10four design
[Matt Heximer]

10four design group was founded in 2002 by Sue Lepard and Matt Heximer in Vancouver. Matt Heximer and Sue both graduated from The Emily Carr Institute of Art and Design in 1994. Matt has held senior design and freelance positions in several Vancouver design firms.

Designer of ElDiabloRegular, TechnoOrganic (1996), Swashbuckler-Script (1996), BitchinCamero (1996) at Garagefonts. He also created Halqemeylem Serif (1997) for the Stolo Nation, based on Majoor's Scala. The fonts at 10four design include Adanac (free, clean sans), Bitchin' Camaro (scratchy writing font), Devicq (based on the handwriting of actress Paula Devicq), Downsize, El Diablo (gothic), Lonely Cowboy, Lonely Cowpoke (2010), Mia Pets (dingbats), Swashbuckler, Techno Organic.

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

In 2014, Heximer created Sonovovitch, a unicase display typeface inspired by the Russian Constructivist movement and Soviet Cold War era propaganda. Although a faux Russian font, Sonovovitch has language support for the true Cyrillic alphabet.

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

110design
[Alexei Vanyashin]

Russian graphic and web design studio in Moscow, run by Alexei Vanyashin, Fedor Balashov and Kate Semenova. Alexei Vanyashin studied typography at Stroganov University under Dmitry Kirsanov from 2002 until 2003. He graduated in graphic design from the Institute of Design in Moscow in 2008. In 2009-2010, he worked on the Florian Diploma project at the Type and Typography course at the British Higher School of Art and Design in Moscow under Ilya Ruderman. Florian is a 9-style angular (wedge serif) text family. Florian and Geo Text won First Prize at Granshan 2010 in the Cyrillic text typeface category. Alexei designed the curlified Bodonito Display (2009), Eurotesque, Wire (2009, monoline sans), and ModL (2009). Schmale Antiqua (2010) is a very thin Latin and Cyrillic didone typeface that revives a 19th century typeface widely used for setting book titles. Behance link.

Cofounder in 2011 of Cyreal, a Russian foundry. There, he designed typefaces such as Rationale (2011, with Olexa Volochay and VladimirPavlikov), Vidaloka (2011, a didone done with Olga Karpushina), Alike (2009, with Svetlana Sebyakina), and Adamina (2011, a text typeface for small print: free at OFL). I am not sure if Iceland (2011, Cyreal: free at Google Web Fonts) is also his.

Typefaces made in 2012: Junge (a delicate roman face, free at Google Web Fonts, which was inspired by the calligraphy of Günther Jung), Merge Pro Greek and Cyrillic (codesigned with Kosal Sen, Philatype), Jacques Francois and Jacques Francois Shadow (Cyreal: co-designed with Manvel Shmavonyan, they are revivals of Enschedé No. 811 by J.F. Rosart; free at Google Web Fonts).

Suisse International Condensed Cyrillic won an award at Modern Cyrillic 2014.

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

1919 Type Foundry
[Scott Sullivan]

1919 Type Foundry presents the typographic work of Scott Sullivan, who is currently a graphic design major at Ohio University in Athens, Ohio, scheduled to graduate in 2009. About the name: The year 1919 was the year that the Bauhaus school opened in Weimar, Germany. It was roughly the year 1919 when Modernism and Constructivism were born in Germany and the U.S.S.R., respectively. All fonts are heavily based in geometry, therefore: Dosim OKT, Geovlad (2009, constructivist, based on the posters of Georgii and Vladimir Stenberg), 44X34X (2009, futuristic, free). The Triflig Paradigm is another project of his. There he is developing some fonts such as Moon Man, and one can download Gnashraw-Spaced (2009) and two of his FontStruct (pixel) fonts, pgdm001 and pgdm002 (2009). Designmoo link. [Google] [More]  ⦿

195.206.35.44

Neat archive, mostly consisting of Paul J. Lloyd fonts, plus about 300 Cyrillic truetype fonts. [Google] [More]  ⦿

22 Soft

Designers of Cyrillic fonts including New York Plain. [Google] [More]  ⦿

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

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

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

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

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

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

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

3type

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

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

440EMU

Creator of the free dot matrix font Teleindicadores 1 (2013). This font covers Latin, Greek and Cyrillic. [Google] [More]  ⦿

4th February
[Sergiy Tkachenko]

Sergiy Tkachenko (b. 1979, Khrystynivka, Cherkasy region, Ukraine) lives in Kremenchuk, Ukraine, and has been a prolific type designer since 2008. Sergiy graduated from Kremenchuk State Polytechnic University in computer systems and networks in 2007. Various other URLs: Microsoft link, Identifont, 4th February, Behance, Klingspor link, Revision Ru, Russian creators, CPLUV Fontspace, Twitter. Kernest link. Sergey Tkachenko's typefaces:

• 2008: the techno typefaces Bladi One 4F, Bladi One Slab 4F, Bladi Two 4F, Abia Wide 4F Thin.
• 2009: Wrongo 4F, Zantiqa (an über-serif), Serifiqo (a (free) thin didone fashion mag display face), Codename Coder 4F (monospace programming font), Droporado 4F (using circles only), Tovstun (futuristic, ultra-fat and rounded), Perfocard 4F, Modularico (five modular typefaces based on a logo from Master Kremenchug a company for which Sergiy worked for 4 years), Boldesqo Serif 4F (a splendid informal fat didone, now with Greek support), Tkachenko Sketch, Unicase Slab (a techno slab), Laftatic, Logofontik 4F (techno), PC.DE Stencil (+Italic; custom stencil font), Stenciliqo 4F, Tiap Liap 4F (handwriting), Nut Kit 4F, Rezzzistor 4F, the inline modular face Grand Hotel, and Bijou 4F.
• 2010: Roboo 4F (a bubblegum typeface family), PädIn (a custom typeface for Pädagogische Initiative e.V.: rounded fat informal face), Fat Quad (in the fatty trend), Veselka (a free multiline face), Smeshariki Black (+ Gleams: a bubble gum font made for an animation company), Republica 4F (a fat family), Rodeqa Slab 4F, ComFi (semi-octagonal), Grotesqa 4F, Nowy Geroy 4F, Fabryka 4F (a monospaced typewriter family), Placarto4F-Italic (an ultra fat art deco), Lavina 4F (a hairline sans with lachrymal terminals).
• 2011: Squartica (octagonal), Decomart (free), Model 4F Unicase (a unicase fat didone released in 2013 only), Fontatigo 4F, Kylie 4F (bilined and geometric), Waldemar 4F (a large didone style fat typeface family), Dinesqo (2011, a monoline sans of utter simplicity), Qargotesk (+Cyrillic) [images: i, ii, iii, iv], Neultica 4F (black unicase family), Squartiqa 4F (2011, constructivist), Clarenta 4F Black (after Clarendon---a great family), Designosaur (free sans), Perfopunto (based on perforated circles and squares), OlaScript 4F, Bayadera 4F (a tamed upright monoline script), Febrotesk4FUnicase (squarish unicase family).
• 2012: Targo 4F (rounded typeface with stencil and non-stencil styles), Myra (free font), Myra 4F Caps (free), Cedra (wide monolined sans face), Fontatica 4F (rounded techno grotesk), Akzentica 4F, Ukraintica 4F Wide (a monoline wide-bowled sans family), Laventa 4F, Sports World (free athletic lettering font), Web Serveroff (free computer geek font), Octin Spraypaint Cyrillic (a rough stencil done exclusively for Ninja Theory).
• 2013: Condesqa (modular sans), Esqadero (an uncomplicated monoline sans), Vanyla 4F Unicase (monoline), Esqadero FF CY (a free wide sans, Cyrillic), Bond (a confident no-frills sans), Attentica (free sans font for Latin and Cyrillic), Cedra 4F Wide Thin.
• Cyrillizations: several typefaces such as Lavoisier (by Alec Julien), Budmo Jiggler (Ray Larabie) and JoAnne Display (Sandy Cerovich), Gnuolane (of a Ray Larabie font), Paranoid Cyrillic (based on Kevin Lo's Paranoid), Movavi Grotesque Black (+Cyrillic; image; numerals), Azoft Sans (made for Azoft, and free here and here).
• Custom fonts: Blue Pill, Sansus Webissimo (since 2011 free at Open Font Library), Minaeff ECT (2011, a free legible family for Latin and Cyrillic, custom-made for and downloadable from WebhostingRating.com), Webhostinggeeks.Com (2011), Web Serveroff, OnlinePharmacyCheck.Com (2011), 1800Flowers.com (2011), DesignStudio.com (2011, free), ArchyStudio.Com (2011, free download, Movavi Grotesque (2011, free), Azoft Sans, PÄd In, Smeshariki, Fat Cow (2010: free condensed sans), ComFi (2010, free), PC.de (2009: free techno family, including a stencil face), League Gothic (2009-2011, The League of Movable Type) Cyrillic, Paranoid Cyrillic, 28 Days Later Cyrillic, Acid Label Cyrillic, Dead Secretary Cyrillic, Rezland Cyrillic, Sweet Leaf Cyrillic, Droid Cyrillic, Jo Anne Display Cyrillic, Gnuolane Free Cyrillic, Bosox Cyrillic, Budmo Jiggler Cyrillic.
• Typefaces from 2014: Laqonic 4F (unicase sans), Cubynets 4F, Blogger Sans (free rounded organic sans), Boncegro (free Western typeface, briefly called Vaquero before a name change), Motor 4F (based on Russian car license plates), Monitorica (a futuristic typeface made for ipHostMonitor.com, free at OFL), Areqo (condensed titling sans), Architect's Daughter Cyrillic (architectural lettering), GetVoIP Grotesque (a free typeface commissioned by GetVoIP), Meeneralca (unicase sans inspired by the logo of the mineral water Borjomi from Georgia), Glasoor (free oil spill or jelly bean font), Robotesqa.
• Typefaces from 2015: Croogla (a circle-based informal sans), Blackentina 4F (free ultra-black squarish typeface), Dart 4F (neo-grotesque), Kent 4F (a layered family for letterpress emulation).
• Typefaces from 2016: Brent 4F (original design going back to 2013), a custom typeface for the labels used in the Ukrainian Armed Forces, Economica Cyrillic Pro (with Vicente Lamonaca).
• Typefaces from 2018: Indi Kazka 4F (Indic simulation).

Abstract Fonts link. Dafont link. Creative Market link. Behance link. Hellofont link. Open Font Library link.

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

60 Kilos (or: Sesenta Kilos)

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

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

7GUN

Design site in Moscow. Creators of the geometric figure (Latin) stencil typeface Caribe Modular (2013), which was created as a project for the British Higher School of Art & Design. Intrnal Hybrid (2013) was also completed at the British Higher School of Art & Design in Moscow. Deriz (2013) is a high-contrast didone titling face. Intrnal Hybrid (2013) is a grungy techno Cyrillic typeface. Vintage and Coupage Font emulates various wood type and letterpress styles. [Google] [More]  ⦿

A. Ego

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

A. Grachev

Russian designer of the deco typeface Plein (1993, with A. Kustov). [Google] [More]  ⦿

A. Jorde

WT_Russisch truetype font. [Google] [More]  ⦿

A. Shchur

Russian designer of Rublenaya Shadow (1957). [Google] [More]  ⦿

A. Shishkin

Designer at Soft union of the Cyrillic fonts Half-Ustav (1994) and Evangelie (1994), with Nikita Vsesvetskii. [Google] [More]  ⦿

AaAAaAlena
[Alena Tsemkalo]

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

Aba Sh

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

Abdullahal Mamun

Graphic designer in Dhaka, Bangladesh. Creator of an unnamed softly rounded Bangla font in 2013. He writes: In Bangla, Bidyasagar style font (Sutonny MJ) created by Bijoy is the only Bangla font that is almost perfect. Rest of the fonts has problems such as baseline alignment, x-height alignment, character gap and unfinished characters. If we analyze the logic of Bijoy, we see that other than Bidyasagar (Sutonny MJ), rest of the fonts does not work perfectly with Bijoy. All Bangla fonts are monospace fonts which does not use kerning. Creating kerning feature fonts which will run in Bijoy platform is technically impossible. It is because Bijoy using those Unicode glyphs conflicts with kerning code. With the problem in hand, I have attempted to design and create a finished, perfect curve font with perfect baseline and x-height alignment, which will run smoothly with Bijoy. [Google] [More]  ⦿

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

[MyFonts] [More]  ⦿

Abkhaz alphabet

Abkhaz is a Caucasian language with about 300,000 speakers in Georgia, Turkey and Russia. Literary Abkhaz is based on the Abzhui dialect which is spoken in the capital of Abkhazia, Sukhumi. Abkhaz has been written with the Latin, Georgian and Cyrillic alphabets. This page includes the Abkhaz fonts Abzia and Amra. [Google] [More]  ⦿

Academy
[Lyubov Kuznetsova]

Cyrillic font available from Paratype. Academy was designed circa 1910 at the Berthold type foundry (St.-Petersburg). It was based on Sorbonne (H. Berthold, Berlin, 1905), which represented the American Type Founders' reworking of Cheltenham of 1896 (designed in turn by Bertram G. Goodhue and Morris Fuller Benton) and Russian typefaces of the mid-18th century. Paratype: A low-contrast text typeface with historical flavour. The modern digital version was designed at Polygraphmash type design bureau in 1989 by Lyubov Kuznetsova. [Google] [More]  ⦿

Adalin
[Kseniy Khikmatulina]

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

Adam Jagosz

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

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

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

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

Adam Katyi
[Hungarumlaut (was: Cila Design)]

[MyFonts] [More]  ⦿

Adam Twardoch

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

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

His typefaces:

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

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

Aditya Bayu Perdana

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

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

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

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

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

Adrian Englert

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

Adrian Frutiger

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

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

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

• Westside.
• Vectora (1991, Linotype).
• Linotype Didot (1991). See also Linotype Didot eText Pro (2013), which was optimized by Linotype for use on screens and small devices.
• Herculanum (1989, Linotype): a stone age font.
• Shiseido (1992).
• Frutiger Capitalis (2006, Linotype): a further exploration in the style of Herculanum, Pompeijana and Rusticana. Linotype trademarked that name even though at least five fonts by the name Capitalis already exist.
• Pompeijana (1993, Linotype).
• Rusticana (1993, Linotype).
• Frutiger Stones (1998, Linotype) and Frutiger Symbols.
• Frutiger Neonscript.
• Courier New, based on Howard Kettler's Courier, was one of Frutiger's projects he was involved in ca. 2000.
• AstraFrutiger (2002): a new signage typeface for the Swiss roads. Erich Alb comments: With a Frutiger condensed Type and illuminated signs during night it is mutch better readable.
• Nami (2008) is a chiseled-stone sans family, made with the help of Linotype's Akira Kobayashi.
• Neue Frutiger (2009, with Akira Kobayashi) has twice as many weights as the original Frutiger family.
• In 2019, the Linotype team released variable fonts for Frutiger's main typeface families, Avenir Next Variable, Neue Frutiger Variable, and Univers Next Variable.

