Lyubov Alexeyevna Kuznetsova
Moscow-based type, graphic and book designer (b. Tula, 1928, d. Moscow, 2008). In 1951, after her graduation from Moscow Printing Institute, she joined the type design team of VNII Polygraphmash, and worked there for forty years as a designer, head of the design department, and chief of the oriental type design unit. From 1992 until her death, she was a staff designer at ParaType, Moscow. Kuznetsova specialized in Arabic type design, but also created many Cyrillic and Latin typefaces. Speaker at ATypI 1998 in Lyon on Arabic type design in Russia. Recipient of many design awards and distinctions such as a citation for design excellence for PT Kufi, at the TDC2 1998. CV at bukvaraz. Russian bio. URW link. Obituary at TDC. Her typefaces:
FontShop link. Klingspor link.
- Arabic type, often designed in cooperation with the Persian calligraphers Azarbud and Zarrin Hatt and other calligraphers from Egypt and Lebanon. Her typeface PTMariam (1994) is showcased in Huda Smitshijzen AbiFarès' book "Arabic Typography" (Saqi Books, 2001). Other Arabic typefaces: Cairo (1959-1960), Naskhi Aswani (1960), Naskhi Book (1962), Kuznetsova's Ruqaa (1963), Azarbud Display (1972), Zarrin Hatt (1972), Vostok (1972), Kuznetsova's Abridge (1974), Beyrouth (1977), Grot (1977), PT Mariam (1994), PT Hafiz (1994), PT Naskh Ahmad (1994), PT Basra (1994, based on her own Grot typeface), PT Damascus (1994; based on Beirouth, 1977, of Polygraphmash, also by her), PT Nast'aliq (1995), PT Thuluth (1995), and PT Kufi (1997, ParaType), winner of an award at the Type Directors Club in New York in February 1998.
- Cyrillic typefaces:
- ParaType Academy (1989). Academy was designed near 1910 at the Berthold type foundry (St.-Petersburg) based on the typeface Sorbonna (H. Berthold, Berlin, 1905), which represented the American Typefounders' reworking Cheltenham of 1896 (designers Berthram G. Goodhue, Morris F. Benton) and Russian typefaces of the middle of 18th century. The modern digital version is created in 1989 by Kuznetsova. The decorative style was added in 1997 by A.Tarbeev. Tarbeev link.
- Bannikovskaya (1946-1951) was revived by Kuznetsova as ParaType Bannikova (1999-2001). Designed at Polygraphmash type design bureau in 1946-51 by Galina Bannikova, inspired by Russian Grazhdansky early- and mid-18th century typefaces as well as Roman humanist typefaces of the Renaissance. URW states: With the archaic features of some characters the typeface is well recognized because of unique shapes. It is one of the best original typefaces of the Soviet typography. The typeface is useful in text and display composition, in fiction and art books. The revised, improved and completed digital version was designed at ParaType in 2001 by Lyubov Kuznetsova.
- ParaType Bazhanov (2000). URW writes: "PT Bazhanov TM was designed at Polygraphmash type design bureau in 1961 by Michael Rovensky (1902-1996). Based on the lettering by Moscow book designer Dmitry Bazhanov (1902-1945). Old-fashioned flavor of this design recreates the Soviet hand-lettering style of the 1940s. For use in title and display typography. The digital version was developed for ParaType in 2001 by Lyubov Kuznetsova." Paratype link.
- ParaType Elizabeth (1999). A great modern typeface about which URW writes: "The hand composition typeface was developed at the Ossip Lehmann type foundry (St. Petersburg) in 1904-07 (after designs by Alexander Leo?). It was redeveloped at Polygraphmash in 1960s for slugcasting composition. Named after Russian Empress Elizabeth I (1709-61). Based on typefaces of George Revillon type foundry of the 1840s, though some characters' shapes were redrawn similar to Russian Academy of Sciences typefaces (mid-18th century). Sharp contrast, strong weight Modern Serif with archaic flavor. The typeface is useful in text and display composition, in fiction, historical, and art books, especially connected to the 18th or 19th centuries. It looks great in Russian classical literature such as Pushkin and Gogol works. The revised, improved and completed digital version was designed at ParaType in 2001 by Lyubov Kuznetsova." Paratype link.
