Ani Petrova
Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov’s typefoundry. 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.
Web:
Typefaces: Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Mixa, Sofia Sans, Mozer, Milka, Uni Sans, PH, Nexa Script
More… TYPE DESIGN INFORMATION | Ani Petrova
Nexa Script is a clean version of the famous multifaceted font system Nexa Rust. All fonts from the family was successfully designed to match perfect to the other two members of this huge font system – Nexa and Nexa Slab.
You can be sure that Nexa Script is equipped with the most advanced typographic Open Type features such as extended sets of ligatures, fractions, alternate characters, superscripts and subscripts, etc.
The font family is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and minimum variations. Nexa Script font styles are applicable for any type of graphic design in web, print, motion graphics etc and perfect for t-shirts and other items like posters and logos.
Design, Publisher, Copyright, License
Design: Ani Petrova
Publisher: Fontfabric
Copyright 2015 by Fontfabric. All rights reserved.
License: COMMERCIAL
Ani Petrova
Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov’s typefoundry. 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.
Web:
Typefaces: Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Mixa, Sofia Sans, Mozer, Milka, Uni Sans, PH, Nexa Script
More… TYPE DESIGN INFORMATION | Ani Petrova
Commercial license
Buy at: Fontspring
The Uni Sans font family includes 14 weights – seven uprights with seven italics.
It is characterized by excellent legibility in both – web & print design areas, well-finished geometric designs, optimized kerning, excellent web-font performance and legibility etc.
Inspired by the classic grotesque strong typefaces like DIN and Dax – Uni Sans has his own unique style in expressed perfect softened geometric forms.
The font family is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and minimum variations.
Uni Sans font styles are applicable for any type of graphic design in web, print, motion graphics etc and perfect for t-shirts and other items like posters, logos.
Design, Publisher, Copyright, License
Design: Svet Simov, Ani Petrova, Vasil Stanev (font development)
Publisher: Fontfabric
Copyright 2009 by Fontfabric. All rights reserved.
License: Fontfabric EULA Free Font License
Svet Simov
Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. Highly innovative designer whose creations have lots of style and flair. Many fonts are for both Latin and Cyrillic.
Web:
Typefaces: Mozer, Panton, Gilam, Glober, Colo Pro, Squad, Noah, Mont, Mont Blanc, Zing Rust, Intro, Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Rafale RU, Rafale BG, Dan, Uni Neue, Uni Sans, Simbal, Nexa, Code Next, Fester, Gabriel Sans
More… LUC DEVROYE | TYPE DESIGN INFORMATION
Ani Petrova
Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov’s typefoundry. 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.
Web:
Typefaces: Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Mixa, Sofia Sans, Mozer, Milka, Uni Sans, PH, Nexa Script
More… TYPE DESIGN INFORMATION | Ani Petrova
Vasil Stanev
Typographer and type designer in Sofia, Bulgaria, b. 1982, Sofia, who worked mostly for Svetoslav Simov’s typefoundry, Fontfabric, before setting up his own shop, VSF (Vasil Stanev Foundry).
Web:
Typefaces: Combax, Etymonster, Tengwar Sindarin, Rafale RU, Rafale BG, Uni Sans, TDR
More… TYPE DESIGN INFORMATION | Vasil Stanev
Free License
Download: Uni Sans | Fontfabric
Commercial License
Buy at: Fontspring
Mozer is a semi-condensed neo-grotesque type family of 16 styles, ranging from Thin to Black and matched with true italics. With a generous x-height, economical width, moderate contrast and an all-around solid appearance, this typeface lends itself well to headlines. Uncompromising legibility meets a distinct contemporary spirit, visible even in small details like the discrete ink traps.
Mozer covers Extended Latin, Cyrillic and Greek and is suited with plenty of OpenType features, such as localizations, ligatures; four types of numerals including figures and tabular; case-sensitive forms; alternatives, and more. 1 Mozer FREE font available.
OpenType Features
• Stylistic Alternates;
• Common Ligatures;
• Discretionary Ligatures;
• Contextual alternates;
• Localised Forms;
• Tabular Figures;
• Proportional Figures;
• Diagonal Fractions;
• Denominator;
• Numerator;
• Subscript;
• Superscripts;
• Case Sensitive Forms;
• Ordinals;
Design, Publisher, Copyright, License
Design: Svet Simov, Ani Petrova, Mirela Belova, Nikolay Petrousenko
Publisher: Fontfabric
Copyright 2019 by Fontfabric. All rights reserved.
Svet Simov
Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. Highly innovative designer whose creations have lots of style and flair. Many fonts are for both Latin and Cyrillic.
Web:
Typefaces: Mozer, Panton, Gilam, Glober, Colo Pro, Squad, Noah, Mont, Mont Blanc, Zing Rust, Intro, Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Rafale RU, Rafale BG, Dan, Uni Neue, Uni Sans, Simbal, Nexa, Code Next, Fester, Gabriel Sans
More… LUC DEVROYE | TYPE DESIGN INFORMATION
Ani Petrova
Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov’s typefoundry. 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.
Web:
Typefaces: Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Mixa, Sofia Sans, Mozer, Milka, Uni Sans, PH, Nexa Script
More… TYPE DESIGN INFORMATION | Ani Petrova
Mirela Belova
Type designer in Sofia, Bulgaria, who first studied mathematics and then graphic design (at New Bulgarian University). During her studies, Mirela Belova created the Latin / Cyrillic blackboard bold typeface Cheque (2017), which is free at Fontfabric. She was part of the Fontfabric team that designed the 521-font family Zing Rust, Zing Sans Rust and Zing Script Rust in 2017. In 2018, Mirela Belova and Svetoslav Simov co-designed the 20-style geometric sans typeface family Mont.
Nikolay Petrousenko
Nikolay Petroussenko is a type designer and artist based in Sofia, Bulgaria. He graduated from the National Academy of Art, Sofia. He worked in Poststudio, a studio for visual communication and later at DecoType in Amsterdam. Currently he is part of Fontfabric in Sofia. Designer of the transitional text typeface Sapienza (2016). He was part of the Fontfabric team that designed the 521-font family Zing Rust, Zing Sans Rust and Zing Script Rust in 2017. In 2018, Jacklina Jekova and Nikolay Petroussenko co-designed Singel at Fontfabric. Singel is a neoclassical serif with semi-condensed proportions for Latin and Cyrillic. Its ten roman weights are complemented with ten quite different italic weights. 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).