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.

AEnglish Dictionary

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

Africaan

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

Agafonov Stephan

Creative designer in Moscow who made a Cyrillic font called Origami (2013). This typeface was obtained by scanning cut and folded strips of paper, and has a hand-made dadaist appearance. I am not sure that it has been digitized. [Google] [More]  ⦿

Agfa Monotype: Cyrillic fonts

Monotype's Cyrillic fonts include these: ArialMT, Arial-BoldMT, Arial-BoldItalicMT, Arial-ItalicMT, ArialNarrow, ArialNarrow-Bold, ArialNarrow-BoldItalic, ArialNarrow-Italic, BookAntiqua, CenturySchoolbook, CourierNewPSMT, CourierNewPS-BoldMT, CourierNewPS-BoldItalicMT, CourierNewPS-ItalicMT, Courier, Courier, FranklinGothic-Book, FranklinGothic-BookItalic, FranklinGothic-Demi, FranklinGothic-DemiCond, FranklinGothic-DemiItalic, FranklinGothic-Heavy, FranklinGothic-HeavyItalic, FranklinGothic-Medium, FranklinGothic-MediumCond, FranklinGothic-MediumItalic, Helvetica-Black_cyr-Bold, Helvetica_cyr-BoldOblique, Helvetica_cyr-Bold, Helvetica_cyr-Oblique, TimesNRCyrMT, TimesNRCyrMT-Bold, TimesNRCyrMT-BoldInclined, TimesNewRomanPS-ItalicMT, Arial-Black, Impact, BookmanOldStyle, BookmanOldStyle-Bold, BookmanOldStyle-BoldItalic, BookmanOldStyle-Italic, Garamond, Garamond-Bold, Garamond-Italic, Haettenschweiler, Monotypecom. [Google] [More]  ⦿

Aggeliki Skandalelli

Aggeliki Skandalelli is an Athens-born art director and graphic designer. After studying graphic design at AKTO Applied Arts School in Athens, she did an internship at Saatchi&Saatchi /Athens and went on to take a position as junior art director at Fortune Advertising. In 2000 she joined DDB /Athens and in 2003 was promoted to art director. During her time at DDB, Aggeliki collected a Grand Effie for the Tellas Telephone Network campaign, two Ermis Gold awards for an Alpha Bank print campaign and a Knorr TV spot, an Ermis Grand for the Thalassitis wine print campaign and an Ermis Silver for the hair salon Nicolas print ads. Since 2006, Aggeliki has been a senior art director at J. Walter Thompson /Athens, working for major accounts, such as Vodafone, Smirnoff, Amstel, Minoan Shipping Lines and Eurobank. She has also been in charge of various freelance assignments, creating logos, print ads and brochures.

Designer at Parachute in Athens, Greece, of the Latin / Greek / Cyrillic signage typeface PF Scandal Pro (2007-2012).

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

Agi Pramudiman
[Loch Typography]

[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]  ⦿

Ahoi

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

Aigul Gilmutdinova

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

Aimur Takk

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

Airunreal
[Pavel Storchilov]

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

Ajusia
[Pana Type and Studio]

[MyFonts] [More]  ⦿

Akina686

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

Akira Kobayashi
[Neue Frutiger]

[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.

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]  ⦿

akkobank

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

Aktobe.com

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

Alan N. Po
[TNAIA]

[More]  ⦿

Alatau

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).

Alberto Romanos
[Branding with Type]

[MyFonts] [More]  ⦿

Alec Julien
[Haiku Monkey]

[MyFonts] [More]  ⦿

AlefAlefAlef (or: Fontimonim)
[Avraham Cornfeld]

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

Alejandro Torres

Genova, Italy-based designer of the bilined art deco typeface Metropolis (2013) that covers Latin, Greek and Cyrillic. Behance link. [Google] [More]  ⦿

Aleks Flaks

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

Aleksandar Andrejic

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

Aleksandar Glisic

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

Aleksandar Marjanovic

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

Aleksandar Nikov

Creator of the free constructivist typeface Desonanz (2015) for Latin Greek and Cyrillic. [Google] [More]  ⦿

Aleksandar Nikov

Graphic and sound designer in Skopje, Macedonia. In 2014, he created the free squarish typeface Desonanz for Latin, Greek, Coptic and Cyrillic. The orginal design of Desonanz dates back to 2010. [Google] [More]  ⦿

Aleksander Koltsov

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

Aleksander Moskovskin

Moscow-based designer. During his studes there in 2016, he co-designed the free constructivist / art nouveau / pre-Petrine Latin / Cyrillic typeface Dobrozrachniy with Misha Panfilov (Russian Fonts). Behance link. [Google] [More]  ⦿

Aleksander Shevchuk

Art director in Moscow, b. 1985. His (mostly free) typefaces include the ultra fat art deco typeface Beyond Cyrillic (2009) and Eyelevation Pro (2009, for Eyelevation magazine (in Russian): free at dafont since 2012), Bifurk Asmod (2006, display face), FatC (2010, a rounded curly didone display face), Kodzini (2008, a great asian simulation face) and SheruPro (2009, another great (free) faux oriental face), AleksandraC (2010, +Vintage: free at Dafont), Beyond (2014).

Alternate URL. Dafont link. Behance link. [Google] [More]  ⦿

Aleksander Smolnikov

In 2014, Pavel Efremov, Danil Plyutenko and Aleksander Smolnikov (Saint Petersburg) co-designed the Praktik typeface during their studies at BHSAD in Moscow. In 2017, Aleksander designed the free EPS format Rusty Georgia, which is based upon Carter's Georgia. [Google] [More]  ⦿

Aleksandr

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

Aleksandr Andreev
[Church Slavonic Initiative]

[More]  ⦿

Aleksandr Khomyakov

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

Aleksandr Savenkov

Novosibirsk, Siberia-based creator of the free pixelized typeface Upheaval Pro (2012), which is a Greek / Cyrillic extension of Upheaval by Brian Kent. In 2013, he created the pixelish typeface Dusty Pro for Latin, Greek, Cyrillic and Hebrew. It is an extension of Andreas Nylin's Dusty.

Symvola (2014) is a free typeface containing basic Latin and Greek characters. The design is inspired by the time machine's interface from Space Quest IV and puzzle panels from The Witness.

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

Behance link. [Google] [More]  ⦿

Aleksandr Sukiasov

Georgian designer (b. 1988, Georgia) who runs his own foundry in Tbilisi. MyFonts link. He created the Helvetica-like Lax family (2010).

In 2012, he created the free typeface Grammatika (or Grammatica) out of Helvetica and DIN. Open Font Library download site.

AS Naya (2012) is a minimalist condensed sans family. AS Nerd (2012) is a sign-painting brush script.

In 2013, the following typefaces could be bought at Graphic River: AS Scripty, AS Vardo (hairline sans), AS Negal, AS Vino, AS Neo Medium, AS Amplo (a wide all caps sans), AS Neo, AS Bordo Regular, and AS Grammatika.

Klingspor link. Behance link. Link to his studio. Graphic River link. [Google] [MyFonts] [More]  ⦿

Aleksandra Egorova

Russian type designer in St. Petersburg who made the faux oriental font Han Zi in 2008 at Paratype. [Google] [MyFonts] [More]  ⦿

Aleksandra Gundorova

Based in Saint Petersburg, Russia, Aleksandra Gundorova created an unnamed Latin alchemic typeface in 2013, and a frid-based constructivist typeface in 2014. Restoran (2012) is a very original symbol font: each glyph represents in iconic abstract form an item on a restaurant menu.

As a student in the TypeType education program in 2016-2017, she designed the Venetian antiqua Foundata. [Google] [More]  ⦿

Aleksandra Korolkova

Graduate of Moscow University of Printing Arts in 2006 where she studied under Alexander Tarbeev. She teaches type design and typography there. In 2007, her book for Russian students on typography was published (English title: Alive Typography). She received many awards for her work and is a frequent speaker at type design conferences. In particular, she received the prestigious Prix Charles Peignot in 2013. After that she became Type Director at ParaType in Moscow.

Designer of the beautiful Cyrillic serif family Leksa (a winner at Paratype K2009) and the accompanying Leksa Sans family from 2004 until 2007. This was followed by equally gorgeous families such as Fence (2009, an ultra-fat artistic beauty). Skoropix is an experimental pixel typeface done with FontStruct.

She also made Belladonna (2008, a stunning modern typeface for Latin and Cyrillic; a winner at Paratype K2009 and Grand Prize winner at Granshan 2011), Skoropix (with FontStruct), and the experimental typeface Cless (2009). She spoke about Cyrillic at ATypI 2008 in St. Petersburg. She received a TypeArt 05 award for the display family Fourty-nine face. Alternate URL.

At MyFonts, one can buy Gorodets [2009: a Russian decoration typeface based on traditional wood-painting style from the town Gorodets on the Volga river, Russia], Leksa and Leksa Sans], Blonde Fraktur (2010: written with a quill by Alexandra Korolkova and prepared in digital form by Alexandra Pushkova), Airy (2010, a curly script), Airy Pictures (2010, animal and plant dingbats), Bowman (2010: a blackboard children's script), PT Serif (2011, Paratype's superfamily of 38 fonts, co-designed with Vladimir Yefimov and Olga Umpeleva; Open Font Library link), PT Circe (2011, a geometric sans family with a neat Thin weight; Third Prize for Cyrillic text typefaces at Granshan 2011), and Cless (2010: ultra fat and counterless).

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

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

In 2013, Vasily Biryukov and Alexandra Korolkova co-designed the soft roundish sans typeface Kiddy Kitty (link).

In 2014, she cooperated with Maria Selezenava on a revamped Journal Sans typeface at Paratype, called Journal Sans New (Latin and Cyrillic). This geometric sans in the style of Erbar Grotesk and Metro Sans is a major extension of the Journal Sans typeface (1940-1956, SPA, in metal form, and 1990s in digital form). Still in 2014, she co-designed Stem, a geometric large x-height Latin / Cyrillic sans serif with optical sizing, with Isabella Chaeva and Maria Selezeneva at Paratype. This was followed in 2015 by Stem Text.

In 2015, she and Alexander Lubovenko co-designed Circe Rounded, which is an extension of her earlier Circe typeface (2011), both published by Paratype. In 2018, Paratype extended that family with Circe Slab (by Alexandra Korolkova and Olexa Volochay). Still in 2015, Alexandra Korolkova and Alexander Lubovenko published Aphrosine at Paratype, a typeface based on pointed pen script and situated somewhere between handwriting and calligraphy. Many alternatives and smart OpenType features help Aphrosine look like real handwriting.

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

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

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

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

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

MyFonts interview. Kernest link. Klingspor link.

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

Aleksandra Parkhomenko

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

Aleksandra Rybak

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

Aleksandra Slowik

Saint Petersburg, Russia-based designer.

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

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

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

Aleksandra Soloveva

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

Aleksandra Stamenkovic

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

Aleksei Archipov

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

Aleksei Derin

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

Aleksei Kalinin

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

Aleksei Kondakov

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

Aleksei Labsin

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

Aleksei Pashnin

Packaging designer in Moscow, who created the free Cyrillic weaving vector format typeface Water Plant in 2016. [Google] [More]  ⦿

Aleksey Grigoriev

Russian designer of the Cyrillic/Latin font PremudryCyr, based on an original by Tom Murphy. He also made Rublik (2001). [Google] [More]  ⦿

Aleksey Kaplaukh

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

Aleksey Kostin

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

Aleksey Maslov

Russian codesigner (with Ivan Gladkikh and Alexandr Kalachëv) of Days and Days One (2009, a display sans face), and with Jovanny Lemonad of Metro (2009, constructivist) and Stalin One (2012, constructivist face, free at Google Web Fonts). Behance link. Typetype link. [Google] [More]  ⦿

Aleksey Mednov

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

Aleksey Nelubov

Graphic designer and photographer in Odessa, Ukraine. He created a number of great logotypes that could serve as dingbats for many applications, especially in vodka bars. [Google] [More]  ⦿

Aleksis Rudakov

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

Alena Generalova

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

Alena Marusena
[Madam Saffa]

[More]  ⦿

Alena Morgunova

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

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

Alena Muhina

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

Alena Skarina

Designer in Toronto (b. 1986, Siberia) who has some nice botanical illustrations in her Erobotanica (2012), including some called Nepeta Lactone.

Behance link. [Google] [More]  ⦿

Alena Tsemkalo
[AaAAaAlena]

[MyFonts] [More]  ⦿

Alena Zhokina

Moscow-based designer of these Cyrillic typefaces in 2014: Cross Type, Art Type (all-caps ornamental typeface on the theme of breasts). [Google] [More]  ⦿

Alena Zhokina

Moscow-based designer of Cross Type (2014: an artsy display typeface). [Google] [More]  ⦿

Alenka Karabanova

Nizhny Novgorod Oblast, Russia-based designer of the Chalk Eco font in 2015. [Google] [More]  ⦿

Aleskey Popovcev

Graphic designer and typographer in Kharkov, Ukraine. Creator of the beautifil Latin/Cyrillic sans typeface Garnitura Nachalnaya (2014). Behance link. [Google] [More]  ⦿

Alex Bait

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

Alex Color

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

Alex Cotton

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

Alex Dadaev

Saint Petersbug, Russia-based designer of a rounded monoline Latin titling font (2014). Behance link. [Google] [More]  ⦿

Alex Dscheremet

The Cyrillic font Saltan (2002) was designed by Alex Dscheremet. [Google] [More]  ⦿

Alex Etewut

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

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

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

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

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

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

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

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

Alex Frukta
[Nord Collective (or: Fontfirma)]

[More]  ⦿

Alex Frukta
[Alexey Frolov]

[More]  ⦿

Alex Gart

Aka Alex Gorilla. Alex Gart (Chelyabinsk, Russia) created the commercial alchemic typeface The Elementarity (2013). It can be bought here. He also made Weather Icons (2013).

