TYPE DESIGN INFORMATION PAGE last updated on Mon Nov 21 14:58:26 EST 2022
FONT RECOGNITION VIA FONT MOOSE
Type design in Estonia
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] ⦿
Andres Aarik is a graphic designer and a student in Media and Advertisement design in Tartu, Estonia. Designer of the fat and wide typeface Hustler (2010) and the chiseled typeface Tode Ja Oigus (2009).
Andrew Pixel (was: Timm Design)
Estonian graphic designer who created these (mostly display sans or decorative serif style) typefaces:
In 2014, he made the grunge font Okas and the white-on-black stencil typeface Propaganda. In 2015, he made Kriips, and in 2016 Summr Sketch and Scribble 2.
Anton Koovit was born in Tallinn, Estonia, in 1981, and studied graphic design at the Estonian Academy of Arts, ESAG Paris and at the Gerrit Rietveld Academy in Amsterdam. In 2006, he obtained a masters in type design at KABK in Den Haag. Anton set up his own company Khork OÜ in 2006. In 2007 he moved to Berlin, Germany. He is "extraordinary assistant professor" of typography/type design at the Estonian Academy of Arts.
In 2012, he and Yassin Baggar set up Fatype, a type foundry in Berlin and Neuchatel, Switzerland.
His most well known typeface design is Adam BP (2007, B&P Foundry), a 4-weight sans family. He also designed Aleksei (2010, unreleased serif face), GQ Slab, GQ Baton (b Anton Koovit and Yassin Baggar), U8 (2010: a grotesk family based on lettering in the Berlin underground), Arvo (2010: a free slab serif family at Google Font Directory, co-designed with Yassin Baggar). Anton Koovit and Yassin Baggar offer a new take on U8 in their UCity typeface family (2019).
Estonian graphic designer, mostly interested in typography, who studied at the Estonian Academy of Arts from 2008 until 2011. She created the free handwriting font Kristi (2010, Google Fonts). Fontsquirrel link. Klingspor link. [Google] [More] ⦿
Designer whose illuminated caps will soon be developed in cooperation with David Kettlewell. Half-Estonian, half-White Russian designer, living in Sweden. She draws illuminated caps for David Kettlewell. [Google] [More] ⦿
Dinamo is a Swiss type foundry in Heiden established by Johannes Breyer and Fabian Harb after graduation from schools in Zurich, Basel and Amsterdam. Johannes and Fabian were visiting teachers at the Estonian Academy of the Arts, Tallinn. Johannes is teaching type design at University of the Arts Berlin (UDK) and HfG Offenbach. Fabian is lecturing typography at the School of Design St. Gallen. Their typefaces:
Phonetic font archive in Estonia with the RusEE family [RusEEBold, RusEEBoldItalic, RusEEItalic, RusEE, RusEERItalic, RusEER] (Monotype, 1992, a Microsoft core font), Venelane (Cyrillic), VenelaneTrans (Latin), Fone (Corel), and the Phonetic Times family (Monotype, 1992) [PhoneticTimesC, PhoneticTimesCBold, PhoneticTimesCBoldItalic, PhoneticTimesCItalic, PhoneticTimesEMS, PhoneticTimesEMSBold, PhoneticTimesEMSBoldItalic, PhoneticTimesEMSItalic, PhoneticTimesIMSK, PhoneticTimesIMSKBold, PhoneticTimesIMSKItalic, PhoneticTimesIMSKBoldItalic, PhoneticTimesISBoldItalic, PhoneticTimesS, PhoneticTimesSBold, PhoneticTimesSBoldItalic, PhoneticTimesSItalic, PhoneticTimesSL, PhoneticTimesSLBold, PhoneticTimesSLBoldItalic, PhoneticTimesSLItalic, PhoneticTimesV, PhoneticTimesVBold, PhoneticTimesVBoldItalic, PhoneticTimesVItalic]. Site maintained by Indrik Hein. Some of the weights of Phonetic Times are by Esko Oja (Türnpu 11-3, Tallinn EE0001, Estonia) for the Institute of Estonian Language (Roosikrantsi 6, Tallinn). [Google] [More] ⦿
Dinamo is a Swiss type foundry established by Johannes Breyer and Fabian Harb after graduation from schools in Zurich, Basel and Amsterdam. Johannes and Fabian are visiting teachers at the Estonian Academy of the Arts, Tallinn and regularly teach at UDK Berlin and University of Applied Sciences, St. Gallen. Their typefaces:
HMF (or: HandMadeFont)
In 2012, many were added, including HMF Marzipan, HMF Hulk, and HMF Read More Books (dadaist). Tens more were added in subsequent years, includiung Pen Line (2016) and Blueberries (2016). [Google] [More] ⦿
Estonian graphic designer designer (b. 1962) who studied industrial design at Estonian Art Academy and has worked as a graphic designer since 1986. He is mainly a poster designer. He also lectures on the history of graphic design at the Estonian Art Academy in Tallinn. At ATypI 2005 in Helsinki, he spoke on Estonian style: Russian or German? [Google] [More] ⦿
Tartu, Estonia-based designer of these typefaces:
Graphic design student from the Estonian Academy of Arts, whose particular interests lie in web design and typography. His free font Vibur (2010) is a script typeface based on handwriting.