Free Mozer SemiBold
Download: Mozer SemiBold Fontspring
Commercial License
Buy at: Fontspring
Milka is an 8-style stencil font family created by a team of designers born within the span of almost 70 years. It is a digital expansion on an alphabet designed in 1979 by the famous Bulgarian artist Milka Peikova.
The basic Milka font is a clean stencil design, while the Aged, Baked, Brittle, Crunchy, Dry and Soft styles are inspired by stencil and letterpress techniques and expand the usefulness by adding various degrees of warmth or roughness. The Milka font family has extensive Latin, Cyrillic and Greek character set support including localized forms for Russian and Bulgarian as well as numerous OpenType features.
Since 2014, Berlin-based Bulgarian type designer Botio Nikoltchev has been working with three Bulgarian female designers (the original designer Milka Peikova, who passed away in 2016 at the age of 96, and with Ani Petrova and Anelia Pashova, both from a young generation), as well as with Berlin-based Adam Twardoch and Andreas Eigendorf to create a modern revival of Ms Peikova’s inspiring stencil alphabet. Milka Peikova (1919-2016) was one of Bulgaria’s most famous female artists whose work has influenced several generations of Bulgarian designers. During her impressive career spanning almost seven decades, she created paintings, posters, book covers, textile designs and alphabets, both individually and together with her husband Georgi Kovachev-Grishata (1920–2012).
To try Milka in your project, download the Milka Free (uppercase-only) version!
Design, Publisher, Copyright, License
Design: Milka Peikova, Botio Nikoltchev, Ani Petrova, Adam Twardoch, Andreas Eigendorf
Publisher: Lettersoup
Copyright 2016 by Botio Nikoltchev. All rights reserved.
Specimen: Milka
Milka Peikova
Milka Peikova (b. 1919, Pavel, Bulgaria, d. 2016, Sofia, Bulgaria) was a famous Bulgarian artist. She created paintings, posters, book covers, portraits of famous Bulgarians, textile designs and alphabets, both individually and together with her husband Georgi Kovachev-Grishata (1920-2012). She is a graduate of the Bulgarian National Art Academy, class of 1948. She founded Cosmos magazine and designed for the Women Today and Problems of Art magazines.
In 1979, she designed an alphabet that was extended to an 8-style Latin / Greek / Cyrillic stencil typeface—Milka (2016)—by a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf. The basic Milka font is a clean stencil design, while the Aged, Baked, Brittle, Crunchy, Dry and Soft styles are inspired by stencil and letterpress techniques and expand the usefulness by adding various degrees of warmth or roughness.
Milka Peikova also designed the first Bulgarian typeface for phototypesetting called Grilimil with her husband Georgi Kovachev-Grishata. She is the recipient of the first prize for a typeface at the Bulgarian National Book Exhibition and Illustration.
Botio Nikoltchev
Botjo Nikoltchev, b. 1978, Sofia, Bulgaria. Botio studied graphic and type design in Potsdam. He is living and working as a freelance designer in Berlin. He studied communication design at the University of Applied Science Potsdam and took type design classes with Luc(as) de Groot. After his studies Botio worked with Ole Schäfer (Primetype) on the Cyrillic characters of PTL Manual, PTL Manual Mono and PTL Notes. Since 2010 he has been collaborating with Ralph du Carrois and Erik Spiekermann as type designer and art director at Carrois Type Design, focusing on Cyrillic, Greek and Arabic language extensions and CI projects. In 2014, he set up the commercial typefoundry Lettersoup.
Web:
Typefaces: Sofia Sans, Milka, Milka Free, Ropa Mix Pro, Ropa Soft Pro, Ropa Sans Pro, Quasimoda
More… Botio Nikoltchev
Ani Petrova
Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov’s typefoundry. 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.
Web:
Typefaces: Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Mixa, Sofia Sans, Mozer, Milka, Uni Sans, PH, Nexa Script
More… TYPE DESIGN INFORMATION | Ani Petrova
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.
Andreas Eigendorf
Berlin, Germany-based font engineer. Designer of several CE versions of FontFont fonts, such as the CE versions of Ole Schaefer’s Fago: FF Fago Office Sans CE, Fago Office Serif CE (2000).
Free font
Milka Free: Lettersoup
Commercial License
Buy at: Lettersoup
Buy at: Fontspring
Intro Rust family is one of the biggest packages on the market, including 214 fonts. The font family is a rough version of the famous Intro and includes 4 sub-families Intro Rust, Intro Script, Intro Head and Intro Goodies. For all types of design projects like print materials and web design, with just a little imagination you can watch them come alive. Intro Rust fonts will make them more vivid than ever. You want to make a greeting card, a package design, or even a brand identity? Feel free to play with all the patterns and shapes, scripts or those cool fonts with the dots to clinch your next successful project.
Design, Publisher, Copyright, License
Design: Ani Petrova, Svet Simov, Radomir Tinkov
Publisher: Fontfabric
Svet Simov
Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. Highly innovative designer whose creations have lots of style and flair. Many fonts are for both Latin and Cyrillic.
Web:
Typefaces: Mozer, Panton, Gilam, Glober, Colo Pro, Squad, Noah, Mont, Mont Blanc, Zing Rust, Intro, Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Rafale RU, Rafale BG, Dan, Uni Neue, Uni Sans, Simbal, Nexa, Code Next, Fester, Gabriel Sans
More… LUC DEVROYE | TYPE DESIGN INFORMATION
Ani Petrova
Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov’s typefoundry. 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.
Web:
Typefaces: Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Mixa, Sofia Sans, Mozer, Milka, Uni Sans, PH, Nexa Script
More… TYPE DESIGN INFORMATION | Ani Petrova
Radomir Tinkov
Based in Sofia, Bulgaria, Radomir Tinkov began his career as a graphic and web designer. “Typography is an essential part of almost every aspect of life and design in particular,” he says, “so it got me curious and little by little I started to create fonts on the side.” His earliest designs were limited to mainly display faces, but he knew that he wanted to create a deeper type library filled with more versatile and useful designs. “As time passed, I learned more and more and began to create custom typefaces to solve real problems in other design projects I was working on and just like that, my first marketable font was created.”
