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LUC DEVROYE


ABOUT







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.

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INTERNAL LINKS
Cyrillic type design ⦿ Type designers ⦿ Type designers ⦿ Calligraphic typefaces ⦿ Modern style [Bodoni, Didot, Walbaum, Thorowgood, Computer Modern, etc.] ⦿








file name: Olexa Volochay Journal Sans 2014 based on Anatoly Shchukin Journal Sans 1940 1956


file name: Alexandra Korolkova Maria Selezeneva Journal Sans New 2014


file name: Alexandra Korolkova Maria Selezeneva Journal Sans New 2014a


file name: Alexandra Korolkova Maria Selezeneva Journal Sans New 2014b


file name: Alexandra Korolkova Maria Selezeneva Journal Sans New 2014c


file name: Alexandra Korolkova Maria Selezeneva Journal Sans New 2014d


file name: Alexandra Korolkova Maria Selezeneva Journal Sans New Bold 2014


file name: Alexandra Korolkova Maria Selezeneva Journal Sans New Display 2014


file name: Alexandra Korolkova Maria Selezeneva Journal Sans New Inline 2014


file name: Anatoliy Shchukin Titling 1967


file name: Literaturnaya 1996 L Kuznetsova 1937original by A Shchukin T Breyev G Bannikova


file name: Anatoliy Shchukin Ladoga original


file name: Viktor Kharyk Ladoga Display 2006 2010


file name: Viktor Kharyk Ladoga Text 2006 2010


file name: Not Bad Typeface Superstar Grotesk 2022 1


file name: Not Bad Typeface Superstar Grotesk 2022 3


file name: Not Bad Typeface Superstar Grotesk 2022 4


file name: Not Bad Typeface Superstar Grotesk 2022 5


file name: Not Bad Typeface Superstar Grotesk 2022


file name: Reto Moser G T Eesti 2015 2016 after Anatoly Shchukin Zhurnalnaya Rublennaya


file name: Reto Moser G T Eesti 2015 2016 after Anatoly Shchukin Zhurnalnaya Rublennaya


file name: Reto Moser G T Eesti 2015 2016 after Anatoly Shchukin Zhurnalnaya Rublennaya


file name: Reto Moser G T Eesti 2015 2016 after Anatoly Shchukin Zhurnalnaya Rublennaya


file name: Reto Moser G T Eesti 2015 2016 after Anatoly Shchukin Zhurnalnaya Rublennaya


file name: Reto Moser G T Eesti 2015 2016 after Anatoly Shchukin Zhurnalnaya Rublennaya


file name: Reto Moser G T Eesti 2015 2016 after Anatoly Shchukin Zhurnalnaya Rublennaya


file name: Reto Moser G T Eesti 2015 2016 after Anatoly Shchukin Zhurnalnaya Rublennaya


file name: Reto Moser G T Eesti 2015 2016 after Anatoly Shchukin Zhurnalnaya Rublennaya


file name: Reto Moser G T Eesti 2015 2016 after Anatoly Shchukin Zhurnalnaya Rublennaya


file name: Reto Moser G T Eesti 2015 2016 after Anatoly Shchukin Zhurnalnaya Rublennaya







Luc Devroye ⦿ School of Computer Science ⦿ McGill University Montreal, Canada H3A 2K6 ⦿ lucdevroye@gmail.com ⦿ http://luc.devroye.org ⦿ http://luc.devroye.org/fonts.html