In 2012, Johan Kallas and Mihkel Virkus designed Ewert, a slab serif wood type inspired by and loosely based on the collection of cultural infographic maps by Estonian graphic artist Olev Soans. Free at Google Web Fonts. They added Revalia later in 2012---see here.
Meie Script (2012, John Kallas and Mihkel Virkus, free at Google Web Fonts) is described as follows: Meie Script is a typeface, which is based on the original 1910 Estonian handwriting standard. It is less flamboyant then its Western European contemporaries. Estonian handwriting has been influenced greatly by German and Russian handwriting styles and Meie Script embodies a mixture of those two styles.
Tallinn, Estonia-based designer of the extra condensed typeface Pumpkin (2017). The free font Shape Play Sans Serif (2017) was designed by changing the code in cascading style sheets (CSS), inspired by Yusuke Sugomori's experimental type. [Google] [More] ⦿
Kirjatehnika is the type design practice of Andree Paat in Tallinn, Estonia. Their typefaces as of 2020:
Indrek Hein's online character database, based in Estonia. Invaluable data base of all unicode letters, with pictures! (Only the Asian languages are missing, but it is complete for all East-European languages, for example.) [Google] [More] ⦿
British graphic designer and sign painter who was at some point in Tallinn, Estonia. Graduate of the MATD program at the University of Reading, class of 2019.
Old German Baltic maps gave him the inspiration for the signage family Livo Display (2014). Other typefaces, all done in 2015: Imperija Roman (2015, an impressive Trajan typeface for posters and editorial use; Lewis explains: The original letters were drawn from a memorial engraving in Ljubljana, Slovenia), Trout Beer (display type), Andra Roman (a humanist sans based on a letter sample dated around 1920 found in the Estonian History Museum), Cream (an Italian western type based on an original wood type), Gauss (a pointy stencil type), Heath Egyptian (based on Caslon's Two-Line Egyptian: a custom type for London-based craftsman Daniel Heath), Poison, Titanik Tuleva, Hebden (a grotesque and incised pair inspired by the original signs at Hebden Bridge train station in Yorkshire).
Typefaces from 2016: Fleischer Display, Bobik (a sans / slab / wedge serif triplet of fonts initially developed based on basic principles described in Jean Alessandrini's Codex 80), Cindie Mono (four monospaced fonts of widely varying widths), Cenotaph Titling (a free engraved titling typeface influenced by Eric Gill's inscriptions).
Typefaces from 2017: Osselian Demi (lapidary), Borough Grotesk (free; updated to Pro in 2018), Tusker Grotesk (a headline grotesk in the tradition of Haettenschweiler, Impact and Helvetica Inserat; influences include Inland Type's Title Gothic No.8 and Stephenson Blake Elongated Sans No.1), Gardner Sans.
Typefaces from 2018: Chicken Shop Gothic (a condensed grotesk published by Typeverything: partly inspired by Benguiat's 1968 sample book Psychedelitype and part-nod to the stretched tacky stick-on-vinyl lettering on the windows of late-night takeaways, Chicken Shop is a variable font with a super-size height axis), Zierde Grotesk (a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richard's own range of grotesques. The ornaments were inspired by J.G Schelter & Giesecke's 1913 type specimen book Die Zierde). Sortie Super (Italian stress Western font). During his studies at Ecole Estienne (Paris), Manuel de Lignières (Montpellier, France) published Waba (2018) with Lewis McGuffie. Inspired by woodblock types and art nouveau, Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. The free variable font Waba Border (2018) was added by Lewis McGuffie. Find Waba at Typeverything.