Behance link. Graphic River link for buying his typefaces. [Google] [More]  ⦿

Alex I. Kuznetsov

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

Alex Ivanov
[Vates Design]

[More]  ⦿

Alex M. Davidov

Designer of some Kyrghyz typefaces such as Kyrghyz-AdverGothic, Kyrghyz-Antiqua, Kyrghyz-Avalon, Kyrghyz-Baltica, Kyrghyz-Bengaly, Kyrghyz-Century, Kyrghyz-FreeSet, Kyrghyz-Letterica, Kyrghyz-Times.

This old download link has further Kyrghyz fonts, including Kyrgyzfnt, MenchikMemo, MenchikOn, MenchikStyle, MenchikUno, MenchikText. [Google] [More]  ⦿

Alex Mihaylov

Born in Russia in 1995, Alex Mihaylov designed the octagonal typeface Reflectors (2013, FontStruct) and the hexagonal typeface Hexamatter (2013). One Smear (2013) simulates an oriental brush. [Google] [More]  ⦿

Alexander Alexandrowitsch Roth
[Neue (or: Neue Foundry)]

[MyFonts] [More]  ⦿

Alexander Arhipov

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

Alexander Bobrov
[Indian Summer Studio]

[MyFonts] [More]  ⦿

Alexander Cherepanov

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

Alexander Garkavets

Another archive of Cyrillic and Armenian fonts managed by Alexander Garkavets of the Center of Eurasian Studies: ArTarGrqiNorGar, ArTarGrqiNorGarBold, ArTarGrqiNorGarItalic, ArTarumianMatenagirGar, ArTarumianMatenagirGarBold, ArTarumianMatenagirGarItalic, ArTarumianTimesGar, ArTarumianTimesGarBold, ArTarumianTimesGarItalic, ArialArmenGar, ArialArmenGarBold, ArialArmenGarItalic, ArmoldGar, SchoolBookAC-Bold, SchoolBookAC-BoldItalic, SchoolBookAC-Italic, SchoolBookAC-Regular, TimesUrumNewBold-Italic, TimesUrumNewBold, TimesUrumNewItalic, TimesUrumNewNormal, TmsRoman, TmsRomanBold, TmsRomanBoldItalic, TmsRomanItalic, VusillusOldFaceItalic, QypchaqDiacriticBold (Garkavets, 2000), BookmanUrum, ArialArmenGar. [Google] [More]  ⦿

Alexander Kaputsa

Russian creator of Psi Hoe Pate's Altern-8 (2012, a squarish typeface for Latin and Curillic created using FontStruct). [Google] [More]  ⦿

Alexander Kazantsev

Russian designer of the Cyrillic/Latin version of Allen R. Walden's font Terminator. Obsolete home page. [Google] [More]  ⦿

Alexander Kirillov

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

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.

Alexander Medvedev

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

Alexander Minchuk

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

Alexander Nedelev
[Typedepot]

[MyFonts] [More]  ⦿

Alexander Pravdin

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

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

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

Alexander Pro

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

Alexander Ricachov

Saint Petersburg, Russia-based designer of Art Font (2016), Rustica (2015, calligraphic alphabet), Rust Cursiv (2015), Antiqua Cvadrato (2015), Capitalis Roman (2014, a calligraphic alphabet), Futurista (2015). In 2016, he designed the hand-drawn typeface Krita. [Google] [More]  ⦿

Alexander Rodchenko

Aleksandr Mikhailovich Rodtschenko (1891-1956), or Rodchenko, emerged in the 1920s as one of the most influential Russian constructivists. Their lettering is always austere and geometrical, and they influenced all visual arts. A typical Cyrillic family of typefaces was recreated by Tagir Safayev at ParaType in 1996-2002, called PT Rodchenko. Other reincarnations include the Latin&Cyrillic family Rodchenko Constructed ML and Rodchenko Grotesk ML (2010, Tom Wallace). At Gaslight, the Teco Sans and Teco Serif typefaces (2012) are also said to be influenced by Rodchenko. Also, check P22 Constructivist by Richard Kegler (1995).

MyFonts link.

A list of digital typefaces influenced by Rodchenko's constructivist alphabets. [Google] [MyFonts] [More]  ⦿

Alexander Samburov
[Lurex Design]

[More]  ⦿

Alexander Sapozhnikov

Russian designer of the Russian Road Sign Font (2013), in which the Cyrillic part is based on standards GOST 10807-78 and GOST R 52290-2004. This font is used on Russian road signs. There is a Latin part, which is not standardized. Free download. [Google] [More]  ⦿

Alexander Sergeyevich Pushkin

Alexander Sergeyevich Pushkin (1799-1837) was a Russian author of the Romantic era who is considered to be the greatest Russian poet and the founder of modern Russian literature. His handwriting has been used in several digital fonts, such as Letter 1882 (1996, Paratype), Pushkin (1999; based on Pushkin's handwriting from 1875; free download here), and newPushkin (2009, free). [Google] [More]  ⦿

Alexander Sheliketo
[No Regular Fonts]

[More]  ⦿

Alexander Shimanov
[Shimanov Types]

[MyFonts] [More]  ⦿

Alexander Sizenko

Russian creator of the free chess font Chess 7 (2008), the free pixel fonts LED Stadion 7 (2013), Dash Dot Square 7 (2013), Enhanced Dot Digital 7 (2013), Small Dot Digital 7 (2013), Modern Dot Digital 7 (2013), Square Dot Digital 7 (2013), Bold Dot Digital 7 (2013), Serif Dot Digital 7 (2013), Serif LED Board 7 (2013), Modern LED Board 7 (2013), Half Bold Pixel 7 (2013), Dash Pixel 7 (2013), Serif Pixel 7 (2013), Power Pixel 7 (2013), Enhanced LED Board 7 (2013), Thin Pixel 7 (2013), Smallest Pixel 7 (2013), Modern LCD 7 (2013), Advanced LED Board 7 (2012), Digital 7 (2008, LED face), Post Pixel 7 (2013), Triple Dot Digital 7 (2013), Dash Dot Square 7 (2013), Enhanced Dot Digital 7 (2013), Dash Digital 7 (2013), Light Pixel 7 (2013), High Pixel 7 (2013), Mini Pixel 7 (2012), Long Pixel 7 (2013), LED Counter 7 (2013), Digital Counter 7 (2013), LED Digital 7 (2013), LED Board 7 (2013), Light LED Board 7 (2013), Advanced LED Board 7 (2013), Printed Circuit Board 7 (2013), Brick LED 7 (2013), Rounded LED Board 7 (2013), Pixel Dingbats 7 (2013), Square Wood 7 (2013), Small Bold Pixel 7 (2013), Rounded Pixel 7 (2013), Line Pixel 7 (2013), Bold LED Board (2013), Narrow Rectangle 7 (2013), Dot Digital 7 (2013, +Advanced), Square Metal 7 (2012), Stencil Pixel 7, Computer Pixel 7 (2012), Small Pixel 7 (2012), LED Counter Plus 7 (2013), LED 7 Display (2012, +Light), Neon Pixel 7 (2012), Old Pixel 7 (2012), Square Stone 7 (2012), Square Pixel 7 (2012), Pixel Font 7 (2012, +Outline), Pixel LCD7 (2012), Advanced Pixel 7 (2012), Ice Pixel 7 (2012), Void Pixel 7 (2012), Dash Dot LCD 7 (2012), Dash Dot Square 7 (2013), Enhanced Dot Digital 7 (2013), Double Pixel 7 (2012), Advanced Pixel 7, Advanced Dot Digital 7 (2013), ZX Spectrum 7 (2012), Bubble Pixel 7, Cyrillic Pixel 7, Basic Square 7 (2013), Basic Sans Serif 7 (2013), Effective Way 7 (2013), Arrow 7 (2013), Abricos 7 (2013), Computer 7 (2013), Disco 7 (2013), Software Tester 7 (2013), Elegant Line 7 (2013), Soft Lines 7 (2013), Effective Way 7 (2013), and the free LED display font Digital-7 (2008).

Typefaces from 2014: Game Font 7, Square Sans Serif 7, High Sans Serif 7, Smooth Line 7, Bright Line 7, Double Line 7, Rounded Line 7, Rounded Sans Serif 7, Android 7, Arial Narrow 7, Bold Sans Serif 7, Light Sans Serif 7 (avant-garde sans), Modern Sans Serif 7, Software Kit 7 (dingbats), Advanced Sans Serif 7m Strong Line 7.

Typefaces from 2015: Steel Blade 7, Semi Rounded Sans Serif 7, Bold Game Font 7, Double Force 7, Roman Font VII, Game Sans Serif 7, Sans Serif Plus 7, Soft Sans Serif 7, Smooth Pixel 7, Clear Metal 7, Military Font 7 (stencil).

Typefaces from 2019: Clear Line 7.

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

Alexander Slobzheninov

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

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

Future Fonts link. Type Tomorrow link. [Google] [More]  ⦿

Alexander Swordman

Freelance designer in Minsk, Belarus, who created the muscular Cyrillic typeface Spectra in 2013. Geometric Sculpture (2013) is an angular straight-edged typeface for Latin and Cyrillic.

Behance link. [Google] [More]  ⦿

Alexander Tarbeev
[TFaces]

[MyFonts] [More]  ⦿

Alexandr Dragin

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

Alexandr Galuzin
[Alexandr Galuzin (was: Tangramus)]

[MyFonts] [More]  ⦿

Alexandr Galuzin (was: Tangramus)
[Alexandr Galuzin]

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

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

In 2017, he designed the fat stenci typeface Growling.

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

Alexandr Kalachëv
[Intelligent Design]

[More]  ⦿

Alexandr Kaliberda

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

Alexandra Alexandrova

Type designer, b. 1989, Lviv, Ukraine. In 2014, with Lukyan Turetskyy at 2D Typo, she created Kalyna. This Latin and Ukrainian-Cyrillic font has asymmetrical serifs, characteristic for the Ukrainian style. It is based on Heorhiy Narbut's sketches, a well-known Ukrainian graphic artist from the early 20th century. Kalyna comes also with a set of ornaments. Still in 2014, she created the rune simulation typeface Norden (Latin and Cyrillic).

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

Alexandra Ashikhina

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

Alexandra Chudinova

Saint Petersburg-based designer of a few display typefaces in 2014, including Cat, Avi, Look, Holes, Cara, Ho, Minich, and SK. [Google] [More]  ⦿

Alexandra Dmitrieva

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

Alexandra Dolgopolova

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

Alexandra Kozlova

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

Alexandra Leopoldovna Gophmann

Russian designer of typefaces who collaborates with Ivan Zeifert and specializes in revivals, cyrillizations and beautiful digitizations, some of them done with Anatole Gophmann. There have been complaints about her practice of borrowing fonts from type designers without asking. One typophile writes: I have cracked open fonts she claims as hers, Bolero, Bickham and others, she has copied and pasted glyphs, copyright data, added Cyrillic and changed the copyright string. As an example, Angelica is a copy of Alejandro Paul's Miss Fajardose. Alejandro has drawn the numerals in his font in 2004 to accompany the letters found in an old catalog of alphabets. There is no other source of the numerals, and Angelica has them. Michael Clark writes: I initiated a battle with the illustrious Alexandra "Bitch" from Russia who has renamed Pouty (FontBureau) and copyrighted [it as] Bolero. She and her partner Anatoly shithead. Available on Fonts101.com for anyone who wants it free. The ass's site, Jagdesh, is in Pakistan and we cannot touch him. 260+ viewings and 140+ downloads. Let's see that is 1400$ I will never see! Others have complained as well about her practice of taking and extending fonts without permission. Anyway, her "fonts" are:

