBicTYGRA-Bold, BankMediumTYGRA, BeRnTYGRA, BeeBoppTYGRA, BernhardLightTYGRA, BetinaSVTYGRA, BohemaTYGRA-BoldItalic, BohemaTYGRA-Bold, BohemaTYGRA-Italic, BohemaTYGRA, BohemaHeavyTYGRA, BohemaLightTYGRA, BraGgadocioCondensedTYGRA, BraGgadocioTYGRA-Bold, BreMenTYGRA-Bold, BreMenTYGRA, BritannicTYGRA, BroadwayTYGRA, CalligraphTYGRA, CamillaTYGRA, CashCapitalTYGRA, CheRussTYGRA, ChocTYGRA, ClarendonTYGRA, ColtTYGRA, DecorTYGRA, DelTaTYGRA, DesDemonaOutlineTYGRA, DesdemonaTYGRA, DiseleTYGRA, DustTYGRA, EckmAnnTYGRA, EmpareHvTYGRA, EmpareTYGRA, EmpareUcTYGRA, FerenzSVTYGRA, FormularTYGRA, FransisTYGRA-Bold, FransisTYGRA, FutMeETYGRA, GOST-2.304-81typeA, GlaCierTYGRA, GlassTYGRA, GopStopTYGRA, GreekaTYGRA, GuberniaTYGRA-BoldItalic, GuberniaTYGRA-Bold, GuberniaTYGRA-Italic, GuberniaTYGRA, HarRierTYGRA-Bold, HarRierTYGRA, HarpyTYGRA, HondayTYGRA, Hot-DogTYGRA, HuxleyVerticalTYGRA, InessTYGRA, IsadoraSVTYGRA, JoraTYGRA, JupiterTYGRA-Bold, KabikusTYGRA, KabumTYGRA, KinoTYGRA, KolosTYGRA, KonstruktorTYGRA, KorinaTYGRA-Bold, KorinaTYGRA, KorinaLightTYGRA, KustoTYGRA, LCDTYGRA, LatinExtraCndTYGRA, LatinWideHvTYGRA, LettericaCondensedTYGRA, LiBertyTYGRA, LirussTYGRA, LukianTYGRA-Bold, LukianTYGRA, MaderaTYGRA, MandarinTYGRA, MatissTYGRA, MiddlLightTYGRA, MoLisaTYGRA, ModestTYGRA, MoonChildTYGRA, Motor-TYGRA, NagasakiTYGRA, OxAnaTYGRA, PaRaGonTYGRA, PalazzoTYGRA, PatriciaTYGRA, PenguinTYGRA, PepperoniTYGRA, Pionr-TYGRA, PipelineTYGRA, PlataTYGRA, PlazmaTYGRA, PolLitraTYGRA, PresentSuperTYGRA, Presentum, QuinolineSVTYGRA, RadiyTYGRA, RedZoneTYGRA, RedisTYGRA, RevSovetTYGRA, RewuTYGRA, RiveraTYGRA, SabrinaTYGRA-Bold, SabrinaTYGRA-Italic, SabrinaTYGRA, SavinTYGRA, ScidosTYGRA, SerpSVTYGRA, ShotgunTYGRA, SibTradeTYGRA, SibeRiaTYGRA-Bold, SibeRiaTYGRA-Italic, SibeRiaTYGRA, SibeRiaCnTYGRA-Bold, SibeRiaHTYGRA, SlipstreamTYGRA, StampTYGRA, StormTYGRA, StusloTYGRA, TiffanySavinHeavyTYGRA, TimenTYGRA, TrafficTYGRA, TrashkaTYGRA, VikantTYGRA, VikingTYGRA, VizaviTYGRA, WinsonTYGRA-Italic, WinsonTYGRA, WinsonBoldCondensedTYGRA, WinsonLightTYGRA, WinsonLightCondensedTYGRA, WoodHomeTYGRA-Medium, ZingerTYGRA, ZnakiTYGRA, ZsechiTYGRA. [Google] [More]  ⦿

    Type Design
    [Piotr Grochowski]

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

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

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

    Type Improvisation

    Type design cooperative in Russia. TimproFirst (2020, NN Type Foundry) is the result of the first type improvisation session, a process during which four designers (Nick Nedashkovskiy, Nikita Gaidook, Lesha Pushkarev and Vladimir Kolomeytsev) created a typeface in one file at the same time. Github link for Type Improvisation. [Google] [More]  ⦿

    Type Market
    [Alexey Kustov]

    Type Market is a Russian type foundry. Alexey Kustov made most fonts at Type Market (Moscow) between 1993-1995. Many of these are cyrillizations of Western typefaces: Aksent (futuristic, based on a design by Yevgeny Dobrovinsky), Bebit (similar to Baby Teeth by Milton Glaser, Photo Lettering), Countdown [based on a 1965 original by Colin Brignall], Cricket, Crystal, Europe, Everest, Gals, Gill Sans (1993), Glasten, Helios, Luxor [1993; based on Colin Brignall's Aachen, 1967], Micra, Micogramma (1952, Aldo Novarese and A. Butti, digitized in 1993), Miniature, Mistral, New Zelek [1993, inspired by the typeface of G. Klikushin, 1987, which in turn was based on the typeface of Bronislav Zelek of Mecanorma], Oliver, Peignot (A.M. Cassandre, 1937, done in 1993), Penta, Plain [after an art deco typeface by A. Grachev], Rodeo (F. Pierpont, 1934, cyrillicized in 1993), Start [1993, like Aldo Novarese's Stop from 1971], Stencil Bold Cyrillic (1993, based on Milton Glaser's Stencil Bold (1973)), Techno28 [1993, a MICR font based on Letraset's Data 70 by R. Newman, 1970], Trafaret [1993, a stencil font based on Tom Hultgren's Traffic, Letraset, 1973], Traktir [1993, based on Elsner&Flake's Old Town], Viola [1996, based on Adobe's Willow]. These are Cyrillic fonts that are typically extensions of well-known Roman fonts. Other designers at Type Market include A. Shevtsov, Anton Bisiajew, Oxana Doubovic, A. Babaljan, S. Shanovich, D. Gulinoff, Viktoria Grigorenko, Anna Terentieva. Fonts not by Kustov: Anastasia Script, Arthur, Dikovina, Dikovina Bildchen, Fita Church, Fita Poluustav, Fita Vjaz, Funny, HeinrichScript, Industry, Jatran, Keyboard, Magic, Morris, Office Type Sans, Oliver New, OpiumNew, OrnamentTM, OrnamentTM2, Palladium, Regata, Roger Script, Romul, Secretary, Sonet Serif, Unicum Condensed, Zodiac1, Zodiac2.

    Klingspor link. [Google] [More]  ⦿

    Type Mates

    German type foundry, est. 2015 by Jakob Runge and Nils Thomsen, and based in Hamburg. Their typefaces:

    • Comspot and Comspot Tec (2015): Comspot is a rounded and characterful typeface mixed with some typewriter flavour and human touch. The font is especially designed for hard- and software dealer who need some attractive figures to sell their products. In June 2015 Nils Thomsen designed this font as a corporate font for the Hamburg based hard- and software reseller CPN Cooperation Network GmbH and its Partner Comspot. The client wants an individual typeface for all media. It should work in reading sizes and of course also display very distinctive in larger sizes. Comspot can do!
    • The Conto family by Nils Thomsen: Conto Compressed, Conto Narrow, Conto Condensed, all made in 2015.
    • Jabana by Nils Thomson, 2014-2015. This includes Jabana Alt (2015) and Jabana Extras (2015). A compressed rounded font family, with dingbats, designed for menus. It is the first font in his own foundry, Nils Types, est. 2013. It was inspired by having a Schorle at Hamburg's coffee bars.
    • Pensum Pro (2016). An 18-style text family with large x-height and considerable contrast. Followed in 2017 by Pensum Display, its wedge serif sharp-edged flashy companion. Pensum Stencil was added in 2021.
    • Urby Basic (2017).
    • Cherry (2017). A custom typeface designed for the brand new MX Board 5.0 keyboard for gaming enthusiasts.
    • In 2019, Jakob Runge, Nils Thomsen and Lisa Fischbach released Halvar and wrote: Halvar, a German engineered type system that extends to extremes. With bulky proportions and constructed forms, Halvar is a pragmatic grotesk with the raw charm of an engineer. A type system ready to explore, Halvar has 81 styles, wide to condensed, hairline to black, roman to oblique and then to superslanted, structured into three subfamilies: the wide Breitschrift, regular Mittelschrift and condensed Engschrift. Halvar Stencil, which was released simultaneously, is a German engineering stencil font family.
    • Gratimo Classic and Grotesk (2021), and Grato Classic and Grotesk (2021). Four sans families, with Classic referring to more humanist forms; Grato is the geometric twin, while Gratimo is more economic. Design by Jakob Runge, with contributions by Mona Franz, Irene Vlachou (consukting on Greek), Ilya Ruderman and Yury Ostromentsky (consulting on Cyrillic), Donny Truong (consulting on Vietnamese), Christoph Koeberlin (hinting) and Igino Marini (spacing and kerning). Grato Marker was added by Teja Smrekar in 2022.
    • In 2022, Philipp Neumeyer released Juneau, a friendly geometric workhorse sans for Latin and Curillic, at TypeMates.
    Creative Market link. [Google] [MyFonts] [More]  ⦿

    Type This Studio
    [Anita Jürgeleit]

    Graduate of the University of Applied Sciences, Hamburg, Germany, who was initially associated with URW++ in that city. She first set up her own foundry under her last name, but in 2021 started using Type This Studio.

    Co-designer with Michael Hoffmann of the stamped font URW Urban (2013). She also made the strong-willed handwriting typeface Quendel (2013, URW++; extended in 2015 to include the textured Quendel Wood and the eroded Quendel Crayon) and Hangulatin (2014, URW++). Hangulatin applies the principles of Hangul to make letter combinations in Latin. See also Hangulatin EN (2016).

    In 2015 she created the slim vintage / steampunk typeface Nitaah One (URW++) and the handsome super-tall 1970s cocktail lounge sans Allioideae (URW++, Latin and Cyrillic).

    In 2018, she set up her own type foundry, and published Umba Sans, a 30-style family that exudes joy and is useful for display applications. It is accompanied by Umba Soft (2018) and Umba Slab (2019).

    Typefaces from 2019: Cosima (a low contrast workhorse sans), Captura (a simplified geometric sans), Famosa (+the pearl-studded Famosa Diara), Diara (a colorable wedding font package including ornaments), Crossfit (an elliptical sans family), Hyper (a wonderful packaging font).

    Typefaces from 2020: Orangina (a creamy supermarket typeface), Mireille (a decorative serif) , Marilka (a snappy 4-style modern text typeface characterized by the vertical terminals atop a, c, f, s and z), Lovebeat (a Valentine's Day font).

    Typefaces from 2021: Every Core (an 8-style serif), Headlines (a 12-style + 2 variable font headline sans), Every (a 24-style serif).

    Typefaces from 2022: Crossfit Core (a 5-style rounded technical sans), Horizona (a 9-style harlequin typeface), Cosima Core Edition (an 8-style sans), Famosa Core Edition (a fashion mag family with hints of Victoriana), [Google] [MyFonts] [More]  ⦿

    Type Timeline

    Type timeline, in Russian. Extensive pages. [Google] [More]  ⦿

    Type Today

    Russian commercial type cooperative that groups CSTM Fonts, Commercial Type, Valery Golyzhenkov, Vera Evstafieva, Elena Novoselova and Adam Katiy. It was founded by Moscow State University of Printing Arts graduates Ilya Ruderman and Yury Ostromentsky. [Google] [More]  ⦿

    Type Tomorrow

    Russian type foundry. Designers Maks Barbulovic, Ilya Bazhanov, Alexander Cherepanov, Fer Cozzi, Lucas Descroix, Valery Golyzhenkov, Nikita Kanarev, Ilya Naumoff, Olga Pankova, Denis Serebryakov, Anna Seslavinskaya, Alex Slobzheninov, and Daria Zorkina. It also markets fonts for CSTM. [Google] [More]  ⦿

    Type Trends
    [Vika Usmanova]

    Russian type designer who was part of the TypeType team in Saint Petersburg. As a student in the TypeType education program, she designed the modern text antiqua Guillaume (2016-2017). In 2019, she founded Type Trends.

    In 2017, Vika Usmanova released the octagonal Latin / Cyrillic typeface TT Mussels which includes a stencil subfamily. She also was part of TT Travels in 2017, a wide dense modern grotesque.

    In 2017, Vika Usmanova, Philipp Nurullin, and the TypeType Team designed the condensed modular geometric grotesk typeface TT Tunnels.

    In 2018, I believe---but am not sure---that Nadezhda Polomoshnova, Phill Nurullin, Vika Usmanova, Nadyr Rakhimov and the TypeType Team co-designed TT Jenevers. In 2018, Sofia Yasenkova, Philipp Nurullin, and Vika Usmanova designed the modern serif TT Tricks at TypeType. TT Tricks has many stencil styles.

    In 2018, Ivan Gladkikh, Alexander Kirillov, Philipp Nurullin, Vika Usmanova, Marina Khodak, and Nadyr Rakhimov published TT Severs. That same year, Vika Usmanova published the display sans ans script pair TT Nooks which took inspiration from the Empire State Building. Co-designer of TT Barrels (2018: a Scotch modern typeface by Inessa Mitrozor, Vika Usmanova, Marina Khodak, Nadezhda Polomoshnova and the TypeType Team).

    In 2019, Vika Usmanova and the TypeType Team designed TT Trailers, a modern narrow humanist grotesque, that is accompanied by a variable font version. TT Trailers is based on the concept of preserving the amount of white: when changing from thin to bold.

    In 2019, Vika published the free font Trappist, which started out as a custom type for a Belgian cafe in St. Petersburg. At TypeTrends, she released TT Alientz (Variable, serif, Grotesque) and TT Frantz, also in 2019. The latter ultra-condensed monospaced sans typeface has matching upper and lower case heights and comes as a variable type with a waistline axis.

    Typefaces from 2020: TT Geekette (2020; with the TypeType Team), TT Runs (a 20-style sports sans by the TypeType team in cooperation with Vika Usmanova, Antonina Zhulkova and Philipp Nurullin).

    In 2020, she co-designed TT Lakes Neue, a 91-style sans family by Vika Usmanova, Antonina Zhulkova and Kseniya Karataeva at TypeTypType. Tt is a functional sans-serif that draws inspiration from Finnish signs of the functionalism era. TT Lakes Neue is an almost monolinear sans, with ovals in the form of rounded rectangles, reminiscent of Nebiolo's Microgramma. It comprises a useful variable font.

    In 2021, Svetoslav Simov and Vika Usmanova dusted off the 18-style update of Fontfabric's geometric sans family Mont called Mont Blanc. It has very short descenders and medium-sized ascenders, two variable styles, and some redesigned glyphs. Its biggest problem will be the name---surely, the famous Swiss pen maker Mont Blanc will complain sooner or later about its trademark. I am puzzled about MyFonts, which did not catch this problem when they announced the typeface.

    In 2022, Vika Usmanova and Plamen Motev co-designed the wayfinding sans family Ways at Fontfabric. [Google] [MyFonts] [More]  ⦿

    TypeArt05

    Russian type competition in March 2005. The jury consisted of Yuri Gordon, Vladimir Efimov, Dimitri Kirsanov, Tagir Safayev and Nikolay Dubina. The winners:

      Text designs
    • Helvetica Linotype: John Hudson (Canada)
    • Corbel: Jeremy Tankard (England)
    • Calibri: Luc(as) de Groot (Germany)
    • TheAntiqua: Luc(as) de Groot (Germany)
      Display designs
    • Daiga: Ekaterina Maslova (Russia)
    • EZZ: Anastasija Davydchik (Russia)
    • Fourty-nine face: Aleksandra Korolkova (Russia)
    • Polie: Vuga Radulovic (Serbia and Montenegro)
    • UniOpt: Viktor Kharik (Ukraine-Germany)
    • P22 Operina: James Grieshaber (USA)
    • Jedrilica: Ivana Dakic (Serbia and Montenegro)
    • SPQR Caps: Sergej Egorov (USA)
    • Calm Hour: Elena Kolesnikova (Russia)
    • Bulrush: Tatjana Malakhova (Russia)
    • DR Galushki: Dmitrij Rastvorsev (Ukraine)
    • Parangon Poluustav: Anatolij Kudrjavcev (Russia)
    • Parangon Ustav: Anatolij Kudrjavcev (Russia)
    • Multicross Cyr: Dmitrij Greshnev (Russia)
    • Cathedral and Pattern: Ivan Sharenkov (Russia)
      Text / Display type systems
    • Candara: Gary Munch (USA)
    • Bucentoro: Sergej Egorov (USA)
      Pi fonts
    • Output there is: Kirill Sirotin (Russia)
    • Blooming Meadow: Viktor Kharyk (Ukraine-Germany)
    • Astra: Andrej Belonogov (Russia)
    [Google] [More]  ⦿

    Typeco
    [James Grieshaber]

    James Grieshaber earned a BFA in Graphic Design from Rochester Institute of Technology. Based first in Rochester, NY, and then in Chicago, IL, and then again in Rochester, Grieshaber ran Typeco, a typographic services and solutions company established in 2002. James Grieshaber (b. Detroit, 1967) most recently was on staff of P22 Type Foundry, where he designed many type families and helped establish International House of Fonts. He has been honoured with an award of Excellence in Type Design from Association Typographique International (ATypI) for his Gothic Gothic (2004, blend of blackletter and English style), and by TypeArt'05 (for Operina Cyrillic). Designer and Co-editor of the Indie Fonts book series, Grieshaber now teaches typography at RIT and runs Typeco. MyFonts sells his fonts now. YouWorkForThem sells the Super Duty family (stencil), Glyphic Neue, the Trapper families, Chunk Feeder, Gothic Gothic and Cusp. Identifont page. FontShop link. Behance link. Details on some of his typefaces:

    • Gothic Gothic (2001), an extended blackletter co-designed with Christina Torre. In 2004, he received an award of Excellence in Type Design from Association Typographique International (ATypI) for his Gothic Gothic type design.
    • The Glyphic Neue display family was inspired by the Op Art style of lettering in the United States that ran rampant in many photo type houses in the 1960's and 1970's---I like to call it the "piano key style".
    • Chunkfeeder (2002) is a beautiful monospaced octagonal OCR-like family.
    • Cypher (2003, an LED/LCD family) has 24 weights. Of these, Cypher7 is free.
    • Duty (2002) is a sans typeface co-designed at T26 with Lee Fasciani.
    • The stencil family Super Duty (2004) has 8 variations. There are also techno variant called Superduty Condensed, Superduty Regular, Superduty Narrow and Superduty Text.
    • Cusp (2001-2005): a techno display family with 18 weights, including an LED style, art deco styles and Cusp De Stijl.
    • Trapper (2004) is an 8-weight exaggerated ink trap font family which comes in Trapper Round and Trapper Sharp versions.
    • Zaftig (2008, Typeco) is a super-fat face.
    • P22 Operina (2003, in Romano, Corsivo and Fiore versions) is based on Vicentino Ludovico degli Arrighi's calligraphy used in his 1522 instructional lettering book La Operina da Imparare di scrivere littera Cancellarescha. This book contains what is considered to be the earliest printed examples of Chancery Cursive. P22 Operina won an award at TypeArt 05. Operina Pro contains over 1200 glyphs. In 2010, Paulo Heitlinger compared P22 Operina favorably to another digital chancery font, Poetica (by Robert Slimbach, Adobe), which, according to him [and I agree], lacks vigor and dynamism.
    • P22 Posada (2003, with Richard Kegler): based on lettering of Mexican printmaker José Guadalupe Posada (1851-1913) that was used for some of his posters and broadsides.
    • P22 Arts and Crafts Tall (1995, art nouveau), P22 Arts and Crafts Hunter (1995). Both based on alphabets by Dard Hunter, 1908-1910.
    • P22 Art Deco Chic (2002), based on the Art Deco hand lettering of Samuel Welo, ca. 1930. P22 Art Deco Display (2002) is a Broadway style face.
    • Churchy (2002).
    • He offered (offers?) a handwriting font service for 100 USD. Free trial typeface Reenie Beanie (2002). Signature font service for 50 USD. Reenie Beanie (2002) is now offered (as a joke, I assume) as part of the Google open font directory (for free web fonts).
    • P22 Garamouche (2004, with Richard Kegler). Comes with Garamouche Ornaments (2004).
    • Segoe Print (2006, Monotype Imaging). [Isn't this Googlee's competition?] This is an informally hand-printed typeface co-designed with Brian Allen, Carl Crossgrove, James Grieshaber and Karl Leuthold at Ascender.
    • P22 Cezanne Pro (2006). Has over 1,200 glyphs.
    • P22 Yule (2005; Heavy, Inline): a stone chisel family with a hint of Neuland.
    • P22 Numismatic (2005): originally offered by the Devinne Press, and based on ornaments and letters used by 15th and 16th century engravers of seals and coins; however it looks very much like Otto Hupp's Numismatisch (1900, Genzsch&Heyse).
    • Black Ops One (2011) is a military stencil face, available at the Google Font Directory.
    • Short Stack (2011) is Grieshaber's free contribution to the Comic Sans genre. It was published by Sorkin Type and can be downloaded from Dafont.
    • Atomic Age (2011) is a free font at Google Font Directory. It was inspired by 1950s era connected scripts seen on nameplates of American cars.
    • Sarina (2011). A connected script published by Sorkin Type.
    • Supermercado One (2011, Google Font Directory) is a low contrast semi geometric typeface inspired by naive industrial letters. More a signage typeface than a web font.
    • Typeco Grecian (2012, FontStruct) is loosely based on a Wells & Webb Grecian style woodtype circa 1846.
    • Typeco De Stijl (2012, FontStruct) is based on Van Doesburg's De Stijl magazine's name plate in 1923. Typeco Topaz Serif Tall (2012, FontStruct) is a pixel typeface. Typeco New Wave (2012, FontStruct) is an op art party font.
    • Metamorphous (2012, Sorkin Type) borrows its arches from Gothic cathedrals---it was inspired by Jonathan Barnbrook and by the free font Morpheus. Google font download.
    • HWT Geometric (2013, Hamilton Wood Type Foundry) is a squarish wood type family: Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version.
    • Trattatello (2014). An Apple system font.
    • HWT Archimedes (2017, P22). A revival of the Page No. 122 wood type called Mansard Ornamented, done together with Richard Kegler (P22) and Virgin Wood Type. They write: This new digital version is a simultaneous release with Virgin Wood Type and features a variety of styles including the standard screw head option plus a Phillips head, hex/Allen wrench head, and even the vexing Apple pentalobe tamper resistant star screw. As a bonus, the screwheads themselves are accessible via a glyph palette, so you can put the screws to Comic Sans, or any other font, if you so desire.

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

    Typedepot
    [Alexander Nedelev]

    Typedepot is a small type foundry currently based in Sofia, Bulgaria, founded by Alexander Nedelev (a graphic designer from Sofia, Bulgaria, b. 1984 (Dimitrovgrad)) and Veronika Slavova in 2009.

    Nedelev created the display typefaces Glide (2009, done with Veronika Slavova), Glide Sketch (outline version), and Slide (2009, ultra-condensed). With Veronika Slavova, he designed the multiline (prismatic) family Pista (2010) and the organic Oxo family (2010), which includes a stencil, Corki (2011, a condensed slab serif), and Oxo College Barrister Sans (2010) covers Latin, Greek, Eastern European languages, Cyrillic, Turkish and Baltic. Parallel (2010) is an ultra-condensed typeface for anorexics. Piron (2010, by Nedelev and Slavova) and Matilde (2010, by Nedelev and Slavova) are free. Banda (2011) is a 16-style semi-serif type family characterized by a tall x-height and rounded semi-serifs [one free weight]. Centrale Sans (2011, Slavova and Nedelev) is a modern sans family. Centrale Sans Condensed followed in 2012, and Centrale Sans Rounded in 2013. See also Centrale Sans Condensed Pro, Centrale Sans Inline, Centrale Sans Pro, all updated in 2016.

    Typefaces from 2017: Moreno (a large informal semi-serif typeface family with Rust and Rough subfamilies), Cormac (humanist sans).

    Typefaces from 2018: Lexis and Lexis Alt (a 36-strong humanist and geometric sans pair of typeface families).

    Typefaces from 2019: Corsa Grotesk (inspired by Avenir; includes great hairline weights).

    Typefaces from 2019: Plovdiv (a free font based on the handwriting of Plovdiv's citizens; most weights are by Alexander Nedelev; some were co-designed with Pavel Pavlov of Punkt; the Pictograms were designed by Georgi Vasilev together with Nedelev and Pavlov).

    Typefaces from 2021: Banda Nova (a 14-style rounded sans with large x-height and a supermarket vibe).

    Typefaces from 2022: Lens Grotesk (a neutral Swiss sans with low contrast covering Latin and Cyrillic; 16 styles and one variable font).

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

    Typefaces.ru

    Russian type design association. [Google] [More]  ⦿

    TypeManufactur (was: GST Georg Salden Typedesign)
    [Georg Salden]

    Born in Essen, Germany, in 1930, Georg Salden is the nephew of Helmut Salden (1910-1996), a book and font designer in the Netherlands and a resistance fighter against Hitler.

    From 1950 until 1954, Georg studied advertising design at the Folkwang School in Essen (1950-1954). Later, he taught typography for five years at Folkwang. Until 1971, he was a freelance graphic designer specializing in typography and calligraphy.

    In 1966, he received an award in the international VGC competition in New York for the headline typeface York. He completed three fat weights of York (VGC) and four heavy weightys of Angular (VGC) before 1973.

    At Berthold AG in Berlin, he completed the phototypes Transit in 1969 and Daphne in 1970.

    From 1971 onwards, he cooperated with six German and 24 international foundries, producing about ten fonts per year, under the name GST (Georg Salden Types) and later Context-GmbH. For example, he did 35 fonts for Fototransit. Between 1972 and 1984, he created these typefaces: Aster 4.2, Polo (7 styles), Bilbao, Caslon (4 styles), Basta (5 styles), Stresemann (8 styles), Parabella, Mäander, Brasil (8 styles), Magnet, Hansa, Bonjour, Tandem, Futuranea (a rounded set of 18 styles; royalties for the name were paid to Bauersche Giesserei), Congress (6 styles), Ready, Salut, Loreley (4 styles), Loretta (4 styles), Gordon (7 styles), Volante, Tap (3 styles), Sketchy (4 styles), Gallopp, 1 Videon, Deutschkurrent, Corvey (2 styles), Klicker and Dalli (2 styles).

    In 1977, he converted some of his headline typefaces into text fonts for the Diatronic, spending a lot of time on the kerning tables.

    Before 1988, he drew Basta, Polo, Tap, Turbo, Gordon, Brasil, and Dalli. These were digitized by hand between 1989 and 1992 on the Ikarus system. The families were also expanded. For example, just for Polo, we have these styles: 11, 22, 66, 77, G, Fino, schmal, eng, extracondensed, kyrillisch and griechisch, with old style and lining figures in both Mac PostScript and PC truetype formats. New typefaces in this productive period include Carree, Axiom, Votum, Zitat, Rolls, Essenz, Planet, Trigon, and Deutschkurrent. Videon got four new heavy weights, and Daphne was redesigned for use as a text typeface.

    In 2003, he set up Typemanufactur which he managed until 2008 with Daniel Resing and Tanja Link. Typemanufactur sold the GST typeface library. In 2009, Ludwig Uebele took over this company by himself. He takes care of the web presence, the font licensing, web font production, opentype production and all managerial aspects. After the end of all contracts with VGC, Berthold AG and GST/Context GmbH, all rights of the font collection belong to Georg himself.

    Nowadays, he is critical of the lack of quality in recently designed typefaces. In FontBlog, we find a discussion of the Polo vs. Meta controversy, in German, with a reply by Erik Spiekermann who says that his FF Meta was influenced by many types, not just Polo, but also Syntax, News Gothic and Akzidenz Grotesk. The success of Polo reaches beyond FF Meta. For example, Walter Brendel's Glasgow Serial is also based on Polo. Typophile discussion.

    Also noteworthy is Georg's success in the removal of Revis (2011, Coen Hofmann, URW) from the URW library as it was judged too close to Daphne.

    Scans and technical discussions of some of his typefaces:

    In 1993, Benjamin Kempas made a 12-minute documentary in Georg Salden's life and work entitled Der Schriftgelehrte.

    Behance link. Fontshop link. Klingspor link. Bio. Wikipedia link. What A Character is a web site dedicated to Salden's fonts. [Google] [More]  ⦿

    TypeMarket Font Library

    Russian outfit that writes this: "TypeMarket FontLibrary is precisely balanced with wide variety of Latin and non Latin fonts and also contains world largest Cyrillic font collection in PostScript and TrueType formats." Example: their Thames is a Cyrillic version of our Times, and so forth. Could not find their prices. [Google] [More]  ⦿

    Typemate
    [Vova Egoshin]

    Typemate (Saint Petersburg, Russia) is led by Natalya Yakimenko (project manager) and Vova Egoshin (designer and art director). In 2019, Vova started his own type foundry, simply called Vova Egoshin.

    At Typemate, Vova Egoshin created these free fonts for Latin and Cyrillic: Hater (2016, graffiti-inspired), Vinograd (2017, a free tattoo font), Schnobel (2017, a free handcrafted typeface), Bulky (2017, free). Behance link. Another Behance link. [Google] [More]  ⦿

    Typemefonts (was: 26plus zeichen)
    [Jakob Runge]

    Jakob Runge (M&uum;nchen, Germany) graduated from Fachhochschule Würzburg-Schweinfurt and Muthesius Academy of Fine Arts and Design in Kiel. In 2014, Jakob Runge set up Typemefonts in München, Germany, to market his own typefaces. Before that, he was involved in 26plus, or 26+, a foundry located in Kiel, Germany: It is a platform to present and encourage student-created fonts. In 2015, he started TypeMates with Nils Thomsen. Currently he works in Munich as an independent type and brand designer and typographic consultant. Apart from his work for design agencies, he teaches typography and type design at university of applied sciences in Münster since 2011.

    His early typefaces include the free condensed octagonal typeface Fracmetrica (2009). Other typefaces of Runge's designed in 2009 and 2010---all at 26plus-zeichen---include Singula, Edelsans (a geometric sans), Sinews (a manly sans which he compares with Klavika and Corpid), JJ Realis (a Swiss sans), Ugl-y (2010), Cojonna (2010; curly--an exercise on ball terminals), Capitalis Nova (2010, dot matrix family), Graphit (2010), Devion (2010, semi-angular serif face), Textrusion (2010, Escher-style trompe l'oeuil), Frgmt (2010, experimental), Samblone (2011, an Asian-look stencil face), TJ Evolette A (2011, with Timo Titzmann---a fashionable geometric grotesque caps family).

    In 2014, Jakob Runge set up Typemefonts in München, Germany, to market his own typefaces, starting with the slab serif typeface Muriza (dedicated site), FF Franziska (2014: an offshoot of his graduation typeface), Mem (experimental geometric face), and the geometric sans FF Cera. Runge began work on FF Franziska in 2012 as part of a Masters thesis at Muthesius Academy of Fine Arts and Design in Kiel under the guidance of Albert-Jan Pool and André Heers. Hamburg-based information designers Christian Hruschka and Stefan Semrau used FF Franziska for the new Bündner Tagblatt. The modern, fresh layout won the European Newspaper Award 2013 in the category of Typography. Dedicated web site.

    In 2015, he created Cera PRO, Cera Stencil, Cera CY, Cera Stencil CY, Cera GR, Cera Stencil GR, Cera, and Cera Stencil Std (an extensive sans and stencil family for Latin, Greek and Cyrillic). In 2016, he added Cera Brush (in cooperation with Max Kostopoulos). In 2017, Jakob Runge teamed up with Lisa Fischbach for Cera Round Pro, an absolutely wonderful geometric rounded sans typeface family that covers Latin, Greek and Cyrillic. In 2018, Jakob added Cera Condensed + Compact Pro.

    Jakob Runge, with the help of Lisa Fischbach, designed Harrison Serif Pro (a slab serif) in 2017 at Typemates.

    In 2016, Jakob Runge and Lisa Fischbach co-designed the bespoke sans typeface family SAM Text and SAM Headline at TypeMates for the food company S:A:M. Jakob Runge finished Urby and Urby Soft.

    In 2018, Runge published the techno/industrial sans typeface family Sinews Sans Pro at TypeMates.

    In 2019, Jakob Runge, Nils Thomsen and Lisa Fischbach released Halvar and wrote: Halvar, a German engineered type system that extends to extremes. With bulky proportions and constructed forms, Halvar is a pragmatic grotesk with the raw charm of an engineer. A type system ready to explore, Halvar has 81 styles, wide to condensed, hairline to black, roman to oblique and then to superslanted, structured into three subfamilies: the wide Breitschrift, regular Mittelschrift and condensed Engschrift. Halvar Stencil, which was released simultaneously, is a German engineering stencil font family.

    In 2021, Mona Franz and Jakob Runge published the sans families Gratimo Grotesk, Gratimo Classic, Grato Grotesk and Grato Classic at Typemates. Consulting on Cyrillic by Ilya Ruderman and Yury Ostromentsky. They write: Grato and Gratimo are a system of typefaces joined by geometry but differing in genre and function. Grato's geometric core is shared by two designs with different terminals and different uppercase proportions to make a Grotesk and a Classic. And, for greater function and economy, both were redrawn for text and interface: Gratimo Grotesk and Gratimo Classic. [...] Grato is a family of two typefaces, modernist Grotesk and the humanist voice of the Geometric Suite Classic. A timeless typeface, it combines a pure, present voice with idiosyncrasy and luxury. Ignoring most calligraphic conventions, Grato is shaped by pure forms, low stroke modulation and square dots that contrast with almost perfect circles. Grato Classic pursues the classical proportions of early British geometric typefaces, while Grotesk inherits the industrial logic of early German ones. The result is a family of quirks and clarity, a substantial family for identity and editorial work. Grato includes a spectrum of nine weights, from fine hairlines to super heavy blacks.

    Runge's corporate custom typefaces include Lenbach Grotesk (2014).

    Klingspor link. Dafont link. Behance link for Runge. (old) link to 26pus zeichen. Jakob Runge's home page. Behance link for Typemefonts. [Google] [MyFonts] [More]  ⦿

    TypeType
    [Ivan Gladkikh]

    Prolific Russian designer (b. 1986) whose real name is Ivan Gladkikh and working alias is Jovanny Lemonad . Jovanny lives in St. Petersburg. From 2003 until 2008, he studied audovisual engineering at The Bonch-Bruevich Saint-Petersburg State University of Telecommunications. In the early part of his career, most of his typefaces were free. In 2013, he set up the commercial type foundry TypeType. Most of his typefaces cover both Latin and Cyrillic.