Web:
Typefaces: Phenomena, Sensa, Noah, Muller, Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Gilroy, Qanelas, Qanelas Soft
More… MYFONTS | Radomir Tinkov
In this exclusive interview Botio Nikoltchev speaks about his professional development. He was a student of Lucas de Groot and after graduating he had the chance to work with such famous type designers as Akira Kobayashi and Erik Spiekermann. Botio also shares his views on the diversity of Cyrillic letterform models in the different Cyrillic alphabets. He tells us about the project Sofia Sans, which is now the typeface of Sofia – the capital of Bulgaria. Botio also describes his newest release Apparat and reveals his future plans.
Let’s talk about your professional and creative journey. Where did it start – in Sofia or Berlin? Which colleagues and professors have left a mark on your work?
Botio Nikoltchev (BN): I don’t see myself as an artist but more as an addict. Type design is actually an endless way of improvement, an endless search of harmony and rhythm, an endless desire of beauty and ugliness.
It was a long way until I started designing typefaces. But yes, it was in Berlin, I started my studies as an industrial designer. My love for type came by taking typography classes with Prof. Betina Müller and type-design classes with Prof. Lucas de Groot.
I was lucky to have the opportunity to work with some leading type designers. There were moments I thought Akira Kobayashi doesn’t have eyes, but microscopes. His ability to see the smallest details is really incredible.
Erik Spiekermann –– what a literate and entertaining man. Оnce we talked about Bulgarian history and his knowledge truly impressed me. He is not just able to recognize problems on a daily life basis, and solve them through design, but he is also excellent in finding the right people at the right time for the job.
You are part of many font projects in which you are also responsible for the development of the Cyrillic script. What are the main challenges which a modern type designer needs to overcome when working on Cyrillic font projects?
BN: The challenges are quite similar to the Latin and there are no particular ones. It always depends on the project, the client etc.
Of course there are decisions to be made e.g. how to handle characters like “K”. They could have the same grapheme but they also could look different in Latin, Cyrillic and Greek.
What is your personal and professional view on the local forms of the Cyrillic like Bulgarian, Serbian, North Macedonain, Ukrainian and the Cyrillic used by Mongolians, Bashkirs etc.?
BN: Although as a type designer I work mostly with a black and white colors, I enjoy very much the colorful aspects of life. I like the diverseness of the Cyrillic world and the character variations.
When you think in terms of evolution, it never moves in a straight direction and it never ends at one particular point. So to me these variations are the epitome of the continuously flowing and changing Cyrillic world.
A while ago, together with Vassil Kateliev we launched a research on the handwritten forms of these languages. The idea was and still is to prove if Buglarian Cyrillic can serve the entire Cyrillic character set.
What motivates you to support the Bulgarian Cyrillic form (you call it Rounded Cyrillic)? In your opinion, what is the future of the Cyrillic script?
BN: I believe Bulgarians need the Bulgarian Cyrillic. Type is a cultural heritage, it is one of the ways to recreate the surrounding world. Thus type expresses our worldview, our philosophy of life. By not having the Bulgarian Cyrillic we’ll also lack our worldview.
Yes, I prefer to call the Bulgarian forms Rounded Cyrillic and the Russian forms Square Cyrillic. It describes the designs and it does not have political touch. Back in 2017, my friend Adam Twardoch came up with the idea about the name. It was based on the rounded- and square Glagolitic.
I worked several years, of course together with a number of colleagues and friends, on “the future” and now there is a standard which characters should be designed for Bulgarian Cyrillic, as well as implemented Bulgarian character set (encodings) in the font editors, there is a technical guideline on how to set the Open Type features in order to perform properly local forms in all browsers and apps. Monotype and Google fonts are including and producing the Rounded Cyillic in nearly all new releases and an increasing number of western designers are creating Bugarian Cyrillic for their typefaces. When you look back, several years ago the fonts with Bulgarian Cyrillic were scarce goods.
Тhe next step for me is to see the Rounded and Squared Cyrillic as equals. By now, the Russian forms are in default position in the fonts and Bulgarian forms on local feature or stylistic set. Soon, I’m about to release quite a big font family where the Bulgarian forms are in default position.
But I would like to see the next years in “the past”. We do have so many artefacts, books, manuscripts that are quite unexplored. We don’t really know much about the history. In fact, we don’t even have a reasonable answer to questions like why the Cyriliic was developed and why we switched to it instead of the Glagolitic.
How many Bulgarian books about typedesign do you know… four! And how many of them are translated into English – none!
In 2019, the chief architect of Sofia Zdravko Zdravkov announced that he will suggest all the labels on the streets and official documents of Sofia municipality to use a unified font standard. This font is called Sofia Sans – a co-project of Ani Petrova and Botio Nikoltchev. Did Sofia Sans become the typeface of the capital?
BN: I’m truly happy this project happened. More than 30 years after so many efforts, there is a political understanding for the need of better visual language in our cities. But this transformation happens quite slowly.
This project is also made in a large team – it started with Ani Petrova, Filip Bojadjiev and me. Then Andreas Eigendorf, Eli Hoyer and Viviana Monsalve did the mastering and produced Variable Fonts. Mario Evstatiev and I made several pixel versions of Sofia Sans for the public transport. But yes, I think meanwhile it is the typeface of the bulgarian capital city. You can see it on the tourist wayfinding system, on the street signs, on the public transport. Аlso the Bulgarian State Railways use it, I saw it also on one of the private TV channels. It seems people like it a lot.
It is worth mentioning that we published the typeface with an Open Font License, as I think such projects should be Open Source. Sofia Sans will be soon released on Google Fonts as well, and the latest versions will be always published on our Github account.
With this project I also managed to achieve a goal of mine. Bulgarian Cyrillic is in default position in the fonts.
I think with a typeface of such a largе scale – 4 widths and 11 weights and also on Google Fonts, where there is a huge amount of users, it is quite a statement.
At the beginning of 2021 you published your latest font – Apparat. How does Apparat fit in the modern visual communication – as a reinterpretation of the past or as a search for classic clean and modern drawing?
BN: It is clearly an interpretation of the past, actually I´m exploring Dwiggins approach to “humanise” geometric sans forms. Apparat’s design is the result of both historical research and experience gained during the design of custom fonts.
The idea was to create a large contemporary type family in four widths—Standard, Semi Condensed, Condensed, and Extra Condensed, a geometric sans serif with subtle humanistic design traits that has a well-rounded personality that stands out when used in display applications; however, the characteristic design details recede to the background not to attract unnecessary attention when using the typeface in small sizes for body copy.