• A: Adine_Kirnberg (2005, the Cyrillic version), Advokat Modern (2008), Afisha, Afisha Cap, Agatha-Modern, AlexandraScript, Amadeus, American Text C, American-Retro (2008), Ametist [based on Lorelei] (2008), AmpirDeco, Andantino-script (2008), Andantinoscript, Anfisa Grotesk (2008), Angelica, Annabelle, Antikvar (2008), Antikvar Shadow (2008), Antonella Script (2008), Antonella Script X (2008), Antract, Aquarelle, Ariadnascript, Ariston-Normal, Arkadia (2008), Arkhive, Arlekino, Art-Decoretta (2008), Art-Decorina (2008), Art-Metropol, Art-Nouveau Initial (2008), Art-Nouveau1895, Art-Nouveau1895-Contour, Art-Nouveau1900, Art-Nouveau1910, Art-Victorian (2008), ArtNouveau-Bistro, ArtNouveau-Cafe, Artemis Deco (2008), Artemon (2008, psychedelic), Arthur Gothic, Artist-Modern, Astoria Deco (2008), Atlas Deco A (2008), Atlas Deco B (2008), Auction, Augusta One, Augusta Two, AvalonMedium.
• B: Ball-Point Pen, Bankir-Retro, Barocco Floral Initial (2008), Barocco Initial (2008), Baron Munchausen, Batik Deco (2008), Belukha, BelukhaCapital, BickhamScriptAltFour, BickhamScriptAltOne, BickhamScriptAltThree, BickhamScriptAltTwo, BickhamScriptOne, BickhamScriptThree, BickhamScriptTwo, Birusa (2008), Bodoni Initials (2008), Boleroscript, Bonapart-Modern, Briolin, Brokgauz&Efron, Brokgauz&Efron-Italic.
• C: Caberne, Cafe Paris C, Calligraph-Medium, Campanella (2008), Capitol Deco (2008), Carmen, Carolina, Casanova (art nouveau) (2008), Cassandra, Castileo (2008), Certificate of Birth (2008), Chocogirl (2008), ClassicDecor (ornaments), Classica-One (2008), Classica-Two (2008), Cleopatra (2008), Conkordia (2008), Cordeballet, Corinthia, Corleone, CorleoneDue.
• D: Dama Bubey (grunge) (2008), Debut (art deco in the style of Broadway) (2008), Decadance Cursiv (2007), Decor Initial (2009: decorative caps, a Cyrillic extension of a typeface by Pampa Type), Decor Line (2008), DeutschGothic (blackletter), Donaldina (2008).
• E: Edisson (blackletter), Egipet-Bold, Ekaterina_Velikaya_One (2005), Ekaterina_Velikaya_Two (2005), English Rose (2008), EnglishScript, EseninscriptOne, EseninscriptTwo, Evgenia Deco (2008).
• F: Fairy Tale (2008), Fantasia (2008), Fata Morgana, Favorit, Favorit Grotesk (2008), Flamingo (2008), Fortuna Gothic FlorishC (2009, blackletter).
• G: Geisha (2006), Gertruda Victoriana (2008), Globus (2006), Gloriascript, Goudy Decor InitialC (2009, ornamental caps), Goudy Decor ShodwnC, Goudy OrnateC, Graceful Mazurka (2008).
• H: HeatherScriptOne, HeatherScriptTwo, HeinrichText, Hogarth_script (2005).
• I: Isabella-Decor, Italy-A (2008), Italy-B (2008), Izis One (monoline sans), Izis Two.
• K: Kabriolet Decor (2009), Kamelia (2009, Victorian face), Kareta-A (2007), Kareta-B (2008), KarnacOne, KarnacTwo, Konkord-Retro, Konrad-Modern (2008), Konstrukto-Deco (2008) (2008), Kot Leopold (2008), Kumparsita.
• L: Lastochka (2008), Le Grand, Leokadia Deco (2008), Lombardia, Lombardina One, Lombardina Two, Lombardina-Initial-One (2008), Lombardina-Initial-Two (2008), Lombardina-One-Roman (2008), Lombardina-Two (2008), Ludvig_van_Bethoveen (sic) (2005).
• M: Majestic X-2, Majestic-, MajesticX, Malahit-Bold, Margaritascript, Marianna, MarkizdeSadscript, MartaDecor One and Two, MartaDecorTwo, Martina Script C, Masquerade (2008), Matilda, Matreshka, Maya (2008), Medieval English, Melange Nouveau (2008), Menuetscript, Metro Modern, Metro Retro B (2008), Metro Retro C (2008), Metro-Retro A (2008), ModernistNouveau, ModernistOne, ModernistThree, ModernistTwo, ModernoNouveau, ModernoOne, ModernoThree, ModernoTwo, Modestina (Victorian), Mon Amour Two (both jointly copyrighted with David Rakovsky) (2008), Mon Amoure One (2008), Monte-Carlo, Monte-Kristo, Monti-Decor A B, Moonlight, Moonstone, Moonstone Stars, Morpheus, Moulin Rouge (2008).
• N: Nocturne (2005), Nostalgia (2008).
• O: Old Comedy, OldBoutique, Olietta-script-BoldItalic (2008), Olietta-script-Lyrica-BoldItalic (2008), Olietta-script-Poesia-BoldItalic (2008), Orpheus, Ouverture Script (2004, calligraphic).
• P: Parisian, Picaresque One, Picaresque-Two (2008), Pilotka (2008), Plimouth, Port-Arthur (2008), Poste Retro (2008), Postmodern One, Postmodern Two, Promenad Deco (2008), Prospect-Deco (2008), Pudelina (2008), Pudelinka (2008).
• R: Red Sunset, Regina Kursiv (2008), Renaldo Modern, Rochester, RochesterLine, RockletterSimple, RockletterTransparent, Romantica Script, Romashka Deco (2008), Romashulka (2008), Rondo Ancient One (2008), Rondo Ancient Two (2008), Rondo Calligraphic (2008), Rondo Twin (2008), Rosa Marena, Rosalia (2008), RosamundaOne-Normal, RosamundaTwo, Rotterdam, Rubius, Rurintania (sic) (2005).
• S: Samba DecorC (2006), San Remo, Sapphire C (2008), Scriptorama (a clone of Scriptina), Secession-Afisha, Sevilla Decor X, SevillaDecor, Sladkoeshka (2008), Stereovolna (2008), Stereovolna Black (2008), Stradivari Script (2008), Stradivari Script [the Latin part copyrighted by Grosse Pointe Group] (2008), Stravinski Deco (2008).
• T: Taverna, Teddy Bear [Latin by House Industries] (2008), Telegraph, TelegraphLine, TelegraphShodwn, TelegraphSmall, Terpsichora (2008, psychedelic), Theater (2009, Victorian), Theater Afisha, Topaz, Trafaret Kit (2008), Trafaret Kit Hatched (2008), Trafaret Kit Transparent (stencil) (2008), Traktir-Modern, Traktir-Modern3-D, Traktir-ModernContour, Turandot.
• V: Valentina (2008), Variete (2008), VenskiSadTwo-Medium, VenskisadOne-Medium, Vera Crouz, VeronaGothic (blackletter), VeronaGothicFlourishe (blackletter), Veronica-script-One (2008), Veronica-script-Two (2008), Victorian-Gothic-One (2007), Victorian-Gothic-Two (2008), Victoriana, Vizit (2010, engraved face).
• W: Wolfgang Amadeus Mozart (2005), Wonderland (2008), Wonderland Star (2008).
• Z: ZanerianTwo, [Google] [More]  ⦿

Alexandra Malysheva
[MF Studio]

[More]  ⦿

Alexandra Muravey

Artist and graphic designer in Moscow. In 2014, she created the Latin / Cyrillic display sans typeface Salut. In 2012, she created the Latin / Cyrillic display typeface Lotsman. Earlier, during her studies at the Higher Academic School of Graphic Design in 2010, she created an untitled Cyrillic alphabet. [Google] [More]  ⦿

Alexandra Pavlenko

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

Alexandra Pushkova

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

Alexandra Savelkaeva

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

Alexandra Shibalova

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

Alexandra Tarnavskaya

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

Alexandra Ulyukina

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

Alexandra Valuikina

Russian designer. Her typefaces for Latin and Cyrillic:

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

Alexandre Ruda
[Sete Std]

[MyFonts] [More]  ⦿

Alexei Accio

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

Alexei Chekulayev
[Double Alex Team]

[MyFonts] [More]  ⦿

Alexei Tsvetkov

Russian in Munich who designed the Mac font "Russian" in 1993. [Google] [More]  ⦿

Alexei Vanyashin
[110design]

[MyFonts] [More]  ⦿

Alexey

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

Alexey Atapin

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

Alexey Atapin

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

• Svyaz (2020). A modern take on Vyaz, the traditional Cyrillic ornate lettering.
• Practice (2020). A lovely Latin / Cyrillic hipster font in mono and proportional versions.
• Nesovremenny (2019). A free experimental display typeface.
• Dead King (2015). A rhombic font. Polonium (2021; so named to celebrate (?) the 2006 murder of Alexander Litvinenko by the KGB's favorite poison, Polonium 210).

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).

Alexey Fetisov

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

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

Alexey Frolov
[Alex Frukta]

Designer in St. Petersburg, Russia, b. 1992, aka Alexey Frukta. He made the free fonts Kankin (2012, a heavy display typeface for Latin and Cyrillic), Silverfake (2012), Tetra (2011. +Cyrillic), Pacifica (2011), Perforama (2010), Velvet Drop (2010) and Bardelin (2010), Sumkin (2010, a fat signage typeface for Latin and Cyrillic), SumkinfreetypeMRfrukta2010, TotShrift-BoldBold (2010), Bext (2010), the leaf-themed display typeface Kaori (2010, Latin and Cyrillic), Grandnover (2010), and the futuristic typefaces Kvadro (2009), Brava Novella (2010, heavy slab serif) and Kardon (2010), downloadable here.

Some of his fonts are commercial, including the beautiful fat display typeface Houston (2013).

Behance link. Klingspor link. Hellofont link. Gumroad link. [Google] [More]  ⦿

Alexey Gunin

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

Alexey Kryukov

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

• Old Standard TT (2006-2010): a high quality didone 2-style family, suitable for classical, biblical and medieval studies as well as for general-purpose typesetting in languages which use Greek or Cyrillic script, as well as Latin. Many math symbols are included. Old Standard is part of the Google open font directory of free web fonts, and was adapted for TeX use. He writes: Old Standard is supposed to reproduce the actual printing style of the early 20th century, reviving a specific type of Modern (classicist) style of serif typefaces, very commonly used in various editions of the late 19th and early 20th century, but almost completely abandoned later. It supports typesetting of Old and Middle English, Old Icelandic, Cyrillic (with historical characters, extensions for Old Slavonic and localised forms), Gothic transliterations, critical editions of Classical Greek and Latin, and many more. People have also started using it for mathematical typesetting.
• Tempora LGC Unicode: Kryukov writes Tempora LGC Unicode was my first attempt to create a multilingual font supporting Latin, Greek (including polytonic characters) and Cyrillic scripts. This family is based on two well-known free typefaces similar to Adobe Times: Nimbus Roman No 9 L by URW (russified by Valek Filippov), and the Omega Serif family, developed by Yannis Charalambous. However, all basic components of the font, and especially its Greek and Cyrillic parts, have suffered serious modifications, so that currently Tempora LGC Unicode represents an independent typeface, quite different from its predecessors. Free download site. Many updates were made to the font package, with copyright notices to Michael Sharpe (2015), Alexey Kryukov (2005), URW++ Design & Development (1999), Valek Filippov (2001), Dmitry 40in (2001), The Omega Project (1996), and the Free Software Foundation (2002, 2003).
• Theano Classical fonts: Theano Didot (2008) is a classicist face, with both its Roman and Greek parts implemented in Didot style. Theano Modern has Greek letters designed in the Porsonic style. It is based on Figgins Pica No. 3 / Small Pica No. 2, one of the most successful Porsonic Greek typefaces. Theano Old Style is a modernized "Old Style" Greek font with a large number of historic ligatures and alternate forms, modelled after some early 19th century types designed by Figgins' type foundry. It is accompanied by a Latin typeface based on some "Old Style" Roman fonts of the late 19th and early 20th century. Pick up Theano Modern C (2012) at Open Font Library, and Theano Didot at CTAN.
• CM-LGC (2003): The CM-LGC package contains Type 1 fonts converted from METAFONT sources of the Computer Modern font families. The following encodings are supported: T1, T2A (Cyrillic), LGR (Greek) and TS1. This package includes also Unicode virtual fonts for use with Omega/Lambda. CM-LGC is the first Type 1 font package for LaTeX which supports all European scripts (LGC means Latin, Greek and Cyrillic). Alexej Kryukov used Textrace to create CM-LGC.

He contributed to the GNU Freefont project via FreeSerif Cyrillic, and some of the Greek symbols. He also provided valuable direction about Cyrillic and Greek typesetting.

Kernest link. Fontspace link. Another URL. Google Plus link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿

Alexey Kustov
[Type Market]

[More]  ⦿

Alexey Lysogorov

Russian graphic designer. Does some corporate identity design. [Google] [More]  ⦿

Alexey Makarov

Type designer from Novosibirsk, Russia, b. 1985, Altay, whose design and branding company is called Newface Studio. He designed the ball terminal typeface Asheron in 2013 and the display sans typefaces Higenson and Berkslund in 2015. Typefaces from 2016: Bjornson, Tiirson, Yaarve, Owuro, Appalachi (handcrafted), Kraftwied, Sungent.

Typefaces from 2017: Mayland (monoline script).

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

Alexey Malkov

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

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

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

Alexey Mikhailov

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

Alexey Persh

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

Alexey Popovtsev
[Aronetiv]

[MyFonts] [More]  ⦿

Alexey Potapov
[Doffdog]

[MyFonts] [More]  ⦿

Alexey Razuvaev

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

Alexey Rud
[Karandashev]

[More]  ⦿

Alexey Shevtsov

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

Alexey Sibirtsev

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

Alexey Sirke

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

Alexey Skvortsov

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

Alexey Timokhovsky

Or Alex Timohovsky. Ukrainian type designer based in Kiev (b. 1983, Kiev). He has his own type foundry in Kiev. In 2014, he designed the blackletter beer label typeface Grenadier for Latin and Cyrillic. Behance link. [Google] [MyFonts] [More]  ⦿

Alexey Zhurov

Industrial designer in Moscow. He created some funny and original stick figure dingbats called Lettrism (2009). Bones (2011) is a Cyrillic display face. Pseudo LCD (2011) is a hexagonal LCD face. Serpenta Serif (2011) is labyrinthine. In 2018, he designed Romanesque Display (3d, outlined, for Latin and Cyrillic). [Google] [More]  ⦿

Alexy Velichkin

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

Alfi Design
[Albert Filatov]

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

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

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

Ali Nuredini

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

Aliaksei Koval
[Koval Type Foundry]

[MyFonts] [More]  ⦿

Alice Retunsky

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

Alice Traum

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

Behance link. [Google] [More]  ⦿

Alice Vecher

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

Alif Nuryasin
[Alifinart Studio]

[MyFonts] [More]  ⦿

Alifinart Studio
[Alif Nuryasin]

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

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

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

Alina Radetsky

Graphic designer in Moscow, who created the grid-based Cyrillic typeface Po-Russki (2015). Behance link. [Google] [More]  ⦿

Alina Smolina

During her studies at the British Higher School of Art in Moscow, Alina Smolina created a layered Cyrillic typeface called Colored (2013). Blow to Didot (2013) is a deconstructed didone typeface. Stick Wand (2013) is a Cyrillic stick font. [Google] [More]  ⦿

Alina Soldatova

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

Alina Stepanenko

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

Alina Zoryna

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

Alisa Katrevich
[Red Studio]

[More]  ⦿

Alisa Morozova

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

Alisa Vorobyova

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

Alisovna

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

Alja Herlah

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

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

All About Type's Journal

Russian language type news and blog site managed by the Jakovlev Type Foundry. Subpage on Russian fonts. [Google] [More]  ⦿

Ally White

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

Almaty Telecom

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

Aloha Go

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

Alphabetum
[Juan-José Marcos García]

Juan-José Marcos García (b. Salamanca, Spain, 1963) is a professor of classics at the University of Plasencia in Spain. He has developed one of the most complete Unicode fonts named ALPHABETUM Unicode for linguistics and classical languages (classical&medieval Latin, ancient Greek, Etruscan, Oscan, Umbrian, Faliscan, Messapic, Picene, Iberic, Celtiberic, Gothic, Runic, Modern Greek, Cyrillic, Devanagari-based languages, Old&Middle English, Hebrew, Sanskrit, IPA, Ogham, Ugaritic, Old Persian, Old Church Slavonic, Brahmi, Glagolitic, Ogham, ancient Greek Avestan, Kharoshti, Old Norse, Old Icelandic, Old Danish and Old Nordic in general, Bengali, Hindi, Marathi, Phoenician, Cypriot, Linear B with plans for Glagolitic). This font has over 5000 glyphs, and contains most characters that concern classicists (rare symbols, signs for metrics, epigraphical symbols, "Saxon" typeface for Old English, etcetera). A demo font can be downloaded [see also Lucius Hartmann's place]. His Greek font Grammata (2002) is now called Ellenike.