    His typefaces include Scada Sans Two (2009), Furore (2009, octagonal), Fontin Sans Cyr (2009, the Cyrillic version of Jos Buivenga's Fontin Sans), Metro (2009, constructivist), Dited (2009, dot matrix: free), Days and Days One (2009, sans), and the attractive display typefaces Otscookie (2009, geometric and experimental), 20db (2008, high-contrast titling with didone features), Cuprum (2006-2012: a free sans family) and Molot (2008, with Roman Yershov). In 2008, he added to this list the grunge or handwriting typefaces FFUPuzzle, London (designed with Olga Kozlova) and Neucha (hand-printed), as well as the modern black display typeface 20db. Together with Eric Lebedco, he created the organic typeface Philosopher (2008). In 2006, he cooperated on the rounded Cyrillic typeface ZopaCyr. With Oleg Zhuravlev, he created the octagonal family Bender (2009, award winner at Paratype K2009). Creator of the corporate type family Ice and Flame (2009), an organic typeface based on Philosopher.

    CDMA (2010) is a rounded sans for corporate use. Nixie One (2011) is a free thin typewriter style face. Yeseva One (2011, as in "yes, Eva, bring me another beer") is a free ornamental serif face. Numans (2011) is a free wide sans face. https://fonts.google.com/specimen/Numans">Google download.

    Creations from 2012 include the frees typeface Oranienbaum (an antiqua created with Oleg Pospelov). He produced the free font Prosto (2012), which was designed by Pavel Emelyanov [see also Google Web Fonts]. Russo One (2012, Google Web Fonts) is a macho sans. Stalin One (2012) is a constructivist typeface co-designed with Alexey Maslov---it is free at Google Web Fonts.

    Typefaces from 2013: Imperial One (a free constructivist font based on the corporate font for the game role playing game The Mandate), Underdog (angular), Supermolot (an extension of his 2008 typeface Molot, a modern techie square grotesk with elements of Soviet style; extended in 2015 to TT Supermolot (by Olexa Volochay), in 2016 to TT Supermolot Condensed, and in 2018 to TT Supermolot Neue, by Roman Ershov, Marina Khodak, Nadezhda Polomoshnova, Ivan Gladkikh and the TypeType Team).

    In 2014, TypeType published TT Slabs (followed in 2015 by Olexa Volochay's TT Slabs Condensed), TT Drugs (by Nadyr Rakhimov, Phill Nurullin and Olexa Volochay: followed in 2015 by TT Drugs Condensed), TT Souses (hand-drawn sans family geared towards children's books and village design applications), TT Prosto Sans (followed in 2016 by Olexa Volochay's TT Prosto Sans Condensed), TT Rounds (a basic rounded sans typeface family by Olexa Volochay and Nadyr Rakhimov), TT Days Sans (TypeType: a pro version of his free font Days), TT Squares (an octagonal typeface family; see also TT Squares Condensed, 2016, by Olexa Volochay), TT Russo Sans), and TT Rounds Black.

    Typefaces from 2015: Free Ride, TT Compotes (a series of handcrafted typefaces), Hitch Hike (handcrafted typeface co-designed with Annastasia Samsonova), Accuratist (a hisper font by Jovanny Lemonad and Elena Shkerdina), Dita Sweet (a free art deco typeface co-designed by Ksenia Semirova and Jovanny Lemonad), TT Marks (a sign painting typeface family), TT Firs (a Scandinavian cold sans family, expanded in 2018 as TT Firs Neue by Philipp Nurullin and Ivan Gladkikh), Eleventh Square (art deco by Evgeny Tarasenko), TT Rounds Condensed, TT Books Script (a fifties style script), TT Crimsons (for short and emotional inscriptions), TT Masters (signage type), TT Inters (a great rhythmic script font), Frenchpress, TT Chocolates (a geometric grotesque with art deco hints), TT Bluescreens (30-style condensed sans family for movie trailers), TT Directors (designed for movie titling and trailers).

    Typefaces from 2016: TT Lovelies Script, TT Chocolates Condensed (by Olexa Volochay), TT Bells (an old style typeface family based om broad nib pens; by Nadyr Rakhimov and Olexa Volochay), TT Walls (a wall menu script family), TT Lakes (54 fonts in all; by Olia Leykina and Olexa Volochay), TT Corals (with Olexa Volochay: humanist sans typeface family), Bristol (children's hand), TT Octas (octagonal style, by Olexa Volochay), TT Teds (a narrow geometric sans family), TT Blushes (brush script), Romochka (handcrafted), TT Coats (a handcrafted antiqua), Bully (with Aigul Gilmutdinova), TT Rabbits (ten handcrafted typefaces for children's books, with substyles April, Bro, Chilli, Dummy, Elf, Fatso, Goody, Hyper, Idol, Junior), Suwikisu (free African-themed typeface based on a design by Egor Myznik), TT Moons (a condensed serif family), TT Cottons, Matias (by Vitaliy Tsygankov and Jovanny Lemonad), TT Pines (a sans based on paper cutouts).

    Typefaces from 2017: TT Backwards (an experimental script and grotesque font family inspired by the typographic scenery in the USSR in the late 70s and early 80s; by Tanya Cherkiz, Sergey Kotelnikov, Philipp Nurullin and the TypeType Team), TT Knickerbockers, TT Polls (modern modular slab serif inspired by American sports graphics; by Olexa Volochay, Tanya Cherkiz and Nadyr Rakhimov, TT Norms (by Nadyr Rakhimov and Olexa Volochay), TT Berlinerins (Script, Sans: based on vernacular type in Berlin, the sans emulates wood type), TT Milks, TT Pubs (didone; +Stencil), TT Limes (23 handcrafted typefaces, from Sans, to Slab and Dingbats), TT Hazelnuts (display sans).

    He also has a lively type blog (in Russian).

    Typefaces from 2018: Ivan Gladkikh and Pavel Emelyanov, with the technical assistance of Marina Khodak, Vika Usmanova and Nadyr Rakhimov, designed TT Commons. TT Commons is a universal sans family originally created for the branding and in-house use of TypeType, but it was finally released due to many requests. In 2018, Sofia Yasenkova, Philipp Nurullin, and Vika Usmanova designed the modern serif TT Tricks at TypeType. TT Tricks has many stencil styles. Still in 2018, Ivan Gladkikh, Alexander Kirillov, Philipp Nurullin, Vika Usmanova, Marina Khodak, and Nadyr Rakhimov published TT Severs. The TT Rounds family was reworked in 2018 into TT Rounds Neue by Ivan Gladkikh, Philipp Nurullin and the TypeType Team. At the end of 2018, TypeType published TT Supermolot Neue (Roman Ershov, Marina Khodak, Nadezhda Polomoshnova, Ivan Gladkikh and the TypeType Team).

    In 2019, Pavel Emelyanov and Ivan Gladkikh released the 20-style geometric sans typeface TT Hoves, which is intended for use in architecture, design, industry, science, astronomy, drawing, high tech, research, space and statistics.

    Typefaces from 2021: TT Commons Classic (a 24-style geometric sans by Ivan Gladkikh, the TypeType Team, Pavel Emelyanov and Marina Khodak; it includes two variable fonts).

    Alternate URL. Behance link---on Behance, he uses the name Ivan Gladkikh. Fontsquirrel link. Google font directory link. Klingspor link. Dafont link. Abstract Fonts link. Old home page. [Google] [MyFonts] [More]  ⦿

    Typetype: Free Fonts

    In 2008, Ivan Gladkikh (Saint Petersburg, Russia) started a free fonts project aiming to poluraize free typefaces. More than 50 fonts and typefaces were created in collaboration with a significant number of famous and novice Russian designers. Since 2014, he also coordinates his efforts with Truetype School.

    The list of typefaces by 2016: 20db, Accuratist, Accuratist, Airport, Ardeco, Ardeco, Bender-Black, Bender-BlackItalic, Bender-Bold, Bender-BoldItalic, Bender-Italic, Bender-Light, Bender-LightItalic, Bender, Bicubik, Bristol, Bully, Cuprum-BoldItalic, Cuprum-Bold, Cuprum-Italic, Cuprum-Regular, Days, Dited, EleventhSquare, EleventhSquare, Epool, Flow, Flow-Bold, FontinSansCR-Bold, FontinSansCR-BoldItalic, FontinSansCR-Italic, FontinSansCR-Regular, FontinSansCR-SC, Freeride, Frenchpress, Furore, HattoriHanzo-Light, HattoriHanzo-LightItalic, HitchHike, ImperialOne, ImperialOne, Kazmann-Sans, London, Lumberjack, LumberjackInlineRough, LumberjackRough, LumberjackRoughShadow, Magnolia-Script, Matias, Matias, Metro, Molot, NixieOne, Oranienbaum, Otscookie, PeaceSans, PeaceSans, Philosopher-BoldItalic, Philosopher-Bold, Philosopher-Italic, Philosopher, Prosto, Romochka, RussoOne, Scada-BoldItalic, Scada-Bold, Scada-Italic, Scada, StalinistOne-Regular, Steamy, USSR-STENCIL, USSR-STENCIL, Underdog, Unimportant, UpheavalPro-Regular, Wes, Wes, YesevaOne, Zhizn, FFUPuzzle, FFUSuwiKisu. [Google] [More]  ⦿

    Typiko
    [François H. Villebrod]

    New commercial foundry with a few fonts by François H. Villebrod, such as the sans serif Global Era, Titan and Odyssea Oval. Villbrod also designed the Greek and Cyrillic versions of Matthew Carter's small screen font family Nina. [Google] [More]  ⦿

    Typikon

    Russian type site with Cyrillic and Slavonic fonts: Abur, Greek, Knyazcyr, Lavra-Plain, Novgorod-Plain, OldChurchSlavonicCyr, OldChurchSlavonicGla, OrnamentTM, Peterb_Mod, Izhitsa, IzhitsaC, IzhitsaCTT, IzhitsaShadowC-Regular, PigraphBTT and OrnamentTT (1994, all six by Dmitry Komissarov), Putiata, BlagovestFiveDecor, BlagovestFiveRegular, BlagovestFiveRegularSerif, BlagovestFourNormal, BlagovestFourSerif, BlagovestOne, BlagovestSix, BlagovestThree, BlagovestTwo-Regular (all by DoubleAlex Team), FaithOrnaments (1994, Proclaim Communications), FitaPoluustav, Fita_church. FitaVjaz (the last three all 1995, Sergey Shanovich, Type Market Ltd. Moscow). [Google] [More]  ⦿

    Typodermic
    [Ray Larabie]

    Ray Larabie (b. 1970, Ottawa, Canada) ran Typodermic in Mississauga, ON, which opened in the Fall of 2001. In 2006, it moved to Vancouver, BC, and in 2009 it moved on to Nagoya, Japan. Dafont page. Ray Larabie has been making fonts since 1996, but those early fonts were freeware. His pre 2001 fonts are grouped under the label Larabie Fonts. In 2001, he set up Typodermic. Latest additions.

    The Typodermic fonts:

    • 2022: Biphoton (a monospaced sans with the same proporions as Letter Gothic 12), Valve (an industrial muffler shop font), Deception (a sub-pixel typeface with ten captivating effects---Deception Array (wide blocks), Deception Bars (text viewed through lenticular glass), Deception Blocks (as in heavy JPEG degradation), Deception Diamonds, Deception Lines (for a grayscale effect), Deception Particles, Deception Plusses, Deception Process (simulates grayscale LCD text or a thermal printer on the fritz), Deception Scanline (television picture tube text rendering), Deception System (1-bit dithering gone haywire)), Monofonto (a monospaced sans), Encercle Draft (permitting users to create numbers in borders), Encercle Sans, Heavy Heap (a groovy psychedelic typeface with a scorching look, reminiscent of 1960s hot-rod culture and die-cast toy vehicles), Ggx89 (a 48-style tightly spaced Swiss style sans family).
    • 2021: Quadrillion (a 12-style rounded monoline sci-fi family), Mochon (a wall writing or chalk font based on the lettering of Donald Mochon, dean of the RPI School of Architecture until 1966; the Mochon samples were provided by an ex-student of Mochon, Karl A. Petersen), Steelfish Hammer (a subtly rustic version of Larabie's most popular typeface, Steelfish), Wavetable (sci-fi), Xyzai (an LED emulation font, described by Ray Larabie as a hardcore, Y2K-style techno typeface), Geoparody (a 12-style squarish typeface inspired by a late 1960s font called Anonymous), Typewriter Spool (122 fonts, modeled after the Underwood No. 5 typewriter font).
    • 2020: Gravtrac (a 56-style condensed to crushed slab serif family inspired by mid-twentieth century classics like Univers 59 Ultra-Condensed, Helvetica Inserat and Compacta; +Greek, +Cyrillic), Vinque Antique (a rustic handcrafted blackletter in eight styles).
    • 2019: Dealerplate (17 license plate styles for various states and provinces in the USA and Canada, current as of 2019; included are California, New York, New Jersey, Ohio, Illinois, Pennsylvania, Florida, Maryland, Michigan, Wisconsin, Massachusetts, Missouri, Washington, North Carolina, Virginia, Quebec, and Ontario), Kenyan Coffee Stencil, Good Timing, Steelfish Rounded, Bitcrusher (a consumer electronics / techno font), Galderglynn 1884 (a nineteenth-century style sans-serif typeface that exp[ands his Galderglynn Esquire).
    • 2018: Cybermontage, Crack Man (a pac man font), Propaniac (a 1980s-style postmodern typeface inspired by a Pointer Sisters record sleeve which was designed by Shoot That Tiger Creative Services), Zelega Zenega, Spectrashell.
    • 2017: Minicomputer (MICR style), Squirty, PCTL9600, PCTL4800 (retro techno), Ultraproxi (semi-monospaced and influenced by the high speed computer printers from the 1950s to 1970s), Toxigenesis (techno sans), Venus Rising, Vanchrome (a compact sans-serif headliner with chromatic layers), Krait (a layered geometric typeface designed for architectural display), Xylito (a layered font for chromatic or 3d effects).
    • 2016: Refuel (octagonal, based on military aircraft markings), Expressway Soft (a sans-serif font family inspired by the U.S. Department of Transportation's FHWA Series of Standard Alphabets, also known as Highway Gothic), Conthrax (squarish, techno), Cornpile (cartoonish), Electric, Evensong (art deco), Fledgling (a very tall typeface), Gymkhana (sans), Remissis (sans), Sunday Evening (a reverse contrast typeface), Meloche (Meloche is a unique grotesque sans-serif typeface influenced by hand-painted French signs of the late nineteenth century. It's available in 7 weights and obliques).
    • 2015: Canada 150 (a custom font for the Canadian government; see here, here, this coverage regarding the Inuktitut part of the font, and this reaction by the curmudgeons in Toronto who complain that Ray did this work for free), Autoradiographic (sans family), Built Titling (for compact headlines), Chickweed Titling (cartoon titling font), Cardigan Titling (flared headline face), Bench Grinder Titling, Kleptocracy Titling, Palamecia Titling (rounded black comic book typeface), Quasix Titling, Galderglynn Titling (all caps sans family from hairline to black), Mixolydian Titling, Stormfaze (a sci-fi font started in 1996 and finished in 2015), NK57 Monospace (a 60-style programmer typeface), Gargle, Athabasca (a sans family designed for the rugged Canadian oil patch).
    • 2014: Mesmerize (a large free sans family), Kingsbridge (a large slab serif family with sharp points on the A, M, N, V and W), Manbow (a layered geometric art deco display font which includes solid, clear, stripe, polka-dot and screen patterns), Breamcatcher (an all caps art deco font inspired by the piano sheet music for With Every Breath I Take which was featured in the Bing Crosby/Kitty Carlisle musical comedy film, Here is my Heart), Kilsonburg (Dutch deco based on an old Vogue magazine cover), Uchiyama (poster typeface), Goldsaber (art deco design), Vexler Slip (unicase), Rakesly, Dacquoise, Pretender, Rimouski (a rounded geometric font family), Nulshock (techno), Recharge (techno/industrial font), Interrogator Stencil, Strange Alphabets (arts and cratfs font), Angerpoise Lampshade (free).
    • 2013: Numbers With Rings, Shookup (funky cartoon font), Pastrami on Rye (cutout comic book style), Chickweed, Built (a condensed headline sans), Fluctuation (a softly rounded elliptical sans family), Astrochemistry (sci-fi, techno with rounded edges), Snasm (sci-fi).
    • 2012: Engebrechtre (2000-2012), Die Nasty (1999-2012: free), Strasua (1999-2012), Planet Benson (1997-2012), Husky Stash (1998-2012), Barbatrick (1999-2012: a speed emulation font), Zero Hour (1997-2012), Urkelian (1998-2012: very condensed), Zolasixx (inspired by the video game Zaxxon), Ampacity (neon font), Chromakey (a space deco headline font inspired by box art classic video games including Matrix Marauders and Magical Chase), Disassembler (1980s style bitmap font), Zerbydoo (a dot matrix family), Superego (a geometric-techno font inspired by the cabinet graphics for the 1981 Stargate arcade game), Rukyltronic (a set of dot matrix typefaces), Nerdropol (pixel family), Gulkave (rounded pixel font), Cyclopentane, Palamecia (a fat finger poster face), Gameness (a 1990 retro industrial deco font), Camulogen (headline face), Color Basic (a pixel typeface inspired the by TRS-80 Color Computer), Triac Seventy One (a funky face), Acroyear (retro all-caps headline font), Troll Bait, Strenuous (unicase), Permanence (a retro=futuristic font based on Alvin Toffler's cover of Future Shok, 1970), Clockpunk (octagonal and quaint), Battlemaze (trekkie face), Mixolydian (industrial sans).
    • 2011: Ugocranis (a brutalist typeface), Clipwave, Wheaton (MICR-inspired), Mango Scribble, TRS Million (dot matrix face), Ugogranis (constructivist), Gomoku (paper cut face), From The Internet.
    • 2010: Cranberry Gin (2010, octagonal), Restore (all caps, geometric sans), From The Stars (an elliptical techno family done with Chikako Larabie), Thrusters (space age face), Dream Orphanage, Dream Orphans (2000-2012), Kengwin (rounded slab serif), Gleaming The Cube (Greek simulation face), Vectipede (a slab serif family), Great Escape (an elliptical sans family), Subrocs (connected script), Hackensack (with Chikako Larabie), Polarband (bilined stackable headline face), Naked Power, Special Forces (a great macho slab serif headline face---watch for awards to roll in), Warugaki (handpainted), Warmer, Honfleur (art deco; with Chikako Larabi), Voivode (a headline typeface done with Chikako Larabie), Hachimitsu (Asian look face, done with Chikako Larabie), Kadeworth (rounded retro look sans, done with Chikako Larabie), Gnuolane Jump (2010, with Chikako Larabie), Markerfield (brush), Board of Directors (Bank Gothic style family, done with Chikako Larabie), GGX88 (a Swiss sans family), Body Goat, Reversal, Gord (techno), Computechnodigitronic (LED, LCD geek-look font), Bench Grinder, Inklea (a bubbly face), Skygirls (retro brush script), Gloss (a paint brush typeface based on Champion, 1957, G.G. Lange), Galderglynn Esquire.
    • 2009: Maqui (an industrial headline sans family), Zingende (art deco family: caps only), Misadventures, Gaz (large retro sans family), Acrylic Brush, Enamel Brush (a digitization of Catalina, 1955, Emil J. Klumpp), DDT (neutral sans), Thump (fat, casual), Desperate Glamour, Pricedown (an update of his free 1990s font, patterned after the lettering on The Price Is Right show), Mitigate (monoline and slabbed; has some typewriter styles), Catwing, Walken (slab serif stencil), Silicone (soft rounded sans family), Movatif (sans), Gunplay (a stencil family inspired by the poster for the 1972 Steve McQueen/Ali MacGraw film The Getaway), Fragile Bombers (octagonal), Forgotten Futurist (techno sans, 19 styles), Bullpen (slab serif), Coolvetica (35 styles), Duality, Good Times, Strenuous, Shlop (paint-drip style), Dirty Baker's Dozen (stencil), Junequil (VAG Rounded style), Owned (graffiti), Domyouji, Threefourtysixbvarrel (stencil), Enacti, Uniwars (futuristic, 16 styles).
    • 2008: Madawaska (a rugged slab serif), Ebenezer (grunge), Gnuolane Stencil, Raincoat, Report School (avant garde sans), Jesaya, Carouselambra (art nouveau), Debusen (rounded), Barge (military font), Renju (2008, potato or rubber stamp print face), Otoboke (handlettered), Hit (informal hand), R6 D8 (futuristic sans family), Rexlia (an octagonal machinistic family), Hybrea (a display sans with TV screen rounding), Sweater School, Tussilago (2008, a neutral sans family), Presicav (extended sans), Hover Unit, Addlethorpe (grunge), Scheme (rounded sans), Usurp (bouncy poster lettering), Negotiate (technical sans family), Divulge, Sewn, Gnoulane (condensed sans), Moja, Teeshirt (old typewriter face), Pound (art deco marries grunge), Graveblade (heavy metal font), Synthemesc (psychedelic anti-Starbucks font), Chysotile (white on black grunge), Cardigan (sans), Gurkner (balloon style), Reagan (grunge).
    • 2007: Tight (a copy of Dean Morris's 1976 Letraset chrome font Quicksilver), Headlight, Meloche (a 3-style grotesk), Octin Spraypaint (grunge stencil), Octin Vintage (grunge), Bouffant (script), Octin Prison (stencil), Octin Sports (octagonal), Octin College (octagonal, for sports jerseys), Octin Stencil (free octagonal font family), Burnaby Stencil (stencil), Superclarendon, Conceal, Ohitashi, Stud (grunge), Bristles (grunge), Skirt, Cotton (grunge), Kelvingrove (a bit of copperplate gothic, rounded and shaved), Augustine, Containment, Snowa, Veriox, Scrubby, Transmute, Sheaff, Injekuta (techno), Rinse (grunge), Polyflec, Domyouji (square sans), Winthorpe (old style), Cutiful (script), Flyswim (grunge), Dirtstorm (spray-painted stencil), Shnixgun (grunge), Neuzon (grunge), Oxeran (old typewriter), PRINTF (grunge all caps monospaced), Akazan (sans), Nyxali (a metal tag face), Nesobrite (25 styles of Bank Gothic lookalikes), Meloriac (a heavy headline sans inspired by Futura), Walnut (graffiti face), Gnuolane (a narrow superelliptical sans), Edifact (a damaged computer font), Darkheart, Stampoo (squarish), Raymond (rough script), Hayate (oriental look), Telephoto. The entire Octin series is free at DaFont.
    • 2006: Octynaz (grunge), Paltime (ornamented), Jolie Ecriture Desard (children's hand), Mango (comic book face), Desard (child's hand), Bulltoad, Lerku (eroded serif), Charbroiled (also eroded), Ceroxa (eroded stencil), Nagomi (a chiseled-look Asian font based on calligraphy of Chikako Suzuki from Nagoya), Whiterock, Yellande, Chilopod (a futuristic typeface inspired by the logo from the 1980s videogame, Atari Centipede), Order, Goldburg (based on a typeface by George Bowditch, 1957), Laserjerks (2006, brutalist), Milibus (futuristic), Bonobo (serifed), Ohitashi, Sarasori (TV-tube shaped typeface in the style of Oban), Structia (an octagonal family), Betaphid (octagonal), Gendouki (futuristic stencil), Slugger (athletic lettering), Marianas (a gorgeous art deco face), Lineavec (octagonal), Corzinair (serif family), Buxotic (a great caps face), Cinecav X (for closed caption TV and DVD), Salsbury (comic book face), Lonsdale (loosely based on a font called Parkway Script, which was designed by Emil Hirt in 1964), Alepholon (futuristic), Kwokwi, Mikadan (a tribute to Stephenson Blake's Verona from 1948, which was in turn based on William Dana Orcutt's Humanistic from 1904), Marion (2012: a beautiful transitional family adopted as a standard Mac OS X font), Quasix (hookish), Skraype (grunge stencil), Bleeker (casual lettering), Linefeed (monospaced line printer font), Draculon (a casual typeface inspired by the letterforms of William Orcutt's humanist font from 1904 which was in turn based on an Italian manuscript from 1485), Mahavishnu (a mix between 1970s psychedelics and art nouveau), Doradani (a corporate identity sans family), Korotaki (futuristic).
    • 2005: Beat My Guest, Kadonk (a Halloween face), Report (a VAG-Rounded style face), Croteau (a poster face), Heroid (ook face), Barrista (informal script), Wyvern (sans serif), Wubble (like puddles of water), Caryn (casual script), Folder (a rigid sans family), Venacti (a futuristic family), Xenara (a keyboard lettering family), Emory (a destructionist sans family), Ligurino (neat sans&serif family), Biondi (update of Copperplate Gothic; followed in 2010 by Biondi Sans; these copperplate style typefaces are in the style of AT Sackers), Byington (Trajan column lettering), Sayso Chic, Expressway (28 weights, a highway signage family), Algol (pixel type), Meposa (fat display face), Tandelle (condensed), Vigo, Maychurch, Mecheria, Vactic (dot matrix), Zosma, Topstitch, Windpower, Llandru, Soap (a creative extension of Cooper Black, with dingbats), Kleptocracy (1999-2005), Owned, Rimouski (sans), Burnstown Dam (2005, a wooden plank font), Sinzano (sans with opentype ligatures galore; compare, e.g., House Ed Interlock), Zamora.
    • 2004: Affluent, Threefortysixbarrel (stencil face), Tank, Telidon (dot matrix face), Funboy, Neuropol X, Neuropol Nova, Mufferaw (comic book face), Larabiefont, Zekton (techno), Strenuous 3D, Silentina (advertised as "a silent movie font"), Amienne (brush script), Fenwick Outline (free), Betsy Flanagan (1998, a keyboard face), Boopee (children's handwriting), Pirulen (in the general Bank Gothic style), Zalderdash.
    • 2003: Zupiter, Blue Highway.
    • Before 2002: the dot matrix family Telidon, Telidon Ink, Butter Belly, Almonte (1999), the architectural font Jillican (octagonal), Snowgoose, Bomr, Pakenham, Neuropol, Nasalization, Fenwick, Kleptocracy DLX, Sui Generis, Dirty Bakers Dozen (faded stencil), Minya Nouvelle, Asterisp, Chinese Rocks, Jillsville (great artsy Courier), Ulian, Wevli (including Wevli Dingbats), Sappy Mugs (funny mugshots), Sofachrome (1999, inspired by Pontiac car emblems), Eden Mills (1999).

    MyFonts interview. Fontspace link. Fontspring link. Catalog of the typefaces in the Larabie Fonts collection. Klingspor link.

    Catalog of the Typodermic library in decreasing order of popularity. Extensive (large page warning) Typodermic catalog. Font Squirrel link. Creative Fabrica link. Fontsquirrel link. Fontdaily link. [Google] [MyFonts] [More]  ⦿

    Typoforge
    [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. He founded the type foundry Typoforge.

    Creator of Merlo (2014, inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa; followed in 2015 by Merlo Round and in 2016 by Merlo Grotesque and Merlo Neue), 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), Cervo Neue (2016), 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 1981), 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 typography in Potsdam).

    Typefaces from 2016: Cozza (a grungy typeface family based on the dry transfer architect set Unitras Letraset from the 1980s).

    Typefaces from 2017: Merlo Neue Round, Kapra Neue (24 styles).

    Typefaces from 2018: Gambero (a slab cousin of Kapra with a reversed lower case g), Kapra Neue Pro.

    Typefaces from 2020: Tylbor (a 14-style monolinear almost DIN-like sans), Cervino (a 54-style sans).

    Typefaces from 2021: Cervo Neue Condensed (18 styles).

    You Work For Them link. Creative Market link. Behance link.

    View Typforge's typeface. [Google] [MyFonts] [More]  ⦿

    Typogama
    [Michael Parson]

    Typogama is the personal foundry of Swiss designer Michael Parson (b. Geneva, Switzerland, 1979), who published these fonts in 2003 as part of Linotype's Taketype 5 collection: Anlinear LT Std Bold, Anlinear LT Std Light, Anlinear LT Std Regular, Arabdream LT Std (Arabic simulation face), ClassicusTitulus LT Std, Hexatype LT Std Bold, Morocco LT Std, Jan LT Std, Ned LT Std, Pargrid LT Std Cross, Pargrid LT Std Regular, Pargrid LT Std Trash, Piercing LT Std Bold, Piercing LT Std Code, Piercing LT Std Regular, Raclette LT Std.

    Most of Parson's fonts cover both Latin and Cyrillic.

    In 2004, he made Clans (T-26, blackletter) and Boulas (T-26).

    In 2006, he released these at T-26: Boutan (Indic simulation face), Heraldry (dingbats), Palm Icons (dingbats for golf), Wingbat (aircraft dingbats).

    In 2007, still at T-26: Heraldry, Thunderbolt 73 through 76 (from techno stencil to techno sans).

    In 2008, at T26: Ealing (geometric sans family, with a hairline), Bauhau (6 weights), Jane (a rounded sans in 12 weights), Quean, Halja (a modular sharp-edged blackletter with illuminated capitals), Faddish (a high-contrast vogue family), Big Boy (11 styles, a slab family from grunge to regular, accompanied by BigSigns, a hand sign font).

    Fonts from 2010: Tinsel (condensed), Rusty (Latin / Cyrillic constructivist typeface inspired by snowboarding), Vindaloo (+Outline, T26), Kimbo (octagonal slabby family), Cyrus (for Latin, Greek and Cyrillic), Calvin (a monoline sans family, +Hairline), Checkpoint (rounded display sans that won an award at Modern Cyrillic 2014), Fuera (2011: a bilined typeface, T26).

    In 2013, he published Selecta (an organic rounded sans, T26), Thunderbolt (an octagonal army style typeface family with a military stencil, T-26), Xcetera (2011), Ignorance (an American 19th century style penmanship font), Psalta (an octagonal blackletter typeface), Nadsat (a geometric display sans with some interlocking letters), Cobono (organic sans), Prox (sans face), Zurika (a wonderful crazy script face), Faddish (T26: a fashion mag typeface), Heraldry (T26), Cedi (YWFT: a hand-printed typeface family with huge multi-character ligature set to simulate real handwriting), Tcho (T26: a soft rounded sans family that covers Latin, Thai, Arabic, Greek and other scripts), Dejecta (a striking scratched titling face, T26), Nedo (2011, a bold prismatic display typeface inspired by the work of Nedo Mion Ferrario in Venezuela), Quam (2012, an elliptical sans family), Pictypo (2012, a useful icon typeface).

    In 2014, he updated the interlocking poster display typeface Tinsel (T26---original from 2010) and published the fantastic cartoon / comic book typeface family Bangbang. Siggy (2014) is a funky typeface. Lale (2014), which won an award in the TDC 2015 Type Design competition, uses the opentype features to set up a font system for flowers. Jane (2014) is a rounded sans typeface family. Vulgat (2014) is a vibrant display typeface based on uncial letterforms. Elsuave is a free rounded piano key typeface.

    Typefaces from 2015: Chickenz, Framez, Jackazz, Raubam (free), Martinaz (signage script).

    Typefaces from 2016: Auro (rounded sans), Dejecta (rough and ragged), Apollonius (a swashy didone), Rosengarten (vintage type influenced by Lucian Barnhard), Deleplace (influenced by didones), Furius (Tuscan style).

    Typefaces from 2017: Kurstiva (an informal sans family), Banja (a plump signage script), Bignoy (Wild West, modernized), Kimbo (octagonal), Mensrea (organic sans with beveled, inline, and various layered and graffiti styles), Nibbles (a food truck-inspired dingbat typeface), Huggy (an art nouveau typeface influenced by the work of Heinrich Heinz).

    Typefaces from 2018: Brinnan (a wide sans), Zoltana (a floriated, abll terminal-laden fancy titling typeface), Genesa, Kufin (a free Kufic emulation typeface), Madden (an angry dry brush poster typeface).

    Typefaces from 2019: Ahsing (oriental look font), Convexion (a creamy display typeface), Vidocq (based on 19th century woodcut styles).

    Typefaces from 2020: Fiducia (inspired by the first Swiss banknotes), Gorgonzo (a creamy bold typeface designed for attention grabbing headlines), Thrifty (a clean minimalist sans family).

    Typefaces from 2021: Oildale (an oily and creamy display typeface), Conica (a fine extra bold condensed poster typeface).

    Typefaces from 2022: Xotor (a double-inline or prismatic font with octagonal outlines).

    Behance link. Klingspor link. Hellofont link. MyFonts link.

    View Michael Parson's typefaces. [Google] [MyFonts] [More]  ⦿

    Typographies.fr
    [Jonathan Perez]

    French foundry, est. 2008, by Jonathan Perez and Laurent Bourcellier. Graduates from the Ecole Estienne in Paris, they have made the following fonts:

    • Chapitre (2013): It is based on the principle of the endless knot, a symbol used particularly in Hinduism and Buddhism. As its name implies, an endless knot has no beginning and no end. It also echoes many works in the history of writing which you must be familiar with, like Irish and Anglo-Saxon illuminations of the Middle Ages or Flemish calligraphy of the 17th century. Chapitre won an award at TDC 2014.
    • Colvert (2012): A family comprosed of four families, Colvert Arabic (by Kristyan Sarkis), Colvert Cyrillic (by Natalia Chuvatin), Colvert Greek (by Irene Vlachou) and Colvert Latin (by Jonathan Perez).
    • The free font Ifao N Copte, a Unicode-compatible font with 809 glyphs for Coptic. By Perez.
    • Unicopte (by Bourcellier) and Copte Scripte (2008, by Bourcellier and Perez; it won an award at TDC2 2009). Discussion.
    • A hieroglyphic font. By Perez.
    • Joos (2009) took its inspiration from an italic, ca. 1530, by Joos Lambrecht, from Gent, Belgium, who was one of the great printers and punchcutters of the 16th century.
    • Extensions of Syntax and ITC Slimbach for Vietnamese (with the help of Pauline Nuñez, Valentine Proust and Mathieu Réguer) for the National Museum of Asian Arts Guimet.
    Jonathan Perez is a graphic and type designer. He graduated in 2007 from Ecole Estienne in Paris with a provocatively-titled thesis, Giambattista Bodoni, génie ou assassin?. In 2009, Jonathan set up his own site, JonathanPerez.cm, where he plans to publish some Latin typefaces. Fontspace has some free fonts by Perez, such as Ifao n Copte.