Creating such a wide range has become more accessible in contemporary typeface development thanks to interpolation, which facilitates calculating intermediary steps between two extremes. But typefaces that are clearly interpolated run the risk of looking mechanic and soulless and often lack character. Having the technology available doesn’t mean it necessarily needs to be used. Apparat avoids these pitfalls by having no perfect harmony between the different weights and widths. These intentional variations lend each type style its specific personality that complements the others.
Peter Bilak once said that modern fonts are a result of teamwork between many professionals. What is the future of typedesign and where is the thin line between individual and teamwork?
BN: Typedesign is and was a very consrvative field. I don’t think we will see any big revolutions in type soon.
I absolutely agree with Peter Bil’ak that modern typefaces are teamwork in a design aspect but also because they are complex products. It is not just the idea or the design. There are many script systems, there is quality assurance, there is mastering of the fonts, there are marketing materials like specimens, websites, social media communication.
So yes, for a big multilingual typefaces you need a large team of professionals in all these fields. But I also love to discuss my basic designs with friends and colleagues, to exchange ideas, to hear different points of view.
What are your plans for 2021 and beyond?
BN: I hope 2021 is more favorable to all of us! This year together with Viktor Nübel I will resume a big custom project for Cornelsen publishing house. Cornelsen are one of the main schoolbook publishers in Germany. I´m very proud that we won this design pitch and very thankful for this opportunity. We are creating a huge type sistem with sans and serif typeface, also with different widths, optical size designs etc.
It is quite interesting to work for such a big company with all the different departments like print, web, app developer who all have their own requirements on a very high quality level.
In the next few weeks, there will be a long awaited Sofia Sans variable font release on Google Fonts with OFL license.
I’m working on several new typefaces simultaneously, but I don’t want to reveal so much.
LETTERSOUP Behance Facebook Instagram Adobe Fonts
Editor
Szandra Peev
Szandra Peev has been working in the field of communications and marketing for almost a decade now. Her curiosity to explore new cultures and destinations took her to Asia where for five years she worked with some of the biggest multinational companies globally. Currently, Szandra is back in Europe, leading the communications and marketing efforts for localfonts.eu and contributing as a writer in print and online media outlets.
The story of Sofia Sans started with a phone call from Filip Boyadjiev, a colleague of ours and Ani Petrova’s former fellow student at the National Academy of Art Sofia. At the tail end of 2017, Boyadjiev informed us that his studio Fullmasters had been hired to develop a wayfinding system for helping visitors navigate Sofia’s tourist sights and attractions. That year, the Bulgarian capital had reached second place in tourism growth among European cities. The wayfinding system required a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles, etc. Most importantly, the fonts needed to offer support for Bulgarian Cyrillic, as all text was to be set in both Latin and Cyrillic.
Because of the modest budget and short deadline, creating a new type family from scratch for this purpose was not feasible. Fortunately, we had a viable candidate that we could expand to meet the project’s requirements: Attractive. The story of this humble font began with another phone call and a simple question. Earlier in 2017, my Bulgarian colleague Ani had asked me: “Why don’t we make a free font? A nice one, not a quick and dirty one! And let’s share it with the world.” A tiny seed was planted, but little did we know how big the project eventually would grow.
First, we needed to decide which kind of typeface to create. Going through potential type styles, we settled on a straight-sided sans. The inspiration for our design came from early-twentieth-century so-called technical sans serifs—typefaces with confident letterforms, a pronounced vertical impetus, and tense curves. We aimed to create a universally useful font family. With narrow proportions and a generous x-height, we drew a space-saving workhorse that would work well in very diverse environments: from large to small, for display and immersive reading, on-screen and in print. When looking for a name, we went back to that original question and christened our typeface Attractive.
Back to Sofia’s wayfinding system—Attractive only existed in two styles—one single weight in upright and italic—and had a limited character set. Still, it provided an excellent jumping-off point for developing an extensive type family. Fullmasters’ concept consisted of three types of elements: large and small totems containing text, directions, and map information, and signboards when only a minimum of information was necessary. We soon concluded that the typeface needed to have condensed widths too, to accommodate the different sizes of the two totems and the signboards. We also had to take into consideration the varying lengths of the names of streets, squares, parks, buildings, monuments, and other tourist sights featured on the signage. Eventually, we ended up planning a comprehensive type system in four widths with extended language support. It needed to cover Extended Latin as well as the Greek and Cyrillic alphabet because we wanted the fonts to support all three scripts used in the European Union.
Read the full story of the Sofia Sans at author’s web site LETTERSOUP
Design, Publisher, Copyright, License
Design: Botio Nikoltchev, Ani Petrova
Publisher: Lettersoup
Copyright 2019 by The Sofia Sans Project Authors. All rights reserved.
License: SIL OPEN FONT LICENSE
Botio Nikoltchev
Botjo Nikoltchev, b. 1978, Sofia, Bulgaria. Botio studied graphic and type design in Potsdam. He is living and working as a freelance designer in Berlin. He studied communication design at the University of Applied Science Potsdam and took type design classes with Luc(as) de Groot. After his studies Botio worked with Ole Schäfer (Primetype) on the Cyrillic characters of PTL Manual, PTL Manual Mono and PTL Notes. Since 2010 he has been collaborating with Ralph du Carrois and Erik Spiekermann as type designer and art director at Carrois Type Design, focusing on Cyrillic, Greek and Arabic language extensions and CI projects. In 2014, he set up the commercial typefoundry Lettersoup.
Web:
Typefaces: Sofia Sans, Milka, Milka Free, Ropa Mix Pro, Ropa Soft Pro, Ropa Sans Pro, Quasimoda
More… Botio Nikoltchev
Ani Petrova
Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov’s typefoundry. 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.
Web:
Typefaces: Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Mixa, Sofia Sans, Mozer, Milka, Uni Sans, PH, Nexa Script
More… TYPE DESIGN INFORMATION | Ani Petrova
Free License
Download v.4.000: Sofia Sans | Google Drive
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Where to look for the latest version: GitHub
Milka Peikova
Milka Peikova (b. 1919, Pavel, Bulgaria, d. 2016, Sofia, Bulgaria) was a famous Bulgarian artist. She created paintings, posters, book covers, portraits of famous Bulgarians, textile designs and alphabets, both individually and together with her husband Georgi Kovachev-Grishata (1920-2012). She is a graduate of the Bulgarian National Art Academy, class of 1948. She founded Cosmos magazine and designed for the Women Today and Problems of Art magazines.