He also created a package of fonts for Latin paleography (medieval handwriting on parchments): Capitalis Elegans, Capitalis Rustica, Capitalis Monumentalis, Antiqua Cursiva Romana, Nova Cursiva Romana (2014), Uncialis, Semiuncialis, Beneventana Minuscula, Visigothica Minuscula, Luxoviensis Minuscula, Insularis Minuscula, Insularis Majuscula, Carolingia Minuscula, Gothica Textura Quadrata, Gothica Textura Prescissa, Gothica Rotunda, Gothica Bastarda, Gothica Cursiva, Bastarda Anglicana (2014) and Humanistica Antiqua. PDF entitled Fonts For Latin Palaeography (2008-2014), in which Marcos gives an enjoyable historic overview.

Alphabetum is not Marcos's only excursion into type design. In 2011, he created two simulation fonts called Sefarad and Al Andalus which imitate Hebrew and Arabic calligraphy, respectively.

Cyrillic OCS (2012) is a pair of Latin fonts that emulate Old Church Slavonic (old Cyrillic).

In 2013, he created Cuneus, a cuneiform simulation typeface.

Paleographic fonts for Greek (2014) has ten fonts designed by Marcos: Angular Uncial, Biblical Uncial, Coptic Uncial, Papyrus Uncial, Round Uncial, Slavonic Uncial, Sloping Uncial, Minuscule IX, Minuscule XI and Minuscule XV. These fonts are representative of the main styles of Greek handwriting used during the Classical World and Middle Ages on papyrus and parchments. There is also a short manual of Greek Paleography (71 pages) which explains the development of Greek handwriting from the fourth century B.C. to the invention of printing with movable type in the middle of the fifteenth A.D. He wrote a text book entitled History of Greek Typography: From the Invention of Printing to the Digital Age (in Spanish; second edition, 2018). See also here and here. [Google] [More]  ⦿

Alya Boldovskaya

Moscow-based type and graphic designer who was born in 1991 in Ardatov. Creator of Alya Hand (2010, a curly typeface based on her handwriting, which was done with Konstantin Boldovskiy of the Russian foundry Konst.ru. [Google] [MyFonts] [More]  ⦿

Alya Kuznetsova

Moscow-based designer of the Cyrillic display typeface Kanitel (2014). [Google] [More]  ⦿

Alyona Serdyuk

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

Amadeus Information Systems
[Phil Chastney]

Amadeus Information Systems Limited / Phil Chastney are the designers of SImPL (1999-2001) and Sixpack Medium (2009), great Courier-like monospace fonts with many diacritics and symbols, filling many of the Unicode pages. The designer is Phil Chastney, who writes One of the design aims of the font was to provide a complete set of all known APL symbols, plus sufficient characters to allow prompts, comments, etc., to be expressed in every European language known to be in current use. Basically, that means the Latin, Greek and Cyrillic alphabets, plus accented and variant letter forms as required for other European languages using these alphabets.. Incidentally, Armenian and Cyrillic are also covered, and the number of mathematical symbols is staggering. [Google] [More]  ⦿

Amar Arif
[KaryAmo Studio]

[MyFonts] [More]  ⦿

Amazingmax
[Maxim Avdeev]

Maxim Avdeev (aka Amazingmax) is the Kazan, Russia-based creator (b. 1997) of some futuristic/game fonts in 2009: AmazXakep, AmazDooMLeft, AmazDooMLeft2, AmazDooMLeftOutline, AmazDooMRight, AmazDooMRight2, AmazDooMRightOutline, AmazS.T.A.L.K.E.R.Italic, AmazS.T.A.L.K.E.R.v.2.0. In 2010, he made the AmazGoda family of comic book typefaces.

In 2011, he added AmazHand_First, AmazHand_First_Alt, AmazHand_First_Alt_X, AmazHand_First_Hard, AmazHand_First_Smooth.

Fonts from 2012: Amaz Mega Grunge. [Google] [More]  ⦿

amk2000
[Anatole]

Russian fonts designed after historical examples. Free downloads. The list: Arkhive, Belukha1, BrokgauzItalic, Brokgauz, Edisson, Elzevir, Figured, Gloria, Heading (2004, by Anatole), Imperial, Italiano, Karmen, Medieval, Redinger, RomanaScr, Round-Italic, Saksonia, ScriptEnglishItalic, ScriptThinPen, Tcheconin41, Tchekhonin2, Venecia (2004, by Anatole), Washington (2004, by Anatole), Zecession, AAlbionicTitulNrSh, Flomast (handwriting), flomaster-Bold (handwriting), Flomaster (handwriting). [Google] [More]  ⦿

Amok Ink

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

AMS fonts

AMS Euler (a calligraphic font, designed by Herman Zapf), AMS Cyrillic, AMS Computer Modern, AMS extra math symbols (msam, msbm). In metafont and type 1 formats. [Google] [More]  ⦿

Amy Dittman

Saint Cloud, MN-based designer of a fat 3d poster typeface in 2014, during her studies at St. Cloud State University. It was inspired by Macklemore & Ryan Lewis's song "Gold" featuring the chorus to the song. [Google] [More]  ⦿

An An
[Anik Ya]

Anik Ya (An An) is the graphic designer in Saint Petersburg, Russia, who created the design culture typeface Rasoir (2014), named after the Miu Miu Rasoir sunglasses. She also created the experimental typeface Kaiv (2014), which is named after sunglasses by Paul Smith. [Google] [More]  ⦿

Ana Babii

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

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

Ana Kay

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

Ana Nikolova

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

Ana Prodanovic

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

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

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

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

Anastacia Novik

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

Anastasia Aiguzina

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

Anastasia Allakhverdova

Prolific art director from Moscow who is now located in New York. Her work includes the fashion mag Latin/Cyrillic typeface Cadre (2014), the prismatic custom typeface Icon Face (2014, done for a make-up school) and a few other fashion industry fonts. Behance link. [Google] [More]  ⦿

Anastasia Averina
[Ave]

[MyFonts] [More]  ⦿

Anastasia Babalyan

Russian designer at TypeMarket of AllegroScript (1995), Palladium (1994-1995), SonetSerif (1996, based on Stone Serif from 1987), Anastasia Script (1996: based on Shelley Script (Matthew Carter, 1972)), and Oliver New (1995, TypeMarket: based on Antique Olive by Roger Excoffon, Olive, 1962-1968). ParaType link. [Google] [More]  ⦿

Anastasia Belevskaya

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

Anastasia Belozerova

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

Anastasia Dimitriadi
[DimitriAna]

[MyFonts] [More]  ⦿

Anastasia Galkina

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

Anastasia Kaminskaya

Graphic designer in Kiev, Ukraine, who drew the Brush Cyrillic alphabet in 2016. [Google] [More]  ⦿

Anastasia Kernozhitskaya

Kiev, Ukraine-based designer of the stitching font Ukraine (2014) and the blocky typeface Loft (2014). All fonts are for Cyrillic. [Google] [More]  ⦿

Anastasia Kuznetsova

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

Typefaces from 2022: Kit Cloudkicker (in a child's hand), Paperboard (a paper cutout font), Pumpkin Magic (a brush font), Sunny Citrus (a bold grungy font), Hocus Pocus (a paper cutout font). [Google] [MyFonts] [More]  ⦿

Anastasia Larina

Russian poet who designed the handwriting fonts 47 (2008) and Denistina (2007). Aka X-tina and as Christina-S. Dafont link, where the designer is called Chrissette. [Google] [More]  ⦿

Anastasia Lila

Illustrator and graphic designer in Saint Petersburg, Russia. Creator of the girlish Latin / Cyrillic script typeface Lila Paris (2015) and of the handcrafted Ampersands (2015). Creative Market link. [Google] [More]  ⦿

Anastasia Linkova

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

Anastasia Lisenko

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

Anastasia Malinovskaya

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

Anastasia Mikhaleva

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

Anastasia Nekrasova

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

In 2019, she designed the wavy Somnambulist, the brush script Huckleberry Gateau, and the monoline script Winsomeness. [Google] [More]  ⦿

Anastasia Ovsyannikova

Moscow-based designer of the experimental Latin / Cyrillic typefaces Grungedidot (2013), Multilayer Font (2013), and Modular Font (2013). [Google] [More]  ⦿

Anastasia Popova

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

Anastasia Savchenko

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

Anastasia Tsimbalova

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

Anastasia Vorobyeva

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

Anastasia Wojt

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

Anastasia Yakovleva

Saint Petersburg-based creator of Milan (2012) and Kidot (2013). She writes: Kidot font was created as a corporate font for KIDSTUDIO. It was born from professional passion to design & typography. A child of bauhaus and modernism. Honest & pure. Created by Anastasia Yakovleva & Marco Innocenti. [Google] [More]  ⦿

Anastasia Yeski

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

Anastasiia Dmytrenko

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

Anastasiia Kolodii

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

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

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

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

Anastasiia Nalkovskaya

Graphic designer in Kharkiv, Ukraine, who created the curly Cyrillic typeface Breeze in 2018. [Google] [More]  ⦿

Anastasija Davydchik

Russian type designer who received a TypeArt 05 award for the display family EZZ. [Google] [More]  ⦿

Anastasiya Anisovich

Borisov, Belarus-based designer of the Latin/Cyrillic typeface Motion (2014). [Google] [More]  ⦿

Anastasiya Koba

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

Anastasiya Shlyatseva

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

Anastasiya Shtern

During her graphic design studies at BHSAD in Moscow, Anastasiya Shtern designed the Latin display typeface Modul (2013) and the mechanical ornamental caps typeface for Cyrillic called Reconstruction (2013). [Google] [More]  ⦿

Anastassiya Vishnevskaya
[Cherry Vishnya]

[More]  ⦿

Anastasy N

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

Anatole
[amk2000]

[More]  ⦿

Anatolii Tytarchuk

Kiev, Ukraine-based designer of the (Ukrainian) Cyrillic stencil typeface M04 (2017). [Google] [More]  ⦿

Anatoliy Kudryavtsev

Also written Anatolij Kudrjavcev. Russian type designer who developed the extensive Cyrillic sans family PT Parangon from 1996 until 2002. Paratype states: This type family belonges to Neogrotesque subclass of closed Sans Serif. Letterforms of lower case is based on the tradition of 1710 Civil type and some modern Italic types. For Parangon Poluustav and Parangon Ustav, he received two awards at TypeArt 05. [Google] [MyFonts] [More]  ⦿

Anatoliy Vasilyevich Shchukin

Russian type designer, b. 1906, Moscow, d. 1994, Moscow. He was also a graphic artist. He designed type and was project manager at VNII Polygraphmash. His typeface oeuvre either as a designer or project manager:

• The extensive Cyrillic/Latin didone family "New Standard", based on the text typefaces of the late 19th and early 20th centuries of the Obyknovennaya ("common") group. The digital version was developed at ParaGraph in 1996 by Vladimir Yefimov. ParaType explains: Initially designed for a collection of works by Lenin, this typeface was widely used in Soviet Union for technical and scientific books, both for text and display. Maxim Zhukov pointed out its popularity in Russia: Series No 27 (Neo Didot) had a Cyrillic version. I don't know when it was developed. A lot of books in the USSR and world-wide were set in Neo Didot. Neo Didot was so popular that around 1940 its Soviet clone was developed, Obyknovennaya Novaya Garnitura (Ordinary New Typeface). It was custom-designed for the 4th edition of Lenin's Collected Works (its 1st volume was printed in 1941, and the last one, 39th, in 1967). That typeface was later released for general use. It is now offered in digital form by ParaType, under the name New Standard.
• Latinskaya (1936, later Literaturnaya). The 1937 version of Literaturnaya is attributed to Schchukin, T. Breyev and G. Bannikova. For a free digital version, see Literaturnaya (2017, Marath Salychow).
• Paratype Journal Sans and Paratype Journal Sans Cyrillic (1940-1956). Paratype writes: The typeface was designed at the Polygraphmash type design bureau in 1940-56 (project headed by Anatoly Shchukin) based on Erbar-Grotesk typeface of Ludwig & Mayer company, 1929 by Jakob Erbar, and on Metro typeface of Mergenthaler Linotype, 1929 by William A. Dwiggins. A sans serif of geometric style. For use for text and display typography. In 2014 designer Olexiy Volochay made some corrections in original digital data and extended character set. The family was rereleased in ParaType in 2014. In 2014, Maria Selezeneva cooperated with Alexandra Korolkova on a revamped Journal Sans typeface at Paratype, called Journal Sans New (Latin and Cyrillic). This is a major extension as explained by Paratype:

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

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

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

Anatoly Serpilin

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

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

Anatoly Shabalin

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

Anatoly Vyalikh

Graphic designer and illustrator in Moscow. Creator of a colorful type poster (2009) for a children's book based on Futura. From it he derived a painted-look version of Futura (2009). Home page. Another URL. Another typeface. [Google] [More]  ⦿

Anatomy of a typeface

Russian type glossary and links. [Google] [More]  ⦿

Anatomy of fonts

A Russian language page with visual illustrations of font terminology. [Google] [More]  ⦿

Anderson Ruda

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

Andre Varvarin

Russian creator of an experimental font obtained by combining several fonts made by students at the British Higher School of Art and Design in Moscow. [Google] [More]  ⦿

André Gürtler
[Team 77]

[MyFonts] [More]  ⦿

André Harabara

Brazilian creator the rhythmic and flowing hand-printed HarabaraHand (2009), and of the organic techno sans typeface familiess Harabara and HarabaraNeo (2009) and Harabara Mais (2013) for Latin and Cyrillic. In 2015 he made AliciOne and in 2018 KIQ.