    I Love Typography link. Klingspor link. [Google] [More]  ⦿

    Typoholic

    Type jump pages. [Google] [More]  ⦿

    typomania

    Russian typography page by Novikov Design (Sergei Novikov). [Google] [More]  ⦿

    Typonauten
    [Ingo Krepinsky]

    Ingo Krepinsky (b. 1976, Eschwege) graduated in 2000 from Fachhochschule Hannover, and in 20903 from Hochschule für Künste Bremen, where he specialized in typography. He is a cofounder and type designer at Typonauten, a Bremen-based commercial font foundry started in 1998 (together with Christoph Hanser and Stefan Krömer). MyFonts sells these fonts: Freakshow (2005, grunge), Nautilo Font System (2002, a futuristic font family), Oklahoma (2003, Wild West, handpainted look; the Pro version from 2012 was done with Gunnar Link), Toon Town (2005, a comic book typeface done with Stefan Kroemer), B-Movie Retro (2007 a brush font series with Florian Schick and Stefan Kroemer), B-Movie Splatter (2007, a grunge version of that family).

    Newsletter (2007) is an extensive no-frills sans family influenced by fonts like OCR-B and DIN. Newsletter Stencil was published at Volcano Type. Creator (with Gunnar Link and Stefan Kroemer) of Royal Oak Decor (Victorian ornaments), Royal Oak Sans (Edwardian headline sans) and Royal Oak Serif (Western headline face).

    Other commercial fonts: Dimitri (Cyrillic simulation), Flarrow, Grebbelinsky (nice dingbats), Killvetica, Litterae Diaboli, Mosaixxs, Nautilo (pixel font), Navtilo (pixel font), R2D2 (futuristic), Sheffield (sans), Singapur (2002, a gambling dingbat font), Oklahoma (2002, Egyptienne), Transarc, Uxmal (unicase with Mexican ornaments), Weimar (Bauhaus style), Estelec (Cyrillic simulation), Trixel (2002, free pixel font), Sport1, Spacelord (2013, sci fi face).

    In was waiting for this moment, but in 2015, Typonauten published the free slogan typeface Je Suis Charlie. Other free fonts include the dingbat face BremerSchriftkoffer (2010).

    View the typefaces made by Typonauten. Klingspor link. Dafont link. View the Die Typonauten typeface library. [Google] [MyFonts] [More]  ⦿

    Typonine
    [Nikola Djurek]

    Typonine was founded in 2005 in Croatia and The Netherlands by Nikola Djurek. Djurek was born in Croatia, and studied in The Netherlands at postgraduate master course Type and Media at Royal Academy of Art in The Hague (2004-2005), he later earned his PhD degree in the graphic and type-design field. Nikola is a partner at Typotheque, and teaches at Art Academy DVK, University of Split and University of Zagreb. He lives in Zabok, Croatia.

    Typotheque link. MyFonts page. Alternate URL. FontShop link. Behance link.

    Speaker at ATypI 2013 in Amsterdam and at ATypI 2014 in Barcelona. In Amsterdam, he presented a system that weds Latin and Cyrillic scripts. The chronology of his typefaces:

    • 2002. He created the gorgeous gorgeous gorgeous stencil family Jan (T-26), the 4-weight screen font family Makro (T-26), the computer simulation font Bronika, and Escom (T-26).
    • 2003. At Stereo Typehaus, he published the Tribeca, Magasine, Soho and Novella families. At Garagefonts, he published the sans serif family Tera. New fonts being planned then included the serif family Albeka, the octagonal family Hetra, and the sans families Patagonia.
    • 2006. Porta (a 130-weight serif family, now available as DTL Porta: it is advertised as type for the tabloids), Typonine Stencil (or T9 Stencil, aka SeeMore), and Tribeca. At OurType, he published the serif type Amalia (2005-2006).
    • 2007-2008. Tempera Sans, Tempera Biblio, Tempera Rose, Typonine Sans (+Mono, +Hairline, +Condensed), Typonine Stencil, Tesla Dynamo (fat rounded), Sablona, Greta Display (Typotheque), Fedra Display (Typotheque), Brioni Text (Typotheque, a promising slab serif family, with a large number of glyphs), Marlene (book face). Marlene is accompanied by Marlene High, Marlene Stencil and Marlene Display.
    • 2009. Nota. A curvy and very readable sans.
    • 2010. The Plan Grotesque family (Typotheque; +Stencil, Condensed, Condensed Stencil, Italic).
    • 2011. Delvard (Typotheque). This sans family was followed in 2022 by Delvard Serif (Display, Text, Subhead), which has a large x-height and a generous width.
    • 2012. Thema (2012) is a high-contrast display typeface with pointy serifs. With Marija Juza (Babushke Studio, Zagreb) Djurek co-designed Balkan, a Latin / Cyrillic sans / stencil type system that won an award at TDC 2012.
    • 2013: Nocturno (+Display, +Stencil). A play on contrasts. Lumin (for editorial work, including Sans, Sans Condensed and Display subfamilies: see Typotheque). DTL Porta (Text and Display, Dutch Type Library) and DTL Porta News.
    • 2014: Valter (Typotheque). A variable contrast Peignotian sans inspired by pointed-pen writing. Valter won an award in the TDC 2015 Type Design competition.
    • In 2016, Peter Bilak, Nikola Djurek and Hrvoje Zivcic published the Uni Grotesk typeface family at Typotheque. It is based on Grafotechna's 1951 typeface Universal Grotesk, which in turn is based on 1934 design by Vladimir Balthasar. Tremolo (Typotheque, 2015) won an award at TDC 2016.
    • In 2016, Nikola published Bara at Typotheque in three optical sizes, Text, Display and Grande. He writes: Bara is inspired by the carved, incised metal types of the Dutch Golden Age. It is not a historical revival, but a loose interpretation of a typeface found in "The steadfast tin soldier" by Joh. Enschedé en Zonen (Haarlem, published by Spectatorpers in 1992), hand-set by Bram de Does in so-called Schefferletter, also known as Enschedé English-bodied Roman No6. The origins of this historical typeface are unclear, probably dating to early 16th century.
    • Francis Gradient (2016, Typotheque): is a capital-only Sans-serif typeface with with high contrast of thick and thin strokes, ideal for creating strong headlines. Francis draws its inspiration from an early 20th century lettering style often seen in European advertising, but also from the rational geometry that lends a rhythm to the typeface in text. [...] The typeface dynamically increasing or decreasing character widths. These remarkable text patterns are possible because each Gradient style contains 2,690 glyphs that are selected automatically using OpenType's Contextual Alternates feature.
    • Gordian (2017, Typotheque). A monoline rounded sans family with irresistible charm. Followed in 218 by Gordian Knott and Gordian Kapitalen.
    • The Plotter techno superfamily in these styles: Regular, Mono, Hand, Display, Wave, Stencil, Liner, Line Mono, Liner Mono Stencil, Liner Display, Liner Stencil, and Mono Stencil.
    • Diurnal (2017: Text and Display). Diurnal Mono (2022): a humanist monospaced typeface with calligraphic traits.
    • The Brenner superfamily, which comes in Display, Sans, Script, Sans Condensed, Serif, Slab and Mono versions.
    • Murtaugh and Riggs (2020, Typotheque).
    • Tremolo Sans (2020).
    • Maro (2021). A stencil typeface published by Typotheque. It includes a variable font.

    View Typonine's typefaces.

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

    Typotheque
    [Peter Bilak]

    Typotheque is an initiative of Peter Bilak and ui42 out of Bratislava (Slovakia), and later, The Netherlands: Typotheque is an Internet-based independent type foundry. It offers quality fonts for PC and Macintosh platforms in standard European character set and in CE (central european) character set. All fonts have full (european) character sets, are thoroughly tested and manually kerned.

    Typotheque also offers its own type utilities: AccentKernMaker and FontAgent. In 2000, with Stuart Bailey, Peter Bilak co-founded art and design journal Dot Dot Dot. Along with Andrej Kratky he co-founded Fontstand.com, a font rental platform. Peter is teaching at the Type & Media postgraduate course at the Royal Academy of Arts, The Hague.

    Free fonts: Remix Typotheque and RaumSüd.

    Commercial fonts: Fedra Sans (2001, 30 weights), Holy Cow (2000), Champollion (2000), Eureka (2000), Eureka Phonetik (2000), Eureka Arrows (2000), Eureka Glyphs (2000), Jigsaw (Light and Stencil, 2000, by Johanna Balusikova), Fedra Mono (2002), Fedra Bitmaps (2002), Fedra Serif (2003, 48 weights, with a characteristic shy female A, toes pointing inwards), Fedra Serif Display (2006) and Fedra Arabic (2006) .

    Greta (2006-2007, Greta Text and Greta Display) is a newspaper type family designed initially for the main Slovak newspaper, SME. Greta Text won an award at TDC2 2007. It is also being used by the Sunday Times (along with Sunday Times Modern by Emtype and Flama by M. Feliciano). Greta Symbol (2012) is a 10-style 1200-glyphs-per-style superfamily of symbols commonly used in newspapers, magazines and online publications. Finally, Greta Mono (by Peter Bilak and Nikola Djurek) saw the light in 2015. Codesigner with Daniel Berkovitz of Greta Sans Hebrew (2015), which won an award at TDC 2016 and was released in 2017. Greta Sans supports Latin, Greek, Cyrillic, Armenian, Arabic, Hebrew, Devanagari, Thai and Hangul. Greta Sans was designed by Peter Bilak, produced together with Nikola Djurek. Irina Smirnova designed the Cyrillic version. The Latin part has been published in 2012, the Cyrillic and Greek in 2015. In 2015, Greta Sans was recognised by the Tokyo TDC. The Arabic version was designed by Kristyan Sarkis and published in 2015. Greta Sans Devanagari was published in 2017, designed by Hitesh Malaviya at ITF under the supervision of Satya Rajpurohit. The Thai version was designed by Smich Smanloh from Cadson Demak, and published in 2019. This Hangul version was designed by Sandoll designers Yejin We and Jinhee Kim, and directed by Chorong Kim.

    In 2005, Collins Fedra Sans and Serif were published for use in the Collins dictionaries. A slightly modified version of Fedra Sans is used by the Czech Railways.

    In 2008, Peter Bilak, Eike Dingler, Ondrej Jób, and Ashfaq Niazi created the 21-style family History at Typotheque: Based on a skeleton of Roman inscriptional capitals, History includes 21 layers inspired by the evolution of typography. These 21 independent typefaces share widths and other metric information so that they can be recombined. Thus History has the potential to generate thousands of different unique styles. History 1, e.g., is a hairline sans; History 2 is Peignotian; History 14 is a multiline face; History 15 is a stapler face, and so forth.

    In 2009, Bilak published the extensive Irma (Sans, Slab) family, which includes a hairline. Typotheque's other designer is Johanna Balusikova.

    Collection of over 90 articles on type design by by Stuart Bailey, Michael Bierut, Peter Bilak, Andrew Blauvelt, Erik van Blokland, Max Bruinsma, David Casacuberta, Andy Crewdson, Paul Elliman, Peter Hall, Jessica Helfand, Steven Heller, Roxane Jubert, Emily King, Robin Kinross, Rosa Llop, Ellen Lupton, Martin Majoor, Rick Poynor, Michael Rock, Stefan Sagmeister, and Dmitri Siegel.

    In 2011, he created Julien, a playful geometric display typeface loosely inspired by the early 20th century avant-garde. It is based on elementary shapes and includes multiple variants of each letter. It feels like a mix of Futura, Bauhaus, and geometric modular design.

    Julien (2012) is a playful geometric display typeface loosely inspired by the early 20th century avant-garde.

    Karloff (2012, Typotheque: Positive, Negative, Neutral) is a didone family explained this way: Karloff explores the idea how two extremes could be combined into a coherent whole. Karloff connects the high contrast Modern type of Bodoni and Didot with the monstrous Italians. The difference between the attractive and repulsive forms lies in a single design parameter, the contrast between the thick and the thin. Neutral, the offspring, looks like a slab face. They were made by Peter Bilak, Nikola Djurek and Peter van Rosmalen.

    Lumin (2013) is a family that includes slab-serif, sans serif, condensed and display typefaces, and no attept is made to make them uniform in style.

    Lava (2013) is a magazine typeface originally designed for Works That Work magazine. It was extended to a multilingual workhose typeface family. It as extended in 2021 to Lava 2.0, at which time they added a variable version of Lava that does this size-specific tracking optimization automatically---Typotheque calls it optical spacing. By 2021, Lava covered Latin, Greek, Cyrillic, Devanagari, Telugu and Kannada. Typotheque collaborated with type designers Parimal Parmar, who drew the Devanagari; and Ramakrishna Saiteja, who drew Kannada and Telugu companions for Lava Latin, designed by Peter Bilak.

    For Musée des Confluences in Lyon, France, Typotheuqe designed the custom sans typeface Confluence (2014).

    For Buccellati Jewellery and Watches in Milan, Typotheque made the classy sans typeface Buccellati in 2013.

    In 2016, Peter Bilak, Nikola Djurek and Hrvoje Zivcic published the Uni Grotesk typeface family at Typotheque. It is based on Grafotechna's 1951 typeface Universal Grotesk, which in turn is based on 1934 design by Vladimir Balthasar. Noteworthy also is the prismatic style Uni Grotesk Display.

    In 2016, Peter Bilak designed the wayfinding sans typeface family November for Latin, Greek, Cyrillic and Hebrew. Its rounded version is October. November, co-designed by Peter Bilak, Irina Smirnova and Kristyan Sarkis, won two awards at Granshan 2017. November Stencil was published in 2018.

    The Q Project was conceived in 2016 by Peter Bilak, and published in June 2020. Nikola Djurek produced the Q Shape 01, loosely based on the Edward Catich's basic brush strokes from his book The Origin of the Serif: Brush Writing and Roman Letters. Bilak explains: The Q Project is a game-like [modular] type system that enables users to create a nearly infinite number of variations. Inspired by toys like Lego or Meccano, Q invites you to explore its vast creative space and discover not only new solutions, but also new problems. Q consists of ix uppercase Base fonts and 35 attachments that can be added as individual layers (Q Base and Serifs). It also comes with a variable font with a motion axis (Q Mechanic), as well as three levels of basic shapes that can be combined into new forms (Q Shapes).

    In 2021-2022, Typotheque custom-designed the humanist sans typeface NRK Sans for the Norwegian broadcaster, NRK.

    History won an award at ProtoType in 2016.

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

    Tyurin Misha

    Perm, Russia-based designer of an outlined typeface (2014). [Google] [More]  ⦿

    Tzu-yuan "Erik" Yin
    [Tofutype]

    [More]  ⦿

    Ueli Kaufmann

    Swiss graduate of the MATD program at the University of Reading, class of 2015. His graduation typeface, Froben Antiqua, covers Latin, Cyrillic and Greek: Froben Antiqua is a versatile serif typeface family intended for characterful communication, editorial and book design. Details and proportions, which bring character to both small and large sizes, are inspired by the works of famous Basle Renaissance printers Johann and Hieronymus Froben. Froben Antiqua won an award at TDC 2016. Ueli Kaufmann is based in Zürich. [Google] [More]  ⦿

    Ufboyumbch Nkiyo

    Ukrainian designer of the Cyrillic/Latin font PorschaC, based on an original by Iconian. [Google] [More]  ⦿

    Ukraine: The Homeland Page

    The Cyrillic 1251 fonts and Cyrillic KOI-8 fonts. [Google] [More]  ⦿

    Ukrainian Youth Association (CYM)

    About 30 Cyrillic truetype fonts. Page requires a password. The fonts: Boyko, Broshniv, Bura, Diana, Dnister, Hutsul, Ihor, Irka, Ivan, Katya, Kherson, Kobzar, Krym, Kyiv, Lemko, Lesya, Lviv, Maria, Murko, Mykhailo, Myron, Nestor, Odesa, Oleksa, Olena, Olha, Azov, Petro, Prypyat, Rozhnyativ, Sambir, Sonia, Soyuzhanka, Stefan, Strij, Strutyn, Taras, Vasyl, Volodymyr, Voyak, Zozulka. [Google] [More]  ⦿

    Umbreon 126

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

    UnBatang Odal
    [Koaunghi Un]

    At this Korean font site, we find free Windows truetype assemblers and disassemblers, and several free truetype fonts called UnBatang (2003, Koaunghi Un), a full Latin/Cyrillic/kana/kanji/hangul text face, made by Koaunghi Un from 1998-2003. [Google] [More]  ⦿

    Under Pressure

    Graphic designer in Patras, Greece. In 2018, he designed the free Latin/Greek poster typefaces Plebis, Odessa and Vavoura.

    Typefaces from 2019; Agnosco (free; for Latin, Greek and Cyrillic). [Google] [More]  ⦿

    UNESCO Kazakhstan

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

    unfontunately
    [Andreas Johansson]

    Andreas Johansson is the Gothenburg, Sweden-based designer in 1999 of the medieval Cyrillic font Magna Veritas (based on a scan). He founded "unfontunately" in September 2001. Other fonts: Afterfonts, Andreas Typewriter, Apparition, Cauterize, Cervixcouch, Dubbed (2002, grunge), 7inch, Alvedon, Helifonter (grunge face), Fontility, Headless, Hitman (grunge), Likefontsintherain, Lurker, NoMansFont, Pulsate, SNAFU, Teonanacatl, Thumping (1998), TourdeFont, Unfontgiven, Void, Wartorn (a military stencil), Yoicks, AndreasSansCnd, AndreasSansCndOblique, BennyBold, BennyThin, detachable-penis, doggiestyle, dubbed, Giga66, hardware-requiem, Hardwarerequiem, hardware-requiem-condensed, Hardwarerequiem, Hardwarerequiem (a pixel font set), Hatchet-Man, Helifonter, Industriegebiet, Johansson-Sans, Magna-Veritas, Nobby, Scriptural, Stealthy-Bastards, Still-Font, Tour de Font (2000, caps only crayon font), YouCanMakeYourOwnFont (2002), Zaibatsu (oriental simulation).

    Devian tart link. Direct access. Dafont link. Fontspace link. Abstract Fonts link. [Google] [More]  ⦿

    Unibel.by

    Belarus site with two rar files having 22MB worth of fonts. The Arsenal Cyrillic font collection is there, for example, and hundreds of other Cyrillic fonts as well. [Google] [More]  ⦿

    Unibrain

    Creators of UB-Byzantine (1996). [Google] [More]  ⦿

    unice.ru

    Truetype versions of the Arial, Courier, Times and Tahoma families, possibly for Cyrillic (I did not check this one.) [Google] [More]  ⦿

    Unicode Fonts for Ancient Scripts
    [George Douros]

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

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

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

    Unicode-fonts with Cyrillic letters

    Esa Anttikoski's list of Unicode-fonts with Cyrillic letters:

    [Google] [More]  ⦿

    Uniontype
    [Roman Avdiushkin]

    Uniontype is a Russian type foundry in Perm, est. 2016. Roman Avdiushkin is a Russian type designer, b. 1989. In 2016, he created the classic Americana signage typeface UT Triumph at Uniontype.

    In 2017, he published the monoline script typeface UT Laurelle. The monoline script typeface UT Sugar Cane and UT Marmalade, followed in 2018.

    Typefaces from 2019: UT Saturday (script).

    Typefaces from 2020: The Bystander Collection (eleven all caps fonts and a monoline script, inspired by the masters of art photography).

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

    UniType

    Commercial Windows XP packages sold with foreign language fonts in TrueType and PostScript, called GlobalSuite, GlobalWriter and GlobalOffice. Includes most foreign languages. For example, in the Cyrillic sphere, they have Bulgarian, Byelorussian, Macedonian, Russian, Serbian, Ukrainian plus over 50 additional Cyrillic languages such as Azeri, Kazakh, Kirghiz, Moldavian, Mongolian, Tadzhik, Tatar, Turkmen and Uzbek. And for North Indian, they have Assamese, Bengali, Gujarati, Hindi, Marathi, Nepali, Punjabi, and Sanskrit. [Google] [More]  ⦿

    Universität Regensburg

    Six Cyrillic fonts: MACCTimes, MKDOldSlavicNormal, MACCSwiss, MACCTimes, RakopisnopismoNormal-Italic, Studenica. [Google] [More]  ⦿

    University of Cologne
    [Wolfgang Kirsch]

    Cyrillic truetype fonts by Wolfgang Kirsch (Regionales Rechenzentrum der Universität zu Köln, 1996): KyrillArch, KyrillArial, KyrillKurier, AKyrillTimes. [Google] [More]  ⦿

    University of Kharkov

    The rar file has Cyrillic fonts: Bruskovaja-gazetnaja-03, Bruskovaja-gazetnaja-3, Europe-Bold-Italic, Europe-Bold, Europe-Italic, Europe, FuturisC-Bold, FuturisC-BoldItalic, FuturisC-Italic, FuturisC, GaramondNarrow-Bold, GaramondNarrow-Italic, GaramondNarrow, Lithos-Black, Lithos-Regular, TypeTimes-01, TypeTimes-03, TypeTimes-1, TypeTimes-3, HeliosCond (Type Market, 1993), HeliosCondBold, HeliosCondBoldItalic and HeliosCondItalic, and the Latin fonts Humanist521BT-Bold, Humanist521BT-BoldItalic, Humanist521BT-Italic, Humanist521BT-Roman, SymbolMT. [Google] [More]  ⦿

    ural (ftp)

    Some free Cyrillic fonts. [Google] [More]  ⦿

    URW Braille

    This item is worth reporting. URW++, one of the workhorses of the German type industry, is asking 950 Euros for URW Braille, an in-house font made in 2013. It covers Braille for European languages, including Greek and Cyrillic. I think that I see a business opportunity here. [Google] [More]  ⦿

    URW++ Core 35 Fonts

    In 1999-2000, URW++ Design and Development GmbH released the Type 1 implementations of the Core 35 fonts under the GNU General Public License (GPL) and the Aladdin Ghostscript Free Public License (AFPL). In 2016, URW++ released a major Version 2.0 upgrade to the Core 35 fonts. This version is an extensive reworking of the original Core 35 fonts, with improved font outlines, and greatly extended character sets, including Cyrillic and (monotonic) Greek. Also, some font names have been changed. Version 2.0 is released in Type 1, OpenType-CFF and OpenType-TTF formats. The fonts:

    • C059 (=Century Schoolbook)
    • D050000L (=Zapf Dingbats)
    • Nimbus Mono (=Courier New)
    • Nimbus Roman (=Times New Roman)
    • Nimbus Sans (=Helvetica), Nimbus Sans Narrow
    • P052 (=Palatino, formerly Palladio at URW)
    • URW Bookman
    • URW Gothic (=Avant Garde)
    • Z003 (=Zapf Calligraphic)
    [Google] [More]  ⦿

    URW Global

    URW++ Global is the foundry name used by URW++ for a collection of fonts that support a combination of Latin and non-Latin scripts such as Nimbus Sans Thai (2008), and Nimbus Sans ME (2008: Middle Eastern scripts such as Arabic, Farsi, Hebrew and Cyrillic).

    The Korean versions are Nimbus Roman Korean (2014) and Nimbus Sans Korean (2009).

    The Japanese fonts include Nimbus Sans Japanese (2014).

    The Chinese font collection includes the Hanyi fonts: Hanyi Bai Qi Jian (2001, simplified Chinese), Hanyi Bai Qing Jian (simplified Chinese), Hanyi Cai Die Jian, Hanyi Cai Yun Jian, Hanyi Chang Mei Hei Jian, Hanyi Chang Yi Jian, Hanyi Chen Pin Jian, Hanyi Fang Die Jian, Hanyi Fang Li Jian, Hanyi Fang Song, Hanyi Gan Lan Jian, Hanyi Ha Ha Jian, Hanyi Hai Yun Jian, Hanyi Hei, Hanyi Hei Qi Jian, Hanyi Hua Die Jian, Hanyi Huo Chai Jian, Hanyi Hu Po Jian, Hanyi Jia Shu Jian, Hanyi Kai Ti, Hanyi Li Hei Jian, Hanyi Ling Bo Jian, Hanyi Ling Xin Jian, Hanyi Luo Bo Jian, Hanyi Man Bu Jian, Hanyi Mi Mi Jian, Hanyi Nan Gong Jian, Hanyi Qing Yun Jian, Hanyi Shen Gong Jian, Hanyi Shou Jin Shu Jian, Hanyi Shuang Xian Jian, Hanyi Shu Hun Jian, Hanyi Shui Bo Jian, Hanyi Shui Di Jian, Hanyi Shu Tong Jian, Hanyi Song, Hanyi Tai Ji Jian, Hanyi Wa Wa Zhuan Jian, Hanyi Wei Bei Jian, Hanyi Xiao Li Shu Jian, Hanyi Xing Kai, Hanyi Xing Shi Jian, Hanyi Xiu Ying Jian, Hanyi Xue Feng Jian, Hanyi Xue Jun Jian, Hanyi Yan Ling Jian, Hanyi Ya Ya Jian, Hanyi Yuan Die Jian, Hanyi Yuan, Hanyi Zhong Li Shu Jian, Hanyi Zhu Jie Jian, Hanyi Zong Yi Jian. In addition, there are Nimbus Sans Chinese (2014) and Nimbus Roman Chinese. [Google] [MyFonts] [More]  ⦿

    URW Nimbus Sans Global

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

    URW Type Foundrty (was: urw++)

    URW++ Design&Development GmbH is a Hamburg-based foundry established in 1995 by Svend Bang, Hans-Jochen Lau, Peter Rosenfeld, and Jürgen Willrodt. URW stands for Unternehmensberatung Rubow Weber, named after Gerhard Rubow and Rudolf Weber, cofounders of the original URW company from which urw++ evolved. It offers a whole range of font services and has an extensive (7000+) font library. At the basis of the early development of many classy PostScript fonts. For example, in 1999, URW++ donated the 35 core PostScript fonts (renamed) under the GNU GPL license to the Ghostscript project. The great 3000-font CD costs about 2000DM. Other CDs are more expensive: on the ITF CD, each font is about 100DM! URW sells fonts and font families with complete rights (you can change, resell, embed, anything, except use the original name), with examples ranging from 2k for a complete family of 12 to 5k for a collection of 250 fonts. This practice continues until today: URW++ thus provides a great service to software developers who want to include high-quality typefaces in their software applications. URW has offices in many countries. In the first decade of the 21st century, freelance type designer Ralph M. Unger contributed most frequently to the URW library. OpenType collection guide (in PDF).

    Selected releases: URW Egyptienne, URW Grotesk (1985, Hermann Zapf), Anzeigen Grotesk (2009), Clarendon No 1 URW, Saa Series (an industrial sans: the official typeface for Australian road signage), Nimbus Sans (1987, a Helvetica clone), Nimbus Sans Novus, Nimbus Sans Europa (covering Latin, Greek, Baltic, Cyrillic, Central European, Turkish, Romanian, and so forth), Nimbus Roman No 9 (2001), Nimbus Sans Global and Nimbus Roman Global, each at about 2000 Euros, and each containing 35,000 glyphs, from kanji/Chinese/Korean to all European languages. House typefaces done for corporations: DaimlerChrysler Corporate ASE (after the Corporate ASE series for Daimler-Benz by Kurt Weidemann), Gardena Sans (2015, for Gardena), Siemens Schriftfamilie, Deutsche Telekom Schriftfamilie, ZF Friedrichshafen, Körber Argo, URW++ SelecType Raldo (2001, for Igepa).

    MyFonts lists their bestsellers. Catalog of their typefaces [large web page warning]. Another catalog of URW's typefaces.

    Eight-minute corporate movie produced in the summer of 2014. Adobe link. [Google] [MyFonts] [More]  ⦿

    Ussual Studio (or: Boyanurd)
    [Boyan Nurdiansyah]

    Bandung, Indonesia-based graphic designer. From 2017 until 2019, he was at Formatype Foundry. His typefaces:

    • Beriot (2019). A 42-style sans family that is inspired by Paul Renner's Steile Futura.
    • Aktifo (2019). A geometric sans by Deni Anggara and Boyan Nurdiansyah, in 28 styles, that covers Latin and Cyrillic.
    • Rigton (2020). A low-contrast contemporary display sans typeface.
    • Monzo (2020). With Panatype's Ajusia.
    • Gregias Serif Display (2021).

    Type Department link. [Google] [MyFonts] [More]  ⦿

    ustu.ru

    The 1.5MB rar file has the Arial and TimesRoman families (truetype) with full coverage of all European languages, Turkish, Cyrillic, Hebrew and Arabic. [Google] [More]  ⦿

    Ute Kleim

    German graphic designer. During Typeclinic 11th International Type Design Workshop, she created the clean children's book sans typeface Kähte Sans (2015).

    Graduate of the type design program at the University of Reading, class of 2017. Her graduation typeface there was Cythe Latin / Greek / Arabic editorial typeface family Felida. [Google] [More]  ⦿

    UWASA

    Hebrew fonts from Kivun Computers (1993): Aharoni-Bold, David-Regular, David-Bold, Dor-Regular, Dor-Bold, FrankRuehl-Regular, FrankRuehl-Bold, Hadassah-Regular, Hadassah-Bold, Hayim-Bold, Koren-Regular, Koren-Bold, Kivun-Pi, Miriam-Regular, Narkisim-Regular, Narkisim-Bold, NarkisTam-Medium, NarkisTam-Bold, NarkisTam-Light, Ophir-Regular, Rashi-Regular, Rod-Regular, Sivan-Regular, Stam-Regular, Vilna-Regular, Vilna-Bold. And the Cyrillic fonts CyrillicHelv, CyrillicHelvBold, CyrillicHelvBoldItalic, CyrillicHelvItalic, CyrillicTimesRoman, CyrillicTimesBold, CyrillicTimesBoldItalic, CyrillicTimesItalic by NPO "Polygraph Mash" Moscow (1992). [Google] [More]  ⦿

    Uzbegim

    Truetype fonts by Nikolay Dubina from D-Studio: DSArmyCyr, DSMotterHo, DSMotterStyle, DSPoddCyrLight, DSPosterPen, DSProgress-SemiBold. [Google] [More]  ⦿

    uzbek_lux

    Creator of the pixel typeface Uzbek Neue Luxation (2010). [Google] [More]  ⦿

    V. Demidov

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

    V. Kovtun
    [LITERA]

    [More]  ⦿

    V. Lyubarsky

    Russian designer of a cyrillization of Optima (1993, Zapf's original in 1969). [Google] [More]  ⦿

    V. Vyazminov

    Russian designer of Cyrillic versions of Americana, Arnold Boecklin, Amasone script, Broshur, Busorama, Davida, Flemish Script, Mister Earl. [Google] [More]  ⦿

    v3x

    Fontstructor who made the bilined caps typeface Vextype (2012), which covers Latin and Bulgarian Cyrillic. [Google] [More]  ⦿

    Vadim Vladimirovich Lazurski

    Moscow-based book designer and type designer, b. 1909 (Odessa), d. 1994 (Moscow). At Paratype, one can buy his font Lazurski (1962), of which many freeware versions exist as well. He worked for the state typographic institute Polygraphmash, where he made numerous typefaces such as Ribbon Antique (1965). A Lazurski Award has been established in his honor, and several typefaces called Lazurski circulate in the type ether. An example includes Vladimir Yefimov's Lazurski (1984-1996).

    Russian bio. FontShop link. Paratype link. Victor Kharyk's page on Lazurski. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Vadim Yakunchikov
    [Lazy Crazy]

    [More]  ⦿

    Vadim Yaroshenko

    Designer of the dot matrix Latin/Cyrillic font Epson and of Dotf1 (2000). [Google] [More]  ⦿

    Vadim Yegorof

    Russian designer of Pechkin (1999). [Google] [More]  ⦿

    Vadym Aksieiev

    Krakow, Poland-based designer of the free-for-commercial-use Latin / Cyrillic all caps font Neutral Face (2021). [Google] [More]  ⦿

    VAG Rounded

    A typeface family developed for Volkswagen in 1979. It became an Adobe family, produced in 1989 and updated in 1995. The original designers were David Bristow, Gerry Barney, Ian Hay, Kit Cooper, and Terence Griffin. The latest revival is VAG Rounded Next (2018, Monotype). Developed under the direction of Steve Matteson, it has new weights and adds support for Greek and Cyrillic.

    View digital implementations of VAG. [Google] [More]  ⦿

    Vaishnavi Murthy Yerkadithaya

    Vaishnavi is a typeface designer specializing in Indic scripts. She works on the conservation and restoration of books, manuscripts, documents, and ephemera. Graduate of the Masters of Type Design program of the University of Reading, UK. Vaishnavi's graduation typeface was Yaska (2014, Latin, Cyrillic and Malayalam). The Latin consists of an 8-weight serif family and a connected italic.

    Co-designer with Juan Luis Blanco of Akaya Telivigala/Kanadaka. Blanco writes: Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts designed in collaboration with Vaishnavi Murthy (Bangalore, India). Akaya Telivigala and Akaya Kanadaka are made as two separate font files which share a common Latin. Github link. Google Fonts link for Kanadaka. Google fonts link for Telivigala. Github link for Telivigala.

    Designer of Anek Kannada as part of Ek Type's award-winning family Anek (2022). [Google] [More]  ⦿

    Val Kalinic
    [VP Type (or: VP Pixel Fonts)]

    [MyFonts] [More]  ⦿

    Valek Filippov

    Russian font expert who helped with the addition of many Cyrillic extensions of the Gyre Fonts in 2006. He also Cyrillicized the URW Ghostscript collection of fonts in 2001. About that collection, we read in 2001: Valek Filippov's improved versions of the URW type 1 font collection, repackaged for distribution with Ghostscript. Cyrillized free URW fonts. These fonts were made from the free URW fonts distributed with ghostcript. There are NO changes in the Latin part of them (I hope). Cyrillic glyphs were added by copying suitable Latin ones and painting oulines of unique Cyrillic glyphs in same style as the others. For all modification pfaedit was used. [Google] [More]  ⦿

    Valentin Antonov

    Aka Vallex. Designer of the fattish comic book typeface Obelix Pro (2011), which covers both Latin and Cyrillic, and seems to be based on the titling typeface of the Asterix and Obelix series. In 2012, he added Obelix Pro Cry and Obelix Pro Broken. [Google] [More]  ⦿

    Valentin Brustaux

    Swiss graphic and type designer who studied first at Ecole des Arts Décoratifs de Genève (2000) and then at the University of Reading (Masters in type design, 2007). He lives and works in Geneva. He created Tiina (2007) at the University of Reading, a Latin/Cyrillic type family, which won an award at TDC2 2008. Tiina was completed with the help of Fred Smeijers in 2010, and was added to the OurType collection. He also did the identity design for the Kingdom of Bahrein Pavilion at the Venice Architecture Biennale 2010.