Typefaces from 2019: Cham (heavy, octagonal, based on fascia lettering from 1875 in Liverpool; released by Typeverything), Chicken Shop Gothic (a condensed poster sans, with a variable type option), Columba (a variable font done for his graduation at MATDi with Latin, Greek, Cyrillic & Hebrew coverage and optical size and weight axes; Grand Prize winner at Granshan 2019).
Typefaces from 2020: Salford Sans (an 8-weight headline sans family; a collaboration between Lewis McGuffie (Latin, Greek, Cyrillic), Dave Williams of Manchester Type (Latin, Arabic) and Elsa Baussier (symbols)), Jooks Script (in the style of Kurrent and Sütterlin; reviving Walter Höhnisch's Werbeschrift), Auroc (a flared incised petite-serif), Cindie 2 (an extension of Cindie Mono, this family has 26 monospaced widths).
Typefaces from 2021: Tekst (a Latin / Greek / Cyrillic font family based on Literaturnaya---a book type popular in the Soviet Union; it comprises ekst A (Analog for print), Tekst D (Digital for screen) and Tekst M (M for Mono)).
Typefaces from 2022: Mushy (a soft-edged joining script display type with four substyles, Cheese, Butter, Yoghurt and Cream), Rulik (unicase, uncial), Narwa (a wonderful all caps poster typeface).
Libertine Open Fonts Project
Now, here is a project with a name I like! This project by Philipp H. Poll has been started in order to create fonts that can be released under the GNU Public License. As of early 2005, we have the following Times New Roman lookalikes: LLibertineCaps, LinLibertine, LinLibertine-Italic, LinLibertineBd. Libertine Grotesque is next on the list of things to do. The fonts came in truetype and fontforge (SFD) text formats, but have now been extended to include opentype and type 1 as well. Linux Libertine covers a big range of Unicode, including all characters in MES-1 (Afrikaans, Albanian, Basque, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish, Frensh, Frisian, Galician, German, Greenlandic, Hungarian, Icelandic, Irish Gaelic (new orthography), Italian, Latvian, Lithuanian, Luxemburgish, Maltese, Manx Gaelic, Moldavian (with restrictions), Northern Sámi, Norwegian, Occitan, Polish, Portuguese, Rhaeto-Romanic, Romanian (with restrictions), Scottish Gaelic, Slovak, Slovenian, Lower Sorbian, Upper Sorbian, Spanish, Swedish, Turkish, Welsh (with restrictions)), IPA, Greek, Cyrillic, math symbols, and a host of other symbol and language sets. TeX archive. The typophiles are not impressed. Charles Ellertson writes: The bowl of the "a" doesn't fit other letters, the top and terminal of the "f" doesn't know where it is going, the descender of the "y" doesn't balance quite right, and the serif on the upper arm of the "z" (which probably reminded the original poster of Caslon) seems out of place. I get the impression, again from the small sample, that the font doesn't quite know whether it is supposed to be slightly condensed or slightly expanded.
In 2007, the following weights are available: Normal, Kursiv, Fett, Fett Kursiv, Kapitaelchen, Unterstrichen, Grotesk. As a measure of the success of the font, we find that is now used on the logo of Wikipedia.
As a companion font, they offer Linux Biolinum (2010): The Biolinum is an organic sans-serif and could be also described as organogrotesque (non-linear sans serif). It is still in a beta stage. Biolinum is meant for emphasizing titles but could be used also for short passages of text. For longer texts a serif font such as the Libertine should be used in favour of readability The Biolinum has the same vertical metrics and visual weight as the Libertine, so that it fits perfectly to the Libertine and can be also used for emphasizing within the body text. In 2017, Biolilbert was born out of Biolinum. Biolilbert's name is a portmanteau from Biolinum and Hilbert.
In 2016, LibertineGC was published by Michael Sharpe at CTAN, adding LaTeX support files for Greek (essentially complete LGR, supporting monotonic, polytonic and ancient features) and Cyrillic.
Another effort at corrections was undertaken by Khaled Hosny in 2016 in his Libertinus family. The Libertinus font family is a fork of Linux Libertine and Linux Biolinum with many bug fixes and improvements. Also included are Libertinus Math, Libertinus Serif (from Lunux Libertine), Libertinus Sans (forked from Linux Biolinum) and Libertinus Mono (from Linux Libertine Mono). Github link. CTAN link for Libertinus, maintained by Herbert Voss.