In 1979, she designed an alphabet that was extended to an 8-style Latin / Greek / Cyrillic stencil typeface—Milka (2016)—by a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf. The basic Milka font is a clean stencil design, while the Aged, Baked, Brittle, Crunchy, Dry and Soft styles are inspired by stencil and letterpress techniques and expand the usefulness by adding various degrees of warmth or roughness.
Milka Peikova also designed the first Bulgarian typeface for phototypesetting called Grilimil with her husband Georgi Kovachev-Grishata. She is the recipient of the first prize for a typeface at the Bulgarian National Book Exhibition and Illustration.
Nikolay Petrousenko
Nikolay Petroussenko is a type designer and artist based in Sofia, Bulgaria. He graduated from the National Academy of Art, Sofia. He worked in Poststudio, a studio for visual communication and later at DecoType in Amsterdam. Currently he is part of Fontfabric in Sofia. Designer of the transitional text typeface Sapienza (2016). He was part of the Fontfabric team that designed the 521-font family Zing Rust, Zing Sans Rust and Zing Script Rust in 2017. In 2018, Jacklina Jekova and Nikolay Petroussenko co-designed Singel at Fontfabric. Singel is a neoclassical serif with semi-condensed proportions for Latin and Cyrillic. Its ten roman weights are complemented with ten quite different italic weights. 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).
Aaron Bell
Aaron D. Chand
Adam Jagosz
Adam Katyi
Adam Twardoch
Adelina Apostolova
Adi Floyde
Adrian Frutiger
Akira Kobayashi
Alberto Romanos
Alejo Bergmann
Aleksandr Andreev
Aleksandr Moskovskiy
Alessia Mazzarella
Alexander Nedelev
Aleksandar Nikov
Alex Slobzheninov
Alexander Lubovenko
Alexander Pravdin
Alexander Sapozhnikov
Alexander Tarbeev
Alexandra Korolkova
Alexei Vanyashin
Alfredo Marco Pradil
Aliaksei Koval
Alexey Malkov
Amy Cox
Anastasia Larina
Andrea Tartarelli
Andreas Eigendorf
Andreas Nolda
Andrew Kensler
Andrey Kudryavtsev
Andrij Shevchenko
Andriy Dykun
Andriy Konstantynov
Andy Lethbridge
Angelina Sánchez
Ani Dimitrova
Ani Petrova
Ania Wieluńska
Anita Jürgeleit
Anton Chernogorov
Antonina Zhulkova
Apostolos Syropoulos
Apostrophic Labs
Archil Imnadze
Asen Tiberiy Baramov
bBox Type
Belleve Invis
Ben Jones
Benjamin Critton
Berthold Wolpe
Berton Hasebe
Bohdan Hdal
Boris Garic
Borys Kosmynka
Botio Nikoltchev
Carrois Type Design
Charles Borges de Oliveira
Charles Casimiro
Charles Gibbons
Chris Simpkins
Christian Schwartz
Christian Thalmann
Chuck Masterson
Cosimo Lorenzo Pancini
Cristian Tournier
Cyril Mikhailov
Dalton Maag
Daniel Benjamin Miller
Daniel Johnson
Dastan Miraj
Dave Crossland
Dave Rowland
David Březina
David Jonathan Ross
Denis Espinoza
Denis Ignatov
Denis A Serikov
Denis Masharov
Denis Serebryakov
Denis Sherbak
Diego Aravena Silo
Dmitri Zdorov
Dmitriy A. Horoshkin
Dmitriy Chirkov
Dmitry Barsukov
Dmitry Goloub
Dmitry Rastvortsev
Donald Knuth
Eben Sorkin
Eduardo Manso
Eduardo Tunni
Eimantas Paškonis
Elena Kowalski
Eleonora Petrova
Eli Heuer
Emanuela Krusteva
Emil Bertell
Emily Spadoni
Emmanuel Besse
Eugene Tantsurin
Evgeniy Agasyanc
Evgeniy Bezdenezhnykh
Evita Vilaka
Fernando Mello
Ferran Milan Oliveras
Francesco Canovaro
Frank Grießhammer
Franco Jonas Hernández
Fredrick R. Brennan
Friedrich Althausen
Galin Kastelov
Gatis Vilaks
Gennady Fridman
George Douros [ UFAS ]
George Triantafyllakos
Gerard Unger
Gluk Fonts [Grzegorz Luk]
Grigorij Gushchin
Haley Wakamatsu
HermesSOFT
Hubert Jocham
Hugues Gentile
Igor Kosinsky
Igor Kuznetsov
Igor Petrovic
Igor Stepanchenko
Ilia Gruev
Ilya Ruderman
Ilya Zakharov
Ira Shagaeva
Irene Vlachou
Irina Smirnova
Isabella Chaeva
Iste Fonts [ Yuri Zabavchik ]
Ivan Apostolski
Ivan Filipov
Ivan Gladkikh
Ivan Petrov
Ivaylo Hristov
Jaakko Suomalainen
Jacklina Jekova
Jakob Runge
Jan Fromm
Jan Tschichold
Jānis Kalaus
Jason Castle
Jason Smith
Jean-Baptiste Levée
Jens Kutilek
João Cracel
João Symington
John Hudson
Jonathan Hill
Jonathan Perez
Jonathan Pierini
Jose Scaglione
Jordan Jelev
Jos Buivenga
Juan Pablo del Peral
Juho Hiilivirta
Julia Martinez Diana
Julia Sysmäläinen
Julieta Ulanovsky
Kai Bernau
Kaja Słojewska
Katsia Jazwinska
Kemie Guaida
Kevin Burke
Khaled Hosny
Kiril Zlatkov
Konstantin Lukjanov
Kostas Bartsokas
Krista Radoeva
Kristyan Sarkis
Ksenia Belobrova
Lasko Dzurovski
Laura Caldentey
Laura Meseguer
Lazar Dimitrijević
Letter Collective
Lewis McGuffie
Lisa Fischbach
Liza Rasskazova
Luc(as) de Groot
Łukasz Dziedzic
Lyudmil Dachev
Maciej Włoczewski
Made Type
Måns Grebäck
Manvel Shmavonyan
Marcelo Magalhaes
Margarita Dyakovich
Maria Doreuli
Maria Selezeneva
Mariano Diez
Mariela Monsalve
Mariya Domnikova
Mariya V. Pigoulevskaya
Mark Simonson
Mark Williamson
Martin He
Mateo Broillet
Mateusz Machalski
Matthew Carter
Matthias Tellen
Michael Angeles
Michael Chereda
Michael Sharpe
Michael Want
Michał Jarociński
Mike Abbink
Mikhail Medvedev
Miles Newlyn
Milka Peikova
Milos Mitrovic
MIR
Mirela Belova
Misha Panfilov
Mr. Typeman
Nasir Udin
Natalia Chuvatin
Natalia Vasilyeva
NaumType
Nenad Hančić
Niccolò Agnoletti
Nicholas Garner
Nick Shinn
Nico Inosanto
Nicolien van der Keur
Niklas Ekholm
Nikola Djurek
Nikola Kovanovic
Nikolay Petrousenko
Nils Thomsen