    Valentin designed the Telugu part of Adobe Telugu (while Robert Slimbach did the Latin). Adobe Telugu won an award at the Type Directors Club's Type Design Competition 2019. [Google] [MyFonts] [More]  ⦿

    Valentina Erofeeva

    Graphic designer and illustrator in Moscow who created the experimental Cyrillic display typefaces UFO (2015), Mangal (2015) and Mehanicheskij Ubivec (2014, "mechanical killer"). [Google] [More]  ⦿

    Valentina Ivashchenko

    Russian designer of Stilla Cyrillic (1977). [Google] [More]  ⦿

    Valentine Lugansky

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

    Valentyn Tkachenko

    Kyiv, Ukraine-based designer of the free stylish Latin / Cyrillic typeface Mak (2019). [Google] [More]  ⦿

    Valeria Bilousova

    Kherson, Ukraine-based designer of the decorative Bad Habs Alphabet (2015, for Cyrillic). Behance link. [Google] [More]  ⦿

    Valeria Pashkova

    During her studies at the School of Type design in Saint Petersburg, Russia, Valeria Pashkova designed the wide modern typeface Lerson (2016-2017), which covers Latin and Cyrillic. [Google] [More]  ⦿

    Valeria Yakunenskaya

    Volkovysk, Belarus-based designer of the Cyrillic circle, cycle and bicycle-based typeface Grand Bi (2014). [Google] [More]  ⦿

    Valeriya Besedina

    Moscow-based designer of the Latin / Cyrillic arts-and-crafts typeface American Horror Story (2016). Behance link. [Google] [More]  ⦿

    Valeriya Klepikova

    Graphic and motion designer in Moscow, who created New Animal Alphabet in 2015. Behance link. [Google] [More]  ⦿

    Valeriya Plyushch

    Russian designer of SK Fushimi (2021, at Shriftovik). She writes: SK Fushimi is an accidental experimental font inspired by modern Japanese culture and aesthetics. Its futuristic geometric shapes pay homage to Japanese technology. [Google] [MyFonts] [More]  ⦿

    Valeriya Shumova

    Russian designer of SK Sofuto (2021), a bold Latin / Cyrillic display typeface inspired by graffiti culture. [Google] [MyFonts] [More]  ⦿

    Valery Golyzhenkov
    [Letterhead Studio VG Fonts]

    [MyFonts] [More]  ⦿

    Valery Moiseev

    Moscow-based designer who created the display type Linear (2015) in vector format. He also drew a great set of Monsters in vector format. Icon sets by him include 1000 Icons, Churches, Christmas, Flat Cars, Thin Line Icons. Behance link. [Google] [More]  ⦿

    Valery Zaveryaev
    [Gaslight (or: Valery Zaveryaev)]

    [MyFonts] [More]  ⦿

    Value Studio
    [Vladimir Ilnitskiy]

    Or Vladimir Ilnitzky. Vladimir Ilnitskiy (Value Studio, Murmansk, Russia) created several typefaces. These include Matryoshka (at Matryoshka), Value Studio (2014, a sans display face for Latin and Cyrillic) and Vender (2008). Behance link. [Google] [More]  ⦿

    Vangelis Dim. Gardikiotis
    [DBSV]

    [MyFonts] [More]  ⦿

    Vardo Design

    Russian designer of Felicita (2016, a dynamic brush script), Brambles (2016, rush script), Brambles Spike (2016), Brambles Swashes (2016, floral dingbats), White Soul (2016), Doppio (2016, handcrafted), Belamora (2016), TrimMark (2016), Vegano Upper (2016) and StrawScript (2016).

    Creative Market link. [Google] [More]  ⦿

    Varvara

    Illustrator and graphic designer in Moscow who created the thin squarish typeface Tonkikh (2015) and the deco typeface Zhuks (2015), for Latin and Cyrillic. [Google] [More]  ⦿

    Varya Sviridova

    Moscow, Russia-based designer of the Cyrillic display typeface Cockroach (2017). [Google] [More]  ⦿

    Vasil Gligorov
    [Paleofonts V. 2]

    [More]  ⦿

    Vasil Gligorov

    History student in Skopje (b. 1977) who compiled a collection of freeware Glagolitic and OCS (Old Church Slavonic) Cyrillic truetype fonts. As he puts it, this collection is suitable for publishing students and scholars of linguistics in general and for Slavicist and other interested in the paleographical characteristic of these two ancient scripts used by Slavs, as well as their medieval literature: Chronicals, Gospels and their segments, as well as prayer books, hymns, sermons and epigraphic inscriptions. Most of these are by Vladislav Dorosh (Calmius Software): 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, Orthodox.tt-Ucs8-Caps-SpacedOut, Orthodox.tt-Ucs8-Caps-tight, Orthodox.tt-Ucs8-Caps, Orthodox.tt-Ucs8-Drop-Caps, Orthodox.tt-Ucs8-SpacedOut, Orthodox.tt-Ucs8-tight, Orthodox.tt-Ucs8, 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, 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, VertogradUcs, Zlatoust-Ucs-SpacedOut, Zlatoust-Ucs, Zlatoust-ieUcs-SpacedOut, Zlatoust-ieUcs, Zlatoust-kUcs-SpacedOut, Zlatoust-kUcs. Other fonts: Dilyana, Evangelje-Plain, GlagoljicaOBLStaroHrvatskoPismo, GlagoljicaUGLStaroHrvatskoPismo, KirillicaWincyr, Lavra-Plain, Lazov, LazovBold, MPH2BDamase, Novgorod-Plain, OldChurchSlavonicCyr, OldChurchSlavonicGla, Orthodox.tt-eRoos-SpacedOut, Orthodox.tt-eRoos, SBibSlav. Also, publisher of Arben Golja 2 (2007, see also here), a compilation of 1000 freeware Serbian decorative Cyrillic fonts. Macedonia (2007) is a collection of freeware Greek historical fonts, including Linear B. Includes the exact paleographical forms of characters used in Mycenae and classical Ancient Greece. [Google] [More]  ⦿

    Vasil Shishovski
    [Defaultess]

    [More]  ⦿

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

    [MyFonts] [More]  ⦿

    Vasiliy Brodovikov

    Russian designer of SK Akademkniga (2021: a Latin / Cyrillic typeface in the monumental classic all caps sans genre, featuring medium contrast). [Google] [MyFonts] [More]  ⦿

    Vasiliy Gorbuntsov

    Moscow-based graphic designer. In 2016, he created a connect-the-dots typeface. All links to him or his font seem to have died. [Google] [More]  ⦿

    Vasiliy Khromov

    Moscow, Russia-based designer of the Cyrillic typeface Bodoni Comic Sans Crosstype (2016). [Google] [More]  ⦿

    Vasiliy V. Bokov

    Vasiliy V. Bokov is the designer of the 612Koshey family, 1997. [Google] [More]  ⦿

    Vasilka Tulevska

    During her studies at the Technical University of Sofia, Bulgaria, in 2013, Vasilka Tulevska created a constructivist stencil font for Cyrillic. Behance link. [Google] [More]  ⦿

    Vasilly Sychev

    Graphic designer in Saint Petersburg, Russia, who created several grid-based and modular typefaces in 2014. [Google] [More]  ⦿

    Vasily Biryukov

    Vasily Biryukov graduated from Stroganov University of Industrial and Applied Arts in Moscow as graphic designer specializing mostly in periodicals. Russian designer of Chift, a typeface that won an award at Paratype K2009. Chift (2009) was published by Alexandra Korolkova's foundry.

    In 2012, Biryukov and Korolkova co-designed the Christmas dingbat font Gingerbread House, together with a plump display face, Gingerbread.

    In 2013, he published the Peignotian typeface Romanovsky at Paratype: Romanovsky is a font developed on the base of samples from the catalogue of Osip Lehman foundry in Sankt Petersburg. Original Latin design that was used for Romanovsky can be found in Feder Grotesk by Jacob Erbar. The current digital font is not a scanned version of Lehman's samples but a newly drawn typeface that differ from the original in many details.

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

    In 2015, he designed the 18-style industrial sans serif DIN 2014 (Paratype), which was followed in 2017 by DIN 2014 Stencil. In 2021, Paratype designers Isabella Chaeva, Vasily Biryukov and Alexander Lubovenko added DIN 2014 Rounded, a six-style typeface that supports all European languages based on Latin, Cyrillic, and Asian Cyrillic (Tatar, Kazakh and Kyrgyz) and has a variable version. [Google] [MyFonts] [More]  ⦿

    Vasily Klyukin

    Born in 1976 in Moscow, and now a resident of Monaco, Klyukin graduated from the Finance Academy under the Government of the Russian Federation in Moscow in 1998. Klyukin is a Russian businessman and co-founder of Sovcombank, a commercial bank. He manages real estate fund K2H, is keen on architecture and organized Stars-Bridge, a group for the support of the Russian contemporary art. He will be a space tourist with Virgin Galactic, and has climbed the Everest. Since 2010, Vasily has been engaged in architecture and design. He had released his architectural album Designing Legends.

    In 2016, he designed the free experimental Latin / Cyrillic typeface Skyscraper. Dafont link. Aka Michael Tsaturyan. [Google] [More]  ⦿

    Vasily Shishkin

    Russian designer who won an award at Bukvaraz 2001 for Economy. [Google] [More]  ⦿

    Vassil Nikolaev Kateliev
    [Karandash]

    [MyFonts] [More]  ⦿

    Vassyas Sonnov

    Moscow-based creator of the free oversmoothed typeface Haiko (2014, a circle-based typeface). It is advertised as free, but I can not find any download buttons. Behance link. [Google] [More]  ⦿

    Vates Design
    [Alex Ivanov]

    Moscow-based illustrator specializing in vintage style, calligraphy, ornate crests and emblems. In 2014, Vates Design created the commercial copperplate script typeface Bodega Script and the engraved currency font Bold Price. In 2015, Vates added the copperplate gothic typeface Barracuda Display and the curly Austen Display. In 2016, they published the calligraphic chancery style November Script. Fonts from 2017 include Achievement (a brush script) and Black Spot (vintage style).

    In 2018, he designed the beautiful Spencerian penmanship font Jamaica Script, which was inspired by Louis Madarasz. In 2019, he released Rough Antiqua and Viking Caps (a rune and rune emulation typeface).

    Typefaces from 2020: Lodbrok (Celtic).

    Typefaces from 2021: Marquise (a calligraphic script).

    Link to a business that makes vintage coat-of-arms logos. [Google] [More]  ⦿

    Vavavka's Art
    [Ksenia Yusupova]

    Russian scrap design artist who created the Latin typefaces Imagination Stars (2015), Summer Time (2015), Monster Ink (2015), Handwritten Marker Font (2015), Blurred Brush (2015, a watercolor brush font), Graffiti (2015: graffiti brush), Elongated Thin Font (2015) and Space (2015). In 2016, she designed Birdie and Brush Font. [Google] [More]  ⦿

    Veddma's Turf

    Veddma's archive of fonts that have both Latin and Cyrillic letters: 1979, AbductionCyr, Arbat-Bold, Arbat, Ben-Cat-Normal-Normal, Ben-Hard-Life-Bold, Ben-Krush, Ben-Pioneer-Bold (the whole "Ben" series by Bazhen Yurchenko, Kharkov, Ukraine, 1997), BinnerDi (Diai JS, 1997), Blood-Cyrillic, Boyarsky-BoldItalic:00, BraesideLumberboyRussian, Breeze, BreezeBold, ClassicRussianBold, ClassicRussianBoldItalic, ClassicRussianItalic, ClassicRussianPlain, Collins, Corrida-Bold, CrackMan, Crystal, CyrillicGoth, CyrillicHover, CyrillicOld, CyrillicRevue, CyrillicRibbon, DOORJAM, Derby, Desdemona, Dyer, EarthNormal, ErasUltraNormal, ErikaBold, ErikaC, Flowerchild (Bazhen Yurchenko, Kharkov, Ukraine, 1997), Floydian, Freestyle, Granite, Grunge (Bazhen Yurchenko, Kharkov, Ukraine, 1997), Kashmir, KursivC--Bold, KursivC, LetteraTrentadue (Gianni Sinni, 1997, modified by Dark Pastor, 1999), LidiaMedium, Liquid-CrystalDisplay (Alexis V. Ryumin, 1997), OdessaScriptFWF, PaladinPCRusMedium (Yuri A.Lyamin, 1992), PaulBOXESCyrNormal (Paul Kuznetsoff, 1993), Peignot_cyr, PresentScript_cyr, Pump, SaffronColdWar, ScrawnCyrAOE, ScrawnKOI8AOE, Serpentine, SirClive, SkazkaForSergeMedium, Slavjanic, Slipstream, TaurusHeavy, TaurusLightNormal, Tiff-Heavy, TorhokItalic, UkrPlaytPSMT (KoleSoft Co, 1993, Kiev), UniversityC, VeraHumana95, VeraHumana95Bold, VeraHumana95BoldItalic, VeraHumana95Italic (BX Fonts, 1997), Verona_cyr-Bold, Verona_cyr, YellowSubmarineCyr, Zeppelin2, ZipperRus. [Google] [More]  ⦿

    Vedran Erakovic

    Serbian designer who lives in Belgrade. He was born in 1980 in Split, Croatia. In 2009, he obtained a Masters in Applied Graphics from the University of Arts, Belgrade. He works as an Art editor in the Serbian daily newspaper Politika, and also collaborates with FontShop. In 2017, he set up LetterPalette together with Ana Prodanovic.

    His typefaces include Skockana (2003), Slovit (2003, an interpretation of the Cyrillic version of the Renaissance cursive), Narator (2003). Koledar (2004), Cyrillic versions of Champion and Magna (2008), Orden (2010), and Adamant BG (2009, a sturdy Cyrillic family). Besides Adamant Sans BG, he designed PF Adamant Pro (2010, Parachute: +Cyrillic). Still in 2010, PF Adamant Pro was awarded Third Prize in the Granshan 2010 competition for Cyrillic text typefaces. PF Adamant Sans Pro followed in 2015, after winning an award at Granshan 2014.

    In 2015, Vedran Erakovic and Marija Rnjak co-designed the handwriting font Vuk, which is named after and based on the handwriting of Vuk Stefanovic Karadzic, a Serbian philologist and linguist who was the major reformer of the Serbian language. Thanks to some OpenType features, this typeface does a good job at emulating real handwriting.

    In 2017, he designed the sans serif typeface Stena, which is characterized by deep sharp ink traps and a large x-height.

    In 2018, he published Ana, a layered set of decorative capitals.

    MyFonts link. Free downloads here. Behance link. Klingspor link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

    Ventsislav Yordanov

    Graphic designer in Sofia, Bulgaria. In 2016, Svetlin Balezdrov and Ventsislav Yordanov co-designed the free geometric Latin / Cyrillic inline typeface Socium. They explain: The font is a fresh look at the aesthetics of Bulgarian socialism that interprets in a memorable way the achievements of the Bauhaus. Behance link. Npoekmu download site. [Google] [More]  ⦿

    Vera Chiminova

    Russian type designer who designed Baltica (1951-1952, Polygraphmash; with Isay Slutsker, based on Jakob Erbar's Candida from Ludwig&Mayer, 1936). The digital version of Baltica is due to Alexander Tarbeev (1988) and is available from Paratype. Small capitals, additional Bold, Extra Bold, and Extra Condensed styles were developed by Manvel Shmavonyan and released by ParaType in 2008. FontShop link. [Google] [More]  ⦿

    Vera Evstafieva
    [Infonta]

    [MyFonts] [More]  ⦿

    Vera Holera
    [Vera Kudryashova]

    Vera Kudryashova (aka Vera Holera, Katy, Houston, TX) specializes in calligraphic alphabets for Latin and Cyrillic. In 2015, she created the script typefaces Quick Snack Script, Imperfect Script, Imperfect Calligraphy Script, Happy Day Script, Caprice Script, Stubborn Faith and Maxim Script, and the yummy brush typeface Humus Script.

    Typefaces from 2016: New York (handwriting), Bakery Paradise, Delicious (connected script), Sunny Script, Spirit of Dance.

    Typefaces from 2017: Baikal, Amsterdam (script). Behance link. [Google] [More]  ⦿

    Vera Kormakova

    Moscow-based designer of the deconstructed Latin / Cyrillic typeface Zhuk (2019). [Google] [More]  ⦿

    Vera Kudryashova
    [Vera Holera]

    [More]  ⦿

    Veronica Sinyavskaya

    During her studies in Kiev, Ukraine, Veronica Sinyavskaya made the Cyrillic typeface Abetka (2016), which was inspired by Georgy Narbut's Abetka. [Google] [More]  ⦿

    Veronika Burian

    Born in Prague in 1973. She grew up in Munich, where she studied Industrial Design at the University of Applied Sciences. She worked as product and graphic designer in Vienna, Austria and Milan, Italy. She graduated with an MA degree in type design from the University of Reading. She joined Dalton Maag in London in the autumn of 2003. In Milan, she was at Die kleine Fonderie, a studio headed by Andrea Braccaloni as part of LeftLoft. In 2005, she and José Scaglione founded Type Together.

    Her typeface Maiola (2003), spiced up by the prototypical Czech angular design elements, received the Type Directors Club award in 2004 (Certificate of Excellence in Type Design) (see here) and was the "Judge's Choice". FF Maiola, released in 2005, includes Latin, Greek and Cyrillic letters and ligatures. For Maiola Cyrillic (2004), she received some help from Maxim Zhukov. In 2010, the Maiola family was published at Type Together. Other designs include Ronnia Sans and Gitter. She created LL Mila (2002, Leftloft: a condensed sans with a trademark "g"), which was part of the exhibition "Contemporary Type Design in Italy" during AtypI in Rome (2002). In 2005, she collaborated with Gerard Unger on the 12-weight corporate family Allianz. With José Scaglione she created the text typeface TT Carmina (2006), which can be had via MyFonts as Karmina (2007). Also with Scaglione, she did the humanist sans family Ronnia (2007, Type Together). In 2007, her slab serif family Crete was published at Cabinet Type. She won an award at Granshan 2008.

    In 2015, Veronika Burian and José Scaglione finally published the 18-style editorial sans typeface family Ebony. It is unrelated to the 1890 Marder & Luse font Ebony.

    In 2016, Veronika Burian and José Scaglione co-designed Portada, a sturdy serif typeface family for use on screen and small devices. It comes with an extensive free set of icons. Winner at Tipos Latinos 2018 of a type design award for Portada.

    At ATypI 2004 in Prague, she spoke about Oldrich Menhart (see also this PDF file).

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

    Veronika Chelyapina

    Ramenskoye, Russia-based student-designer of the blackletter Latin / Cyrillic typeface Hedgehog (2015, FontStruct). [Google] [More]  ⦿

    Veronika Golovko
    [Qilli Design]

    [More]  ⦿

    Veronika Kiriyenko

    Moscow-based designer at Leo Burnett Moscow. Creator of the Cyrillic poster typeface Moms Alphabet (2014) and the fun Monster Alphabet (2015). [Google] [More]  ⦿

    Veronika Starikova

    Perm, Rusia-based designer of the medieval style Ancient Book Font (2016), which has a slavonic-themed set of initial caps. In 2017, she designed the vector decorative caps typeface Magic Garden.

    Typefaces from 2018: Blooming Garden (decorative initials), My India (super-decorative capitals). [Google] [More]  ⦿

    Veronika Tsenkulovska

    Designer in Sofia, Bulgaria, who created a high-contrast Cyrillic sans typeface in 2014. [Google] [More]  ⦿

    Vesti.ru

    Russian archive with about 750 Cyrillic truetype fonts. [Google] [More]  ⦿

    Viacheslav Olianishyn

    Kharkiv, Ukraine-based designer of the free horizontally-striped typeface Falling (2014) and the free squarish modular typeface Single (2014). Both fonts cover Latin and Cyrillic. [Google] [More]  ⦿

    Vicente Lamónaca
    [Fábrica de tipos]

    [MyFonts] [More]  ⦿

    Victor Baranov

    Designer of the old Bulgarian fonts Putiata (2004), Putyata (2004), Menaion Medieval (2004) and Menaion (2004). Alternate URL. Free downloads. [Google] [More]  ⦿

    Victor Kuchmin

    Russian designer of AZ McLeud (1990-1995, ATRI), based on American Uncial by Victor Hammer, 1943. [Google] [More]  ⦿

    Victor Tkachenko

    Ukrainian site offering software and SHX fonts for CAD applications. Includes SHX fonts for Latin and Cyrillic by Sergei Komarov, CompGraph LTD, Sanya Sazonov and Nikitchenko V. Has the Russian GOST truetype fonts by Egor Prohorov. [Google] [More]  ⦿

    Victor Zabavin
    [Lestovka]

    [More]  ⦿

    Victoria Gumarshina

    Graphic designer in Moscow who made the modular Latin / Cyrillic typeface Runder (2020). Runder uses only three shaps, a circle, a triangle and a line. [Google] [More]  ⦿

    Victoria Silova

    During her studies at Stroganov University of Arts & Industry, Moscow-based Victoria Silova designed the experimental geometric typeface Bukva (2019). [Google] [More]  ⦿

    Victoria Utkina

    Moscow-based designer of an Cyrillic art deco typeface for jewelry store. [Google] [More]  ⦿

    VIDI Visual Design Studio
    [Ivana Bacanek]

    Croatian designer of Pepper Sans (2020), a 5-style rounded low contrast neo-grotesk typeface family with large x-height. Pepper Sans covers Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

    Vika Martyniyk

    Lviv, Ukraine-based designer of the Cyrillic typeface Ostriv (2016). [Google] [More]  ⦿

    Vika Nurislamova

    During her studies at the British Higher School of Art and Design (BHSAD) in Moscow, Vika Nurislamova designed the modular typeface Structura (2015).

    In 2018, she designed the octagonal typeface Gasmaster. [Google] [More]  ⦿

    Vika Usmanova
    [Type Trends]

    [MyFonts] [More]  ⦿

    Viktar Autushka

    Minsk-based Belarussian designer of the Cyrillic/Latin version of Friedrich Poppl's font Laudatio, of Zipper1Cyr (2000; after a font by FishDicks), and of Willamette SF (2001), after an original by ShyFonts in 1999. He also extended Faust Antiqua in 2005 to Cyrillic (he claims the artwork is by G. Klikushin, but the typeface itself is by Kapr, 1958). Creator of Asessor (2000). [Google] [More]  ⦿

    Viktar Palstsiuk

    Designer of Neocyr (2010, OFL). [Google] [More]  ⦿

    Viktor Figirnov

    Russian designer of the beautifil numerals font family PostIndex (1999). [Google] [More]  ⦿

    Viktor Kalgin
    [Stars Soft]

    [MyFonts] [More]  ⦿

    Viktor Kharyk

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

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

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

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

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

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

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

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

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

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

    Viktor Konovalov

    Designer from Kiev, Ukraine. Behance link. He created the studio k.love in Kiev in 2002. In 2011, he designed the neon lighting / paperclip face XCLV Neon (+XCLV Neon Pro Cyrillic, 2013). MyFonts link. Foundry link. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Viktor Pesotsky
    [Fontype]

    [MyFonts] [More]  ⦿

    Viktoria Grigorenko

    Designer at Type Market (Moscow) of the Cyrillic font family Osvald (1996, TypeMarket), which is a Cyrillic version of Cooper Black. FontShop link. [Google] [More]  ⦿

    Viktoriia Basiuk

    During her studies in Kiev, Ukraine, Viktoriia Basiuk (Kiev, Ukraine) made the Cyrillic typeface Narbutivka (2016), which was inspired by Georgy Narbut's Abetka. [Google] [More]  ⦿

    Viktoriya Gadomska
    [Viktoriya Grabowska]

    Freelance graphic and type designer in Poznan, Poland. Shee came from Crimea (Ukraine) but currently lives in Poznan, Poland. She obtained an MA in Graphic Design (Type Design) from the Academy of Fine Arts in Poznan in 2010. Since 2010 she teaches at the Sign and Typography Studio of the University of Arts in Poznan.

    Creator of some interesting typefaces in 2008: Argon, Jackson (hand-printed, inspired by Michael Jackson).

    In 2009, she made the Armata family of elliptical sans faces for Latin and Cyrillic. This typeface is free at Fontsquirrel, where it was published by Sorkin Type.

    She also uses the name Viktoriya Grabowska at Google Font Directory, where one can download her angular typeface Passero One (2011) and the sturdy yet balanced balanced text face Fjord One (2011).

    In 2012, she made the rounded sans family Capriola (Google Font Directory). Kavoon, a fat signage script, and Fruktur, an angular German expressionist typeface, can be found at Sorkin Type and Google Web Fonts.

    Codesigner with John Hudson, Joshua Darden, Maxim Zhukov and Eben Sorkin of Omnes Cyrillic.

    Her informal typeface Birra Saison (Darden Studio) won an award at 23TDC.

    Speaker at ATypI 2016 in Warsaw. Fontsquirrel link. Behance link. Blogspot link. Fontspace link. Google Plus link. [Google] [More]  ⦿

    Viktoriya Grabowska
    [Viktoriya Gadomska]

    [More]  ⦿

    Viktoriya Igoshina

    Moscow-based designer of the handcrafted typeface Slim (2018, for Latin and Cyrillic) and the squarish typeface Aksent (2018). [Google] [More]  ⦿

    Viktoriya Mastyka

    Belarussian designer of a hedge-inspired Cyrillic typeface in 2016. [Google] [More]  ⦿

    Viktoriya Nestroynaya

    At the British Higher School of Art and Design in Moscow, Viktoriya Nestroynaya created the display typefaces Crosstype (2017) and Gestures (2017), and a painted experimental Cyrillic typeface (2017). [Google] [More]  ⦿

    Viktoriya Shehovcova

    Armavir, Russia-based designer of a multilined Cyrillic typeface in 2017. [Google] [More]  ⦿

    Viktorya Makovskaya

    Minsk, Belarus-based designer of the geometric typefaces Dotted (2019: an interrupted glyph typeface with a molecular feel), Lines (2019), Area Lines (2019), the geometric solid typeface Area (2019) and the multiline typeface Cables (2019) for Cyrillic and Latin. [Google] [More]  ⦿

    Vilma Lappalainen

    Helsinki, Finland-based designer of the Latin / Cyrillic / Greek text typeface family Hedvig (2016) as part of her MA Thesis. [Google] [More]  ⦿

    Vincent Lacombe
    [Marginal Type]

    [More]  ⦿

    Vincenzo Vuono

    Cupertino, CA (was: Palermo, Sicily)-based designer of Gravity, a compass-and-ruler font that is going to be used as an official font by Accademia di Belle Arti Palermo. He created the free experimental type family Mun (2012).

    He graduated from the MATD program at the University of Reading in 2015. His graduation project was Ruota (2015). Ruota is a superfamily is designed for the digital era, and intends to harmonize Latin, Greek, Cyrillic, Thai and Arabic.

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

    Vintage Voyage Design
    [Pavel Korzhenko]

    Aka P. Rudakov and Pasha Korzhenko, and operating as Vintage Voyage Design. Perm, Russia-based designer of the vintage handcrafted typefaces West End (2015, spurred Western typeface family), Winter Holidays (2015), The Sugar Cane (2015, eroded signage script), Montana (2015), Canyons (2015), Forest Tramp (2015), Heart of Gold (2015, a think inky brush), La Fa Salt (2015, a connected monoline script), Robinson (2015, handcrafted), Rise (2015, rough brush), Stout (2015, +Stout Roughen), Jack's Guitar (2015) and Bough (2015).

    Typefaces from 2016: Chameleon (rough brush), Les Paul (beatnik style), 1994 Fancy, The First Division (an elegant handcrafted Peignotian typeface family), The Aviator, Ocean Beach (weathered athletic lettering font), Fenway Script (baseball script), Fenway Sans, Octanis (display family in Sans, Slab, Serif, and Rounded Sans sub-styles), Compare (a vintage wedge serif typeface inspired by the mafia), Unchained (Western typeface), The Selvedger (signage script), Driver (a retro speed emulation typeface family), Pasternak Script.

    Typefaces from 2017: The Bartender (a 14-font vintage typeface family with some letterpress styles), Easy Rider (a layered road movie brush script font), The New America (penmanship script), Ace of Spades (grungy), Cavalcade (a layered serif typeface inspired by American and European typography of early 20th century, from movie posters to design of alcohol bottles like Martini, Cinzano and Campari), Old Standard (sans, script), Season Times (Sans+Script), Roadstar (a vintage speed emulation techno font).

    Typefaces from 2018: VVDS Pacifica (a hand-lettered bold signage script inspired by American branding typography from the end of the 20th century), Le Bonjour (a retro sans), The Voyage Culture (font duo), Afterglow (a didone), VVDS The Bimbo (circus fonts), Two Letter Monogram, Diamond Monogram, Circle Monogram, Circle Frames, Harbour (a free decorative blackletter, +Harbour Decor: 2017-2018), Sandwich (a large 3d beveled typeface family), The Telegraph (transitional newspaper type), Golden Horn (a layered vintage typeface).

    Typefaces from 2019: VVDS Organum (a decorative typeface for operas and phantasms), The Pretender (a package inspired by vintage American sign painting), VVDS Praliner (an all caps sans for display), Le Bonjour (Peignotian), Kristopher (a fancy serif), Nurnberg (an expressionist, modernized blacletter), The British Telegraph (based on vintage British headline type), Halau (a tiki font), Halau Serif, Sign Painter (a monoline Script, a layerable Sans, and two Decor ornamental styles, all based on Victorian era signs).

    Typefaces from 2020: The Ruby (a 56-font and icon collection), VVDS Minorica (a handrwritten collection in ten styles), VVDS Rashfield (in the soft serif genre), VVDS London Oatmeal (Sans, Script), VVDS Sunshine Bridge (a creamy brush script), VVDS Benigne Sans (a wide geometric sans), VVDS La Truffe (a bold decorative didone), VVDS Big Tickle (a handcrafted retro family).

    Typefaces from 2021: VVDS Clementia (a stylish condensed serif), Urbanchrome (an SVG letterpress emulation font), VV Neonica (a 12-style neon font family), Grodsky (a stylish 4-style antiqua), The Country Blues (a throwback to the fifties), Surfbird (a 30-style western family), VVS Nobleman (a stylish serif in four styles).

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

    Vision

    Russian designer of the hyper-experimental typeface Vision Division (2010). [Google] [More]  ⦿

    Visual Works
    [Krysztof Chuc]

    Polish designer of Neue Alte Grotesk (2019, for Latin, Greek and Cyrillic), which was inspired by classical Swiss sans styles and some 19th century German grotesks. [Google] [MyFonts] [More]  ⦿

    Vit A
    [Flëve Partners]

    [More]  ⦿

    Vit Abramov
    [Flëve]

    [More]  ⦿

    Vitaliy Tsygankov
    [Limo Studio]

    [MyFonts] [More]  ⦿

    Vitaly Glyph

    Moscow-based designer of Latin and Cyrillic, or purely Cyrillic, fonts. There is a list of Cyrillizations of existing fonts: Atreyu, LHF Bounce Script, Modeka, Turnpike, PL Barnum, Good Times Regular, Playful JNL (Jeff Levine), Armageda, Showcard Gothic, SF Comic Script, Jolly Good Sans Basic, Enemy (Shaivanalla Perumal), House Slant (House Industries), House Brush (House Industries), Komika Axis (Apostrophic Labs), Snickers (Mark Simonson), Grand Hotel (AOETI), Wisdom Script (Lost Type), Mission Script (Lost Type), Cylburn (Lost Type), House Script (House Industries), House Holiday Gothic (House Industries), LHF Branding Iron (Letterheadfonts), LHF Fancy Full (Letterheadfonts), LHF Firehouse (Letterheadfonts), American West (FontMesa), Champ Ultra (BA Graphics), PL Davison Americana (Monotype), Blenny (Dalton Maag), Bigfish (Floodfonts), Same Same, But Different (Hanoded), Enemy (Lost Type), Special Forces (Typodermic), Serpentine (URW++), Ritts Cursive (Eurotypo), Voga Medium (CD Type), Hermes 1943 (Lukas Krakora), Brand (Lian Types), Tasty (Hubert Jocham), Bullet Regular (House Industries), Filmotype Athens (Filmotype), Signika (Anna Giedrys), Art Department (Jeff Levine), Borg (David Sum, aka titusprod).

    Original fonts made ca. 2015: GF Deathmatch (a super-macho typeface), GF Ram (pixel font), GF Mario (video game font), GF Mario Two, GF Oversize, GF Magnifica, Deadpool, GF Enroll (letterpress emulation), GF Happy Elephant (comic book style), GF Standout (compressed titling sans), Snickers Super (after the logo for Snickers), GF Bitrika (condensed display sans), Skazka (cartoon font), Minnesota (digitized Hamilton wood type), Alumnus (soft blackletter), Terminator Genisys, Comanchero (+Bevel (beveling using four layers)), Viko, Police (octagonal, athletic lettering), Terminator (after the movie), Old Poster font family, Lic Plate RUS, Lic Plate CT, Taurus Gothic, Slant GP (like Zelek), Brick Game (like Tetris), System Message, System Pixel, Digital 16s (LED).

    Behance link. [Google] [More]  ⦿

    Vitaly Ilyasov

    Branding and graphic designer in Moscow, who has made some experimental typefaces. [Google] [More]  ⦿

    Vitaly Kuzmin

    Designer at ParaType of the free 4-weight typeface family PT Root. Intended for screen reading, interfaces, websites, as well as wayfinding systems, PT Root UI is a modern uniwidth sans serif whose individual character widths are constant across all weights. It covers Latin and Cyrillic. See also the free extension Retni Sans (2018-2019).

    In 2019, Vitaly Kuzmin and Alexandra Korolkova co-designed the free sans serif typeface Golos Text at Paratype. It was originally commissioned by Smena (AIC Group) for state and social service websites. [Google] [More]  ⦿

    Vitoldas Bachenas

    Lithuanian book and type designer. At Polygraphmash type design bureau, he created the unusual low-contrast serif family Bachenas (1963). The digital version was developed for ParaType in 2003 by Lyubov Kuznetsova. [Google] [MyFonts] [More]  ⦿

    Vitoria Neves
    [SevenType]

    [MyFonts] [More]  ⦿

    VL Gothic
    [Daisuke Suzuki]

    The free sans typefaces VL Gothic (2006) and VL PGothic (2006) can be found here. They cover Latin, Greek, Cyrillic and Japanese. These fonts originated from Wada Laboratory, University of Tokyo (1990-2003). Then they were manged in 2003-2004 by /efont/. In 2005-2007, M+ Font Project continued. From 2006 until 2007, the copyright rests with Project Vine and Daisuke Suzuki. [Google] [More]  ⦿

    Vlad Ayuev

    Moscow-based creator of the experimental Cyrillic typeface Velvet Moss (2014). [Google] [More]  ⦿

    Vlad Derkach

    Vladyslav Derkach is a Kiev, Ukraine-based type designer. His typefaces, listed chronologically:

    • 2014: The free Latin sans typeface Mono.
    • 2015: Pine (an all caps Latin sans), Luna 7.
    • 2016: The sans typeface Corner One (Latin and Cyrillic), Timber, the weathered typeface Mist, the geometric sans Grotte, and the poster sans typeface Lumber.
    • 2017: Pesto, Berry, Arson, Orchid.
    • 2018: Unttld, Arcane.
    • 2020: Woodstick.