Art Director at Vatson & Vatson (now Vatson Wunderman) in Estonia. At ATypI 2005 in Helsinki, he spoke about Digitizing the "Estonian national" typefaces. In his own words: His fonts Pagana, Vaderi and others are based on a lettering of such Estonian mid-20th century typographers as Günther Reindorff, Paul Luhtein and Villu Toots. ATypiI reports: Mart Anderson is producing a range of revival typefaces based on the lettering on 20th century Estonian book designers. The character of their (mainly pen-drawn) work is rather like woodcut lettering, with gently curved slab sides. To make them suitable for typesetting, the characters have been slightly tidied up.
Typefaces: Sula (2005, flowing and angular), Panin (2006, playful), EiBanner (2006, comic book face), AmaKaas (2005, again that soft angular theme), Isanda, Humala.
In 2012, Estonian type designers Johan Kallas and Mihkel Virkus designed Ewert, a slab serif wood type inspired by and loosely based on the collection of cultural infographic maps by Estonian graphic artist Olev Soans. Free at Google Web Fonts. They added Revalia later in 2012---see here.
Meie Script (2012, John Kallas and Mihkel Virkus, free at Google Web Fonts) is described as follows: Meie Script is a typeface, which is based on the original 1910 Estonian handwriting standard. It is less flamboyant then its Western European contemporaries. Estonian handwriting has been influenced greatly by German and Russian handwriting styles and Meie Script embodies a mixture of those two styles. [Google] [More] ⦿
Mint Type (was: PDesign 6.0)
Ukrainian Andrey Konstantinov (b. 1981, Moscow, lives in Kiev) graduated from the National Technical University of Ukraine in 2002. He lived for some time in Tallinn, Estonia. He ran PDesign 6.0, and later established the commercial foundry Mint Type.
His typefaces generally cover Latin and Cyrillic: Tecco (techno), Radix, Aera Sans, Aera Serif, Careless Hand Script (2005), Guarda Sans (2012), Vitra Sans (2005), Terra Sans (2005), Terra Semi Slab (2005), Terra Slab (2005), Radix (2004), Cyntho Pro (2012, a geometric sans), Cytia Pro (2012, a geometric sans with built-in contrast), Cytia Slab Pro (2013), Lytiga Pro (2012, a 48-font techy sans family, starting with hairline weights).
Typefaces from 2013: Pancetta Pro (elliptical sans), Pancetta Serif Pro, Clinica Pro (a clean non-geometric sans), Cyntho Slab Pro, Cytia Slab Pro, Espuma Pro (a soft humanist sans family with lots of curviness), Ristretto Pro (a narrow display sans), Ristretto Slab Pro.
During the riots and revolution in Ukraine in 2014, Andrey designed Anglecia Pro, a text typeface in Text, Display and Title subfamilies. Just before the 2014 elections in Ukraine, he designed the geometric partially humanist sans typeface Proba Pro, which has wide spacing and small x-height---the regular and italic styles are free.
Synerga Pro (2014) is a humanist slab serif with rounded terminals.
In 2016, Oleh Lishchuk and Andriy Konstantynov co-designed the rounded scientific or technical paper font Midpoint Pro.
Typefaces from 2017: Skema Pro (a 84-style serif text family with Livro, Text, Omni, News, Title and Display subfamilies), Excentra Pro (a sans family with stroke variation and inclined axis), Opinion Pro (by Oleh Lishchuk), Orchidea Pro.
Typefaces from 2019: Ponzu (a stencil-style display sans), Greenwich (a modern-looking humanized sans-serif typeface with open aperture inspired by Gill and Johnson; +Cyrillic), Closer Text (a sans with overclosed apertures), Cyntho Next Slab, Cyntho Next (advertized as Swiss and Dutch).
Typefaces from 2021: Accia Forte (a 16-style serif with large x-height), Accia Variable, Accia Moderato (a 16-style serif with large x-height), Accia Piano (a 16-style serif with large x-height), Accia Sans (a 16-style humanist sans), Accia Flare (also in 16 styles), Extatica (a 16-style eclectic (or: hipster) sans), Inerta (an 18-style geometric/neo-grotesk hybrid for Latin and Cyrillic).
Based in Tallinn, Estonia, Mirjam Siim (b. 1990) created Puine (2012, a gorgeous wood cut typeface) and Miku Vegan Kohvik (2013). These fonts were created while she was studying media and advertisement at Tartu Art College.