Noël Leu
Obreshko Obreshkov
Oleg Karpinsky
Oleh Lishchuk
Olexa Volochay
Olga Pankova
Olga Umpeleva
Olivier Gourvat
Olli Meier
Omana Katzarska
Owen Earl
Pablo Impallari
Panos Haratzopoulos
Paul Barnes
Paul D. Hunt
Paul James MIller
Paul van der Laan
Pavel Bruev
Pavel Emelyanov
Pavels Lavrinovics
Pedro Arilla
Pete Klassen
Peter Biľak
Peter Bushuev
Peter Olexa
Peter Wiegel
Phil Garnham
Pieter van Rosmalen
Pilar Cano
Plamen Motev
Polina Loseva
Przemek Hoffer
Radomir Tinkov
Ralph Cleminson
Raph Levien
Rasmus Andersson
Ray Larabie
René Bieder
Reto Moser
Riccardo Olocco
Richard Miller
Robert E. Leuschke
Robert Jablonski
Robert Slimbach
Rodrigo Araya Salas
Roland Hüse
Roman Pavliuk
Ross Milne
Rumyana Sokolova
Rune Bjørnerås
Ryoichi Tsunekawa
Sacha Rein
Salvador Rodríguez
Sam Radian
Sarwo Edi
Sasha Chebotarev
Sebastian Kempgen
Séamas Ó Brógáin
Serdar Öztürk
Sergei Godovalov
Sergey Steblina
Sergiy Tkachenko
Skyhaven
Slava Antipov
Sláva Jevčinová
Sol Matas
Stan Partalev
Stanislav Chiganov
Stefan Peev
Stefan Stoychev
Steve Matteson
Stuart De Rozario
Suleyman Yazki
Susana Carvalho
Svet Simov
Svetlin Balezdrov
Swiss Typefaces [ Ian Party ]
Teo Tuominen
The Entente
Thomas Gillett
Thomas Käding
Tikhon Reztcov
TimXez
Titus Nemeth
Tobias Frere-Jones
Todor Georgiev
Tom Grace
Tomáš Brousil
Toshi Omagari
Tristan Grimmer
Tural Alisoy
Vaibhav Singh
Vasil Stanev
Vasily Biryukov
Vassil Kateliev
Vedran Eraković
Veneta Rangelova
Ventsislav Dzhokov
Vera Evstafieva
Verneri Kontto
Veronika Burian
Vernon Adams
Veronika Slavova
Viktor Kharyk
Vincent Chan
Vicente Lamónaca
Vika Usmanova
Vitaly Kuzmin
Vitória Neves
Vlad Viperov
Vladimir Yefimov
Vova Egoshin
Yoann Minet
Yulia Chernova
Yulia Gonina
Yury Ostromentsky
19 March 2018
The visual identity of the UK Parliament has been reviewed and updated because the current version was designed for printed material and does not work successfully on digital channels.
The new visual identity can already be seen on the UK Parliament’s website and social media channels.
Unlike its predecessor, the new version works on responsively designed digital channels, i.e. where the design has to change size depending on whether it is being viewed on a computer, tablet or mobile phone. The new visual identity is also more accessible and readable than its predecessor.
The new visual identity uses ‘UK Parliament’ rather than ‘Houses of Parliament’ to highlight the role of the institution in the UK’s constitution, and to distinguish it from the building it occupies.
The two Houses share a large number of public-facing services which require a consistent parliamentary identity. The new visual identity will be implemented across these services in a phased approach, to ensure that the public can easily identify the services provided by the UK Parliament.
Design studio SomeOne explored a number of options for typefaces. It was important that the chosen typeface could portray Parliament’s vast heritage as well help to reflect it being an inclusive and modern organisation. Two typefaces were choosen: Register (A2 Type Foundry) and National (Klim Type Foundry), which work well as a combination or individually.
The House of Commons and House of Lords will continue to use their own, existing visual identities.
23 November 2017
Valery Golyzhenkov’s First Prize typeface has been considerably extended, to include as many as 27 styles, announcded Type.Today Journal! Three bold styles have been complemented by lighter styles and an additional line of narrowed styles. First Prize now comes with enhanced versatility and a wider range of application options.
Specimen
October 2017
Druk is a study in extremes, featuring the narrowest, widest, and heaviest typefaces in the Commercial Type library to date. Starting from Medium and going up to Super, Druk is uncompromisingly bold.
Specimen
27 November 2017
Robert Slimbach: “As type usage becomes increasingly globalized, type designers are increasingly called upon to extend the language coverage of their typefaces.
As a Western type designer, I’m often challenged to design non-Latin extensions for both new and existing designs. Because Latin has always been my initial focus, I’m used to adapting non-Latin scripts to work within Western typographic standards. In doing so, I seek to balance script compatibility with script authenticity. With the Ten Oldstyle project, the tables had turned, and I was now being called upon to develop a Latin roman design to accompany the new Ten Mincho font that was being developed by Adobe …”
24 November 2017
IBM launched in beta its new bespoke typeface IBM Plex and thus said farewell to Helvetic.
“When I came to IBM, explains Mike Abbink (the typeface’s designer and IBM’s executive creative director of brand experience and design), it was a big discussion: Why does IBM not have a bespoke typeface? Why are we still clinging on to Helvetica? The way we speak to people and the conversations we need to have and we’d like to have, is that still the right way to express ourselves? We should really design a typeface that really reflects our belief system and make it relevant to people now. Helvetica is a child of a particular sect of modernist thinking that’s gone today.”