    Graphicriver link. [Google] [More]  ⦿

    Vlad Martin

    Designer in Kirov, Russia, who imitated the old Slavic alphabet in his Cyrillic/latin creation generically named Poluustav (2013). He also made Gothic (2013, a German expressionist typeface in Latin and Cyrillic) and Devils Horns (2013).

    In 2014, he created the Latin / Cyrillic oriental simulation typeface Murakami (2014). [Google] [More]  ⦿

    Vlad Mikhailov

    During his studies at BHSAD in Moscow, Vlad Mikhailov created the chalky typeface Dura (2014, Cyrillic). [Google] [More]  ⦿

    Vlad Rudakov
    [Vladvertising Studio]

    [MyFonts] [More]  ⦿

    Vlad Viperov

    Russian designer in Volgograd (b. 1975) of Bambuchinnox (2013, a connect-the-dots typeface), Repivmanusc (2013), Viper78 (2012, free Latin display face), Argocksaz Viper 78 (2012, a monoline sans family), and Decor Viper78 (2012).

    In 2013, he created Decorissimant Viper 78, Tetraclericton and Gramoclericton.

    Typefaces from 2014: Mayuragifkas 222, Injancromvela, Nexarumpelstil, Rumpelstilnexz, Markofontina (necrocock style).

    In 2015, he made Arbycksazjan, Oxygetrompal, Kaplionixxaz and Bymberangiykas.

    Dafont link. [Google] [More]  ⦿

    Vlada Ruzhitskaya

    Designer of the Latin/Cyrillic printed script typeface Sweet Cherry (2009), which was part of her diploma work at the Moscow Department of Higher British Design School. [Google] [More]  ⦿

    VladB
    [Volodymyr Berla]

    Ukrainian designer of the creamy brush script Bushy (2019), the geometric poster sans typeface family Beginner (2019), the Peignotian sans family Novia (2019) and the techno sans typeface Litto (2019).

    Typefaces from 2020: Yaro (a minimalist geometric sans with 16 styles for Latin and Cyrillic).

    Typefaces from 2021: Incus (a 6-style squarish ink-trapped techno typeface), Urbancat (an 8-style monolinear geometric sans in which all curves are arcs of circles), Parus (a compressed geometric sans), Lokko (an 8-style techno typeface for Latin and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Vladimir

    Russian creator of Aqua (2010), a decorative rounded 3-d alphabet. [Google] [More]  ⦿

    Vladimir Alexandrowitsch Pavlikov

    Russian type designer and graphic artist (b. Kaluga, Russia, 1978) who won awards at Bukvaraz 2001 for Zentra and Quadrat Grotesk. He graduated from Kaluga Art School (1993) and Moscow Printing Institute (2000) and is based in Moscow. His typefaces:

    • Quadrat Grotesk (2001, ParaType), and Quadrat Grotesk New (ParaType), which is based on old Russian wooden types that were used for placard display composition at large sizes.
    • Flox (2000, ParaType) and Flox Rounded (2000, ParaType). Flex (2005) is a variation of Flox.
    • Smena (2006, ParaType). A 1940s advertising family originally designed in 1999-2001. Smena was awarded at the TypeArt (Moscow) type design competition in 2001.
    • The Cyrillic version of AdLib at ParaType in 1999. The original is by Freeman Craw, 1961, ATF.
    • The Pi font Zentra (2000). This typeface was a winner at the TDC2 2001 competition (Type Directors Club).
    • Dotage (2004, ParaType). A pixel family that features Shadow Left and Shadow Right sub-styles.
    • At Paratype, he did cyrillizations of fonts such as Ad Lib, FF Confidential, FF Dynamoe, FF Karton and FF OCR-F (with Tagir Safaev, 1999-2001).
    • The custom typeface Ruflex (2004).
    • In 2011, he co-designed Rationale One with Alexei Vanyashin and Olexa Volochay.
    • Lumiere (2012) is a custom typeface designed exclusively for Hollywood Reporter magazine's Russian edition. It was art-directed by Anton Aleynikov. It is based on The Font Bureau typeface Vonness Bold Compressed by David Berlow.

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

    Vladimir Alexenyevny

    Small (700) Cyrillic/Latin font archive. Direct access. [Google] [More]  ⦿

    Vladimir Belokon

    Graphic designer in Moscow, who created the Latin / Cyrillic typeface Russian Dolls (2012, free) and the sci-fi typeface Axis Modul (2012). [Google] [More]  ⦿

    Vladimir Egoshin
    [Vova Egoshin]

    [MyFonts] [More]  ⦿

    Vladimir Favorsky

    Russian graphic artist (1886-1964), who made some wwodcut type in the 1920s. Yuri Gordon created FaRer [1996; art deco typeface inspired by the work of Favorsky and Ivan Rerberg (1892-1957), especially by Favorsky's lettering of 1924 and by Rerberg's of 1935.] [Google] [More]  ⦿

    Vladimir Ilnitskiy
    [Value Studio]

    [More]  ⦿

    Vladimir Kolomeytsev

    As part of Kiosk Works (or: Playfaces Type foundry) in Moscow, Russia, Vladimir Kolomeytsev (Moscow) designed the experimental typeface Forma Bold (2019), influenced by Nebiolo's Forma. [Google] [More]  ⦿

    Vladimir Likh
    [Triangle & Cross]

    [MyFonts] [More]  ⦿

    Vladimir Likhachev

    Designer in Moscow who created the free circle-based typeface Okruglizm (2018) and Option Grotesque (2018: Option Light is free). [Google] [More]  ⦿

    Vladimir Lukashov

    Almaty, Kazakhstan-based designer of the Latin / Cyrillic constructivist typeface Nedelimoe (2017). Behance link. [Google] [More]  ⦿

    Vladimir Makhalov

    Russian creator of the octagonal typeface Hamburger (2008). [Google] [More]  ⦿

    Vladimir Melentshev

    Moscow-based designer of the vector format typeface Geometrical (2016). Behance link. [Google] [More]  ⦿

    Vladimir Platonov
    [Quba Type (was: Graphic Studio 33)]

    [MyFonts] [More]  ⦿

    Vladimir Rabdu

    Codesigner with Denis Masharov of the Latin/Cyrillic poster font Ruslan (or Rusland) Display (2011). This decorative typeface is in the poluustav style dating from the 16th century. Tenor Sans (2011) is a humanist sans. [Google] [More]  ⦿

    Vladimir Radibradovic

    Half Serb, half Croatian Vladimir Radibratovic studied architecture before falling in love with the visual arts as a student of painting and illustration at the Academy of Applied arts in Belgrade of two prominent calligraphers, Stjepan Fileki and Alexandar Dodig. He moved to Athens, Greece, to work as a calligrapher.

    At Parachute, in 2021, he released three calligraphic typefaces for Latin, Greek and Cyrillic, PF Rafskript (original design between 2000 and 2003), PF Signskript (for packaging and sign painting; originally done between 2000 and 2003) and PF Mediterra (unconnected; first designed between 2000 and 2003). [Google] [MyFonts] [More]  ⦿

    Vladimir Radibradovich

    Calligrapher and type designer who published three script typefaces at Parachute Fonts in 2020. The Parachute team added full support for Latin, Greek and Cyrillic: SignSkript, Mediterra, Rafskript. [Google] [More]  ⦿

    Vladimir Romanov

    Freelance Moscow-based type designer of Cyrillic fonts. Fonts include Macarena, Margit, Nestor (1999), and Newland (1999). [Google] [More]  ⦿

    Vladimir Sedykh

    Graphic designer in Saint Petersburg, Russia. He designed some fonts in 2010. The knitting font FFF-Knit_this_shit (2010) is free. [Google] [More]  ⦿

    Vladimir Sernov

    Russian designer of Prototype Cyrillic (2001, second prize at Type Art, Moscow, 2001). [Google] [More]  ⦿

    Vladimir Smirnov

    Russian designer of the postal code font Zipcode (2000). [Google] [More]  ⦿

    Vladimir Sorokopudov

    Co-designer with Alexandra Gophmann of the Cyrillic font Ruritania (2005), which can be found here. [Google] [More]  ⦿

    Vladimir Tomin
    [Spacejump]

    [More]  ⦿

    Vladimir Vendiktorich Yefimov

    Vladimir Yefimov (b. Moscow, 1949, d. Moscow, 2012) was the art director and a co-founder of ParaType, Ltd., Moscow (since 1992; before that, starting in 1988, it was called ParaGraph, and he had been staff designer there since its inception). He lectured on type design at the Stroganov Higher School of Arts and Crafts, Moscow (1995-96) and the Higher Academical School of Graphic Design, Moscow (1997-98). He worked at the type department of NPO Polygraphmas (1973-1991). He is the designer of many Cyrillic typefaces, and several Indian, Greek, and Hebrew typefaces, and author on typography and type design.

    His typefaces include Bitstream Kis Cyrillic, AdverGothic (1989, after Advertisers Gothic by Robert Wiebking from 1917), Futuris, Futura PT (1991, 22 styles in all, after Renner's famous 1927 design), Compact (1991, ParaGraph, based on Anons by Gennady Baryshnikov), Decor (1989, after a typeface by Gennady Baryshnikov), Zhikharev (1989, after a 1953 original by Igor Zhikharev), Arthur (1994, TypeMarket, based on Agfa Marigold by Arthur Baker, 1989), Fraktura (1987, a Latin Fraktur typeface based on Justus E. Walbaum's Walbaum Fraktur), PT Didona (1992), PT ITC True Grit (1997, a Cyrillic version of Michael Stacey's ITC True Grit from 1995), PT Octava (2000, earlier (1996) called Scriptura Russica, a family commissioned by the Russian Bible Society and based on Lectura, 1969, by Dick Dooijes and Stone Print, 1991, by Sumner Stone. Octava won the Grand Prix of the Golden Biennale in 1996), Standard Poster (1992, based on a design from 1986 at Polygraphmash, inspired in turn by the fat didone style of the Ossip Lehmann type foundry (St.Petersburg)), Mason Sans Cyrillic (2002, Paratype, extending the Mason Sans family of Barnbrook at Emigre (1992)), Petersburg (1992), PT Compact (1991), PT ITC Fat Face (1993, with the help of Gennady Baryshnikov), PT ITC Zapf Chancery (1993, with the help of Gennady Baryshnikov), PT ITC Flora (1993, with help from Emma Zakharova, an extension of Unger's 1989 font ITC Flora), PT Pragmatica (1989, with Alexander Tarbeev and later Isabella Chaeva), the Cyrillic version of ITC Avant Garde Gothic (Paratype, 1993), the Cyrillic version of ITC Charter (1999, called PT ITC Charter) and the Cyrillic version of Barnbrook's Mason. He oversaw the development of the PT Sans (Open Font Library link) and PT Serif superfamilies in 2010-2011. PT Serif was co-designed with Olga Umpeleva and Alexandra Korolkova.

    In 2012, Isabella Chaeva and Vladimir Yefimov created a Cyrillic version of Roundhand BT (1966, Matthew Carter) for ParaType. The typeface was posthumously released.

    Yefimov Serif (2014) is a contemporary serif face, with low contrast, squarish shapes of round glyphs and emphasized business-like nature. It is one of the last original typefaces by Vladimir Yefimov. The typeface was completed by Maria Selezeneva and released by ParaType in 2014. The companion typeface is Yefimov Sans (2015, by Alexandra Korolkova and Maria Selezeneva).

    Adam Twardoch's announcement of his death: Today, the co-founder of ParaType, prolific type designer and teacher Vladimir Yefimov has died in Moscow. Both his original typefaces and his masterful Cyrillic extensions of existing Latin typefaces were truly impressive. He even attempted multi-script extensions such as that of ITC Avant Garde. Among my favorite text typefaces (or actually, serif screen typefaces) is Vladimir's Octava. Matthew Carter praised Vladimir's Cyrillic version of ITC Charter, which I think is one of the finest Cyrillic alphabets ever designed. I was also very fond of Vladimir's Cyrillic extension of Kis, which John Hudson described as "one of his favourite Cyrillic text types as well as a remarkable exercise in historic imagination." Vladimir often collaborated with other designers, many of them were his former students. One of the last projects that he participated in was the monumental PT Sans (Open Font Library link, Github link) and PT Serif project. But he was not only dedicated, skillful and artistically refined---but also kind, generous, modest, warm and funny. I first met him in 1998 at the ATypI Lyon conference, and greatly enjoyed all the subsequent occasions that I could spend some time with him. It's been a great pleasure and a true privilege knowing him (a bit).

    Brief CV. At ATypI 2004 in Prague, he spoke about the origin and history of Cyrillic letters. At ATypI 2008 in St. Petersburg, he spoke about designing Latin/Cyrillic fonts.

    Obituary by Maxim Zhukov.

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

    Vladimir Volovich
    [CM-Super font package]

    [More]  ⦿

    Vladimir Vorobiev

    Vladimir Vorobiev (Pushkino, Russia) designed the gothic arch typeface Helma in 2015. [Google] [More]  ⦿

    Vladimir Yefimov: Obituary by Maxim Zhukov

    Maxim Zhukov's obituary was posted precisely 40 days after Yefimov's passing. I quote from that letter:

    The fortieth day of passing is widely observed in Russia, not only by the Orthodox faithful.

    Vladimir Venediktovich Yefimov, the pre-eminent Russian type designer and typographic expert, known to his friends as Volodya, or Jeff, died on the 23rd of February, at the age of 62.

    Vladimir was born in Moscow on May 6, 1949. He graduated from Moscow Printing Institute in 1973 with a major in graphic art and design. Vladimir began his career as a staff designer at the Type Design Department of the National Printing Research Institute (NIIPoligrafmash). His professional development was influenced by his senior fellow colleagues Mikhail Rovensky, Isay Slutsker, Lyubov' Kuznetsova, and Nikolay Kudryashov, all outstanding design professionals. From 1992 to 1998 Vladimir worked as a senior designer at ParaGraph International; in April 1998 he became one of the founders, and the art director, of ParaType, Inc.

    Since then Vladimir designed more than 60 type families (more than 200 type styles), of which many are now well known, without exaggeration, to any Cyrillic user. Among them are Pragmatica (1989), Adver Gothic (1989), Newton (1990), Petersburg, Didona (1992), Octava (1966), ITC Charter Cyrillic and Kis Cyrillic (1999).

    Vladimir's typefaces are widely recognized in the professional community world-wide for their superb quality. They won awards at many exhibitions and competitions, including the Certificate of Merit of the Academy of Graphic Design; the Grand Prix of the Golden Bee, Moscow International Biennial of Graphic Design; the Certificate of Design Excellence of the Type Directors Club, and others.

    Vladimir taught a course in the history of type design at a number of Moscow-based design schools: Stroganov State University of Industrial Art; Higher Academical School of Graphic Design, British Higher School of Art and Design.

    He authored, edited, and contributed to, many books on type design and typography, including a series "Great typefaces" (Book 1: The Beginnings. Moscow: ParaType, 2006; Book 2: The Serifs. Moscow: ParaType, 2007); Language Culture Type: International Type Design in the Age of Unicode, John D. Berry, ed. (New York: Graphis, 2002); Russian editions of Peter Karow's Font Technology: Description and Tools (Moscow, Mir Publishers, 2001), Erik Spiekermann's Über Schrift (Moscow: ParaType, 2005), Robert Bringhurst's The Elements of Typographic Style (Moscow: D. Aronov, Publisher, 2008), Jan Tschichold's The Form of the Book (Moscow: Art. Lebedev Studio, 2008).

    Vladimir's mastery of design, his talks at the international typographic fora, and his multiple, productive contacts with foreign colleagues, his profound and multi-faceted erudition, his irresistible charm and charisma, have secured the international recognition of the achievements of the Russian type design school. It is not least due to his efforts that the type design and production in Russia has been revived, and has caught up with the current international level.

    Vladimir was a full member of the Academy of Graphic Design (since 1995), and its Vice-President (since 2012), a member of the Association Typographique Internationale (since 1996), and a member of the Moscow Artist Union (since 1997).

    Vladimir's typefaces, his books, his gentle charm and his lovely smile will remain with us forever.

    Memory eternal. [Google] [More]  ⦿

    Vladimir Yudin

    Tver, Russia-based designer of the decorative Cyrillic steampunk typeface Pipeline (2018). [Google] [More]  ⦿

    Vladislav Lipovoj
    [Timeless Vlad]

    [More]  ⦿

    Vladislav V. Dorosh
    [Calmius Software]

    [More]  ⦿

    Vladislav Valentinovich Kuzmichev

    Kazakhstan designer of the Cyrillic fatface font Final, of the Cyrillic version of David Rakowski's Logger, and of the Cyrillic version of an ITC font by Martin Wait, now called Hrom. He also made OrdensVK (2002), Ograda, Pero (2001), Svoboda, Vladovskiy, Viza, Bulka, Burlak (2001), Brody, Bolid, Beresta (2001), Aktau. Here we can download Burlak (2001). [Google] [More]  ⦿

    Vladislav Zhuk

    Russian designer at Frog 1812 of Frog 1812 Sans (2021; with Dmitry Alekseev and Vsevolod Syzdykov). [Google] [MyFonts] [More]  ⦿

    Vladislav Zorin

    Zheleznogorsk, Russia-based designer of the free vector format techno font ZVX Xeno (2014). [Google] [More]  ⦿

    Vladlen Erium

    Russian designer of Somaton (2000, Paratype), an angular family that simulates old mechanics and Greek at the same time. In 2010, he made DJ Parade, a wide futuristic sans.

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

    Vladvertising Studio
    [Vlad Rudakov]

    Design studio in Toronto. Run by Vlad Rudakov (b. 1988, Russia), it started selling fonts in 2010 via MyFonts. Its first font is the Treefrog-genre typeface Reading Frequency (2010). In 2013, Vlad published the plump counterless typeface Donut.

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

    Vladyslav Boyko

    Warsaw, Poland-based co-designer, with Lesha Pushkarev, of the free Latin / Cyrillic display typeface Rimma Sans Bold (2021), that takes inspiration from concrete buildings and monumental architecture. Rimma Sans is rooted in the square grid and is named after Russian architect Rimma Aldonina. [Google] [More]  ⦿

    VM Studio

    Russian outfit. Some of their Cyrillic fonts, such as Blood Cyrillic (1996), are at other sites. [Google] [More]  ⦿

    Vmeluvdt Ubnvkhtpch

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

    VN Labs

    Russian-Vietnamese outfit that used to make some Cyrillic fonts from 1991-1993: CyrillicBrushMedium, CyrillicChancellor, CyrillicCompressedMedium, CyrillicCooper, CyrillicCooper, CyrillicGaramondItalic, CyrillicGoth, CyrillicGoth, CyrillicHeavy, CyrillicHelvetBold, CyrillicHelvetBoldItalic, CyrillicHelvetMedium, CyrillicHover, CyrillicOld, CyrillicOld, CyrillicRibbon, CyrillicTimesBold, CyrillicTimesBoldItalic, CyrillicTimesMedium. They also sell Vietnamese fonts. Oddly enough, it seems to be located in Laguna Hills, CA, now, and the fonts can no longer be found on their site. [Google] [More]  ⦿

    Vojin Maksimovic

    Raska, Serbia-based designer of the decorative caps typefaces Abeceda (2017) and Azbuka (2017) for Cyrillic. [Google] [More]  ⦿

    Vojtech Riha
    [Superior Type]

    [MyFonts] [More]  ⦿

    Volker Schnebel
    [Digital Type Company (DTC)]

    [MyFonts] [More]  ⦿

    Volodymyr Berla
    [VladB]

    [MyFonts] [More]  ⦿

    Volodymyr Kozlikin

    Creator of Ukrdings (2004). [Google] [More]  ⦿

    Vova Egoshin
    [Typemate]

    [More]  ⦿

    Vova Egoshin
    [Vladimir Egoshin]

    Vova Egoshin co-founded Typemate in Saint Petersburg, Russia, together with Natalya Yakimenko. In 2019, he set up Vova Egoshin.

    Typefaces from 2019: Choowee (a Latin / Cyrillic typeface with enough curves and body to be seen on children's book covers and in comics). [Google] [MyFonts] [More]  ⦿

    VP Pixel

    A versatile commercial typeface family created in 2017 by Croatian type designer Val Kalinic (VP Type) that emulates various pixel styles. It contains VP Pixel CRT, VP Pixel Dot, VP Pixel DotSparse, VP Pixel Hi Res, VP Pixel Simplified, VP Pixel Smooth, VP Pixel Smooth Outline, and VP Pixel Standard. Each font has about 700 glyphs and covers Latin, Greek and Cyrillic. [Google] [More]  ⦿

    VP Type (or: VP Pixel Fonts)
    [Val Kalinic]

    Type designer in Zagreb, Croatia, b. 1996, Zagreb, who is studying architecture and urban planning. Creator of the avant garde caps typeface Mauve (2012) and the pixel-based typeface family VP Pixel (2017; for Latin, Greek and Cyrillic). See also VP Pixel Pro (2019).

    In 2020, Val released Medieval Pixel VP, Technical Rounded VP, the 10-style squarish techno font family Technical Standard VP and Technical Stencil VP. Twitter link. Fontshop link. [Google] [MyFonts] [More]  ⦿

    Vremenno

    List of links to free Cyrillic fonts. [Google] [More]  ⦿

    Vsevolod Abramov

    Moscow-based designer of the free Latin / Cyrillic typeface Lena (2017). He also cyrillicized Ben Dalrymple's Geared Slab here. [Google] [More]  ⦿

    Vsevolod Kovtun

    Russian type designer who used to run the Russian foundry Litera (now seemingly gone?). With K. Prokofiev, he designed Amsterdam_vp (1999). He also designed DOMOSEDvk (1994-1998), Zanesennyj (1999), SetterVK-black (1999) and SetterVK-white (1999). Some of his fonts can be downloaded here. [Google] [More]  ⦿

    Vsevolod Syzdykov

    Russian designer at Frog 1812 of Frog 1812 Sans (2021; with Dmitry Alekseev and Vladislav Zhuk). [Google] [MyFonts] [More]  ⦿

    Vsevolod Vlasenko
    [Letterhead Studio VV Fonts]

    [MyFonts] [More]  ⦿

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

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

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

    In 2012, he made Times New Roman Sans Serif.

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

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

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

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

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

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

    Vuga Radulovic

    Serbia/Montenegro-based type designer who received a TypeArt 05 award for the display typeface Polie. Interview. [Google] [More]  ⦿

    Vukasin Delevic
    [Shin & Del]

    [More]  ⦿

    Vyacheslav Kolb

    Kiev, Ukraine-based designer of the constructivist Latin / Cyrillic typeface Artemovsck (2018) and the children's script typeface Zef (2018). [Google] [More]  ⦿

    Vyaz

    A Cyrillic style: Scribal Vyaz is a decorative style for book titles. Originated in Byzantine books in the 11th century, spread in Russia since late 14th century but flourished in Russia only in the 16th century. One of the major features is a mast ligature (stems of neighbouring letters comprise one stroke). Quite often neighbouring letters are placed one above another and have common strokes, or smaller letters are places inside bigger ones. As a result letters form a continuous ornate band. Vyaz is not easily translated from script to type due to numerous ligatures. Example. Wikipedia: Vyaz is a decorative style of Cyrillic calligraphy characterised by tall, condensed and interlocking letters forming a dense and continous band of text. The style originated in Byzantine (Greek) books in the 11th century, and is related to the style of Greek uncial lettering employed in Orthodox icons. It spread in Russia and flourished particularly in the 16th century. Three kinds of interlocking are typically found in vyaz lettering: stem ligation in which adjacent letters share a common stem, letters or parts of letters stacked vertically, and enclosure of smaller letters within larger ones. [Google] [More]  ⦿

    W. Besobrasow&Cie

    Printer in St. Petersburg, ca. 1870, who ran his own foundry. [Google] [More]  ⦿

    W. Chufarofsky

    Most of Chufarosky's fonts are here (browse around on that site). Designer with M. Slutsker of the Cyrillic fonts a_RomanusCaps, a_StamperCameoSpinDow (Arsenal, 1997), as well as AlgeriusNrCmDn, AlgeriusNrCmUp, AlgeriusNrDcCm, AlgeriusCmDc2Cmb, AlgeriusCmDgStr, AlgeriusCmFtz1, AlbionicTitulCmGrd and AlbionicTitulCmWb and many more. Chufarofsky was heavily involved in the Arsenal mega-collection of the early 1990s. Fonts by him in that collection include AAlbionicBW, AAlbionicNrOtl, AAlbionicTitulCm, AAlbionicTitulCmDn, AAlbionicTitulCmTw, AAlbionicTitulCmUp, AAlbionicTitulNrCm, AAlbionicTitulNrSh, AAlbionicTtlRgBt, AAlgerius, AAlgeriusCaps, AAlgeriusCapsNr, AAlgeriusCmFtz1, AAlgeriusNr, AAlgeriusNrCm, AAlgeriusNrCmDn, AAlgeriusNrCmUp, AAlgeriusNrDcCm, AAlgeriusOtl, AAlternaOtl, AAlternaSh, AAlternaTitul3D, AAlternaTitulBW, AAlternaTitulCmDnOtl, AAlternaTitulCmOtl, AAlternaTitulCmUpOtl, AAlternaTitulNrCm, AAntiqueGr, AAntiqueTitulDcFr, AAntiqueTitulGr, AAntiqueTitulTrCmDnOtl, AAntiqueTitulTrCmOtl, AAntiqueTitulTrCmUpOtl, AAntiqueTitulTradyCm, AAntiqueTrady, AAntiqueTradyNr, AAntiqueTtlTrdCmDn, AAntiqueTtlTrdCmUp, AAvanteBs, AAvanteBsExtraBold, AAvanteBsExtraBoldItalic, AAvanteBsItalic, AAvanteIntBold, AAvanteIntBoldItalic, AAvanteIntBook, AAvanteIntBookItalic, AAvanteLtDemiBold, AAvanteLtDemiBoldItalic, AAvanteLtLight, AAvanteLtLightItalic, AAvanteTckHeavy, AAvanteTckHeavyItalic, AAvanteTckMedium, AAvanteTckMediumItalic, AAvanteTitlerCpsLCBold, AAvanteTitlerCpsLCBoldItalic, AAvanteTitlerCpsLCLight, AAvanteTitlerCpsLCLightItalic, ABentTitul, ABentTitulCmDnNr, ABentTitulCmDnOtlNr, ABentTitulCmTwNr, ABentTitulCmUpNr, ABentTitulCmUpOtlNr, ABighausTitulCmDnOtl, ABighausTitulCmOtl, ABighausTitulCmUpOtl, ABighausTitulOtlDr, ABodoniNova, ABodoniNovaBold, ABodoniNovaBoldItalic, ABodoniNovaBrkBold, ABodoniNovaBrkBoldItalic, ABodoniNovaItalic, ABodoniNovaNr, ABodoniNovaNrBold, ABodoniNovaNrBoldItalic, ABodoniNovaNrItalic, ABodoniOrtoNrTtlCmDn, ABodoniOrtoNrTtlCmUp, ABodoniOrtoTitulBlack, ABodoniOrtoTitulNrBlack, ABodoniOrtoTitulSpDnBlack, ABodoniOrtoTitulSpUpBlack, ABosaNova, ABosaNovaBWBold, ABosaNovaBold, ABosaNovaCm, ABosaNovaCmBold, ABosaNovaCmDnOtl, ABosaNovaCmGr, ABosaNovaCmUpOtl, ABosaNovaDc2Fr, ABosaNovaDcFr, ABosaNovaOtlBold, ABosaNovaSh, ABosaNovaSl, ABragga, ABraggaDr, ABraggaOtl, ABraggaOtlSh, ABraggaStars, ABraggaStrip, ABraggaTitulDcFr, ABraggaTitulGr, ABraggaTitulMar, ABraggaTitulMarDn, ABraggaTitulMarUp, ABraggaTitulOtlDcFr, ABraggaTitulSpDn, ABraggaTitulSpUp, ABremen, ABremenBldOtl, ABremenBold, ABremenBoldItalic, ABremenCaps, ABremenCapsBold, ABremenCapsBoldItalic, ABremenCapsItalic, ABremenCapsNr, ABremenCapsNrBold, ABremenCapsNrBoldItalic, ABremenCapsNrItalic, ABremenCm, ABremenCm3D, ABremenCmObl, ABremenCmOtl, ABremenCmOtlObl, ABremenCmOtlRevObl, ABremenCmRevObl, ABremenDcFr, ABremenItalic, ABremenNr, ABremenNrBold, ABremenNrBoldItalic, ABremenNrItalic, ABremenSl, ABremenlCmOtl3DSh, ACampus, ACampus2OtlBold, ACampusBW, ACampusBWBold, ACampusBold, ACampusCaps, ACampusCapsBold, ACampusCapsNr, ACampusCmCorner, ACampusCmDn, ACampusCmOtlBold, ACampusCmUp, ACampusGrDcFr, ACampusGrav, ACampusGravBold, ACampusMarine, ACampusMarineDn, ACampusMarineUp, ACampusNr, ACampusOtl, ACampusOtl3DShad, ACampusOtlBold, ACampusOtlDcFr, ACampusOtlShBold, ACampusPrLying, ACampusPrspDnSh, ACampusSl, ACampusSpots, ACampusStrip, ACampusStripDn, ACampusStripUp, ACityNova, ACityNovaBold, ACityNovaBoldItalic, ACityNovaItalic, ACityNovaLt, ACityNovaLtItalic, ACityNovaOtlBold, ACityNovaTitulBWBold, ACityNovaTitulBWLt, ACityNovaTitulCmBold, ACityNovaTitulIntStr, ACityNovaTitulStars, ACityNovaTtD3StrCmb, ACityNovaTtD4StrCmb, ACityNovaTtlCmGr, ACityNovaTtlCmOtl, ACityNovaTtlCmSp, ACityNovaTtlCmSwLt, ACityNovaTtlCmTwLt, ACityNovaTtlShTwLt, ACityNovaTtlSpDnLt, ACityNovaTtlSpUpLt, AConceptoNrBold, AConceptoNrBoldItalic, AConceptoTitulGr, AConceptoTitulLdBk, AConceptoTitulLdBkSh, AConceptoTitulNrBW, AConceptoTitulNrCm, AConceptoTitulNrCmGr, AConceptoTitulNrLdGd, AConceptoTitulSpDnOtl, AConceptoTitulSpUpOtl, AConceptoTtlCmOtlDnNr, AConceptoTtlCmOtlUpNr, ACooperBlackCm, ACooperBlackCmDn, ACooperBlackCmObl, ACooperBlackCmTw, ACooperBlackCmUp, ACooperBlackOtl, ACooperBlackTiulBW, ACopperGothCapsBold, ACopperGothCmDnOtl, ACopperGothCmUpOtl, ACopperGothCpsExp, ACopperGothTitulBold, ACopperGothTitulSh, AFuturaRound, AFuturaRoundBold, AFuturaRoundBoldItalic, AFuturaRoundDemi, AFuturaRoundDemiItalic, AFuturaRoundItalic, AFuturica, AFuturicaBlack, AFuturicaBlackItalic, AFuturicaBook, AFuturicaBookItalic, AFuturicaBsBold, AFuturicaBsBoldItalic, AFuturicaBsLight, AFuturicaBsLightItalic, AFuturicaExtraBlack, AFuturicaExtraBlackItalic, AFuturicaExtraBold, AFuturicaExtraBoldItalic, AFuturicaItalic, AFuturicaLtSemiBold, AFuturicaLtSemiBoldItalic, AFuturicaLtThin, AFuturicaLtThinItalic, AFuturicaMedium, AFuturicaMediumItalic, AFuturicaNord, AFuturicaNordItalic, AGrotic, AGroticBold, AGroticBoldItalic, AGroticExtraBlack, AGroticExtraBlackItalic, AGroticExtraBold, AGroticExtraBoldItalic, AGroticItalic, AGroticLt, AGroticLtBold, AGroticLtBoldItalic, AGroticLtItalic, AGrotoCmOtlDn, AGrotoCmOtlUp, AHuxleyRough, AMachinaOrtoSht, AMachinaOrtoSpt, AModernoCaps, AModernoCapsItalic, ARubricaCnBold, ARubricaCnBoldItalic, ARubricaXtCn, ARubricaXtCnItalic, ASignboardTitulDrp, SimplerBU3DExtr, a_AlbionicTitulBrk-Bold, a_AlbionicTitulInfl-Bold, a_AlbionicTtlCmDc1Cmb-Bold, a_AlbionicTtlCmDc2Cmb-Bold, a_AlgeriusBlw, a_AlgeriusBrk, a_AlgeriusCmDc1Cmb, a_AlgeriusCmDc2Cmb, a_AlgeriusRough, a_AlternaBrk, a_AlternaCmDc1Cb, a_AlternaCmDc2Cb, a_AlternaCmDc3Cb, a_AlternaCmDc4Cb, a_AlternaSw, a_AlternaTitulCmDvBk, a_AntiqueTradyBrk, a_AntiqueTradyTtlB&W, a_AntiqueTrdCmDc1Cb, a_AntiqueTrdCmDc2Cb, a_AntiqueTrdCmDc3Cb, a_Assuan-Bold, a_Assuan, a_AssuanBrk-Bold, a_AssuanBrk, a_AssuanNr-Bold, a_AssuanNr, a_AssuanOtl, a_AssuanTitul3DUp-Bold, a_AssuanTitulB&W-Bold, a_AssuanTitulCm, a_AssuanTitulCm1St, a_AssuanTitulCmBrk, a_AssuanTitulCmFr, a_AssuanTitulCmOtl, a_AvanteCmGrdStr-Bold, a_AvanteCpsLCBrk-Bold, a_AvanteCpsLCBrk-Light, a_AvanteCpsLCBrkHll, a_AvanteOtl-Heavy, a_AvanteTitul2Otl-Heavy, a_AvanteTitulB&W-Heavy, a_AvanteTitulCm-Bold, a_AvanteTitulCmFsh, a_AvanteTitulCmFshOtl, a_AvanteTitulCmOtl-Bold, a_AvanteTitulGr-Heavy, a_AvanteTitulInline, a_AvanteTitulStr-Heavy, a_BentTitulBrk, a_BentTitulCmNr, a_BentTitulCmOtlNr, a_BentTitulDcFr, a_BentTitulNr, a_BentTitulOtl, a_BentTitulRoughNr, a_BighausTitul-ExtraBold, a_BighausTitul3D, a_BighausTitulB&W, a_BighausTitulBrk-ExtraBold, a_BighausTitulBrkHll, a_BighausTitulCm, a_BighausTitulCmGr, a_BighausTitulOtl, a_BodoniOrtoNrTtlCm, a_BodoniOrtoTitulSh-Black, a_BosaNovaCmOtl, a_BosaNovaCpsBrk, a_BosaNovaGdStr-Bold, a_BraggaTitul, a_ConceptoTitulBrOtl, a_ConceptoTitulBroken, a_ConceptoTitulNrFy, a_ConceptoTitulNrWv, a_ConceptoTitulOtl, a_ConceptoTtlCmBr, a_ConceptoTtlCmOtlNr, a_CooperBlack, a_CooperBlackNr, a_CooperBlackRg, a_CopperGothCm, a_CopperGothCmOtl, a_CopperGothDcFr-Bold, a_CopperGothSl, a_CopperGothTitul3D, a_CopperGothTitulB&W-Bold, a_EmpirialBrk, a_GroticRoghXBlack, a_GroticRough-Bold, a_GroticRoughObl-Bold, a_GroticSh-Bold-Italic, a_GroticSh-Bold, a_GroticTitulB&WHv, a_GroticTitulCmB&WHv, a_GroticTitulCmOtlHv, a_GroticTitulCmSwHv, a_GroticTitulGrHv, a_GroticTitulHvCm, a_GroticTitulOtlHv, a_GroticTitulShHv, a_Groto, a_GrotoB&W, a_GrotoCm, a_GrotoCmGr, a_GrotoCmOtl, a_GrotoGr, a_GrotoOtl, a_GrotoSh, a_GrotoStrGr, a_HuxleyRough-Bold, a_JasperCaps-Bold, a_JasperCapsNr-Bold, a_JasperCapsOtlNr, a_JasperCapsSh, a_LatinoTitulBr, a_LatinoTitulPlDc, a_MachinaNova3DSh, a_MachinaNovaBrk, a_MachinaNovaDrp-Regular, a_MachinaNovaStDc, a_MachinaNovaStarD-Bold, a_MachinaOrtoCaps-Bold, a_MachinaOrtoCaps, a_MachinaOrtoCmSw, a_MachinaOrtoDgStr, a_MachinaOrtoSls-Bold, a_MachinaOrtoSls, a_ModernoOtl3DSh, a_MonumentoTtlDcCm, a_MonumentoTtlNrCmSw-Bold, a_MonumentoTtlNrDcCm, a_SimplerE3D, a_SimplerStrs, a_StamperBrk.