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

Andreas Johansson
[unfontunately]

[More]  ⦿

Andreas Larsen

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

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

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

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

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

Andreas Nolda

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

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

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

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

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

[MyFonts] [More]  ⦿

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

[More]  ⦿

Andrei Izotov

Andrei Izotov (Moscow State University) is the creator of the old Slavonic typeface Church AI (1995), which can be found here. [Google] [More]  ⦿

Andrei Nesterov

Russian designer of the beautiful Open Font Library uncial Cyrillic typeface Ostromirovo (2008), which is based on Ostromirovo evangeliye [Ostromir Gospel] (1056-1057). Other typefaces there include Rus Sans Pokrytie (2009, based on Luxi Sans; withdrawn in 2010) and Rus Sans 3 (2010). [Google] [More]  ⦿

Andrei Zaripov

Russian designer of the vector format typeface Watercolor (2017). [Google] [More]  ⦿

Andrei Zhitkov

Russian type designer. Agfa/Monotype designer of the Cyrillic fonts Bodoni Poster Cyrillic, Nevsky (Western style), Pskov (octagonal font), Tatlin (in the style of early Russian constructivism). [Google] [MyFonts] [More]  ⦿

Andrej Derbenev

Moscow-based designer of a geometric experimental Cyrillic typeface in 2012. More magnificent, often geometric, Cyrillic typefaces followed in 2014. [Google] [More]  ⦿

Andrew Belousov

Russian creator of a nail-themed all caps Cyrillic typeface in 2012. [Google] [More]  ⦿

Andrew Gurmanchuk

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

Andrew Kensler

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

Andrew Morev

Moscow-based motion graphics designer. He created the comic book style typeface Fence Font (2009). Home page. Another URL. [Google] [More]  ⦿

Andrew Nesterenko

Zaporizhzhya, Ukraine-based graphic designer. He made an untitled Peignotian typeface for Latin and Cyrillic in 2014. Behance link. [Google] [More]  ⦿

Andrew Shalanskiy

Kiev, Ukraine-based designer of the artistic handcrafted Cyrillic typeface Afinskaya (2015). [Google] [More]  ⦿

Andrew Sigurow

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

Andrew West
[BabelStone]

[More]  ⦿

Andrey Andreev

Designer at ATRI, Graphic bureau Az-Zet of the Cyrillic/Latin font AZ NewsPaperC (1990-1995), which is similar to News Gothic by Morris Fuller Benton, ATF, 1908. [Google] [More]  ⦿

Andrey Belogonov

Russian type designer. His typefaces:

• Nerpa (2014, with Yana Kutyina).
• Kalimantan (2012-2013: an award-winning calligraphic typeface designed together with Yana Kutyina)> It is unclear if this was a joint project or if Yana did this by herself.
• Powerview (2010, with Yana Kutyina), a scanbat font with portraits of Bush, Castro, Gorbachev, Osama Bin-Laden, Reagan, Martin Luther King and other leaders.
• Brusque (2008, Paratype: a brutalist face). Brusque was originally named Rouble and under this name it was awarded a first degree diploma of the Typefaces nomination at the Graphite Graphic Design Festival, 1999, and a diploma at the ATypI International Type Design Contest Bukva:raz!, 2001.
• Astera,
• Cliche,
• FastFingers,
• Vataga (2008, Paratype, with Yana Kutyina). A really funny dingbat face.
• In 2016, Yana Kutyina and Andrey Belogonov cooperated with Valery Golyzhenkov on the great vintage typeface system Triplet in Erste, Zweite and Dritte styles. Triplet won an award at Granshan 2017.

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

Andrey Belonogov

Russian designer (b. 1975, Moscow) who won an award at Bukvaraz 2001 for Handmade (hand sign font), and for Rouble, a minimalist Latin/Cyrillic font made in 1999-2001. He received a TypeArt 05 award for the dingbat family Astra. Other typefaces include Lenta, Moloko and Svoboda. He graduated from Moscow State University of Art (named after S. Stroganov in 2001). The astronomical signs font Astera was published by Paratype in 2008. Other Paratype fonts by him include Brusque (2008, renamed Rouble), Cliche (2008, stencil face), FastFingers (2008, remake of Handmade), Powerview (2010, with Yana Kutyina), Chetwerg (2014, which won an award at Modern Cyrillic 2014), and Vataga (2008, a human typefaces dingbat font co-designed with Yana Kutyina). [Google] [MyFonts] [More]  ⦿

Andrey Chernevich
[Mister Chek]

[More]  ⦿

Andrey Dali

Moscow-based designer of Andrali (2019). [Google] [More]  ⦿

Andrey Davydov

Moscow-based creator of Mary Poppins (2011), a legible text family for Latin and Cyrillic. [Google] [More]  ⦿

Andrey Drobitko

Artist and founder and CEO of Kula Tech who is based in Moscow. In 2010, he created the abstract typeface Tot Kexit. [Google] [More]  ⦿

Andrey Karter

Moscow-based designer of the free free Latin/Cyrillic typeface Concrete (2019) and the free brutalist sans typeface Miratrix (2019). [Google] [More]  ⦿

Andrey Kochetov

Russian designer of the rounded Latin / Cyrillic sans typeface family Inglobal (2014), together with Denis Davydov and Evgeny Yurtaev. This typeface was either commissioned for Inglobal, or was based on its logo. In any case, it can be freely downloaded at Dafont. [Google] [More]  ⦿

Andrey Kryukov

Moscow-based graphic and type designer (1923-1997). Designer of ParaType Magistral (1997, digitized by Dmitry Kirsanov), a geometric display sans based on the artwork of Kryukov (1923-1997). Also available at URW. Both Latin and Cyrillic versions exist.

During 20 years starting from the early 60s, Andrey Kryukov headed the Studio of Applied Graphics at Moscow Artists' Union. He worked as a designer for large Russian companies and organizations like Vneshtorgizdat, Trade Chamber, Muzyka Publishing and Melodia. [Google] [MyFonts] [More]  ⦿

Andrey Kudryavtsev
[Andrey Kudryavtsev Type Foundry (or: AKTF)]

[MyFonts] [More]  ⦿

Andrey Kudryavtsev Type Foundry (or: AKTF)
[Andrey Kudryavtsev]

Foundry in Irkutsk in Siberia.

Andrey Kudryavtsev designed Spacexplorer (2012), Necromant (2012), Flexy Sans (2011), Otrada (2011, signage script), Micronica (2008), a font shaped like old TV screens, Karlson (2009), Imperator (2010, a Trajan face), Alter (2010), Sommelier (2011), Alebarda (2009), Rubicon (2009) and Flexy Sans (2009).

Typefaces made in 2012 include the macho slightly flared Antey (Latin and Cyrillic) and the strong display sans typeface Tambov.

In 2013, AKTF published Softipen Script. In 2014, he created Qwincey FY (a high-contrast slightly flared almost Peignotian sans family, published by FontYou), Warren Narrow and Achille II Cyr FY (together with the Fontyou team of Alisa Nowak and Gregori Vincens).

Typefaces from 2015: Smile Pro (a fat multi-style handcrafted poster family of exceptional beauty; together with Rodrigo Araya), Ardilla Small (a rounded small x-height sans done together with Rodrigo Araya; inspired by the children's show Peppa Pig), Plumps, Antey, Crisper.

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

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

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

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

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

Typefaces from 2022: Chessnota (a chess font).

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

View the typefaces made by AKTF. Patreon link. [Google] [MyFonts] [More]  ⦿

Andrey Makarov

Russian type designer. He created the free monospaced Anka Coder family in 2010, which was developed for printing of source code. The fonts cover Latin and Cyrillic, among other things. The font names: AnkaCoder-C75-b, AnkaCoder-C75-bi, AnkaCoder-C75-i, AnkaCoder-C75-r, AnkaCoder-C87-b, AnkaCoder-C87-bi, AnkaCoder-C87-i, AnkaCoder-C87-r, AnkaCoder-b, AnkaCoder-bi, AnkaCoder-i, AnkaCoder-r. Download sites: Google Code Archive, Google, Open Font Library. [Google] [More]  ⦿

Andrey Martynov

Ekaterinburg, Russia-based calligrapher. Creator of a Latin Kanzlei-style blackletter alphabet (2015). [Google] [More]  ⦿

Andrey Melman

Designer of the Cyrillic font Dollar (2002, after a Latin original by S. Deken), which can be found here. [Google] [More]  ⦿

Andrey Mel'man

Russian designer of the Cyrillic/Latin version of Ray Larabie's fonts Monofonto and Neuropol, and of Newland Black (after Rudolf Koch's Neuland, 1923). He also made OCR B (a Cyrillic version) and Dollar. [Google] [More]  ⦿

Andrey Shmaliy

Graphic designer in Saint Petersburg, Russia, who created the 3d Cartoon Font in 2013. [Google] [More]  ⦿

Andrey Ukhanev

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

Andrey V. Panov
[Computer Modern Unicode fonts]

[More]  ⦿

Andrey V. Panov
[CM Unicode]

[More]  ⦿

Andrij Shevchenko
[Andrij Type]

[MyFonts] [More]  ⦿

Andrij Type
[Andrij Shevchenko]

Andrij Shevchenko (b. 1973) (aka Andrij Che) is the Berdyansk-based Ukrainian designer of the following typefaces, somne of which can also be had from MyFonts. Behance link.

In 2012, he started Ukrainian Type.

• Agarsky (2006, a bold casual script face) which used to be called Agara until Berthold complained about the possible confusion with Agora.
• Zion Train (2007, an experimental sans in 20 styles).
• Andrij Script. See here.
• Andrij Hand (a Cyrillic handwriting font, 2002-2006; see discussion).
• Strudel (2002, informal handprinting).
• ALS Agrus (2005-2006, a script face, Art Lebedev Studio).
• Machinegun (2005, octagonal military look).
• Magela (2003, a Cyrillic sans).
• Hajdamaka (2004, a bouncy Latin/Cyrillic script).
• Also check out his lettering (not fonts) in Kozaku (2005, a flowing Cyrillic script), XLibna (2005, another Cyrillic script) and here (2005).
• The semi-serifed Oksana (2007, 6 styles), Oksana Sans (2007, +Condensed), Oksana Text (2008), Oksana Cyrillic (2007), Oksana Greek (2007), and Oksana Text Swash (2008). This was followed by Oksana Text Narrow (2011), Oksana Sans (+Wide) and Oksana Sans Compressed (2011), which have hairline weights.
• Osnova Pro (2010): a sans family that covers Cyrillic, Greek and Latin.
• Ababa (2002, Cyrillic lettering).
• Turbota (2010) is a rounded Latin / Cyrillic type family that was was developed as part of an identity system for Turbota, a center for disabled children in the Ukraine.
• Arsenal (2011). A free typeface that won a national Ukrainian type competition called the Mystetsky Arsenal contest.
• Seaside (2011) is a Peignotian face.
• Bandera Pro (2011) is a useful workhorse square serif type family that covers Latin, Greek and Cyrillic. Accompanied by Bandera Text (2014) and Bandera Display (2014).
• Arsenal (2012) is a workhorse sans family for Latin and Cyrillic. It won the Mystetsky Arsenal contest, and is free.

  Zion Train Pro (2012, +Stencil): Originally ZionTrain was built as a (probably first in Cyrillic!) navigation typeface for the Kharkiv identity project and Kharkiv subway and airport navigation systems. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. The project was used in Kharkiv promotion at homeland and abroad, but was rejected by the new government. As a corporate typeface it was used for a few cultural projects. Now it is equipped with Slavic Cyrillic and Monotonic Greek.

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

Additional URL.

MyFonts interview.

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

Andriy Dykun
[NREY]

[MyFonts] [More]  ⦿

Andriy Konstantynov
[Mint Type (was: PDesign 6.0)]

[MyFonts] [More]  ⦿

Andryushkin Artem

Russian co-designer with Jovanny Lemonad of Flow (2010, a free pair of Latin hand-printed typefaces). [Google] [More]  ⦿

Andrzej Wartkowsky

St. Petersburg (Russia)-based designer of Lemur Light (2007) and Berta Drug (2008). Dafont link. Another URL. [Google] [More]  ⦿

Andy Panchenko

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

Andy Usikov

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

Anferov Artem

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

Angela Poghosova

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

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

Ani Dimitrova

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

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

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.

Anna Grosh

Anna Grosh was born in Krasnoyarsk City, Siberia and now resides in San Francisco, California. She earned a Bachelor degree in Architecture from the Krasnoyarsk State Academy of Architecture and Construction, and completed a Masters in Interior Design at the Open Social Academy of Design in Moscow. She is in the process of getting her second masters in graphic design at the Academy of Art University. She specializes in typographic design, illustration and graphic design. In 2010, she embarked on an ornamental typeface. She is working on an ornamental caps typeface.

Old Behance link. [Google] [More]  ⦿

Anna Haidash

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

Anna Ilich

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

Anna Khorash

Member of the Contrast Type Foundry in Moscow.

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

Future Fonts link. [Google] [More]  ⦿

Anna Kipot

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

Anna Kirisyuk

FontStructor who made the elegant bilined caps typeface Anakiri (2012). During her graphic design studies at BHSAD in Moscow in 2013, she made a great silhouette icon set.

Behance link. [Google] [More]  ⦿

Anna Konopelko

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

Anna Koplovich

Russian designer of the modular techno typeface Flickulor (2018, made with FontStruct). She also designed the street art Cyrillic font Amons (2018). FontStruct link. [Google] [More]  ⦿

Anna Kuptsova

Student at the British Higher School of Art and Design in Moscow. Behance link.

