TYPE DESIGN INFORMATION PAGE last updated on Sat Jun 22 21:29:02 EDT 2024






Cyrillic type design

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


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]  ⦿

[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]  ⦿

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]  ⦿


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]  ⦿


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]  ⦿


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]  ⦿

[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]  ⦿

[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]  ⦿

[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]  ⦿


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]

[MyFonts] [More]  ⦿

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]  ⦿


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]  ⦿

[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]  ⦿

[Pana Type and Studio]

[MyFonts] [More]  ⦿


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]

[More]  ⦿

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]

[More]  ⦿

Akira Uchida

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


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


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

Alan N. Po

[More]  ⦿


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

Albert Filatov
[Alfi Design]

[More]  ⦿

Albert Kapitonov

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

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]  ⦿


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

[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

    [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

    [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

    [MyFonts] [More]  ⦿


    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

    [MyFonts] [More]  ⦿

    Alexey Potapov

    [MyFonts] [More]  ⦿

    Alexey Razuvaev

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

    Alexey Rud

    [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]  ⦿


    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]  ⦿

    [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]  ⦿

    [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]  ⦿


    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

    [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

    [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]  ⦿


    [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

    [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

    [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

    [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

    [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

    [MyFonts] [More]  ⦿

    Anton Drachuk

    [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

    [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]  ⦿


    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]  ⦿

    [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]  ⦿


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

    Arev Fonts
    [Stephen Schrenk]

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


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

    Ari Budi Setiawan

    [MyFonts] [More]  ⦿

    Ari Rafaeli

    [MyFonts] [More]  ⦿

    Arial Unicode MS

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

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

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

    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]  ⦿


    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]  ⦿

    [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]  ⦿

    [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]  ⦿

    [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]  ⦿


    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]  ⦿

    [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]  ⦿

    [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]  ⦿


    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]  ⦿


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

    [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]  ⦿


    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]  ⦿

    [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]  ⦿

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


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

    Basil K. Malyshev
    [Bakoma fonts]

    [More]  ⦿

    Basil Solomykov

    Developer of the free metafont-format didone Latin / Cyrillic typeface Obyknovennaya Novaya (2011, in 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]  ⦿


    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

    [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]  ⦿

    [Dmitry Akindinov]

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


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

    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]  ⦿

    [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

    [MyFonts] [More]  ⦿

    Bill Tavolga

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

    [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]  ⦿

    [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

    [MyFonts] [More]  ⦿

    [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]  ⦿


    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]  ⦿


    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]  ⦿


    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]  ⦿


    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

    [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]  ⦿


    A Cyrillic font archive [Google] [More]  ⦿

    [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]  ⦿

    [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]  ⦿

    [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]  ⦿


    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]  ⦿


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

    [Christopher Diehm]

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

    [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]  ⦿


    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]  ⦿


    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]  ⦿


    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, 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]  ⦿

    [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

    [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]  ⦿


    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

    [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

    [MyFonts] [More]  ⦿


    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]  ⦿


    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]  ⦿


    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

    [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

    [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]  ⦿


    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]  ⦿

    [Mareev Ju]

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


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

    cica (ftp)

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

    CICA March 1996

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


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

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

    Cirilica na Internetu

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


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


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

    Claus Eggers Sørensen

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

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

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


    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]  ⦿

    [Nana Glonti]

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


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

    [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]  ⦿


    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]  ⦿

    [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]  ⦿

    [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

    [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

    [More]  ⦿


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

    [Darya Moroz]

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

    Crystian Cruz

    [More]  ⦿

    CSS Tips and tricks

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

    [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]  ⦿

    [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]  ⦿

    [Gayaneh Bagdasaryan]

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

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


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

    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]  ⦿


    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]  ⦿


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


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

    [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]  ⦿


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

    [Dmitry Yu. Bolkhovityanov]

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

    D. Green

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

    D. Gulinoff

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

    D. Paul Alecsandri
    [Every Witch Way]

    [More]  ⦿

    D. Tamir

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


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


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


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

    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]