So, Mike Abbink and his team made it. The new IBM bespoke font family is IBM Plex. And it is free. Really! Free to download, free to use. Free under SIL Open Font License. Go to Github and you will realize that this is true.
The new visual history of IBM that starts with IBM Plex is open minded to people.
“If shoe stores or coffee shops or small businesses are using it for their identity, awesome,” Abbink says in the video. “They’re agreeing they want to be part of a discussion around machines and how they’re going to evolve and progress our world.”
See also: Carbon Design System
18 November 2017
Ilya Ruderman tells about the creation of a Yandex Sans and Yandex Serif fonts (the video is in Russian).
1 November 2017
Aloha! Pacifico is an original and fun brush script handwriting font by Vernon Adams which was inspired by the 1950s American surf culture in 2011. It was redrawn by Jacques Le Bailly at Baron von Fonthausen in 2016. It was expanded to Cyrillic by Botjo Nikoltchev and Ani Petrova at Lettersoup in 2017.
9 August 2017
Please welcome the upgraded Bw Modelica LGC, which stands for Latin, Greek and Cyrillic. Initially released supporting all Latin European languages, we just expanded the character set to cover Greek and Cyrillic scripts (including Bulgarian, Serbian, Macedonian letterform model). The Bw Modelica font family is available in different subsets so you don’t have to license for characters you are never going to use. It also has a dedicated microsite where you can test all the different character sets available in one place. Designed by Alberto Romanos, Bw Modelica is a minimal, robust, reliable & pragmatic geometric sans. Its clean shapes and generous x-height makes it a very competent typeface for both, display and body copy purposes.
27 June 2017
Sean McBridge announced on Adobe Typekit Blog an improvement in support for older versions of Internet Explorer. The new published kits now serves additional variation-specific font-family names to IE 6-8. This makes it possible to work around bugs in these browsers that are triggered when multiple weights and styles of a single font family are used in the same kit, explain Sean McBridge. Most importantly, these additional font-family names make it possible to use more than four weights and styles of a single font family in IE 6-8.
15 January 2018
On Monday 15 January, The Guardian unveil a new look theguardian.com and Guardian app in line with the launch of The Guardian in tabloid print format. Katharine Viner: We have thought carefully about how our use of typography, colour and images can support and enhance Guardian journalism. We have introduced a font called Guardian Headline that is simple, confident and impactful. This was a collaboration with the design experts Commercial Type, who created the original Guardian Egyptian, and is easier to read. We’re using a range of energetic colours, and the much-loved Guardian visual wit and style remain at the heart of the look. The masthead has a renewed strength and confidence to represent the Guardian’s place and mission in these challenging times.
14 December 2017
in connection with the completion of the FontLab VI and its release for sale the Russian online magazine ‘Type Journal’ publishes an extensive and very curious interview with Yuri Yarmola (text in Russian).
30 November 2017
Thom Janssen introduced on Github the GlyphMorf. GlyphMorf is an experimental way for making parametric adjustments for a font, in RoboFont. Downloading GlyphMorf Extension is free. Using GlyphMorf in a professional environment is not.
GlyphMorf analyses the glyph drawing and extract parameters out of it. By redrawing the glyph with different parameters you get different new glyphs / fonts. The drawing should be so that every point on the contour can be paired with an other point in the same contour on the other side of the stem/stroke. This means that all contours must have an even number of points. The starting point marks the beginning of the inner or outer part of the contour, depends a bit on the design. See image, the selected (orange) segments show the first half of the contours.
29 November 2017
Ninito Sans is coming soon with Cyrillic Extended thanks to Alexei Vanyashin.
27 November 2017
Asket by Elena Kowalski is a sans serif typeface with Latin and Cyrillic scripts.
Bw Modelica LGC by Alberto Romanos is a sans serif typeface with Latin, Greek and Cyrillic scripts.
Adys by Kristina Kostova is designed to help people who suffer from dyslexia in minor stages. However, it does not create any discomfort for people who do not have any specific symptoms. This is what makes it suitable for widespread use.
Averta by Kostas Bartsokas comes in eight weights with matching italics and supports over two hundred languages with an extended Latin, Cyrillic (Russian, Bulgarian, and Serbian/Macedonian alternates), Greek and Vietnamese character set.
Combax by Vasil Stanev is a text font with a wide language support and special care for localization. Featuring Cyrillic and also extended Latin, it’s one weight is rich in ligatures, punctuation and symbols and also careful coding. Playful yet robust, it is the perfect choice when you are loking for a Comic Sans replacement.
23 November 2017
Typotheque announced the issue of Wind – a capital-only display typeface by Hansje van Halem for intricate headlines, and optical effects.
Wind is the first published typeface of Amsterdam-based book and graphic designer Hansje van Halem. Like her other work, which is highly experimental, it uses vivid colours and intricately detailed patterns to create unexpected optical illusions, and its various layers can be combined and overlaid to create vibrant, hypnotic patterns.
22 November 2017
This GitHub repository is used for discussion and review of proposals for registration of OpenType design-variation axis tags.
Why register a design-variation axis?
OpenType supports custom or “foundry-defined” axes, allowing any font developer to create a font with whatever axes they wish (provided the syntactic requirements for a custom tag are met). So, why bother going through the process to register an axis? The short answer is that it can provide better experiences for end users and create opportunities for font and application developers.
While a font family design can be varied in any number of arbitrary ways, there are some kinds of variation that can seem useful and interesting to many different foundries. With custom axes, different foundries could create families with the same kinds of design variants, but because they have each identified the same variants in different ways, applications have no way to interact with particular variants, and users have inconsistent experiences.
A registered axis provides two key benefits over custom axes:
1 November 2017
Review the Gospels of Tsar Ivan Alexander at British Library.
Aloha! Pacifico is an original and fun brush script handwriting font by Vernon Adams which was inspired by the 1950s American surf culture in 2011. It was redrawn by Jacques Le Bailly at Baron von Fonthausen in 2016. It was expanded to Cyrillic by Botjo Nikoltchev and Ani Petrova at Lettersoup in 2017.
Vernon practiced typeface design from 2007 to 2014. A lifelong artist, during this time he eagerly explored designing type for the cloud-based era. His work spans all genres, from lively script faces to workhorse text families and operating system UI. Vernon graduated with an MA in Typeface Design from the University of Reading and lives in California. His designs are mostly published as open source Google Fonts and his favorite projects include Oxygen Mono, Monda, and Bowlby One. Follow his story at www.sansoxygen.com.