Creator of Bradbury Disgrace (2012, grungy) and Outer Space Crime (2012). [Google] [More]  ⦿

Anna Lukyanchenko

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

Anna Lyubimova

This Moscovite designed Band Regular and Band Rounded, a pair of angular typefaces for Latin and Cyrillic. [Google] [More]  ⦿

Anna Morgan

During her university studies in Moscow, Anna Morgan created the Latin / Cyrillic typeface New Gothic (2014). [Google] [More]  ⦿

Anna Ozerina

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

Anna Pavlova

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

Anna Personne

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

Anna Po

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

Anna Postum

Moscow, Russia-based designer of the decorative caps typeface Paul Klee (2016). [Google] [More]  ⦿

Anna Raven

Type designer in Moscow. At WDC Fonts, she created the Venetian serif typeface Stiana (2013, with Eugen Sudak), based on models by Nicholas Jenson and William Morris. Stiana covers Latin, Greek and Cyrillic. [Google] [MyFonts] [More]  ⦿

Anna Rolskaya

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

Anna Ruf

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

Anna Ryagskih

Saint-Petersburg, Russia-based teacher at Saint Petersburg University Of Technology And Design. Creator of elaborate hand-drawm ornamental caps (2013). Behance link. [Google] [More]  ⦿

Anna Seslavinskaya
[Popkern]

[MyFonts] [More]  ⦿

Anna Shmeleva

Anna Shmeleva is a freelance journalistic author. She has worked with a number of local and professional periodicals in Russia on machine translation of texts, speech recognition, artifical intelligence, computer graphics and type design. Together with Vladimir Yefimov, she is the author of a series of books entitled Great typefaces, volumes 1 and 2. At ATypI 2008 in St. Petersburg, she spoke about Script typefaces and graphology. She is associated with ParaType. [Google] [More]  ⦿

Anna So

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

Anna Stadnik

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

Anna Stefkina

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

Anna Tsuranova
[Letter Muzara]

[MyFonts] [More]  ⦿

Anna Vasilieva

Moscow-based designer of the round brush typeface Boom Boom Type (2012). She also made Pur Type (2012) and Freelove (2012, designed on a circle grid). [Google] [More]  ⦿

Anna Werigo

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

Anna Xenz

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

Anna Zakharchenko
[Anza Letters]

[More]  ⦿

Anna Zonova

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

Annastasia Samsonova

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

Anton Antonyuk

Moscow-based designer of a modular monoline typeface in 2012. In 2013, at the British Higher School of Art and Design in Moscow, he created the paperclip typeface Stepan, the shaky typeface Artquake, the display typeface Duchess, and Sketch Font (alphadings). [Google] [More]  ⦿

Anton Bisiajew

Designer at Graphic bureau Az-Zet of the Cyrillic/Latin font AZGaramondC (1990-1995). Anton published Dikovina and DikovinaBildchen at Type Market in Moscow in 1995. [Google] [More]  ⦿

Anton Chernogorov

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

Anton Didenko
[Kavoon]

[MyFonts] [More]  ⦿

Anton Drachuk
[Jimi-neko]

[More]  ⦿

Anton Fros

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

Anton Geroev

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

Anton Izorkin
[Xaotik]

[More]  ⦿

Anton Kharitonov

Art director in Kazan, Russia, who created the electronic circuit font Circuit TYZ (23014). [Google] [More]  ⦿

Anton Krylov

Russian designer in the South Ural. Creator of the Western font families IFC Wild Rodeo (2010), Rio Grande (2010), IFC Railroad (2010), I.F.C.LOSBANDITOS-Bold (2010, Tuscan), IFC Hotrod Type (2011, nuts and bolts face), IFC Hardball (2011), IFC Boothill (2012, Western face), and IFC Insane Rodeo (2010). IFC stands for Inked Font Customs. [Google] [More]  ⦿

Anton Kudin

Anton Kudin (Abstrukt) is the Russian co-designer with Jovanny Lemonad of Hardpixel (2010, free). He also made Bicubik (2010). All his fonts are for both Latin and Cyrillic. His typefaces can be downloaded from Fontspace and Typetype. [Google] [More]  ⦿

Anton Kuzilenkov

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

Anton Mikaskin

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

Anton Motuzov

Minsk, Belarus-based designer of the free alchemic / hipster Latin / Cyrillic typeface Mefestico (2015). Behance link. [Google] [More]  ⦿

Anton Selleshiy

Anton Selleshiy (Lviv, Ukraine) created the broken bones font Krukevichu Shrift in 2015. [Google] [More]  ⦿

Anton Shelko

Moscow-based designer (with Denis Mas) of the decorative Cyrillic caps typeface Entertaining Mechanics (2014). [Google] [More]  ⦿

Anton Shlyonkin

Russian type designer who has his own type foundry. His typefaces include the free blackboard bold French Forge (2013). [Google] [MyFonts] [More]  ⦿

Anton Sokolov

St. Petersburg-based graphic designer who made the experimental typeface Can You Read Music (2010), in which letters are replaced by music notes. [Google] [More]  ⦿

Anton Terekhov

Designer at FontStruct in 2008 and 2009 of Birka (pixel), Skipper (octagonal), Skipper Stencil (military), Skipper-Modern, Skipper-Slab, Skipper Cap, Skipper Tight, Peteroque (baroque pixel face), Technocrat Cargo (octagonal stencil), Technocrat (octagonal), Retrograde Pix (pixel face), Retrograde Lux (severe octagonal), abstruct, admiral (dot matrix face), glagol, glagol_script_1, marx_1, Admiral (dot matrix), Glagol Rock (constructivist), Retrograde (octagonal/mecahnical), Technocrat (octagonal), WPA Gothic Cyrillic (another poster font), WPA-Gothic-Deco-Cyrillic. Many fonts have Cyrillic letters and/or Cyrillic influences. He made the heavy mechanical slab serif headline typeface Colonial (2010) and the pixelized typeface Skippix (2011, +Mono). Peteroque (2009-2010) are decorated pixel capitals. [Google] [More]  ⦿

Anton Zinoviev
[TopTeam Co]

[More]  ⦿

Antonia Cornelius

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

Her typefaces:

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

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

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

Antonina Zhulkova

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

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

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

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

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

Antonis Tsolomitis
[Laboratory of Digital Typography and Mathematical Software]

[More]  ⦿

Antony Zonne

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

anttarr.com

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

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

[MyFonts] [More]  ⦿

Anvar Kurbanov

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

Anvar Kurbanov

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

Anya Polunina

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

Anya Pro

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

Anza Letters
[Anna Zakharchenko]

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

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

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

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

Apollinaria Volskaya

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

Apostrof
[Konstantin Golovchenko]

Ukrainian type foundry founded in 2012 by Viktor Kharyk and Konstantin Golovchenko in Odessa. In 2014, they published the Latin / Cyrillic typefaces Arsena (original from 2013 by Vikto Kharyk), Caslon 1821 (Italian typeface by Viktor Kharyk and Konstantin Golovchenko), 2 Quadro (octagonal) and Surf Serif Pro (sharp-edged and modular; original from 2013 by Viktor Kharyk).

Caslon 1821 revives a typeface of Caslon & Livermore, 1821. It covers Latin, Cyrillic and Hebrew.

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

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

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

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

A special project published in 2020: 1812 (by Viktor Kharyk and Konstantin Golovchenko). This is a 14-style revival and further development of the typeface 1812 by Lehmann Type Foundry (St. Petersburg). It was created for the centenary of the French invasion of Russia, known in Russia as the Patriotic War of 1812 along the lines of decorative engraved inscriptions and ornamented typefaces of that time, presumably by the artist Alexandre Benois. It was used mainly for the decoration of luxurious elegant publications. Later, in 1917, this typeface was used on the Russian Provisional Government banknotes. In the Soviet period of time '1812' appeared to be one of the few typefaces included in the first Soviet type standard OST 1337. It was produced for manual typesetting until the early 1990s. This typeface could be seen on Soviet letterheads, forms, posters and even air tickets. [Google] [MyFonts] [More]  ⦿

Apostrophic Laboratory
[Fredrick M. Nader]

One of the most dynamic foundries from 2000 until 2003. The "Lab" was run by Apostrophe (Fredrick Nader) and was based in Toronto. The name Apostrophe comes from a Frank Zappa song. It has produced well over 1000 original free fonts, in all formats (type 1, truetype, and opentype, PC and Mac), and nearly all fonts have full character sets. Many have character sets for extended European languages and Cyrillic as well. It was for a few years the only active producer of multiple master fonts. Download site at Typoasis. Original URL, now being reworked. Highlights:

• Miltown (from the Matrix movie).
• Fluoxetine (old typewriter).
• Desyrel (handwriting, Dana Rice).
• PicaHole-1890Morse font.
• Ritalin has almost 500 glyphs, and is a family designed for Latin, Greek, Turkish, eastern European, Cyrillic and Baltic.
• The 3-axis multiple master ImpossibleMM (of Mission Impossible fame).
• Carbolith Trips (letters from cuneiforms).
• Diehl Deco (revival of 1940 lettering by Wooster Bard Field; with Marley Diehl).
• Textan (with Rich Parks or Richard D. Parker; inspired by the Chinese Tangram).
• Poultrygeist (horror comic font).
• Hard Talk (an R-rated font by Slovenian Marjan Bozic).
• Independant (with Phynette; a faithful revival of a 1930s font by Collette and Dufour for Maison Plantin in Belgium---a fantastic Art Deco font family).
• Metrolox ("Enemy of the State" font, with Karen Clemens; a Unicode font with 567 glyphs for over 20 Latin-based languages and some math symbols).
• Komikaze, Komikazba, Komikahuna and Komikazoom (comic book fonts: 1280 glyphs for Latin, Greek, Cyrillic, Baltic, Turkish, East-European, with dingbats and Braille).
• Republika (a 300-font techno family; read about it here).
• ChizzlerMM (3-axis multiple master, a reworked version of Graham Meade's Chizzler).
• Street (a 87-font family by Graham Meade).
• Amerika (fantastic Armenian-look font series, with support for Greek, Cyrillic/Russian, Baltic, Turkish and Central European).
• The dingbats Eyecicles and Texticles, both with Graham Meade.
• Insula (2001, a Celtic/uncial font with Cybapee).
• Komika (2001, 50 comic book fonts designed with Vigilante). A spoof on Comic Sans, this family includes Komika Hand and Komika Text.
• Labrit (a great Fraktur font, with Graham Meade).
• Frigate (a Roman-kana font by Melinda Windsor).
• Scriptina (an unbelievable calligraphic font by Apostrophe, 2000-2001). In 2010, CheapProFonts published an extension, Scriptina Pro.
• Freebooter Script (an equally unbelievable calligraphic font by Graham Meade, 2001).
• Choda (a display font like none you have seen before; Apostrophe and Meade, 2001).
• Endor (with Meade, a Gothic font; 2001).

• 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.

Arabia Ware Benelux

Vendor of Mac and PC fonts for several languages and from a variety of companies, active ca. 1999. The fonts covered Japanese, Chinese, Russian, Arabic, Hebrew, Persian, Urdu, Tamazight, Turkish, Greek, Indic, Thai, Eastern European, and Korean. [Google] [More]  ⦿

Ardak Mukanova

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

Area Download

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

Areopag.com

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

Arev Fonts
[Stephen Schrenk]

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

arh.ru

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

Ari Budi Setiawan
[Hamizan]

[MyFonts] [More]  ⦿

Ari Rafaeli
[ARTypes]

[MyFonts] [More]  ⦿

Arial Unicode MS

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

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

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

Arina Kovrizhkina

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

Arina Shubina

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

Arina Vermen

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

Aring Typeface
[Måns Grebäck]