New Renaissance Fonts (was: New Fontografia, or: David's Fontografia 2006)
David Kettlewell (b. Edinburgh, Scotland, 1946, d. Bollstabruk, Sweden, 2011) moved to Sweden in 1984 to take the role of head of music at a college. He was soon putting his musical and linguistic talents to researching and performing early Swedish church and choral music. He was a guest lecturer at four of Sweden's universities and for a period a professor at Tartu University in Tallin, Estonia. He worked from his forest farmhouse in Bollstabruk, Northern Sweden. Kettlewell also ran Fontografia, a medieval and calligraphic type site featuring subpages on Ludovico Vicentino [degli Arrighi], Giovambattista Palatino, and Giovanniantonio Tagliente. He also told us why Fontlab is so much better than Fontographer when developing fonts from scans. Obituary.
David Kettlewell is a harper, renaissance musicologist and conductor who illuminate his work with text and type. His own work through New Renaissance Fonts is mostly with medieval and renaissance scripts, calligraphic alphabets and ornamental capitals. Direct acess. MyFonts link for New Renaissance. Klingspor link.
Free fonts: AliceScrolltipRoman, AndersFancyCapitals, AndersPlainCapitals, BickhamSwashCaps, Cartouches, CelticNoadProtoype, Chiswickblack, DagmarIlluCaps, Davies-RomantiqueCaps, DaviesIlluminatedcapitals, DaviesRoundhand, DaviesSapphire, DeBeauChesneRoman, FantasiaCaps, GothicCaps, KarinsFreeLombardyCaps (2006, with Karin Skoglund), KingRichard2Caps, Kurbits3, Lettreornee, LubnaCaps, NesbittDecoratedCaps-Medium, RicksClassicItalic, RicksDecoratedUncial-Medium, RicksFolkloreRoman, RicksRelaxedHand-Italic, Samuel, SevilliaDancingText, Sevilliastandingtext, Sevilliatiles, ShawDecoratedInitials1, ShawDecoratedInitials4-Medium, Taliente-IlluCaps, WestminsterMemorialBrasses-Medium.
Other fonts (some no longer available or shown): Soest St. Mary (2006, decorative capitals from embroidery work in a German church), Kurbits, Samuel, Celtic Noad, Dagmar IlluCaps, Lettre ornée, Phalesiodecor (medieval caps, 1998), American Uncial (adaptation of a URW font), FinalRomanfat or FatRoman50 (adaptation of an RWE font), Marshall (made from an 1822 parchment).
Some fonts are developed in conjunction with Richard Bradley. Others involved more loosely include Adam Twardoch, Karin Skoglund, Dagmar Varaksits and Anders Rosen.
MyFonts offers fonts like Chiswick Illuminated Caps (2009, Lombardic), Alice Scrolltip (2006), Albrecht Fraktur (2011), Edward's Uncial 1904 (2011, after an alphabet drawn by Edward Johnston), Davids Roundhand, Karins Lombardy Caps, Sevillia (2006, with Richard Bradley), and Soest St Mary.
Philipp H. Poll
Santino Calvo (ES Factory, Rome, Italy, b. Sicily) created the free display typeface Regina in 2012. In 2016, he created the wavy hipster typeface Mercurial. Santino is temporarily based in Tallinn, Estonia. Behance link. Issuu link. [Google] [More] ⦿
Ex-student at the Ecole Estienne in Paris (b. Estonia) whose diploma work consisted of the creation of typeface in the style of a first century typeface found in an archeological site near Millau in France. Graphic and type designer in the 15th arr. in Paris. Her early typefaces:
Designer of the Fournier era family Rameau (2011, Linotype). Linotype writes: Sarah Lahzarevic is a graphic designer and typographer. She has worked for ten years with the photographer Max Yves Brandily. She is now working as a freelance graphic and type designer for clients such as the French Post Office (La Poste), Millau City Council and the International Francophone Organisation. She teaches graphics and typography at the Ecole Professionnelle Supérieure d'Arts Graphiques et d'Architecture de la Ville de Paris (Graduate Training School in Graphic Arts and Architecture in Paris). She is also developing her own work in copper-plate engraving. She derived the italics of Rameau from the manuscript of the opera Les fêtes de l'hymen et de l'amour, the music for which was composed by Jean-Philippe Rameau in 1747. Linotype: In the 18th century, musical compositions were published in the form of impressions from copper plates that had been hand-engraved in contrast with books and other texts, which were printed from moveable lead type. The italic letters of Rameau include many ligatures and are thus typical of the engraving style of the period.