    Most of the Chufarovsky-Slutsker typefaces are at Arsenal, and were digitizations of earlier Western typefaces. An example would be Avant Garde Gothic Book Cyrillic (1970, Herb Lubalin and Tom Carnase, digitized in 1997). [Google] [More]  ⦿

    Wanderer

    Designer of the Latin/Cyrillic Asian simulation font China. Could this be Oleg Martos? [Google] [More]  ⦿

    Wannatype (was: Typic)
    [Ekke Wolf]

    Austrian type designer (b. 1972) who published with URW, but started his own type Vienna-basedfoundry, Ekke Wolf, which became Typic some time later, and most recently, Wannatype.

    Creator of Atlantic Sans and Atlantic Serif, both legible informal families, done in 2003 at URW++. There is also the grunge typeface Atlantic Sea Washed.

    Ekke designed the informal hand-drawn sans typeface Barack in 2012 at URW, to pay homage to Barack Obama. In 2017, after Trump's election, Ekke's nostalgia for better times and a decent past president shone through in Barack Pro.

    In 2013, Wolf designed Liebelei Pro Italic, and wrote: The typeface Liebelei has its roots back in 1932, when Vienna-based painter Rudolf Vogl created the poster for a movie called Liebelei after the popular play by Arthur Schnitzler. Only the title letters existed of that typeface. I loved the letters from first sight and proceeded by adventurously interpreting the missing characters.

    In 2015, he continued his nostalgic tour of Vienna with Calafati Pro (a connected cursive font named after magician Basilio Calafati (1800-1878) who worked in the Wiener Prater), Runde Wien (a rounded sans typeface family, including unicase styles), and Wien Pro (a vintage sans family withy Oblique, Superoblique and Unicase subfamilies).

    Typefaces from 2017 include Ermis Pro.

    Typefaces from 2019: Funny Toons (a rounded cartoon family by Ekke Wolf and Alexander Bobrov), ZAP (an all-caps monospaced and (almost) monolined typeface family).

    Typefaces from 2021: Convey (by Gabriele Lenz).

    Typefaces from 2022: Franzi (a 20-style neutral sans with large x-height that covers Latin, Greek, Cyrillic and phonetic IPA).

    Klingspor link. You Work For Them link. [Google] [MyFonts] [More]  ⦿

    Warez Portal Kiev

    Ukrainian font archive. [Google] [More]  ⦿

    WART: Waseda Archive of Russian Text

    Russian font set and Cyrillic archive, by Waseda University's Yoshimasa Tsuji. Good discussion of Microsoft codepage 1251, KOI8-R, ISO-8859-5. [Google] [More]  ⦿

    Wassily Kandinsky

    Russian painter and art theorist, 1866-1944. He taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. After that, he moved to France, where he died. Picture. [Google] [MyFonts] [More]  ⦿

    Wazu: Old Church Slavonic

    This page shows the subset of Cyrillic fonts that contain the unique, historical letters needed for Old Church Slavonic (OCS). Listed:

    • ALPHABETUM Unicode. Note: Excellent font for linguistics and ancient languages. Stats: Version 9.0 Feb 2007 has 5,515 glyphs and 220 kerning pairs. Support: Coptic, Cypriot Syllabary, Cyrillic (all or most of range), Gothic, Greek (including polytonic and Coptic characters), Glagolitic, Hebrew, IPA, Japanese (Hiragana and Katakana only), Latin, Linear B (ideograms and syllabary), Ogham, Old Italic, Old Persian cuneiform, Phoenician, Runic, Ugaritic, Private Use Area (Iberic&Celtiberic, additional Old Italic glyphs, Old&Medieval Latin).
    • Arial Unicode MS. Source: Comes with Microsoft's Office 2000, FrontPage 2000, Office XP and Publisher 2002. Stats: Version 1.00 has 50,377 glyphs and no kerning pairs Support: Arabic script (Arabic, Balochi, Persian, Shahmukhi, Urdu), Armenian, Cyrillic (all or most of range), Devanagari, Georgian (Mkhedruli and Asomtavruli), Greek (including polytonic and Coptic characters), Gurmukhi, Hebrew, IPA, Japanese (Hiragana, Katakana, Kanji/Han Ideographs), Kannada, Korean (Hangul only), Latin, Tamil, Thai, Vietnamese . OpenType Layout Tables: Arabic (default, Farsi, Urdu), Devanagari, Gujarati, Gurmukhi, Han Ideographic (default, Japanese, Chinese simplified, Chinese traditional), Kana (default, Japanese), Kannada, Korean, Tamil
    • CERG Chinese Font. Note: Also has significant coverage of mathematical characters. Source: Free download from the Hong Kong Research Grants Council. Stats: Version 3.01 has 36,701 glyphs and no kerning pairs Support: Chinese (Fantizi/Traditional Han Ideographs including Extension A), Cyrillic (all or most of range), Greek, Latin, Vietnamese. OpenType Layout Tables: Han Ideographic (default, Chinese/ZHT).
    • Chrysanthi Unicode. Source: Free download from EveryWitchWay's Chrysanthi Unicode page. Stats: Version 3.1 has 4,383 glyphs and no kerning pairs. Support: Armenian, Cyrillic (all or most of range), Greek (including polytonic), Hebrew, IPA, Japanese (Hiragana and Katakana only), Latin, Runic, Vietnamese.
    • Code2000. Source: Download this shareware font ($5) from James Kass's webpage. Stats: Version 1.16 has 61,864 glyphs and 239 kerning pairs. Support: Arabic script (Arabic, Baluchi, Kirghiz, Persian, Shahmukhi, Sindhi, Uighur, Urdu, Uzbek), Armenian, Bengali, Braille, Canadian Syllabics (all syllabaries, all characters), Cherokee, Chinese (Bopomofo only, including Extended), Cirth, Coptic, Cyrillic (all or most of range), Devanagari, Ethiopic (including supplement and extended blocks), Ewellic, Georgian (Mkhedruli and Asomtavruli), Greek (including polytonic and Coptic characters), Gujarati, Gurmukhi, Hebrew, IPA, Japanese (Hiragana, Katakana, Kanji/Han Ideographs including Extension A), Klingon, Korean (Hangul only), Lao, Latin, Limbu, Mongolian, N'Ko, Ogham, Phaistos, Runic, Syriac, Tamil, Telugu, Tengwar, Thaana, Thai, Tifinagh, Vietnamese, Yi. OpenType Layout Tables: Arabic, Armenian, Bengali, Buhid, Cyrillic, Devanagari, Gujarati, Gurmukhi, Han Ideographic, Hangul, Hangul Jamo, Hebrew, Khmer, Korean, Lao, Latin, Malayalam, Mongolian, Myanmar, N'Ko, Tamil, Telugu, Thai.
    • DejaVu Sans. Source: Free download from DejaVu project on SourceForge. Stats: Version 2.10 has 3,932 glyphs and 2,558 kerning pairs. Support: Arabic script (Arabic, Persian), Armenian, Braille, Cyrillic (all or most of range), Greek (including polytonic and Coptic characters), IPA, Latin, Vietnamese. OpenType Layout Tables: default, Arabic, Armenian, Cyrillic (default, Macedonian, Serbian), Greek, Hebrew, Lao, Latin (default, Dinka).
    • Dilyana. Source: Free download from R.M.Cleminson. Stats: Version 1.00 2005 has 346 glyphs and no kerning pairs. Support: Glagolitic, Cyrillic (OCS).
    • Enigmatic Unicode. Source: Free download from Darren Rigby's "Objets Dart" site. Stats: Version 2.0 has 1,096 glyphs and 2 kerning pairs. Support: Cyrillic (all or most of range), Greek (including Coptic characters), IPA, Latin.
    • Everson Mono Unicode. Source: Shareware from Everson Mono. Stats: Version 4.1.3 2003-02-13 has 4,899 glyphs and no kerning pairs. Support: Armenian, Canadian Syllabics (all syllabaries, all characters), Cherokee, Cyrillic (all or most of range), Georgian (Mkhedruli and Asomtavruli), Greek (including polytonic and Coptic characters), Hebrew, Japanese (Hiragana and Katakana only), Latin, Ogham, Runic, Vietnamese.
    • Free Serif. Source: Free download from Savannah. Stats: Version 1.52 has 3,914 glyphs and no kerning pairs. Support: Bengali, Cyrillic (all or most of range), Ethiopic, Greek (including polytonic), Hebrew, IPA, Latin, Japanese (Hiragana and Katakana only), Malayalam, Tamil, Thaana, Vietnamese. OpenType Layout Tables: default, Bengali, Latin, Malayalam (traditional), Tamil.
    • Hindsight Unicode. Source: Free download from the History/Hindsight page of Darren Rigby's "Objets Dart" site. Stats: Version 1.00 January 2001 has 2,894 glyphs and no kerning pairs. Support: Armenian, Cyrillic (all or most of range), Greek (including polytonic and Coptic characters), Hebrew, IPA, Latin, Vietnamese.
    • Kliment Std. Source: Free download from the fonts page of the Repertorium of Old Bulgarian Literature and Letters. Stats: Version 1.005 (2005) has 1,199 glyphs and 3 kerning pairs. Support: CyrOCS, Greek, Latin (including many extended/additional letters and diacritics).
    • Lazov. Source: Free download from the fonts page of the Repertorium of Old Bulgarian Literature and Letters. Stats: Version 1.00 (December 20, 2005) has 813 glyphs and no kerning pairs. Support: Cyrillic (OCS), Latin.
    • LeedsUni. Source: Free download from Alec McAllister's home page. Stats: Version 001.000 has 2,343 glyphs and no kerning pairs. Support: Cyrillic (all or most of range), Greek (including polytonic and Coptic characters), IPA, Latin (including many extended/additional letters and diacritics), Runic, Vietnamese, Private Use Area (Medieval Latin).
    • Lucida Bright. Source: Provided with various products including Sun's free Java Software Development Kit version 1.4.2. Stats: Version 1.10 JAVA has 1,402 glyphs and no kerning pairs. Support: Cyrillic (all or most of range), Greek (including Coptic characters), Latin.
    • Lucida Sans. Source: Provided with various products including Sun's free Java Software Development Kit version 1.4.2. Stats: Version 1.20 has 2,929 glyphs and no kerning pairs. Support: Cyrillic (all or most of range), Devanagari, Greek (including Coptic characters), Hebrew, IPA, Latin. OpenType Layout Tables: Devanagari.
    • Lucida Sans Typewriter. Source: Provided with various products including Sun's free Java Software Development Kit version 1.4.2. Stats: Version 1.10 JAVA has 1,376 glyphs and no kerning pairs. Support: Cyrillic (all or most of range), Greek (including Coptic characters), Hebrew, Latin.
    • Lucida Sans Unicode. Source: Comes with Microsoft's Windows XP and Windows 2000. Stats: Version 2.00 has 1,776 glyphs and no kerning pairs. Support: Cyrillic (Russian plus other Slavic and non-Slavic languages), Greek, Hebrew, IPA, Latin.
    • Menaion. Source: Free download from the fonts page of the Repertorium of Old Bulgarian Literature and Letters. Stats: Version 2.01 (September 2004) has 968 glyphs and 639 kerning pairs. Support: Cyrillic (OCS), Latin. OpenType Layout Tables: Latin.
    • Menaion Medieval. Source: Free download from the fonts page of the Repertorium of Old Bulgarian Literature and Letters. Stats: Version 2.10 (December 20, 2005) has 974 glyphs and 696 kerning pairs. Support: Cyrillic (OCS), Latin. OpenType Layout Tables: Latin.
    • Microsoft Sans Serif (1997). Source: Supplied with Windows XP SP2 (service pack 2). Older versions were supplied with Windows XP and Windows 2000. Stats: Version 1.41 has 2,257 glyphs and no kerning pairs. Support: Arabic script (Arabic, Ajami, Azeri, Balochi, Berber, Brahui, Kazakh, Kirghiz Kurdish, Lahnda, Jawi, Pashto, Persian, Shahmukhi, Sindhi, Uighur, Urdu, Uzbek), Cyrillic (all or most of range), Greek (including polytonic and Coptic characters), Hebrew, Latin (basic and beyond), Thai, Vietnamese. OpenType Layout Tables: Arabic (default, MAR).
    • Roman Unicode. Source: Free download from EveryWitchWay's Roman Unicode page. Stats: Version 3.0 has 3,923 glyphs and no kerning pairs. Support: Armenian, Cyrillic (all or most of range), Greek, Hebrew, Japanese (Hiragana and Katakana only), Latin, Vietnamese.
    • Staroslavenski Unicode. Source: Free download from . In the "Fonts for Windows" section click on the link that say "round and angular glagolitic font, created by dr. Emil Hersak". Stats: Version (Unicode) has 219 glyphs and 92 kerning pairs. Support: Cyrillic (OCS), Latin.
    • Tahoma. Source: Comes with Microsoft's Windows XP and Windows 2000. Stats: Version 3.14 has 2,034 glyphs and 674 kerning pairs. Support: Arabic script (Arabic, Ajami, Azeri, Balochi, Berber, Brahui, Kazakh, Kirghiz Kurdish, Lahnda, Jawi, Pashto, Persian, Shahmukhi, Sindhi, Uighur, Urdu, Uzbek), Cyrillic (Russian plus other Slavic and non-Slavic languages), Greek (including polytonic), Hebrew, Latin, Thai, Vietnamese. OpenType Layout Tables: Arabic.
    • Thryomanes. Source: Free download from Herman Miller's language page. Stats: Version 1.2 (Macromedia Fontographer 4.1 9/15/2003) has 1,689 glyphs and 2 kerning pairs. Support: Cyrillic (all or most of range), Greek, IPA, Latin, Vietnamese.
    • TITUS Cyberbit Basic. Source: Free download (after submitting a form) from TITUS. Stats: Version 3.0 (2000) has 9,779 glyphs and no kerning pairs. Support: Armenian, Cyrillic (all or most of range), Ethiopic, Georgian (Mkhedruli and Asomtavruli), Greek (including polytonic and Coptic characters), Hebrew, IPA, Japanese (Hiragana and Katakana only), Latin, Ogham, Runic, Thaana, Vietnamese.
    • Titus Cyrillic. Source: Part of the free TITUS WordCruncher font package download available from TITUS (after submitting a form). Stats: Version (blank) has 261 glyphs and no kerning pairs. Support: Cyrillic (OCS), Latin.
    • Torquemada Starved Unicode. Source: Free download from the Torturer/Torquemada page of Darren Rigby's "Objets Dart" site. Stats: Version 1 has 979 glyphs and no kerning pairs. Support: Cyrillic (all or most of range), Greek (including Coptic characters), Latin.
    • TransCyrillicU. Source: Professional font available for purchase from Linguist's Software. Support: Cyrillic (all or most of range), Latin.
    [Google] [More]  ⦿

    WDC Fonts
    [Eugen Sudak]

    Type foundry based in Kheminitsky, Ukraine, and run by Eugen Sudak, a Ukrainian type designer. At WDC Fonts, Uegen created the Venetian serif typeface Stiana (2013, with Anna Raven), based on models by Nicholas Jenson and William Morris. Stiana covers Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

    We Gonna Rock

    Saint Petersburg, Russia-based creator of some graffiti, and a graffiti-inspired Cyrillic font, Sasha Ken (2014). [Google] [More]  ⦿

    Webcorp.ru

    Small Russian archive. [Google] [More]  ⦿

    Weidmüller

    A corporate URW studio sans family published in 2012. The six-font family sells for over 4000 dollars and covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. [Google] [More]  ⦿

    Welkya

    Free Cyrillic font collections (Hebar, Welkya). [Google] [More]  ⦿

    Wen Quan Yi
    [Qianqian Fang]

    WenQuanYi Zen Hei is a huge unicode-compatible Chinese/Korean/Japanese/Latin (CJK) truetype font, available for free under the GNU license. From the web page: The WenQuanYi Zen Hei font is a Chinese (or CJK) outline font with Hei Ti style (a sans-serif style) Hanzi glyphs. This font is developed for general purpose use of Chinese for formating, printing and on-screen display. The non-Hanzi glyphs, including Latin, extended Latin, kana etc were merged from cmunss.ttf from the CM-Unicode project, and mplus-1p-medium.ttf from the M+ project. The embedded WenQuanYi bitmap song fonts were developed by WenQuanYi contributors and Qianqian Fang based on the bitmap fonts by firefly.
    WenQuanYi Zen Hei contains arguably the largest number of Chinese Hanzi glyphs of all known open-source outline Chinese fonts: it has 20194 Hanzi glyphs covering 97% of the Unicode CJK Unified Ideographics. This font provides full coverage to the required code points for zh_cn, zh_sg, zh_tw, zh_hk and zh_mo locales. The total vector glyphs in this font is over 35000 including Latin characters, Japanese kanas, hanguls and symbols from many other languages.
    Developers:

    • Qianqian Fang: Developer for online and off-line stroke decomposition software, server-side scripts and database, software for vector glyph generation, font creation and version control, all the spline Hanzi glyphs, document and tutorial contributors and release manager. Incredibly, Qianqian Fang holds a Ph.D. in biomedical engineering from Dartmouth (2004) and is now a full-time biomedical imaging researcher at the Massachusetts General Hospital.
    • Ailantian: key developer for vector Chinese glyphs stroke decomposition.
    • Haitao Han, "twang467", and Qing Lei: key developers for vector Chinese glyphs stroke decomposition.
    Links: Chinese version, English version, Sourceforge project, Development site, User forum, Screenshot gallery, Firefly bitmap font, Qianqian Fang homepage, Chinese National Standard. Incredibly, Qianqian Fang holds a Ph.D. in biomedical engineering from Dartmouth (2004) and is now a full-time biomedical imaging researcher at the Massachusetts General Hospital.

    Zen Hei download link. [Google] [More]  ⦿

    WenQuanYi Zen Hei
    [Qianqian Fang]

    WenQuanYi Zen Hei is a huge unicode-compatible Chinese/Korean/Japanese/Latin (CJK) truetype font, available for free under the Gnu license. From the web page: The WenQuanYi Zen Hei font is a Chinese (or CJK) outline font with Hei Ti style (a sans-serif style) Hanzi glyphs. This font is developed for general purpose use of Chinese for formating, printing and on-screen display. The non-Hanzi glyphs, including Latin, extended Latin, kana etc were merged from cmunss.ttf from the CM-Unicode project, and mplus-1p-medium.ttf from the M+ project. The embedded WenQuanYi bitmap song fonts were developed by WenQuanYi contributors and Qianqian Fang based on the bitmap fonts by firefly.
    WenQuanYi Zen Hei contains arguably the largest number of Chinese Hanzi glyphs of all known open-source outline Chinese fonts: it has 20194 Hanzi glyphs covering 97% of the Unicode CJK Unified Ideographics. This font provides full coverage to the required code points for zh_cn, zh_sg, zh_tw, zh_hk and zh_mo locales. The total vector glyphs in this font is over 35000 including Latin characters, Japanese kanas, hanguls and symbols from many other languages.
    Developers:

    • Qianqian Fang: Developer for online and off-line stroke decomposition software, server-side scripts and database, software for vector glyph generation, font creation and version control, all the spline Hanzi glyphs, document and tutorial contributors and release manager. Incredibly, Qianqian Fang holds a Ph.D. in biomedical engineering from Dartmouth (2004) and is now a full-time biomedical imaging researcher at the Massachusetts General Hospital.
    • Ailantian: key developer for vector Chinese glyphs stroke decomposition.
    • Haitao Han, "twang467", and Qing Lei: key developers for vector Chinese glyphs stroke decomposition.
    Links: Chinese version, English version, Sourceforge project, Development site, User forum, Screenshot gallery, Firefly bitmap font, Qianqian Fang homepage, Chinese National Standard. Incredibly, Qianqian Fang holds a Ph.D. in biomedical engineering from Dartmouth (2004) and is now a full-time biomedical imaging researcher at the Massachusetts General Hospital. [Google] [More]  ⦿

    Werner Schulze

    Type designer, b. Dessau, 1937. After studies at Fachschule für angewandte Kunst, Berlin, he became graphic designer. At Typoart, the East German foundry, he published the art nouveau typeface Eckmann (1961), a phototype created after the original by Otto Eckmann. Still at Typoart, he published the Timeless family (think Times Roman). Timeless is now available from Elsner & Flake, from URW++, and from Ralph Unger (as Korpus Serif Pro, 2021). Finally, he also made Garamond No. 4 Cyrillic (now a URW typeface) and Prillwitz Antiqua (1971-1987, with Albert Kapr). [Google] [More]  ⦿

    Why Not Type

    Russian foundry, est. 2010. [Google] [MyFonts] [More]  ⦿

    Wilhelm Eckert

    Wilhelm Eckert's Masters thesis typeface Weitalic (2014) at the HAWK Hochschule für angewandte Wissenschaft und Kunst in Hildesheim, Germany, is advertized as a humanist grotesk for corporate use. It has quirky angles and shapes that render classification of this sans family difficult. Weitalic comes in four styles and covers all European languages, including Cyrillic and Greek.

    In 2015, Eckert set up the Willem Eckert type foundry.

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

    Will Rawson

    Manchester, UK-based designer. In 2011, he created a Cyrillic typeface, Chernobyl, that was modeled after a Latin one. The idea was to commemorate the Chernobyl accident from 1986. [Google] [More]  ⦿

    Will Software
    [Rainer Will]

    Rainer Will Softwareentwicklung (Schöffengrund, Germany) developed many school and cursive writing fonts, ca. 1996-2005. They sell their fonts in 10 to 30-font packages, such as handwriting, Altdeutsche schrift, Barcodes, Schulschriften (school fonts). There are also East-European, Cyrillic, Greek, Thai and IPA fonts. Here, we have demos for various programs, and if you download and unzip them, you will discover these alphading fonts: FT-BruchTon, FT-HochztsGlocken, KD-Kaesweich, HB-Kegel, HB-Kegelhardt, HB-Kegelweich, KD-Pilz, KD-Singvogel, and these dingbat fonts: NW-BioBlatt (leaves, 1998), Pikto5 (1997). The caps font IN-Barock is here. Will Software made hundreds of fonts, including the handwriting fonts Jeff and HW Stone (1998), KL-Antiqua2, Old-London, Fraktur. A fuller list, by type:

    • Alte Schriften (blackletter): Black-For, Chevalin, Civotype, Fleisman, Fraktur, German-Script, Germen-Type, Ghiollier, Goethe, Gotik, Gudenberg, Heinrich-Kanzlei, IN-Barock, IN-Barock2, IN-Barock3, IN-Florentine, IN-Fraktur2, IN-Fraktur3, IN-Geometric, IN-Gothic, IN-Gothic1880, IN-Innsbruck, IN-Jugendstil, IN-Jugendstil1920, IN-Jugendstil3, IN-LaRose, IN-OldGothic, IN-Schwabach, IN-Silhouette, IN-Uncial1475, IN-Walbot1, IN-Woodcut, IN-Woodcut2, KL-Antiqua1, KL-Antiqua2, KL-CapitalisQuadrata, KL-Fraktur1, KL-Gotic1, KL-Gotic2, KL-HKursive1, KL-HKursive2, KL-HKursive3, KL-Karolin1, KL-MKursive1, KL-MKursive2, KL-Rotunda1, KL-Rotunda2, KL-Unziale1, KL-Unziale2, Limpach, Luthan, MA-BastardAnglicana, MA-Bastarda1, MA-Bastarda3, MA-Current, MA-FereTextura, MA-GKursiv1, MA-GKursiv2, MA-Gotbuch, MA-Gotic, MA-InsularMinuscule, MA-Kurrent1814, MA-KurrentBarock, MA-Minuskel1, MA-Minuskel2, MA-Schreibschrift1900, MA-Schreibschrift1900Bold, MA-Urkunde, Meriage, Offenbacher, Old-Germen, Old-London, Petjes, Ried, Romand-Genealogie, Schlei, Schwaben, Suetterlin-2, Theudan, Verdn17, Verdn2, Walbot, Zentar-Bold, Zentar.
    • Alte Schriften 2 (more blackletter fonts): AD-AlbrechtDuerer, AD-AltSchwaben, AD-Ballo, AD-Barock1720, AD-Blackpool, AD-British, AD-Burgundy, AD-CalligraphicAntiqua, AD-CalligraphicFraktur, AD-CalligraphicTextura, AD-Celtic, AD-CelticCollege, AD-Coburg1, AD-Coburg2, AD-Diagoth, AD-Dublin900, AD-Fraktur2, AD-GothQuad, AD-Gothisch, AD-Gotisch2, AD-Gotisch3, AD-GottfriedLeibniz, AD-Handschrift1, AD-Handschrift2, AD-Handschrift3, AD-Handschrift4, AD-Handschrift5, AD-Handschrift6, AD-Hans, AD-Herefordshire, AD-Hohenstein, AD-Huddersfield, AD-Italia1650, AD-Kaiser, AD-Odin, AD-Offenbach, AD-OldEire, AD-Patron, AD-Ponti, AD-Renaissance, AD-Sachsen, AD-Stebark, AD-Thingvellir, AD-Toulouse, AD-Turin, AD-University, AD-Wallgau, AD-Zierfraktur, Col-Barock, Col-Barock3, Col-Celtic, Col-Florentine, Col-Fraktur3, Col-Geometric, Col-Gothic, Col-Gothic1880, Col-Jugendstil, Col-Jugendstil1920, Col-Jugendstil3, Col-LaRose, Col-OldGothic, Col-Uncial1475, Col-Woodcut, Col-Woodcut2, Suetterlin-2, Suetterlin-4, Suetterlin.
    • Familienschriften (fonts for kids, alphadings, dingbats): ArGlas3, ArSchatten7, Calos-Glas1, EffOutline, FT-Amor, FT-BruchGlas, FT-BruchTon, FT-GluecksKaefer, FT-GluecksKlee, FT-GluecksSchwein, FT-HerzanHerz, FT-Herzhardt, FT-Herzkranz, FT-Herzweich, FT-HochztsGlocken, FT-HochztsHerz, FT-Karneval, FT-Klecks, FT-Osterhase, FT-Sektknall, FT-Trommler, FT-WeihnachtsBaum, FT-WeihnachtsMann, Fingprnt-1, HB-Brfmarkclassic, HB-Brfmarkhardt, HB-Dart, HB-Fackel, HB-Fechten, HB-Filmklappe, HB-FrzBlattHardt, HB-Kegel, HB-Kegelhardt, HB-Lorbeerkranz, HB-Palette, JD-Halali, JD-Kerbe, JD-Pille, JD-Popblut, JD-Pseudokinese, JD-Pseudonippon, JD-Pseudoruski, JD-Schachhardt, JD-Timur, JD-Wurm, KD-Blumehardt, KD-Esel, KD-Franja, KD-Handschrift, KD-Kaeshardt, KD-Kaesmaus, KD-Katze, KD-LKW, KD-Lamm, KD-Nacht, KD-Obstigel, KD-Schneemann, KD-Zwerg, Revont-Kraeusel1, Teje.
    • Festtagsschriften (holiday-themed fonts): FT-Amor, FT-Babyputte, FT-Babystorch, FT-Bethand, FT-Betkind, FT-BruchGlas, FT-BruchTon, FT-Clownslachen, FT-Cupido, FT-Eihardt, FT-Eikranz, FT-Eiweich, FT-Familienbande, FT-Getreide, FT-GluecksKaefer, FT-GluecksKlee, FT-GluecksSchwein, FT-HerzanHerz, FT-Herzbruch, FT-Herzhardt, FT-Herzkranz, FT-Herzweich, FT-HochztsGlocken, FT-HochztsHardt, FT-HochztsHerz, FT-HochztsJubilaeum, FT-HochztsKranz, FT-HochztsPaar, FT-Hufeisen, FT-Kalenderblatt, FT-Kanzel, FT-Karneval, FT-Kerze, FT-Klecks, FT-Kreuzlamm, FT-Menora, FT-Osterhase, FT-Schule, FT-Sektknall, FT-Spiegelfrau, FT-Spiegelmann, FT-Spukhaus, FT-Torte, FT-Trauerzweig, FT-Trommler, FT-Trompeter, FT-WeihnachtsBaum, FT-WeihnachtsMann, FT-ZuckrtuetHardt, FT-ZuckrtuetWeich, FTH-Fische, FTH-Jungfrau, FTH-Krebs, FTH-Loewe, FTH-Schuetze, FTH-Skorpion, FTH-Steinbock, FTH-Stier, FTH-Waage, FTH-Wassermann, FTH-Widder, FTH-Zwillinge, HB-Fackel, HB-Lorbeerkranz, HW-Handpic, KD-Blumebundt, KD-Lamm, KD-Nacht, KD-Schneemann, SP-Blume, SP-DRHH2, SP-DRHH3, SP-Face, WinterNacht.
    • Geheimschriften (codes or secret fonts): SP-DRBYQuadrat, SP-DRHHQuadrat, SR-Abstrakt1, SR-Abstrakt2, SR-Abstrakt3, SR-Abstrakt4, SR-Abstrakt5, SR-Abstrakt6, SR-Astro, SR-Blatt, SR-Braille, SR-Chaos, SR-ChaosBold, SR-ChaosItalic, SR-Finger, SR-Geheim0, SR-Gesicht, SR-Labyrinth, SR-LabyrinthBold, SR-Marine, SR-Morse, SR-Puzzle, SR-Radierer, SR-Rune, SR-Schatten, SR-Schiffe, SR-Schloss, SR-Schmetterling, SR-Skyline, SR-Strichmann, SR-Tiere, SR-Wabe, SR-WabeBold, SR-Wappen.
    • Handschriften: A1, A2, A3, Agnieszka, F1, F10, F2, F3, F4, F5, F6, F7, F9, Ghiollier, Goethe, HW-Agilo, HW-Andrew, HW-Brouet, HW-Burg, HW-Clay, HW-Emmi, HW-Feliks, HW-Foster, HW-Guga, HW-Handpic, HW-Harico, HW-Hilly, HW-Jeff, HW-Jesco1, HW-Jesco3, HW-Jesco7, HW-Josh, HW-Marbo, HW-Pablo, HW-Phil, HW-PizPaz, HW-Renate, HW-Sarx, HW-Schneid, HW-Stone, HW-Tolomeo, HW-Tommi, HW-Turandot, HW-Veneto, HW-Vincent, HW-Vogel, HW-Volker, Handwrites-CTrac, KD-Handschrift, KG-Hand, Limpach, Offenbacher, Ried, Rw2, Schlei, Teje, Uggy, Verdn17, Verdn2.
    • Handschriften 2: HW-Alec, HW-Allan, HW-Armand, HW-Bjarne, HW-Brian, HW-Carlo, HW-Cathy, HW-Claude, HW-Danielle, HW-Dario, HW-Eleanor, HW-Enrico, HW-Estelle, HW-Fabio, HW-Federico, HW-Giorgio, HW-Giovanna, HW-Giuliano, HW-Hakon, HW-Harald, HW-Jacques, HW-Jaro, HW-Jelena, HW-Juri, HW-Justine, HW-Kuno, HW-Larissa, HW-Laslo, HW-Lennart, HW-Lizzy, HW-Luitpold, HW-Manolo, HW-Marcello, HW-Murielle, HW-Nadine, HW-Paolo, HW-Pascal, HW-Pietro, HW-Roxana, HW-Thery, HW-Valerian, HW-Vittorio, HW-Wally, HW-Wilma.
    • Schulschriften (lined fonts, didactic fonts): DR-HH, DR-HH1, DR-HH1Bold, DR-HH2, DR-HH2Bold, DR-HH3, DR-HH3Bold, DR-HH4, DR-HH4Bold, DR-HHBold, DR-HHEl, DR-HHEl1, DR-HHEl1Bold, DR-HHEl2, DR-HHEl2Bold, DR-HHEl2Italic, DR-HHEl3, DR-HHEl3Bold, DR-HHEl3Italic, DR-HHEl4, DR-HHEl4Bold, DR-HHEl4Italic, DR-HHElBold, DR-HHElItalic, DR-HHOL, LA-El, LA-El1, LA-El1Bold, LA-El2, LA-El2Bold, LA-El3, LA-El3Bold, LA-El4, LA-El4Bold, LA-ElBold, LA-ElOL, MA-Schreibschrift1900, Offenbacher, SAS-1, SAS-2, SAS-2Bold, SAS-3, SAS-3Bold, SAS-4, SAS-4Bold, SAS-Bold, SAS-OL, SAS, SP-AnlEssen, SP-AnlHaus, SP-AnlTiere, SP-Anlaut1, SP-Anlaut2, SP-Anlaut8, SP-Anlaut9, SP-Bear, SP-Blume, SP-DRHH1, SP-DRHH2, SP-DRHH3, SP-DRHHKubik, SP-DRHHQuadrat, SP-Dino, SP-Face, SP-VAKubik, SP-VAQuadrat, SPAnlMensch, Suetterlin-2, Suetterlin-4, Suetterlin, VA-Ansi, VA-Pe, VA-Pe1, VA-Pe1Bold, VA-Pe2, VA-Pe2Bold, VA-Pe3, VA-Pe3Bold, VA-Pe4, VA-Pe4Bold, VA-PeA, VA-PeABold, VA-PeBold, VA-PeOL.
    [Google] [More]  ⦿

    Willie Liu
    [Yu Li Liu]

    [More]  ⦿

    Wojciech Kalinowski

    Wojciech Kalinowski was born in Wroclaw, Poland in 1969. Since 1990, he has designed and carved inscriptions and reliefs in stone, commemorative plaques, and gravestones. He also deals with computer graphics, digital typeface and logo design, and wallpapers. His typefaces are free and are available from the Open Font Library (or OFL).