- ParaType Kuzanyan (2001). This modern typeface was designed at the Design Studio of Igor Nastenko by Igor Nastenko, and was based on Granit (1966, Pavel Kuzanyan). Digitized at Paratype in 2001.
- ParaType Literaturnaya (1996), after a 1937 original by A. Shchukin and T. Breyev. URW writes about this Elzevir typeface: Designed at NII OGIZ type design bureau circa 1940. Based on Latinskaya (St.-Petersburg, 1901), Cyrillic version of Lateinische. The digital version was developed at ParaType in 1996 by Lyubov Kuznetsova. The favorite text typeface of Soviet typography. Allen Hutt writes in A revolution in Russian typography (Penrose Annual, Volume 61. New York: Hastings House, 1968): The survival of this De Vinne-style type, from the worst design period of old Imperial Germany, in the premier Socialist country in the latter part of the twentieth century, is a typographical phenomenon as unique as it is deplorable.
- ParaType Neva (2002). URW: "Neva Regular with Italic was created by Moscow book and type designer Pavel Kuzanyan (1901-1992) at Polygrafmash in 1970 for slugcasting and display composition. Based on simple strict letterforms of Russian classical typefaces. Neva typeface was rewarded on the Gutenberg international type design contest in 1971 (Leipzig). The typeface is useful in text and display composition, in fiction and art books. The digital version and bold styles were designed for ParaType in 2002 by Lyubov Kuznetsova."
- ParaType New Journal (1997). Antiqua family. URW: "The typeface was designed at the Polygraphmash type design bureau in 1951-53 by Lev Malanov, Elena Tsaregorodtseva et al. Based on Cyrillic version of Excelsior, 1931, of Mergenthaler Linotype, by Chauncey H. Griffith. Excelcior Cyrillic was developed in 1936 in Moscow by Professor Michael Shchelkunov, Nikolay Kudryashev et al. A low-contrast text typeface of the Ionic - "Legibility" group."
- ParaType Quant Antiqua (1989). Antiqua family. URW: The typeface was designed at the Polygraphmash type design bureau in 1989 by Lyubov Kuznetsova. Based on the typeface Literanutnaya (Latinskaya) (Berthold, St.-Petersburg, 1901), a version of Lateinisch typeface (of Berthold in Berlin, 1899. For use in text matter.
- ParaType Svetlana (1996). Antiqua family. URW: "Designed in 1976-81 by Michael Rovensky (1902-1996) as the body text companion of his Bazhanov Display typeface (1961), of Polygraphmash type foundry. Based on the lettering by Moscow book designer Dmitry Bazhanov (1902-1945). With old-fashioned flavor, this design recreates the Soviet hand-lettering style of the 1940s. The digital version was developed at ParaType in 1996 by Lyubov Kuznetsova."
- ParaType Telingater Display (2001). Elegant display family based on Telingater Display, by Solomon Telingater, 1959, Polygraphmash. URW: "The typeface was awarded the Silver Medal at the International Book Art Exhibition (IBA-59) at Leipzig (Germany) in 1959. Light flared sans serif with calligraphic flavor and low contrast between main strokes and hairlines."
- ParaType Xenia (1990). Heavy slab serif. Paratype link.
- ParaType Xenia Western (1992). Condensed version of the Egyptian typeface Xenia.
- She made a Cyrillic version of ITC Bookman (1993).
- Paratype Bachenas (2003), after work by Violdas Bachenas.
Lyubov Alexeyevna Kuznetsova
Klingspor Museum page
Type design in Russia ⦿
Cyrillic type design ⦿
Typefaces and type design for Arabic ⦿
Type designers ⦿
Type designers ⦿
Western fonts ⦿
Type design in Iran ⦿