Graphic designer residing in Tallinn, Estonia. In 2012, he graduated from the Estonian Academy of Arts in the field of graphic design.
His typeface Völv (2012) was inspired by arcs found in classical Estonian arhitecture. Vahtra (2010) was inspired by the works of estonian artist Jaan Vahtra, and was created under the supervision of Anton Koovit. [Google] [More] ⦿
All of the fonts featured on this site are designed by the students and faculty of the Estonian Academy of Arts in Tallinn, Estonia. The project team: Johanna Ruukholm, Elis Kitt, Laura Merendi, Anselm Oja, Sandra Nuut, Ott Kagovere, Indrek Sirkel. As of 2019, the typefaces are:
British font service house: can sell you most of the commercial fonts. Sells also fonts for Albanian, Arabic, Bengali, Bulgarian, Croatian, Czech, Estonian, Farsi, Greek, Gujurati, Hindi, Hungarian, Japanese (Katakana, Hiragana, Kanji), Latvian, Lithuanian, Polish, Punjabi, Russian, Serbian, Slovak, Slovene, Thai, Turkish, Ukrainian, Vietnamese, Welsh. Has barcode fonts, and is a special distributor of the Royal Mail Barcode font. [Google] [More] ⦿
Jörg Knappen's page on the European Computer Modern fonts. "The following languages are supported by the Cork encoding: Afrikaans, Albanian, Breton, Croat, Czech, Danish, Dutch, English, Estonian, Faroese, Finnish, French, Frisian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Irish (modern orthography), Italian, Letzeburgish, Lusatian (Sorbian), Norwegian, Polish, Portuguese, Rhaetian (Rumantsch), Romanian, Slovak, Slovene, Spanish, Swedish, Turkish." [Google] [More] ⦿
Thomas T. Pedersen
Transliteration of Non-Roman Alphabets
From Copenhagen and Estonia, Thomas T. Pedersen's page on non-Roman alphabets. He specializes in all kinds of Cyrillic alphabets, such as Abaza, Abkhaz, Adyghe, Altay, Arabic, Armenian, Avar, Azerbaijani, Bashkir, Belarusian (Belorussian), Bulgarian, Buryat, Chechen, Chukchi, Chuvash, Crimean Tatar, Dargwa (Dargin), Dungan, Erzya Mordvin (Mordva), Eskimo - Yupik, Even, Evenki, Gagauz, Georgian, Greek, Hindi, Marathi, Nepali, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Khakass, Khanty, Kirghiz, Komi (Komi Zyryan), Komi-Permyak, Koryak, Kumyk, Lakh, Lezgian (Lezgin), Macedonian, Mansi, Mari: Hill Mari, Meadow Mari, Moksha Mordvin (Mordva), Moldovan (Moldavian), Nanai, Nenets, Nivkh, Nogay (Noghay), Ossetian (Ossetic), Ottoman Turkish, Russian, Rusyn (Lemko&Vojvodinian), Selkup, Serbian, Tabasaran, Tajik, Talysh, Tatar, Turkmen, Tuvinian, Udmurt, Ukrainian, Uzbek, Yakut, Yiddish. [Google] [More] ⦿
Villu Toots (b. Tallinn, 1916, d. Tallinn, 1993) was an internationally known Estonian calligrapher, book designer, educator, palaeographer and author. In 1965 Toots established a successful one-man calligraphy school named Kirjakunsti Kool with a three-year course.
Author of many books on calligraphy. These include i Opime plakatkirja. Algteadmisi kirjakunstist (Tallinn, 1949), Tänapäeva kiri (Tallinn, 1956), 300 burtu veidi" (Riga, 1960), Kirjukunsti ABC Grotesk ehk plokk-kiri (1968, Tallinn), Eesti kirjakunst 1940-1970" (Tallinn, 1973), Kiri kui kunst (Tallinn, 1981), Kiri Eesti kultuuriloos (compiled by Rein Loodus; Tallinn, 2002), Kalligraafilisi etüüde. Calligraphical studies (Tallinn, 1976), 50 eksliibrist (Tallinn, 1979), Sule ja pintsli duett (Tallinn, 1985), Paraaf (Tallinn, 1987), Calligraphical spirals (Gothenburg and Tampere, 1989), and Calligraphic Bookplates and Monograms (San Juan Capistrano, CA, 1992). In 2016, the Society of Scribes Calligraphy NYC, has set up a pre-order website for the limited edition book Villu Toots: One Hundred Book Covers. [Google] [More] ⦿