    He created New Shape (2012, organic sans), Medieval Sharp (2011, blackletter), which originated 15 years earlier from a stone inscription alphabet. Consola Mono (2011, OFL) is a monoline monospaced sans for Latin, Greek and Cyrillic. Classica (2011) is a classical roman family. SquareAntiqua (2011, OFL) is a wavy informal face. Cursive Sans and Cursive Serif (ca. 1997, OFL) and Modern Antiqua (1997, OFL) are also based on stone inscriptions. Klaudia and Berenika (2011) is a Celtic style family. Roundstyle (2011) is a sans display family. Modern Antiqua (2011) has a strange name for a font that is neither modern (i.e., didone) nor Antiqua---it is an organic, or liquid, typeface with the gothic flavor of Jonathan Barnbrook's types.

    Kalinowski started the NovaCut typeface ca. 1986. Around that time, he developed Gothica, which served as a model for Nova Cut. Gothica was released in 2020.

    The uncial typeface family Celtica was released in 2020 and can be downloaded at Open Font Library.

    He created the free monospaced "programming" fonts NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare, and NovaMono (2011, OFL): NovaMono is the monospace font especially created for programming, text editors and for terminal-use. NovaMono contains a large number of symbols, operators and other miscellaneous signs. NovaMono is a missing part of NovaFont Family. Nova Font is the family of six fonts. There are: NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim and NovaSquare. Now, the seventh part of the family - NovaMono. The following Unicode ranges are supported:

    • Controls and Basic Latin - 0000-007F (all)
    • Latin 1 - 0080-00FF (all)
    • Latin A - 0100-017F (all)
    • Latin B - 0192, 01C4-01CC, 01E4, 01E5, 01F1-01F3, 01FA-021B, 0237
    • Spacing Modifier Letters - 02C6, 02C7, 02C8, 02D8-02DD, 0308
    • Greek and Coptic - 0370-03FF (all)
    • Latin Extended Additional - 1E0C-1E0F, 1E24, 1E25, 1E36, 1E37, 1E80-1E89, 1E9E, 1EF2-1EF5, 1EF8, 1EF9
    • General Punctuation - 2000-206F (all)
    • Superscripts and Subscripts - 2070-209F (all)
    • Currency Symbols - 20A0-20CF (all)
    • Letterlike Symbols - 2100-214F (all)
    • Number Forms - 2150-218F (all)
    • Arrows - 2190-21FF (all)
    • Mathematical Operators - 2200-22FF (all)
    • Miscellaneous Technical - 2302, 2308-230B, 2310, 2319, 231C-2323, 2329, 232A, 2335, 239B-23AE, 23B0-23B7
    • Geometric Shapes - 25A0, 25A1, 25A3, 25AA-25CC, 25CF-25D7, 25E0-25FF
    • Miscellaneous Symbols and Arrows - 2B12-2B1C, 2B1F-2B28, 2B2C-2B2F, 2B53, 2B54

    In 2020, he published Simply Sans.

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

    Wolf Böse
    [Neue Deutsche (was: Der Graph)]

    [MyFonts] [More]  ⦿

    Wolfgang Kirsch
    [University of Cologne]

    [More]  ⦿

    Wolfy Design
    [Milan Vuckovic]

    Krusevac, Serbia-based type designer who made Lazar 1389 (2019: a free condensed Cyrillic typeface) and Acid Squares (2011). [Google] [MyFonts] [More]  ⦿

    Wonderfont

    Russian font download site. [Google] [More]  ⦿

    Woodoor Kind

    Saint Petersburg, Russia-based designer of several Latin display typefaces in 2014. [Google] [More]  ⦿

    WOweb

    Russian font archive, 3300 fonts strong. Most fonts have just Latin or mixed Latin and Cyrillic character sets. [Google] [More]  ⦿

    Würth

    A corporate geometric URW studio sans family published in 2012. The three-font family sells for over 5000 dollars and covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. URW++ is authorized by the Adolf Würth GmbH & Co. KG to deliver the new corporate fonts to external service providers of Würth on the basis of royalty payment. Würth covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Arabic, and Hebrew. [Google] [More]  ⦿

    www.uncia.de (was: uncifonts)
    [Tobias Benjamin Köhler]

    Tobias Benjamin Köhler at the Technical University of Dresden created these typefaces:

    • The (free) Eurofurence family, which combines Kabel and Malvern (a metafont by P. Damian Cugley, 1991-1994, for which Koehler made a truetype version in 2000). The page offered Malvern as well, but all the fonts seem to have gone now.
    • The monospace screen-lookalike font Monofur (2000) (with Greek and Cyrillic thrown in as well). Julio Biason offers Monofur Powerline at Github.
    • The avant-garde sans serif Unifur.
    • The Pagebox symbols font (2000).
    • BahnhofsFutura (2002). A modification of Paul Renner's Futura as used in West-German railway stations from 1950-1980: Deutsche Bundesbahn.
    [Google] [More]  ⦿

    Xander Ink

    Ekaterinburg, Russia-based designer of these Latin and./or Cyrillic typeface: Blodorn, Accidental (slavonic style), Inked People (tattoo font) and Simple Things, all in 2017. [Google] [More]  ⦿

    Xaotik
    [Anton Izorkin]

    Russian graphic designer (b. 1983) who lives in Cheboksary. He created the futuristic typeface UniTek (2005), Simplistic Font (2008, futuristic sans), the experimental Concept Remixed (2009), the organic condensed typeface Unnipolis (2008), and the organic techno font Reactor (2007; see also Reaktor (2008)). Font2u link. [Google] [More]  ⦿

    Xenia Kadochnikova

    Creator of the old Slavonic typeface Frontistes Uos (2004), which can be found here. [Google] [More]  ⦿

    Xenia Malkova

    Moscow-based designer of the Latin / Cyrillic didone typeface Botntan (2019). [Google] [More]  ⦿

    xfont.ru

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

    xfonts

    Go to xfonts at this Debian site, and get fonts and font software for use under X Windows, including fonts for Japanese, Greek, Chinese, Korean, and Cyrillic. [Google] [More]  ⦿

    XITS
    [Khaled Hosny]

    XITS (2011) is a free Times-like typeface for mathematical and scientific publishing, based on STIX fonts. The main mission of XITS is to provide a version of STIX fonts enriched with the OpenType MATH extension, making it suitable for high quality mathematic typesetting with OpenType MATH capable layout systems, like MS Office 2007 and the new TeX engines XeTeX and LuaTeX. This free OFL package was developed by Khaled Hosny. Inside the fonts, we read Copyright (c) 2001-2010 by the STI Pub Companies, consisting of the American Chemical Society, the American Institute of Physics, the American Mathematical Society, the American Physical Society, Elsevier, Inc., and The Institute of Electrical and Electronic Engineers, Inc. Portions copyright (c) 1998-2003 by MicroPress, Inc. Portions copyright (c) 1990 by Elsevier, Inc. It covers Latin, Greek and Cyrillic. Inside the fonts, we read Copyright (c) 2001-2010 by the STI Pub Companies, consisting of the American Chemical Society, the American Institute of Physics, the American Mathematical Society, the American Physical Society, Elsevier, Inc., and The Institute of Electrical and Electronic Engineers, Inc. Portions copyright (c) 1998-2003 by MicroPress, Inc. Portions copyright (c) 1990 by Elsevier, Inc.

    Coen Hoffman and Khaled Hosny have also worked on XITS. In 2019, Daniel Benjamin Miller added DBM XITS which is XITS with its OS/2 properties modified to match Adobe Times. CTAN link. Free download. Open Font Library link. Github link. [Google] [More]  ⦿

    Xorx
    [Yuri Tscherban]

    Russian designers of XorxWindyCyr and XorxToothyCyr (2000), two Cyrillic/Latin display fonts. The typographer is Yuri Tscherban. [Google] [More]  ⦿

    Y. Warhol

    Russian type designer of Beast Impact, BeastVersusButtercrumb (after an original Latin version by UddiUddi), SaffronCyr and SpreadTall. His company is called Beast Inside Arts. [Google] [More]  ⦿

    Yakut

    Arial and Times versions for Yakut. [Google] [More]  ⦿

    Yan Kittsel

    Web designer Yan Kittsel (Saint Petersburg) created Runur (2013, an alchemic rune-like typeface). [Google] [More]  ⦿

    Yan Snim
    [Znakomesto]

    [MyFonts] [More]  ⦿

    Yana Adamovic

    Illustrator, cartoonist and comic book author, who, during her studies in Belgrade, designed the calligraphic old church Slavonic / Latin typeface Sokolar (2013). This delicate and readable typeface was her Master's graduation project. [Google] [More]  ⦿

    Yana Dumcheva

    Artist, graphic designer and illustrator in Saint Petersburg, Russia. In 2017, graphic and icon designer. In 2017, she published various sets of icons and added a Cyrillic to Aoife Mooney's slab serif typeface Biorhyme. [Google] [More]  ⦿

    Yana Etkina

    Moscow-based designer of the modular Latin display typeface Hexagon (2014). [Google] [More]  ⦿

    Yana Klink

    Russian illustrator and type designer who graduated from the Institute of Architecture. Creator of the calligraphic script typeface ALS Klinkopis (2008, Art Lebedev Studio; jointly with Irina Smirnova). [Google] [MyFonts] [More]  ⦿

    Yana Kutyina

    Moscow-based designer of Nerpa (2014, with Andrey Belogonov), Kalimantan (2012-2013, an award-winning calligraphic face), Powerview (2010, with Andrey Belogonov), a scanbat font with players like Bush, Castro, Gorbachev, Osama Bin-Laden, and Reagan. Napoleon (2012) is a fat slab typeface that won an award at Modern Cyrillic 2014. Vataga (2008, Paratype, with Andrey Belogonov) is a really funny dingbat face. Lustre (2008, Paratype) is a dingbat with women's accessories.

    In 2016, Yana Kutyina and Andrey Belogonov cooperated with Valery Golyzhenkov on the great vintage typeface system Triplet in Erste, Zweite and Dritte styles. Triplet won an award at Granshan 2017.

    Paratype link. Her name is also spelled Anna Kutina. Behance link. [Google] [MyFonts] [More]  ⦿

    Yana Lebedeva

    Saint Petersburg, Russia-based designer of the experimental typefaces Medik (2016, inspired by glasses) and Mons (2016, circle-themed). [Google] [More]  ⦿

    Yana Mukhareva

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

    Yana Nosenko

    Russian type designer based in Moscow. In 2017, she published the (great!) constructivist typeface family Mayak at Paratype. For Mayak, she was assisted by Dmitry Kirsanov. Behance link. [Google] [MyFonts] [More]  ⦿

    Yana Plustcheva

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

    Yanah Maurakh

    Designer of the Latin/Cyrillic hookish typeface Echoes (2009), which was part of his diploma work at the Moscow Department of Higher British Design School. [Google] [More]  ⦿

    Yanchen

    The rar file has the Decor family for Cyrillic, as made by ParaGraph, Atech and TeamAXis Corp. [Google] [More]  ⦿

    yaneczech

    Fontstructor who made Typix (2011, pixel face), Lewel (2011), and kasima (2011, inspired by Arabic kashida, including Latin and Cyrillic). [Google] [More]  ⦿

    Yanek Iontef
    [Fontef]

    [MyFonts] [More]  ⦿

    Yanko Tsvetkov

    Yanko Tsvetkov (b. Bulgaria) is a graphic designer in Valencia. He created the free Old Slavonic / Glagolitic style Cyrillic and Latin typeface Bulgaria Moderna V2 (2012; see also Bulgaria Moderna V2). He explains: The origins of most alphabets are often shrouded in mystery, it is almost impossible to know for sure how, by whom and when it was introduced. The Cyrillic alphabet is no exception. It carries the name of Saint Cyril, a Byzantine missionary send to Moravia by the Empreror with the task to consolidate Byzantine influence against the German clergy. His most frightening weapon was an alphabet, especially customized for the Slavic language---the Glagolitic, which he created himself. Even though The Cyrillic alphabet is named after Cyril, most scolars agree this is a sign of homage instead of acknowledgement of an authorship. The alphabet itself originated in the First Bulgarian Empire, which welcomed Cyril's students after his mission to Moravia failed. From Bulgaria, the alphabet spread to Serbia and later to other Slavic states such as Kievan Rus, the predecessor of the Russian Empire. During the ages, the alphabet got simplified and reformed several times and Russia's influence spread it as far as Mongolia.

    He also made Neoglagolitic Alpha (2010), another faux-modern version of the Glagolitic alphabet.

    Magmawave (2012) is a modular headline typeface. [Google] [More]  ⦿

    Yaroslav Samoilov
    [BraveBros]

    [More]  ⦿

    Yaroslava Lutsenko

    During her studies in Kiev, Ukraine, Yaroslava Lutsenko made the Cyrillic typeface Abetka (2016), which was inspired by Georgy Narbut's Abetka.

    In 2018, she added the experimental 3d typeface Newkrichevskiy. [Google] [More]  ⦿

    Yarvu

    Russian creator of FontStruct fonts in 2009: BUD Pixel (Cyrillic). [Google] [More]  ⦿

    Yarzhombeck Kunst Group
    [Dasha Yarzhambek]

    Dasha Yarzhambek (or Yarzhombeck) is a Russian type designer, who cofounded Daily Type with Yury Gordon, Yury Ostromentsky, Dmitry Jakovlev and Ilya Ruderman in 2005. Ogle his lettering here. [Google] [More]  ⦿

    Yatanski
    [Stefan Yatanski]

    Sofia, Bulgaria-based designer of some hexagonal Cyrillic typefaces in 2017. In 2020, he designed the chancery / cancellaresca script typeface Edelweiss. [Google] [MyFonts] [More]  ⦿

    Yauheni Bialiuha

    Yauheni Bialiuha (Re:Vision, Saint Petersburg, Russia) made an experimental counterless Latin font in 2010. Behance link. [Google] [More]  ⦿

    Yegor Kotenko

    Russian creator of QZ Teletype (2012, dot matrix face) and QZ Teletype II (2012). [Google] [More]  ⦿

    Yegor Nachinkin

    Designer of SBibSlav (2003), a Slavic Orthodox typeface (2000). See also here. [Google] [More]  ⦿

    Yehyeong Lee

    Type designer associated with Heumm Design in North Korea. Creator of HU Hand Serif (2020: with Haerin Lee and ByoungHeon Park), HU Green Tea (2021, with Haerin Lee), HU Crayon Doodles (2021, by SangHyeon Park, Yehyeong Lee and Jihye Lee), HU Basic Round (2021, a simple sans by Rumi Kim and Yehyeong Lee), HU Life Style (2021, a six-style display sans by Rumi Kim, Yehyeong Lee and Jihye Lee), HU Battery (2021: a sci-fi typeface by Haerin Lee, SangHyeon Park and Yehyeong Lee), and HU Ketchup (2021, with Haerin Lee: an informal supermarket typeface for Latin, Cyrillic and Greek), HU Mois (a handwriting typeface by Yehyeong Lee and Beopho Choi; Latin, Greek and Cyrillic). [Google] [MyFonts] [More]  ⦿

    Yelena Madyankina

    Moscow, Russia-based designer of the modular squarish 3d Cyrillic typeface Raketa (2015). Co-designer with Jovanny Lemonad of the free typeface Wes (2016), which is named after Wes Anderson. [Google] [More]  ⦿

    Yelena Zotikova

    Russian designer who won an award at Bukvaraz 2001 for "Made in China". [Google] [More]  ⦿

    Yevgeniy Anfalov
    [Kyiv Type Foundry]

    [More]  ⦿

    Yevgeniya Liubchyk

    During her studies in Lviv, Ukraine, Yevgeniya Liubchyk designed the painted letter typeface Pomegranate (2016, for Cyrillic). [Google] [More]  ⦿

    Yevgeny Evstigneev

    Graduate of Obninsk Franco-Russian Institute of Business Administration with a degree in Organizational Management, After moving to St. Petersburg in 2008, he worked as a designer. As a student at TypeType Education in 2016-2017, he designed the great perfectly spaced and balanced round sans typeface Circus. [Google] [More]  ⦿

    Yevhenii Melnychuk

    Kiev, Ukraine-based designer of Duim Font (2014), a semi-uncial Cyrillic trypeface. Behance link. [Google] [More]  ⦿

    Ylyaru Designer

    Voronezh, Russia-based designer of Artania (2013), a free techno Cyrillic typeface.

    Behance link. [Google] [More]  ⦿

    Yoan Villegente

    Bordeaux, France-based designer of Architectural Ground Plan (2015, a typeface based on architectural drawings), Alphabet Modulaire (2015, based on intersections of circles) and the beautiful geometric experimental Alphabet Cyrillique (2014). Behance link. [Google] [More]  ⦿

    Yoana Ivanova

    Sofia, Bulgaria-based designer of a wineglass-themed Cyrillic typeface in 2016. [Google] [More]  ⦿

    Yoichi Ozaki
    [Y.Oz Font]

    [More]  ⦿

    Yoursdesign (or: Oleg and Katja)
    [Oleg Agafonov]

    Tula, Russia-based design studio, whose owners (Oleg and Kate, or Oleg Agafonov and Katja Buzova) studied at British Higher School of Art and Design in Moscow (2012-2014) and Tula State University (2006-2010). In 2016, they created the handcrafted / crayon typeface I Am Berliner. They are now based in Berlin.

    Typefaces from 2017: YD Modernist (monospaced sans).

    Behence link for Oleg Agafonov. Behance link for Ekaterina Buzova. [Google] [More]  ⦿

    Y.Oz Font
    [Yoichi Ozaki]

    Yoichi Ozaki ran Y.Oz Vox. He designed H.OzFont, H.OzFontP, Y.OzFontKA, Y.OzFontKG, Y.OzFontNJ, Y.OzFontNL, Y.OzFontK, Y.OzFontM, YOzFont14s, YOzFont5x7d, YOzFontOTW, YOzFontOTWD, YOzFontOTWL, H.OzFontB, Y.OzFontUIB, Y.OzFontPB, Y.OzFontUI, Y.OzFont, Y.OzFontB, Y.OzFontP. These were highly interesting fonts, mostly consisting of handwritten or printed letters covering Latin, Greek, Cyrillic, most mathematical symbols, most standard dingbats, the chess pieces, kana, and kanji. They were all free. More recently, the fonts were grouped in packs: Pen-Ji (ballpoint pen font), Mouhitsu (brush in Gyosho, Gyosho Old Style and Kaisho styles), Eibun (Latin), Moga Gothic and Moga Mincho (based on the IPA fonts).

    Download site. [Google] [More]  ⦿

    YU fontovi Svilajnac001

    Defunct Serbian font archive that had these Yugoslavian fonts: ArialCirilicaBold, Bodoni-CirilBold, Franklin-GothicCirilHeavy, Garamond-Ciril, Helvetica-CirilNarrowBold, Helvetica-CirilNarrowBoldItalic, CBlippoItalic, CFuturNormal, Cir_Bodoni-Normal, CYRevueR, CyrillicTimes, CYSwissR, CYSwissB, CirTimesBld, CirTimes, Futura_Cyrillic_Black-Normal, MetodaCiril, MiroslavljevoY, Miroslavljevo, Mirosavljevo-Normal, MiroslavCirLight, OldSerbianDM, Studenica-Regular, YUAachenB, YUArnoldBckln, YUBitsAmerigoR, YUBaskervilB, YUBaskervilBI, YUBaskervilI, YUBaskervilR, YUBitsCharterI, YUBitsCharterK, YUBitsCharterKHollow, YUBitsCharterKI, YUBitsCharterR, YUBitsCooperK, YUBitsCooperKHollow, YUBenguiatB, YUBenguiatR, YUBlippoKHollow, YUBodoniB, YUBodoniBI, YUBodoniO, YUBodoniOI, YUBrushScriptI, YUBroadwayR, YUBroadwayRHollow, YUCheltenhamB, YUCheltenhamBI, YUCheltenhamI, YUCheltenhamR, YUClarendonB, YUClarendonR, YUCloisterK, YUCaslonOpnFcR, YUCoronetB, CourierPSMT, CourierPS-BoldMT, CourierPS-BoldItalicMT, CourierPS-ItalicMT, YUCenSchbookB, YUCenSchbookBI, YUCenSchbookI, YUCenSchbookR, YUDomCasualR, YUDutchBIHHollow, YUDutchB, YUDutchBHollow, YUDutchBI, YUDutchI, YUDutchR, YUErasB, YUErasK, YUErasKHollow, YUErasR, YUExoticBHollow, YUFrankGotB, YUFrankGotBI, YUFrankGotI, YUFrankGotR, YUFrizQuadrataB, YUFrizQuadrataR, YUFuturaB, YUFuturaCondM, YUFuturaExtraK, YUFuturaExtraKHollow, YUFuturaH, YUFuturaHI, YUFuturaLI, YUFuturaOI, YUGoudyB, YUGoudyI, YUGoudyR, YUGoudyExtraB, YUHoboR, YUITCAvantGGBHollow, YUITCBookmanD, YUITCBookmanDI, YUITCBookmanL, YUITCBookmanLI, YUITCGarCondO, YUITCGarCondOI, YUITCGaramondB, YUITCGaramondBI, YUITCGaramondO, YUITCGaramondOI, YUITCKorExtraB, YUITCKorExtraBI, YUITCKorI, YUITCKorR, YUITCZChancMI, YUKaufmannB, YUKaufmannR, YULetterGot12B, YULetterGot12BI, YULetterGot12I, YULetterGot12R, YuLHelvetica, YuLHelveticaBold, YULinoscriptR, YUMermaidR, YUMistralR, YUOptimaB, YUOptimaBHollow, YUOptimaBI, YUOptimaI, YUOptimaR, YUOratorR, YUPostAntiquaB, YUPostAntiquaR, YUParisianR, YUParkAvenueR, YUPicaR, YUPresntScrptR, YUPTBarnumR, YURevueR, YURevueRHollow, YUScriptR, YUSlateExtraB, YUSlateExtraBHollow, YUSlateMI, YUSouvenirB, YUSouvenirBI, YUSouvenirI, YUSouvenirR, YUSwissCompR, YUSwissCompRHollow, YuTimes.Italic, Helvetica, YuHelvetica, YURevueR, YUTimesNewRoman, YUTimesNewRomanBold, TimesYU, TimesYU, TimesYUBold, TimesYUBold-Italic, TimesYUItalic, YuTimes, YuTimes.Bold, YuTimes.BoldItalic, YuTimes.Italic, AmericanUncialCirilica, Arial-Cirilica, ArialCirilicaBold, ArialCirilicaBoldItalic, ArialCirilicaItalic, AristonCirilicaBoldItalic, AtletaCirilica, BahamasCirilica, BedrockCirilica, MemorandumCirilica, POLITIKANormal, Studenica-Regular, YUBlippoK, YUExoticB, YUExoticD, YUFuturaK, YUFuturaL, YUFuturaM, YUFuturaO, YUHandelGotR, YUITCAvantGGB, YUITCAvantGGD, YUITCAvantGGM, YUITCAvantGGO, YUITCBoltB, YUSlateB, YUSlateM, YUSwissECompR, YUSwissB, YUSwissBI, YUSwissI, YUSwissK, YuTimes, YuTimes.Bold. Many of the ones with YU in the name are from MiMac, Belgrade. [Google] [More]  ⦿

    Yu Li Liu
    [Willie Liu]

    Yu Li (Willie) Liu is a type designer at 3type in Shanghai. Holding a bachelor degree in Urban & Rural Planning, he is currently enrolled in the Media & Communication Design Program in TJDI (Tongji University College of Design and Innovation, China). He is the creator of Dinkie Bitmap, an experimental multi-script typeface that tests the legibility of Hanzi in extreme conditions.

    Designer of Dinkie Bitmap (2018-2020), a pixel typeface for Latin, Arabic, Hebrew, Cyrillic and Chinese.

    Award winner at 25 TDC in 2022 (with Xiaoyu Liu) for Hanyi YihexianJing. He writes: This typeface was not made by auto-tracing. On the contrary, designers extracted the features of about 100 characters from Qianlong's original calligraphy work. Then the team designed the rest of the 9000 characters. Qianlong's calligraphy was inspired by Wang Xizhi (303AD---361AD), one of China's greatest calligraphers. [Google] [More]  ⦿

    Yulia Brodskaya

    Russian-born graphic artist and illustrator, who is the author of some great typographic posters and designs. [Google] [More]  ⦿

    Yulia Chernova

    Moscow, Russia-based designer of the handcrafted Latin / Cyrillic typefaces Giraffe (2019) and Kishki (2019). [Google] [More]  ⦿

    Yulia Ivankovich

    Russian designer of the gouache brush font Odnom Nachertanii (2016) for Latin and Cyrillic. [Google] [More]  ⦿

    Yulia Malakhova

    Graphic designer in Moscow who created the Cyrillic typeface Manhole (2015). [Google] [More]  ⦿

    Yulia Samsonova

    Moscow-based creator of the octagonal typeface Gradient (2014). [Google] [More]  ⦿

    Yulia Tigina

    Moscow-based designer of the Latin, Cyrillic and Greek typeface family Flauto (2012). She explains: Flauto is a venetian serif typefamily with 56 typefaces for text and display setting. It is the second part of my diploma project in the Moscow State University of Printing Arts, the director of the project is Aleksandr Tarbeev. I have designed typefaces with optical compensations for the different sizes: there are 8 typefaces (Light, Light Italic, Book, Medium, SemiBold, Bold, ExtraBold, Black) for 7 ranges (6-7, 8-9, 10-13, 14-20, 21-35, 36-71, 72 pt). Flauto won an award at New Cyrillic 2012. [Google] [More]  ⦿

    Yuliana Morgun

    Russian type designer in the TypeType and Pinata teams. In 2017, Yuliana Morgun, Nadezhda Polomoshnova and the TypeType Team co-designed TT Knickerbockers Grotesk and TT Knickerbockers Script. They write: TT Knickerbockers Grotesk symbolizes the monumentality of New York expressed in both its traditional historic architecture and skyscrapers. Both typefaces are loaded with features: TT Knickerbockers Script consists of 967 characters and also contains a huge number of contextual alternatives and ligatures. For all lowercase and uppercase letters of basic Latin and Cyrillic alphabets we have drawn 236 swashes which, depending on the context, can appear both at the beginning and at the end of a letter. [Google] [MyFonts] [More]  ⦿

    Yuliana Mychko

    Moscow-based designer who created Font Gaudi (2013) at the British High School of Art and Design. [Google] [More]  ⦿

    Yuliya Dostoevskaya

    Graphic designer in Moscow who created a Cyrillic pixel typeface in 2016. [Google] [More]  ⦿

    Yuliya Shchukina

    Lviv, Ukraine-based designer of a Cyrillic Korean simulation typeface and the paper-fold typeface Origami in 2017. [Google] [More]  ⦿

    Yura Konstantinov

    Vladivostok-based creator of the expressive Logofaces and of the architecturally conceived Happy New Font in 2012.

    Behance link. [Google] [More]  ⦿

    Yuri A. Lyamin

    Designer of the font SkazkaForSerge, a Cyrillic version of Arnold Boecklin. He also made GothicRusMedium (1992). [Google] [More]  ⦿

    Yuri Frolov

    Russian designer at Paratype of Alien Alphabet (2007), quite experimental. ParaType sells this dingbat face. [Google] [MyFonts] [More]  ⦿

    Yuri Gherchuk

    Yuri Gherchuk, Ph.D. in Fine Arts, is an art historian and critic specializing in typography, book design, and illustration. He is the author of several books and many articles on graphics and book design, type, and environmental typographics. He lectures on the history of graphics and book design. Yuri Gherchuk is a member of the Art Critics and Art Historians Association, and of the Moscow Artists Union. Speaker at ATypI 2008 in St. Petersburg. [Google] [More]  ⦿

    Yuri Gordon
    [Letterhead Studio YG]

    [MyFonts] [More]  ⦿

    Yuri Gulitov

    Russian designer who won an award at Bukvaraz 2001 for Calligraphic. [Google] [More]  ⦿

    Yuri Mesr

    Moscow-based graphic designer who made TechnoSpot (2010). Home page. [Google] [More]  ⦿

    Yuri Tscherban
    [Xorx]

    [More]  ⦿

    Yuri Yarmola

    FontLab co-developer (in 1991), and font software guru. He lives and works in St Petersburg, Russia, as Vice President Research&Development of FontLab Ltd. At ATypI 2008 in St. Petersburg, he spoke about letter fitting in FontLab Studio, and about glyph metrics and kerning. He spoke again at ATypI 2009 in Mexico City, as well as at countless type tech meetings all over the world. Pic of Yarmola and Ted Harrison at ATypI 1998. Harrison is currently the President of FontLab, and Yarmola is Vice-President.

    At ATypI 2013 in Amsterdam, he introduced a new type design tool that should make the process lighter and smarter. Speaker at ATypI 2016 in Warsaw. [Google] [MyFonts] [More]  ⦿

    Yuri Zabavchik
    [Iste Fonts]

    [MyFonts] [More]  ⦿

    Yurij Slam

    Pyatigorsk, Russia-based designer of the bilined heart-themed typeface Happy Saint Valentine's Day (2011). [Google] [More]  ⦿

    Yuriy and Tatyana Krivoguz

    Creators of the free Latin / Greek / Cyrillic typeface Gostrus Type A (2015), which was created for use in technical documentation. [Google] [More]  ⦿

    Yuriy Markov

    Russian designer of Kompakt (1974). [Google] [More]  ⦿

    Yuriy Skomorokhov

    During his studies in Moscow, Yuriy Skomorokhov created a blackletter and an Old Slavonic typeface. [Google] [More]  ⦿

    Yury Fedorchenko

    Krasnodar, Russia-based designer. Behance link. He created a modular triangular alphabet in 2010. [Google] [More]  ⦿

    Yury Ostromentsky
    [OSTYPE]

    [MyFonts] [More]  ⦿

    Yury Veselov

    Moscow-based designer of these Latin / Cyrillic typefaces in 2017: Minton 52, Stardate (a trekkie font), Bowsprit (an angular display typeface), Ghost Dancer (a high contrast display typeface). In 2018, he designed Single Malt. In 2019, he added the display typeface Drongo. [Google] [More]  ⦿

    Y&Y

    Past foundry of Charles Bigelow, Kris Holmes, and Berthold Horn, which ceased operations near the start of the 21st century. They had the following font sets: Galilei, XY_Pic fonts (Nine ATM compatible fonts in Adobe Type 1 format for use with Ross Moore and Kristoffer Rose's XY Pic drawing package for TeX), Y&Y American Mathematical Society (AMS) fonts (Computer Modern, Euler), Y&Y European Modern (EM) fonts, Y&Y Lucida fonts (1996), LucidaBrightAstro, Lucida Bright Expert, LucidaConsole, Lucida Fixed Narrow, Lucida Greek, Lucida Latin, Lucida Sans Cyrillic and Latin 2, Lucida Sans Hebrew, Lucida Sans Linedraw, Lucida Sans School, Lucida Sans Unicode, Y&Y MathTime 1.1 fonts, Y&Y MathTime Plus fonts, Y&Y TeX Pi fonts, Alan Jeffrey Geometric Sans Serif Blackboard Bold, Ralph A. Smith Formal Script typeface (based on R. Hunter Middeleton), Jeremy Gibbons and Alan Jeffrey St. Mary's Road Symbolic Logic, Roland Waldi extension of LASY symbol --- version 2.0, APL (free), Crufty (free old typewriter font), Finger (free finger dingbats), MarVoSym (free).

    The Lucida collection (Lucida Blackletter, Lucida Bright, Lucida Bright Math, Lucida Calligraphy, Lucida Casual, Lucida Console, Lucida Fax (1985), Lucida Handwriting, Lucida Sans, Lucida Sans Typewriter, Lucida Typewriter, and Lucida Unicode) is being distributed by Ascender Corporation from 2005 onwards. There is also a dedicated commercial site, Lucida Fonts. [Google] [More]  ⦿

    Zachary Quinn Scheuren

    American graduate from the type design program at the University of Reading in 2010. His graduation work included the design of two typefaces, Souriya Chrieng and Luqule. He explains: Souriya Chrieng is a Khmer typeface in the traditional slanted chrieng style. It is the beginning of a Khmer type family which will include both mul and upright styles. Simple yet sturdy elegance makes it light on the page and easy to read. The names Souriya and Luqule (from lucule, a luminous spot on the sun) suggest a clarity and simplicity in form and function. Meant for continuous text, both typefaces are unobtrusive and capable of handling many language features. Luqule Regular will be included in Souriya for full support of Khmer, Extended Latin, and Cyrillic. Speaker at ATypI 2011 in Reykjavik on the topic of Khmer printing types. [Google] [More]  ⦿

    Zahar
    [Studio Dezygn]

    [More]  ⦿

    Zakhar Yaschin
    [FontaZY]

    [MyFonts] [More]  ⦿

    zaniah

    Three truetype fonts at this Russian site. [Google] [More]  ⦿

    zao4nik
    [Sergey Bykov]

    Krasnodar, Russia-based designer of the brush typefaces Tim (2016), Zao4nik No 3 (2016), and Zao4Nik (2016). In 2017, he created Script August 20 (+Cyrillic), Script August 10, Script August 8, Timofey (brush style), Monoline 01 and 02, Fast Brush, Direct Step 0.1 (squarish), Simple 0.1 (brush), Wednesday X, Evening Type, Panda 0.1 (thick brush script), Evening Rain Script, Summer Morning, Summer Evening, and Bakinskay (a connected signage script; Latin and Cyrillic).