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

• Acryle Script (2014).
• Actonia (2016). A monoline script.
• Adielle (2018).
• Aerofoil (2017). A vintage bottom-heavy script.
• Airways (2016). A signage script.
• Akayla Script (2018). Calligraphic.
• Aliey (2021). A 4-style Victorian copperplate serif.
• Aliment (2018). A sharp geometric sans.
• Amertha (2020). a fat finger font.
• Amplify (2013). A signage script.
• Angars Runes (2019: medieval, with gothic cathedral curves).
• Angilla Tattoo (2013). A connected spurred tattoo typeface. Followed by Angilla Script (2020).
• Antlers (2012). A calligraphic script.
• Aquate Script (2019).
• Arachnids (2011, graffiti face)
• Artely Inks (2016).
• Artisual Deco (2021). Pure art deco.
• Artographie (2020). An all caps art deco typeface family.
• Atelas (2015). Signage type, baseball script.
• Atures (2018). Futuristic and monoline.
• Autograf (2015) and Autografia (2021). Signature typefaces.
• Ave (2016) in styles called Ave Utan, Ave Betwan and Ave Fedan. A family of baseball scripts.
• Avelana. A connected script.
• Backpack (2014). A thick signage script typeface.
• Backyard (2016). A blackletter typeface.
• Barkants (2011, elegantly hand-printed family).
• Barley Script (2017). A signage script.
• Baystar Script (2021).
• Beautiful Trouble (2012). A rabbit-eared upright connected script.
• Beaked Tyrant (2014). A copperplate calligraphic script.
• Beckasin (2011, signage face)
• Before The Rain (2011, calligraphic) Before The Rain Arabic (2016).
• Belladio (2021). An urban script.
• Bellino (2018).
• Bezar (2020). A script.
• Billion Dreams (2020, by Mans Grebäck and Rangga Subekti). A heavy signage script.
• Billion Stars (2013). A tattoo script font.
• Bira (2012). A retro connected brush / signage script.
• Blaak (2019).
• Black Fox (2014). A sirupy brush face.
• Black Signature (2021). A bold signature font.
• Black Larch (2016) and Dark Larch (2016).
• Bloc Boy (2016). Like handwriting.
• Blockography (2011). A sketched typeface.)
• Block Talk (2011, with Zaydek Michels-Gualtieri)
• Blods (2011, a great blotty brush face)
• Blueberry Script (2017; with Noah Kinard).
• Botanink (2011)
• Bouncy (a cartoon font).
• Bourdos2022). A script typeface.
• Brannboll (2011, baseball signage face), Brannboll NY (2013), Brannboll Connect (2020), Brannboll Stencil (a baseball script) (2020).
• Bready (2011). A retro signage script with art nouveau aroma.
• Brev Script (2014). A connected secretary hand from the 19th century.
• Bronze Script (2014).
• Brother Tattoo (2012).
• Bumblebees (2012). A plump curvy script.
• Bunya (2016). A geometric slightly deco sans typeface family.
• Calendary Hands (2012).
• Caligraf (2020).
• Canela Bark (2015, co-designed with Luis Miguel).
• Caneletter Sans and Script (2013). Upright unconnected and connected scripts.
• Cantona Script (2019).
• Canyon (2021). A wide elliptical sans in 18 styles, featuring a coathanger lower case f.
• Capoon (2018). A ten-style sans family.
• Caprica Sans (2014) and Caprica Script. A plump script.
• Caravela (2020). A pirate map script.
• Casat Cap (2017). An all caps brush typeface family.
• Caster (2019). A heavy poster script.
• Castro Script (2012).
• Catchland (2021). A retro baseball script.
• Celebrater (sic) (2012). An oily font.
• Cellos Script (2013).
• Centeria Script (2012).
• Channel (2011, connected upright script)
• Chapel Script (216). For signage.
• Characteristic (2011).
• Chavenir (2011).
• Chinal (2018).
• Choko (2011, released in 2016). Chocolate and cream-themed decorative typeface.
• Christmas Miracle (2018), Christmas Reign (Tuscan, all caps) (2020), and Christmas Sparkle (2018).
• Chrysante (2020). A monoline flowing pen script.
• Clear Line (2012). A fat finger / signage typeface.
• Clipper Script (2011).
• Clothe (2017).
• Coneria Script (2012). A connected script.
• Conture Script (2018). Elegant, classical, and with exaggerated capitals.
• Crackin (2011).
• Crunchy (2016). An upright connected script.
• Cruz Quaste (2020). A handcrafted blackletter typeface.
• Cubest (2021). A squarish monospaced techno family.
• CutScript (2011, connected script).
• Danbury (2022). A speed-emulating sans.
• Dark Crow (2020). a dry brush script.
• Dollie Script (2013).
• Ebbing (2018).
• Echinos Park Script (2012).
• Ederson (2018). A vintage signage script.
• Ekologie Hand (2012).
• Ekorre 2021). Aa vintage decorative serif.
• Elaya Script (2019). A creamy signage script.
• Electronics (2017). A retro signage script.
• Elevate (2016).
• Emiral Script (2017). A baseball script.
• Encina Script (2016). A thin calligraphic typeface.
• Enlighten (2011)
• Delinquente (2012).
• Denigan (2011, hairline)
• Equal Sans (2012).
• Espesor Olas (2011, fine hand-printed calligraphic family)
• Esplanade Script (2015, by Mario Arturo).
• Ethernal (2017). A connected script.
• Europe Underground (2010, geometric sans with a hairline weight).
• Fabulous (2017) and Fabulous Gold (2017). Signage script.
• Falkin Sans (2016), Falkin Script (2016), Falkin Serif (2016).
• Faltura (2011, constructivist), Faltura Alien (grunge), Faltura Guerra (grunge)
• Faltura Animals (2011)
• Feathergraphy Decoration (2011, calligraphic).
• Duera (2016). A variable width sans typeface family.
• Fargo (2021). A cursive script.
• Fat Wandals (2018). A graffiti font.
• Feathergraphy Clean (2011).
• Fibography (2013). A caps typeface composed of fibers.
• Filbert Brush (2012), Filbert Color (2013, a soft brush font).
• Finition (2017). A connected brush script.
• Fireplace (2020). A connected script.
• Firstly (2020). A flowing calligraphic signature script.
• First Lyrics (2011).
• First Reign (2022). A medieval typeface. Second Reign (2022), Third Reign (2022) and Fourth Reign (2022) are further medieval typefaces.
• Flighter (2018). A retro airplane font.
• Fondy Script (2018).
• Frankentype (2013). An all-caps brush typeface for signage.
• From Skyler (2016).
• Funkygraphy (2011, fat and counterless).
• Gecko (2015, a fine creamy signage script).
• Geza Script (2017). A great angular almost Arabic-looking script.
• Ghang (2011, graffiti family).
• Gingo (2020). A script.
• Goatskin Brush (2015). A great brush typeface.
• Golden Hopes (2021). A signature script.
• Gonzi (an 31-style sans). Published in 2021.
• Graced Script (2016). A wide calligraphic connected brush script.
• Grandi (2016). A ten-style display sans.
• Gready (2021). A fat signage script.
• Greback Grotesque (2012). The Thin is very very thin.
• Gretoon (2011, cartoon family)
• Griphite (2018). A rough brush typeface.
• Guld Script (2015).
• Habanero (2016). A fat signage typeface.
• Handtalk (2010, silhouettes)
• Harbell (2013).
• Hard Block (2011, Western slab face).
• Hastafi (2022). An 8-style sharp-edged display serif.
• Haydon Brush (2016).
• Heavy Rain (2021). Decorative initials, and an all caps wedge serif.
• Hemicube (a wide squarish all caps sans) (2020).
• Hemmet (2013). A signage script.
• Hierograf (2016). A layered textured handcrafted poster typeface family.
• Hitalica (2011).
• Honeymoon (2017). A connected script.
• Housegrind (2013, connected script).
• House of the Dragon (blackletter). Published in 2021.
• Hoyle (2020). A slab serif.
• Hundred Miracles (a signage script). Published in 2021.
• Impregnable (2013). A connected script.
• Indiana Script (2017). A baseball script.
• Inked Bones (2019). a hand-painted blackletter font.
• Intrique Script (2013). A baseball script.
• Isle Body (2019), Isle Headline (2019).
• Jacked Eleven (2011), Jacked Eleven Highlight (2011), Jack Pirate (2020: a tattoo blackletter typeface), January Script (2013).
• Jaymont (2018). A sharp-edged wedge serif typeface family.
• Jengotan (2021). A dry brush script.
• Jumper (2021). A 13-style sans. Free download for personal use only.
• Kandira (2018). A sleek sans family.
• Kanvas (2020). A script typeface.
• Kerater (2011, sans)
• Lace 2.0 (2012). A thin connected script co-designed with Matteo Milazzo.
• Lacosta (2020). A signage script.
• Kompar (2018).
• Krinkes (2015, baseball script). A connected swashy signage script.
• Kurri Island (2020).
• Lakesight (2014). A connected script.
• Larch (2016). A crisp script typeface.
• Largelake (2021). A signage script.
• Las Enter (2013). A neon light script.
• Leaders (2020). A blackletter font.
• Ledare (2021). A 14-style bold and expressive sans.
• Letric (2021).
• Let Me Ride (2011)
• Levitee (2011, a lively connected script).
• Lighthouse (2013). A bold high-contrast script face.
• Lina Script (2012). A tattoo script done with Vicky Mardian.
• Lourino (2018).
• Low Casat (2017) and Low Casat Fat (2017).
• Lyrics Movement (2011, tall-ascendered hand).
• Lyster (2020).
• Mandoul Script (2021) and Mandoul Black (2021: a brush script).
• Mainland (2018). A sans family.
• Mainstream (2017). Graffiti style.
• Manofik (a 4-style warm retro serif with a coathanger lower case f; for Latin, Cyrillic and Arabic). Published in 2021.
• Martyric (2014, brush script),
• Masteries (2013). A connected formal script.
• Mastoc (2014).
• Mauritz Caps (brushed) and Mauritz (a great wild script family), both published in 2021. Followed by Mauritz Sans (a brush script with a strong personality and a cartoon vibe) in 2022.
• Mean Casat (2018).
• Medish Script (2018). A great calligraphic handwriting typeface.
• Together with Noah Kinard, he designed the calligraphic typeface Melay Script (2016).
• Middle Ages (2019). A Lomardic blackletter in Regular and Deco styles.
• Milasian Circa (2015) and Milasian. A connected script.
• Merry Christmas (2015). A retro script in Flake and Star styles. Followed in 2017 by the color script font Merry Christmas Color.
• Milkyway Hotel (art deco sans).
• Miraikato Hand (2022) and Miraikato Script (a rustic script) (2022).
• Mistuki (2015). An oriental brush simulation font.
• Mochary (2016). A signage or tattoo script.
• Molly Sans (2019). Caps only.
• Monsta Tag (2013): a graffiti font.
• Motion Picture (2013). A heavy connected retro script.
• Mount (2012).
• MAWNS Graffiti (2010) and MAWNS Serif (2010)
• MAWNS Handwriting (2010).
• Made With B (2011, sketched face).
• Mardian (2012). A calligraphic tattoo script done with Vicky Mardian.
• Markera (2011, marker pen family)
• Many Weatz (2011)
• Mawns Rock (2011)
• Monoment (2011). A fat upright connected script.
• Moneymachine (2022).
• Monosphere (2012-2016). A futuristic monospaced typeface.
• Murality (2022). A readable graffiti or mural typeface.
• Myteri Tattoo (2021) and Myteri Script (2021: a calligraphic script).
• Nacinth (2020). A script.
• Nino Script (2018). A tattoo font.
• Nobella (2021). A retro baseball script.
• Normale (2014). A set of distressed typewriter fonts.
• Notera (2014). A connected handwriting font. Followed by Notera 2 in 2018.
• Odenburgh (2020). A medieval calligraphic typeface.
• Optien (2011, techno face)
• Ordinatum (2011, a severe sans).
• Original Black (2021). A fat blackletter typeface.
• Ornamental Versals (2011, ornamental caps)
• Painter (2016). A sign painting script.
• Patched (2021).
• Pennybridge 1563 (2010, blackletter)
• Pharmount (2014). A calligraphic connected script.
• Phraell (2013). A great italic formal calligraphic script with optional swashes.
• Pigeon (2016).
• Pineapple (2012).
• Plates Napery (2015).
• Plicata (2016).
• Pligo (2016). A balloon or cartoon font.
• Preside (2017).
• Prime Script (2012).
• Prognostic (2011)
• Qaskin (2015). A semi-formal connected script typeface with Black and White (outlined) styles.
• Qhuman (2021). A 6-style Victorian serif.
• Qraxy (2016). Quache Variable (2020) and Quache (2020). A 28-style flexible sans family.
• Quanton (2022). An 8-style angular serif.
• Querino Sans (2019). A very bold sans. Followed by Querino Script (2019).
• Quickier Pro (2012). A swashy calligraphic script face.
• Quincho Script (2016).
• Quintal Script (2021). A retro signage font.
• R-2014 (2011, LED face).
• Rabento (2021). A 6-style condensed display slab serif.
• Race Fever Pro (2015, in Brush and Pen versions) and Race Fever Brush (2015).
• Radio 187.5 (2010, techno family)
• Rakoon (2014). A creamy ultra-fat upright script. Followed by Rough Rakoon in 2016.
• Rangly (2017-2018). A paint roll font.
• Raspberry Script (2017).
• Recorda Script (2013). A formal calligraphic script.
• Reditum (2014). A decorative script.
• Reeler (2014, with Noah Kinard).
• Remachine Script (2013). Retro signage script. In 2020, Mans added Remachine Script Arabic.
• Respective (2011, calligraphic script, +Swashes).
• Respondent (2021). A script.
• Rider (2011, a 30-style "versal" sans family)
• Ringer (circle and arc-based sans)
• Ristella (2017). A baseball script.
• Rivera 2022). A narrow sans in 10 styles.
• Rodrigues (2021). A script typeface.
• Roona Sans (2018: modernist and organic curves).
• Ropest (2018). A rope font.
• Roskrift (2011, calligraphic; + Roskrift Clean).
• Rougant (2021). An organic display font.
• Roughen (2020).
• Rurable (2015).
• Ruthless Wreckin (graffiti typefaces), Ruthless Drippin' (dripping paint family)
• Safir Script (2016). A fat baseball script.
• Saker Sans (2017).
• San Andre (2021) and San Andreas (2021), the free version. A baseball script.
• Santa Claus (2019). A blackletter typeface, accompanied by Santa Claus Deco, a snow crystal font.
• Scantype (2016).
• Sculptor's Hand (2011, connected chancery hand).
• Second Lesson (2022). A wide script.
• Second Lyrics (2011, Treefrog-style handwriting)
• Sequal (2020). Graffiti style.
• Sicret (2020) and Sicret Mono (2020). An all caps family.
• Servin' for Salute (2011)
• Shaded Larch (2016).
• Sharpe (2019). A sharp-edged high-contrast serif typeface family. See also Sharpe Variable (2020).
• Shenandoah (flowing signage script).
• Shimes (2015).
• Shipped Goods (2011). A copperplate calligraphic script.
• Shortbrush (2011)
• Signerica (2011, connected flowing hand)
• Sketchica (2011, sketchy face)
• Skyzhi (2016). An advertising headline typeface.
• Society Editor (2013, connected script).
• Snacker Comic (2013).
• Snowstreet (2013, an octagonal typeface) and Snowy (2013).
• Some Weatz (2011, calligraphic, copperplate; +Swashes)
• Sonika (2018).
• South African (2014). A movie poster brush typeface.
• Southern Aire (2013, connected script face).
• Specify (2016). A 40-style sans family. Download, free for personal use.
• Spoken (2019). A graffiti font.
• Sponger (2021). In the VAG Round genre.
• Square Worm (2011)
• Stackyard (2015). A script.
• Stainy (2013). A signage script.
• Starella Script (2019) and Starella Tattoo (2019).
• Starge (2019).
• Starkey (2020).
• Stormland (2021). A wide monoplinear sans.
• Stormline (2021). All caps, wide and outlined.
• Strawberry Script (2017).
• String Lines (2018).
• Stroke Dimension (2011). A 3d typeface.
• Struck Base (2021). A baseball script.
• Suecos Locos (2011---yummy!).
• Sultan Cafe (2014). An interlocking poster typeface.
• Sunny Sam (2020). A script typeface.
• Sverige Script (2012). Calligraphic wedding font.
• Tall Casat (2018).
• Tamoro Script (2014).
• Taylor Hand (2020). A signature script.
• Tevegraphy (2011, elliptical)
• The Hills (2017).
• The World is Yours (2011, quaint)
• Throwupz (2011)
• Toley Hand (2019).
• Tipbrush Script (2011).
• Tomino (2016).
• Top Comic (2013). A very fat cartoon bubble face.
• Treehouse (2011, upright connected script; +Snowhouse for a snow-covered version)
• Tusch Touch 1 (2011)
• Two and Three (2011: a tattoo parlor blackletter family)
• Typographic Onedalism (2011, graffiti simulation face).
• Undergone (2014). Decorative and calligraphic.
• Unthrift (2015). A pen script.
• Vacer Sans and Vacer Serif (2016). The latter is a slab serif.
• Validity Script (2020, with Misti Hammers).
• Ventography (2013). A bold signage script.
• Vinho De Amora (2021). A vintage all caps wedge serif and a stencil version.
• Waiter (2017).
• Walk Da Walk One
• Wandals (2018). A graffiti font.
• Wankstaberg Battles (2010, a tall fat script)
• White Dream (2021). A retro script.
• White Larch (2016). A connected script typeface.
• Wholecar (2021). An unerground train graffiti typeface family.
• Wild Growth (2011).
• Wildline (2021).
• Winfield Script (2019).
• World Series (2021). A baseball script.
• Xtreem (2012) and Xtreem2 (2014).
• Yanty, Yanty Big, Yanty Script, and Yanty Script Big (2012).
• Yaquote Script (2014).
• Yaty (2019).
• Yoghurt (2011).
• Zoney (2021).