    In 2018, he published Spring 2018, Cheese (SVG style, 3d), Orange Summer (a comic book font), Svetlanka (script), Svetlana, Range Summer Glitch, Turgeneva, Turgeneva Script and Free Brush. [Google] [More]  ⦿

    Zawgyi.net&Alpha Mandalay

    Makers of Zawgyi One (2005), a modification of Tahoma to cover Burmese / Latin / Greek / Cyrillic / Vietnamese / Thai. [Google] [More]  ⦿

    Zbyszek Czapnik

    Polish codesigner with Lukasz Kulakowski of the free prismatic multiline typeface Orbits (2012).

    Typefaces from 2013 include Rhubarb Display Font (a condensed art deco sans caps family for Latin and Cyrillic done with Lukasz Kulakowski). Free download. [Google] [More]  ⦿

    Zebra Volga

    Commercial Russian fonts. [Google] [More]  ⦿

    ZeCraft
    [Jean-François Porchez]

    ZeCraft (Clamart, France) was founded by Jean-François Porchez as a vehicle for bespoke typefaces. An outgrowth of Typofonderie Porchez, it has created fonts for Arjowiggins, the Baltimore Sun, Beyoncé Knowles, Le Monde, Louis Vuitton, Public Transport in Paris (RATP) and Yves Saint Laurent Beauté. Some samples:

    • Retiro was specially designed for the Madriz magazine in Madrid. Based on the stereotypical Didot masthead of women's magazines like Tatler, L'Officiel and Vogue, and named after a park in Madrid, Retiro is a daring interpretation of Spanish typography. Retiro is a Castilian and Andalusian vernacular didone. Started in 2006, it became a retail font at Typofonderie in 2015. It won a Granshan award in 2012 and a certificate of excellence at the Type Directors Club 2010 competition.
    • Parisine is a large family used for maps and external communication in the Parisian train network, the RATP. It comprises the dot matrix family Parisine Girouette, the 4-style sans family Parisine Office, and the 12-style sans family Parisine Plus. This is Porchez's main sans workhorse family, and was being updated and extended almost annually between 1998 and 2016. Currently it has 32 fonts, including Compressed and Narrow subfamilies. Porchez: It can be considered as a more human alternative to the industrial-mechanical DIN.
    • Déreon was custom made for Beyoncé.
    • Henderson BCG was created for the Boston Consulting Group.
    • Vuitton Persona and Vuitton Malletier are layered typefaces done for Vuitton. This was completed by adding Vuitton Cabinet d'Ecriture.
    • AW Conqueror was done for Arjowiggins.
    • Singulier is a beautiful geometric sans family created for Yves Saint Laurent.
    • The Costa typeface family began life as a corporate typeface for Costa Crociere, an Italian cruise company which still uses it. Costa is based on ligatured logotype Costa designed by Landor Associates. In 2000, Costa won a TDC award for bespoke typefaces.
    • Bienvenue is an exclusive corporate typeface designed for France Telecom in conjunction with Landor Associates, which was in charge of a new corporate identity.
    • Endless Story is an exclusive corporate typeface designed in 2007 by Jean-François Porchez for the Russian Vozrast group. It was inspired by Eric Gill's Perpetua, and developed in conjunction with Aaron Levin and Stories Design. It covers Latin and Cyrillic.
    • Alpha Poste is custom sans typeface designed by Jean-François Porchez in January 2005 for the identity and logotype of La Banque Postale launched in January 2006 in France as a subdivision of Groupe La Poste.
    • Macif is an all caps exclusive bespoke typeface designed by Jean-François Porchez in April 2006 for the new identity and logotype of the insurance company Macif launched in 2006 by BETC Design group.
    • Lion is a corporate typeface designed in 1999 by Jean-François Porchez for Automobiles Peugeot. The bespoke typeface, developed in conjunction with EuroRSCG Design, Paris, is used by Peugeot for all the brand names used on their cars.
    • It is possible to work for two enemies. After Peugeot in 1999, JFP did a custom typeface for its arch-enemy Renault, called Renault Identité in 2004. This was done in cooperation wirth Eric de Berranger.
    • Tron Uprising is a bespoke inline all caps typeface designed in 2012 for the American animated science fiction television series for excluse use by Walt Disney Company.
    • Script Fleury Michon (2013) is a bespoke typeface done for the ready-meals products created by Fleury Michon (France & Canada).
    • Hinduja (2013) is a wide all caps custom font for the Indian conglomerate Hinduja.
    • Nespresso (2014) for the Nespresso brand. An elegant art deco geometric monowidth sans family, wasted on poor coffee---especially the Nespresso capsules are quite bad, but marketing and good brand design does miracles.
    • GL Bader (2015) is rooted in the long history of the Galeries Lafayette which was founded in 1894 by Théophile Bader and Alphonse Kahn in Paris. This neo-grotesque sans serif family, along with GL Kahn, accompanies the new visual identity and communication campaign launched in September 2015. The design of GL Bader is influenced by the brand created by Peter Knapp and Jean Widmer in 1958. Accompanied by GL Kahn.
    • For the Boston Consulting Group, ZeCraft developed BCG Henderson.
    • TypeCon Counter for TypeCon 2017 in Boston. Creative director: Bobby C. Martin, extremely contrasted stencil didone typeface designed by Zecraft on the basis of AW Conqueror Didot.

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

    Zeh Foundry
    [Seryozha Rasskazov]

    Seryozha Rasskazov is a graphic and type designer, lettering artist, and sign painter from St. Petersburg, Russia, who studied at ECAL's Master in Type Design program in Lausanne, 2020-2022. Under the supervision of Kai Bernau, he designed the optically optimized variable didone stencil typeface Didonist (2021).

    We believe that he created the art nouveau typeface Flory (2021) at Zeh Foundry. He may also have been involved in the development of the Latin / Cyrillic hipster family Russian Tourist Brand (2021). [Google] [More]  ⦿

    Zeichensätze und Schriften für osteuropäische Sprachen

    Links to, and descriptions of, East-European and Cyrillic fonts. [Google] [More]  ⦿

    Zero Resolution

    Russian site with original and not-so-original free fonts for Latin and Cyrillic: Amsterdamvp, CyrillicGoth (blackletter, VNLabs 1992), Invest (1993, bank note etched letters), DSNote (Dubina Nikolay, 2000), StillTimeCyr (by Dubina Nikolay, based on a Ray Larabie handwriting font), UnrealTournament (gothic, by rahdick@gmx.de), AlternaTitulB&W, CampusOtl-Bold (athletic lettering), China (1999, oriental simulation), Epson1 (dot matrix). [Google] [More]  ⦿

    Zero Resource

    Medium-sized Cyrillic font archive. [Google] [More]  ⦿

    Zerotoohero
    [Roman Shchyukin]

    Bryansk, Russia-based cofounder in 2011 with Valery Zaveryaev of the Russian type foundry Gaslight.

    Typefaces from 2011: Bad Script (Google Web Fonts: an informal hand-printed typeface).

    Typefaces from 2012: Quadratish Serif, Quadratish Solid, Rock Logo (a metal band font co-designed with Valery Zaveryaev), Delgado (an elegant tall and thin fashion mag typeface for Latin and Cyrillic), Teco, Teco Sans (an octagonal military typeface family), Teco Symbol, Teco Sans Stencil, Teco Serif, Wide Display and Wide Display Ribbon (unicase headline typefaces), Actio (a spurred inline typeface), Roz, Wary (a pop art typeface that won an award at Modern Cyrillic 2014),

    Typefaces from 2013: Delgado Sans, MNSTR Shadow and MNSTR Line (free inline typefaces), Gen (techno), Tesla (+Round).

    Typefaces from 2014: Sofya (a monoline script font, released by Gaslight).

    Typefaces from 2015: Aorta (a piano key stencil typeface), MxMy (Peignotian caps).

    Typefaces from 2016: Fada (all caps sans for titling), Barbecue (a circle-themed deco typeface first called BarBQ), Fada (by Roman Shchyukin), Pleinair, Rawer (sans, +stencil, +outline), Misty (by Valery Zaveryaev), Agio (by Valery Zaveryaev).

    Typefaces from 2019, done at his own new foundry Zerotoohero Design: Premium (for the Russian channel Premium), Shock Sans (a weathered typeface done for the Russian channel Shoking), Harvest (for the Russian restaurant Urojai), Grotesque (One, Two: for Plates Studio), Comedy (a custom cartoon font for Shandesign Studio).

    Typefaces at Zerotoohero, not identified with Roman Shchyukin: Lovely (by Shandesign, for the Russian channel Lubimoe), Wolf Sans (created for a Russian IT company). Behance link for Zerotoohero. [Google] [MyFonts] [More]  ⦿

    Zetafonts (or: Studio Kmzero, or: ZeroFont)
    [Francesco Mistico Canovaro]

    Italian design firm in Firenze consisting of three graphic designers, Francesco Canovaro, Debora Manetti, and Cosimo Lorenzo Pancini. It has evolved into Italy's premier and most prolific type foundry. Canovaro's Behance link. Also called ZeroFont and Zetafonts, this type foundry exhales joy---in every design and presentation, the passion of the designers bubbles to the surface. Blending a delicious sense of humour and a great aesthetic taste, Zetafonts is a typographic delight. Their typefaces:

    • Adlibitum (2018). A textura blackletter typeface family.
    • Anaphora (2018). Anaphora is a contemporary serif typeface designed by Francesco Canovaro (roman), Cosimo Lorenzo Pancini (italic) and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to heavy. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display size. Anaphora covers Latin, Greek and Cyrillic.
    • Aliens and Cows (2016). An ultra-condensed all aps sans family by Canovaro.
    • Arturo (2018), by Francesco Canovaro.
    • Atlantica (2017). A signage script family.
    • Lightstrike (2016). A thin (and free) brush font by Canovaro.
    • Byom (2016). A tweetware organic sans typeface family by Francesco Canovaro.
    • Adlery (2016, +Cyrillic). A brush script by Cosimo Lorenzo Pancini.
    • Adlibitum (2016). A blackletter typeface by Cosimo Lorenzo Pancini and Francesco Canovaro.
    • Morbodoni (2016). A display didone by Cosimo Lorenzo Pancini and Francesco Canovaro.
    • Altair (2016). A display sans by by Francesco Canovaro based on Digitalino.
    • Aquawax (2015). A sans family by Canovaro and the Zetafonts team. Extended in 2019 to Aquawax Pro by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli.
    • Armonioso (2014). A creamy connected signage script.
    • A Day Without Sun (2014, by Cosimo Lorenzo Pancini).
    • Another Shabby (2014, a primitive script by Francesco Canovaro).
    • Antipasto (2007, by Matteo Di Iorio). A clean elegant sans by Canovaro.
    • Arista (2007) and Arista 2.0 (2010). A simple rounded bold sans typeface designed by Francesco Canovaro and Adolfo Monti. In 2017, Francesco Canovaro updated these to Arista Pro.
    • Arsenale White and Arsenale Blue (2009). Children's hands, done by Cosimo Lorenzo Pancini, Francesco Canovaro, Andrea Mi, Debora Manetti, Katiuscia Mari, and Jonathan Calugi.
    • Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima. Some weights are free.
    • Bimbo >(2018). A child emulation handwriting font developed as an extension and redesign of the original Arsenale White typeface created with italian illustrator Jonathan Calugi.
    • Bistecca (2005). A bellissima extra-condensed serif font created for ego[n] 5 and for the cover of ego[n] 4.
    • Braciola (2006). Monospaced and octagonal, with stencil styles added.
    • Brushstrike (2015). By Canovaro.
    • Byron (2006). Handwriting.
    • In 2010, Canovaro designed the plumpish bubblegum typefaces Bubblebody Fat and Bubbleboddy Extra Light. These fonts were discontinued in 2016 and replaced by Bubbleboddy Neue.
    • Bulletto (2015). A retro baseball script.
    • Cibreo. A basic sans typeface by Canovaro and Monti.
    • Cinematografica (2017). An ultra condensed small caps movie typeface used in the advertising campaign for Lucca Comics 2017 Festival. This film noir family features eight weights from thin to heavy with open type alternate glyphs and some full word ligatures.
    • The rounded geometric sans family Cocomat (2015, Zetafonts, by Cosimo Lorenzo Pancini, Debora Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of Italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia. Updated in 2019 as Cocomat Pro.
    • Cocosignum (2017). Cocosignum Corsivo Italico and Cocosignum Maiuscoletto are both based on Italian art deco styles.
    • Codec (2018) by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli is a geometric sans typeface family in which all terminal cuts are horiontal or vertical. See also Codec Pro (2019).
    • Delizioso (2008). Art deco.
    • Digitalino (2013).
    • Docporn (comic book style).
    • Duepuntozero Pro (2006-2008). A condensed rounded sans famly by Adolfo Monti and Francesco Canovaro. The Pro version was released in 2019.
    • Filetto (2009). A sans modeled after DIN 1451 done by Canovaro, Debora Manetti and Katiuscia Mari.
    • Florentia (2017). An 18-style lapidary typeface family influenced by the renaissance and luxury.
    • In 2018, Debora Manetti and Francesco Canovaro designed the brush handwriting font Freehand Brush.
    • Handvetica (2005). Arched.
    • Happy Frush Zero (2014). A random note font.
    • Happy Funghetto (2015). Fifties style lettering.
    • Heading Pro (2017). A condensed sans typeface by Francesco Canovaro. Followed in 2018 by Heading Pro Ultra Compressed, Heading Pro Extended, and Heading Pro Text.
    • Hello Script (2015). Curly and calligraphic.
    • Modulo3 (2008). An artsy beauty.
    • New Romantic (curly grunge).
    • Panforte (2013) and Panforte Serif (2013): hand-drawn typefaces. Panforte Pro followed in 2017.
    • Prozak. Consists of zProzak-Bold, zProzak and zProzakLight (2006). A basic sans typeface by Canovaro and Monti.
    • Sala de Fiestas (2005-2006). Free download at OFL.
    • Square80 (2009).
    • Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita.
    • Sugo (2007). By Canovaro and Monti.
    • Taller (2009, ultra-condensed), Taller Evolution (2009), Tallest (2009, ultra-condensed).
    • Targa Monospace. Inspired by license plate lettering.
    • Targa (2002), TargaMS (2002), TargaMSHand (2002). Cosimo Lorenzo Pancini, who developed Targa in 2002, based his design on the peculiar sans serif monospace typeface with slightly rounded corners and a geometric, condensed skeleton that Italy had been using for its license plates. In 2022, Francesco Canovaro redesigned this font into a versatile multi-weight typeface, Targa Pro, which includes Targa Pro Mono (which keeps the original monospace widths), Targa Pro Roman (with proportional widths), both in five weights plus italics, the handmade version Targa Hand, and Targa Pro Stencil.
    • Tutor (2006). Rectangular, pixelish---what I call a piano key font.
    • Zerocalcare is a typeface family created for the branding of Lucca Comics & Games Festival 2016. It is based on the digitised handwriting of italian comic artist Zerocalcare, and it uses open type substitutions to mimick the flow of real handwriting. Free at Dafont.
    • Double Bass (2018): A jazzy 4-style typeface family that pays tribute to Saul Bass's iconic hand lettering for Otto Preminger's The Man with the Golden Arm film title sequence and other movies, Bass's vibrating, almost brutal cut-out aestethics, and the cartoonish lettering and jazzy graphics of the fifties.
    • Another Shabby (2018) is a brush script typeface family designed by Francesco Canovaro for Zetafonts with Cyrillic letters designed by Alina Golovan.
    • Sugo Pro (2018, Francesco Canovaro, Andrea Tartarelli). It was designed in 2006 by Francesco Canovaro in two weights (regular and extralight) and later used by Cosimo Lorenzo Pancini as base inspiration for the design of the successful Zetafonts' Cocogoose Pro typeface. In 2018 the family was completely redesigned by Andrea Tartarelli, expanding the original glyph set to include Cyrillic and Greek and adding three extra weights and italics. The restored and revamped version is named Sugo Pro Classic. In 2020, Cosimo Pancini, Andrea Tartarelli and Mario De Libero drew the 60-style Cocogoose Pro Narrows family, which features many compressed typefaces as well as grungy letterpress versions.
    • Extenda (2018) is a thin-to-wide grotesque advertising or movie credit family with some of the DNA of Impact or Compacta. By Francesco Canovaro and Andrea Tartarelli.
    • In 2019, Blacker Sans (Francesco Canovaro, Andrea Tartarelli) and Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli) were released. The 63-strong fashion mag powerhouse Blacker Sans Pro (Francesco Canovaro, Andrea Tartarelli) followed in 2020. Zetafonts writes: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs.
    • The extreme wedge serif and reverse stress typeface family Blackest (2018, Andrea Tartarelli and Francesco Canovaro).
    • In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic and the condensed rounded monoline techno sans typeface family Iconic.
    • Klein (2019) is (in their words) Zetafonts' love letter to the grandmother of all geometric sans typefaces, Futura. Starting from a dialogue with Paul Renner's iconic letterforms and proportions, Francesco Canovaro and Andrea Tartarelli decided to depart from its distinctive modernist shapes with slight humanist touches and grotesque solutions---with some design choices evoking the softness of humanist sans serifs like Gill Sans. The end result is a workhorse superfamily of 54 fonts with full coverage of Latin, Cyrillic and Greek. The original display-oriented family, developed in nine weights with matching italics (from the hairline thin to the sturdy black), has been paired with a text version (with slightly higher x-height, better readability and maximum legibility at small point size) and with a condensed version, to be used for space-saving display solutions in editorial and advertising formats. With a name that is both a nod to its humble functionality and an homage to French nouveau realiste artist Yves Klein, this typeface aims to become your next trusted companion in all your adventures in print, digital and motion design.
    • Kitsch (2019, Francesco Canovaro, Andrea Tartarelli and Maria Chiara Fantini) mixes angular medieval elements and old style letterforms. Thicker (2020, by Francesco Canovaro and Andrea Tartarelli). They write: A geometric sans typeface on steroids, it was first designed in the muscular extrablack weight with the aesthetics of high-power dynamic typefaces used in sports communication, and then developed in the lighter weights where the shapes show some vintage-inspired proportions and the slightly squared look that nods to Novarese famous Eurostile, eponymous with retro-futurism..
    • Stinger (2020, a 42-style reverse contrast family by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Maria Chiara Fantini).
    • As part of the free font set Quarantype (2020), Francesco Canovaro designed Quarantype Chillout and Quarantype Sunshine. Sunshine Pro (2020, Zetafonts) was designed by Cosimo Lorenzo Pancini and Solenn Bordeau expanding the original Quarantype Sunshine design by Francesco Canovaro, which in turn was designed as a typeface for good vibes against Covid-19. Sunshine Pro is an experimental Clarendon-style font with variable contrast along the weight axis---contrast is reversed in light weight, minimized in the regular weight and peaks in the bold and heavy weights.
    • Eastman (2020, by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau) is a 178-font geometric sans workhorse family with Bauhaus genes developed for maximum versatility both in display and text use, with a wide weight range and a solid monolinear design featuring a tall x-height. It comes with a two axis variable font (weight, italic angle). It was followed by the 46-style font Eastman Grotesque (2020, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli), which comprises an interesting Eastman Grotesque Alternate subfamily with daring and in-your-face glyphs, and the 88-style Eastman Condensed (2021, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli).
    • Garbata (2020). A round typeface loosely based on Windsor and Cooper Black, having a variable type option that offers many weights. Between sans and serif.
    • Bogart (2020, Francesco Canovaro and Andrea Tartarelli). An homage to the low-contrast oldstyle fat faces, like Cooper Black (Oswald Bruce Cooper, 1922), Windsor and Goudy Heavy Face (Frederic W. Goudy and Sol Hess, 1925-1932), and more recently, Bookman.
    • Stadio Now (2020). A revival by the Zetafonts team of Aldo Novarese's Stadio (1974), a reverse contrast sans that was published only as a rub-on transfer typeface. It comes with a multi-axis variable font that greatly enlarges the design space.
    • Amazing Slab (2021). A 20-style typeface family designed by Francesco Canovaro, Mario de Libero (who did the inline versions), Sofia Bandini and Andrea Tartarelli, developed from the Amazing Grotesk family designed by Cosimo Lorenzo Pancini. Characterized by outward-pointing top serifs, this typeface is designed for use in athletic lettering, logos and titling. Zetafonts writes: Mixing an Egyptian serif, low contrast approach with the curved endings and open shapes of humanist sans grotesques, it was developed to embody the energetic and friendly nature of the startup scene---a feeling of innovation, information and energy, with a desire for simplicity and straightforward communication. The basic design shapes for the font come from the strong personality of the extrabold letterforms drawn by Francesco Canovaro for his StartupItalia logo, that informed the display design of the four darkest weights (from medium to black).
    • Coco Sharp (2021). A 62-style sans feast, and two variable fonts with variable x-height, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli.
    • Arsenica (2021). A 43-style decorative serif by Francesco Canovaro for Zetafonts, and developed by a design team that included Mario De Libero, Andrea Tartarelli and Cosimo Lorenzo Pancini. It comprises two variable fonts and subfamilies Display, Text, Alternate and Antiqua.
    • Asgard (2021). A 72-strong experimental display sans superfamily with a 3-axis (weight, width, slant) variable font, designed by Francesco Canovaro, Andrea Tartarelli ans Mario De Libero.
    • Heading Now (2021). A 160-strong titling font (+2 variable fonts) by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Mario De Libero that provides an enormous range of widths.
    • Salad and Salad Interlock (2021-2022). These typefacea are based on vernacular signpainting, extending Debora Manetti's Sala de Fiestas.
    • Bakemono (2021). Canovaro writes: the design space of fixed vs. proportional width, mixing the lessons of mechanical typewriter technology with the intuitions of eastern brush calligraphy. The name of the typeface comes from the Japanese shape-shifter monsters that could change their form freely between human and animal, and aptly describes the metamorphic nature of this wide superfamily coming in proportional, monospace and intermediate subfamilies. bakemono supports Latin, Cyrillic, Aarabic and kana, and comes with a variable font option.

    Corporate typefaces were designed for Lucca Comics and Games, Digitalic Magazine, Kair, Unicoop, and Istituto Europeo di Design.

    Behance link. Zetafonts home page. View the Zetafonts library. Abstract Fonts link. I Love Typography link. MyFonts link. Type Department link. [Google] [MyFonts] [More]  ⦿

    Zhang Miao

    Type designer. Finder is a multiscript typeface developed in 2020 at Black Foundry by Jérémie Hornus, Gaëtan Baehr, Changchun Ye and Zhang Miao. This neutral sans is intended for interface design, and covers Arabic, Cyrillic, Greek, Hangul, Hebrew, Japanese, Latin, Simplified Chinese, Thai and Traditional Chinese. [Google] [More]  ⦿

    Zheka Tkhorzhevskiy

    Zheka is a graphic designer, calligrapher and illustrator in Vladivostok. He has made some great logos that showcase his lettering prowess. [Google] [More]  ⦿

    Zheng Chuyang

    Designer of these fonts:

    • Faustina (2010-2018). A poster typeface by Zheng Chuyang, after an idea by Luise Schenker. It covers Latin, Cyrillic and Arabic, including the Persian, Urdu, Uyghur, Kazakh and Kirgiz versions. It also has a rich set of Emojis.
    • Ellenda (2018). An art deco typeface influenced by the city of Shanghai.
    • Weaf Mono (2017-2018). A monospaced monolinear sans family co-designed with Li Zhiqian, covering Latin, Hanzi (Chinese), Arabic, Cyrillic and Devanagari. It also has some emoji characters.
    [Google] [More]  ⦿

    Zhenya Kost

    Sevastopol, Ukraine-based designer of the Cyrillic calligraphic alphabet Old Chicken's Hand (2017). [Google] [More]  ⦿

    Zhivko Stankulov

    Or Jivko Stankulov. Type designer associated with Context Ltd. Creator of the script font Bordy (2002), ModenA (2002) and Liveon (2002) at Fonteam International. Between 1994 and 2020, he developed the 8-style humanist sans typeface Unitype (at Context Ltd). The cursive typeface Nexus Script (1993-2020, Context Ltd) was inspired by the by cancelleresca corsiva style. In the period 2020, he released the transitional Latin / Cyrillic typeface family Sentry Condensed, which completes the SentryCyr, his earlier Cyrillic-only typeface from 1991. [Google] [More]  ⦿

    zhuk

    FontStructor who made these typefaces in 2011: Monochrome (techno), Lofty. In 2009, he made Diabolus Lite CYR, Diabolus Dark, Quadrius Circularis, Moonkey Pixel, Motorcar Struct (retro face), Krugly, Modern Structure, Disney Symbols, Diabolus Lite, My Torrent (fat, octagonal), Pixel Art Structure (3d face). [Google] [More]  ⦿

    Ziel Graphic
    [Ilya Zakharov]

    During his studies at the HSE Art and Design School in Korolyov, Moscow, Russia-based Ilya Zakharov designed the free circle-themed display typeface Dreaming (2017), the free sans typeface Prefectura (2017), the free rounded squarish sans typeface Bardo (2017, for Latin and Cyrillic) and the free pixel typeface Font Over (2017).

    In 2018, he published the free experimental sans typeface Akrotiri and the free display typeface Digiskel.

    Typefaces from 2019: Books of War (free), Quittance (free), Gorod (a free wide all caps slab serif).

    Typefaces from 2020: Raider (a free fire-themed all caps typeface), Templegarten, Obrazec (a free chamfered typeface), Obrazec 2.0.

    Typefaces from 2021: Wata (a free high-contrast display typeface). [Google] [More]  ⦿

    Zilap (or: Mr. Zilap, or Zilap Estudio)
    [Juan Guillermo Navarro Barrios]

    Juan Guillermo Navarro Barrios runs the design and illustration studio Zilap in Medellin, Colombia. In 2014, he created the hipster typeface Zilap Normal. In 2015, with the cooperation of LJ Design, he created the free futuristic typeface TRG Zilap and the alchemic occult typeface Zilap Geometrik. Zilap Tribu (2016) is an alchemic African tribal font, Zilap Oriental (2016) is an alchemic oriental simulation font, Zilap Corporative (2016) is designed for corporate indentities, Zilap Natural (2016) is a rounded sans typeface, Zilap Alien (2016) is an alien dingbat font, and Zilap Espacial (2016) is an alchemic space era font. Gabi Barnat designed the tribal font Zilap Barnat in 2016. Zilap Marine (2016) is a wavy display typeface. Zilap Urban (2016) is a funky hipster typeface.

    Typefaces from 2017: Zilap Sound (hipster style), Zilap Precolombino, Zilap Mystery, Zilap Combat, Zilap Africa, Zilap Monograma, Zilap Black Storm, Zilap Nitro (a racetrack font), Zilap Evolution, Zilap Deep Sleep.

    Typefaces from 2018: Zilap Sensitive, Zilap Russia (constructivist, Cyrillic simulation), Zilap Exclusive (pearled), Zilap Orion (futuristic).

    It is unclear if Juan Navarro is the same as Luis Jaramillo, because his fonts are published under Luis Jaramillo's label, LJ Design.

    Typefaces from 2019: Zilap Destiny.

    Typefaces from 2020: Zilap Romance. Fontspace link. Facebook link. Fontspace link. LJ Design Studios link. [Google] [More]  ⦿

    Zinaida A. Maslennikova

    Russian type designer who worked with Nikolai Kudryashev on the family Kudryashevskaya Encyclopedicheskaya at Polygraphmash, from 1960-1974. [Google] [More]  ⦿

    Zira Zulu

    Kiev-based designer of a beautiful curly logo for the coffee shop Cacaofée in Bonn (Germany) in 2012. In 2016, she designed the handcrafted typeface Cookie. In 2017, she added the handcrafted Rodriguez and Ice Cream Berries.

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

    Zivorad Arsic

    Tetovo, Macedonia-based designer of the thin angular Cyrillic typeface Ostar (2018). [Google] [More]  ⦿

    Zkysky
    [Julieta Ulanovsky]

    Julieta Ulanovsky graduated from Universidad de Buenos Aires, and presently is a graphic designer based in Montserrat, Buenos Aires. She is owner of ZkySky, a design studio which she co-founded in 1989 with Valeria Dulitzky. She studied Design in UBA (universidad de Buenos Aires) and makes books and fonts with urban thematics.

    Designer of the free Google Web Font Montserrat (2011) about which she writes: The old posters and signs in the traditional neighborhood of Buenos Aires called Montserrat inspired me to design a typeface that rescues the beauty of urban typography from the first half of the twentieth century. It is close in spirit to Gotham and Proxima Nova, but is more informal and more idiosyncratic. Free at Google Web Fonts (2012) in Regular, Subrayada (underlined) and Alternates styles. Ulanovsky recommends Montserrat as a free alternative for the successful commercial package Proxima Nova by Mark Simonson. In 2019, Terry Nichols released Montserrat Ace, a slight modification.

    In 2015, her typeface Monserrat was slightly modified by Jasper at Robert Jablonski's foundry / Open Font Library. In 2017, Michael Sharpe placed Montserrat on CTAN and added appropriate TeX support. Argentum Sans (2018) is a free geometric sans forked from Montserrat version 5, courtesy of Cristiano Sobral. In 2018, we find another fork, Sibirtsev Monserrat, on the OFL site. We believe that Alexey Sibirtsev addded Cyrillic support. For a derived font, see Argentum Novus (2020). And for yet another descendant, check Gontserrat (2020, Ospiro Enterprises), which replaces the capital G with one that has a horizontal crossbar.

    Electric Cable is a display typeface codesigned by Harald Geisler and Julieta Ulanovsky in 2017.

    In 2020, Julieta Ulanovsky ans Sol Matas co-designed the monoline signage typeface Confiteria, which was influenced by the lettering in the Saint Moritz tea shop in Buenos Aires. It was published by Sudtipos. Earlier in 2020, she created the all caps Tuscan typeface Abasto for a record by Ramon Ayala, and the typeface matrices for the event Matrices, mujeres del diseño. Capitulo I: Origen y Activismo.

    Google Plus link. Fontspace link. Open Font Library link. Another Open Font Library link. Adobe link. [Google] [MyFonts] [More]  ⦿

    Znakomesto
    [Yan Snim]

    Yan Snim is a type/graphic/sound designer and musician based in Moscow with a keen interest in all things medieval. He makes Latin / Cyrillic typefaces. In 2021, he published Gaudeamus, a blackletter font that would fit nicely on beer bottles and medieval music sheets. [Google] [MyFonts] [More]  ⦿

    Zoki Cardula

    Graphic designer in Skopje, Macedonia. He created an untitled geometric Cyrillic typeface in 2013. His work has an old Soviet era theme, and includes several constructivist items. Still in 2013, he also designed a minimalist Cyrillic typeface. [Google] [More]  ⦿

    Zoran Jermilov

    Designer of the Cyrillic formal script font Rakopisnopismo (1991). [Google] [More]  ⦿

    Zoran Kostic

    Zoran Kostic (b. Belgrade, 1947) graduated from the Faculty of Geodesy of Belgrade University and completed post graduate studies of photogrammetry at ITC Enschede, The Netherlands. He started out as a programmer for geodesy and photogrammetry, and then opened a DTP studio in Yugoslavia in 1987. In 1987, out of necessity, he designed a PostScript Cyrillic font in type 3.

    He cyrillicized many Latin typefaces: AvangardaCyr (Avantgarde), DINGraverCyr (DINEngshrift), ErazmoCyr (Eras), FuturCyr (Futura), FuturCyrCond (Futura Condensed), GilesCyr (GillSans), HelvetiaCyr (Helvetica), HelvetiaCyrCond (Helvetica Condensed), LitografCyr (Lithos), LubalinCyr (LubalinGraf), MasinaCyr (Industria).

    He also made these original typefaces: DesignerRound (Cyrillic and Roman), Resavac, KosticSans (Cyrillic and Roman), KosticSerif (Cyrillic and Roman), Sketch (Cyrillic and Roman), Oktoih. Oktoih is one of the few fonts that reproduce the earlist Slavonic printings.

    Designs at Linotype: Linotype SimpleSquare (Cyrillic and Roman) and Linotype DesignerSquare (Cyrillic and Roman), as well as Lapidary Capitals (2005, roman capitals), WhySquare (2004) and JustSquare (2004). The Square series, 56 weights in all, were designed during the Serbian war in 1999. So was the monoline geometric sans family Designer RD (1999).

    In cooperation with the Belgrade typographer Djordje Zivkovic who designed them, he made FlahScript, Garamond, LepiScript, Manasija, Naisus, Ravanica, Traian.

    Finally, he published "HilandarskiUstav", which was reconstructed on the basis of handwriting gospels "Cetvorojevandjelje of Patriarh Sava IV", found at the Monastery Chilandarios, Mount Athos, in the 14 century. It is a font with 4.356 glyphs and symbols. Old URL.

    He made the Old Slavic scripts Monah (6.400 characters), Glagoljica and Gradjanica.

    Together with his son Nikola Kostic, he set up The Kostic Type Foundry in 2010 in Belgrade, Serbia.

    He co-designed the Old Slavonic simulation face Taurunum with Nikola Kostic in 2011. Batke (2011) is a rounded sans family. Kostic Serif (2012) is a classical transitional family co-designed by Nikola and Zoran.

    Behance link. Klingspor link. Fontspring link.

    View the Kostic Foundry typeface library. [Google] [MyFonts] [More]  ⦿

    Zoran Rajic

    Croatian designer (b. 1973) of the round and angular Glagolitic fonts Glagoljica-IIIstarohrvatskopismo, GlagoljicaUGLStaroHrvatskoPismo in 1995. These typefaces may be found here and here. Alternate URL. [Google] [More]  ⦿

    Zoran Tasevski

    Designer of the Cyrillic font C_Arabia (1993). He resides in Skopje, Macedonia. [Google] [More]  ⦿

    Zoya Belikova

    Podolsk, Russia-based designer of the hipster Cyrillic typeface Trifont (2015) and the deco Cyrillic font Kit (2015). [Google] [More]  ⦿

    Zoya Sokolova

    Aka meookami. Komsomolsk-on-Amur, Russia-based designer of the alphading font Fly Butterfly (2018), the wedding calligraphy typeface Maganda (2018) and the Tuscan Western typeface Westild (2018: for Latin and Cyrillic). [Google] [More]  ⦿

    Zrinka Buljubasic
    [Dual Type]

    [More]  ⦿