Design, Publisher, Copyright, License
Principal design: Vernon Adams
Design: Jacques Le Bailly, Botjo Nikoltchev, Ani Petrova
Publisher: Vernon Adams
Copyright 2011 by Vernon Adams. All rights reserved.
License: SIL OPEN FONT LICENSE
Vernon Adams
Vernon Adams (born England, 1967) was a furniture restorer, woodcarver and typeface designer. On August 24, 2016 Vernon Adams passed away from injuries sustained in a scooter accident in May of 2014. New Typography was his type design site. Vernon graduated in 2007 with an MA in type design from the University of Reading and lived in San Clemente, California.
Web:
Typefaces: Seymour One, Nobile, Amatic SC, Nunito Sans, Pacifico, Oxygen, Oswald
More… TYPE DESIGN INFORMATION | Vernon Adams
Free License
Download v.3.001: Pacifico | Google Drive
Font development: GitHub
Intro Rust, Head, Script are the 3 free fonts of the Intro Rust family. Intro Rust family is one of the biggest packages on the market, including 214 fonts. The font family is a rough version of the famous Intro and includes 4 sub-families Intro Rust, Intro Script, Intro Head and Intro Goodies. For all types of design projects like print materials and web design, with just a little imagination you can watch them come alive. Intro Rust fonts will make them more vivid than ever. You want to make a greeting card, a package design, or even a brand identity? Feel free to play with all the patterns and shapes, scripts or those cool fonts with the dots to clinch your next successful project.
Design: Ani Petrova, Svet Simov, Radomir Tinkov
License: Fontfabric EULA Free Font License Ver. 2.0
Publisher: Fontfabric
Svet Simov
Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. Highly innovative designer whose creations have lots of style and flair. Many fonts are for both Latin and Cyrillic.
Web:
Typefaces: Mozer, Panton, Gilam, Glober, Colo Pro, Squad, Noah, Mont, Mont Blanc, Zing Rust, Intro, Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Rafale RU, Rafale BG, Dan, Uni Neue, Uni Sans, Simbal, Nexa, Code Next, Fester, Gabriel Sans
More… LUC DEVROYE | TYPE DESIGN INFORMATION
Ani Petrova
Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov’s typefoundry. 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.
Web:
Typefaces: Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Mixa, Sofia Sans, Mozer, Milka, Uni Sans, PH, Nexa Script
More… TYPE DESIGN INFORMATION | Ani Petrova
Radomir Tinkov
Based in Sofia, Bulgaria, Radomir Tinkov began his career as a graphic and web designer. “Typography is an essential part of almost every aspect of life and design in particular,” he says, “so it got me curious and little by little I started to create fonts on the side.” His earliest designs were limited to mainly display faces, but he knew that he wanted to create a deeper type library filled with more versatile and useful designs. “As time passed, I learned more and more and began to create custom typefaces to solve real problems in other design projects I was working on and just like that, my first marketable font was created.”
Web:
Typefaces: Phenomena, Sensa, Noah, Muller, Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Gilroy, Qanelas, Qanelas Soft
More… MYFONTS | Radomir Tinkov
Free License Download
Download for PERSONAL USE: Fontfabric
Commercial License Buy
Where to buy: Fontspring
Where to buy: MyFonts
Intro Script R H2 Base is a free part of the Intro Rust family.
Intro Rust family is one of the biggest packages on the market, including 214 fonts. The font family is a rough version of the famous Intro and includes 4 sub-families Intro Rust, Intro Script, Intro Head and Intro Goodies. For all types of design projects like print materials and web design, with just a little imagination you can watch them come alive. Intro Rust fonts will make them more vivid than ever. You want to make a greeting card, a package design, or even a brand identity? Feel free to play with all the patterns and shapes, scripts or those cool fonts with the dots to clinch your next successful project.
Design, Publisher, Copyright, License
Design: Ani Petrova, Svet Simov, Radomir Tinkov
Publisher: Fontfabric
License: Fontfabric EULA Free Font License Ver. 2.0
Svet Simov
Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. Highly innovative designer whose creations have lots of style and flair. Many fonts are for both Latin and Cyrillic.
Web:
Typefaces: Mozer, Panton, Gilam, Glober, Colo Pro, Squad, Noah, Mont, Mont Blanc, Zing Rust, Intro, Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Rafale RU, Rafale BG, Dan, Uni Neue, Uni Sans, Simbal, Nexa, Code Next, Fester, Gabriel Sans
More… LUC DEVROYE | TYPE DESIGN INFORMATION
Ani Petrova
Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov’s typefoundry. 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.
Web:
Typefaces: Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Mixa, Sofia Sans, Mozer, Milka, Uni Sans, PH, Nexa Script
More… TYPE DESIGN INFORMATION | Ani Petrova
Radomir Tinkov
Based in Sofia, Bulgaria, Radomir Tinkov began his career as a graphic and web designer. “Typography is an essential part of almost every aspect of life and design in particular,” he says, “so it got me curious and little by little I started to create fonts on the side.” His earliest designs were limited to mainly display faces, but he knew that he wanted to create a deeper type library filled with more versatile and useful designs. “As time passed, I learned more and more and began to create custom typefaces to solve real problems in other design projects I was working on and just like that, my first marketable font was created.”
Web:
Typefaces: Phenomena, Sensa, Noah, Muller, Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Gilroy, Qanelas, Qanelas Soft
More… MYFONTS | Radomir Tinkov
Free License
Download for PERSONAL USE: Intro Script R H2 Base | Fontfabric
Commercial License
Where to buy: Fontspring
Where to buy: MyFonts
Intro Head R Base is a free part of the Intro Rust family. It contains the modern form of Bulgarian Cyrillic as a Style Set 01.
Intro Rust family is one of the biggest packages on the market, including 214 fonts. The font family is a rough version of the famous Intro and includes 4 sub-families Intro Rust, Intro Script, Intro Head and Intro Goodies. For all types of design projects like print materials and web design, with just a little imagination you can watch them come alive. Intro Rust fonts will make them more vivid than ever. You want to make a greeting card, a package design, or even a brand identity? Feel free to play with all the patterns and shapes, scripts or those cool fonts with the dots to clinch your next successful project.
Design, Publisher, Copyright, License
Design: Ani Petrova, Svet Simov, Radomir Tinkov
Publisher: Fontfabric
License: Fontfabric EULA Free Font License Ver. 2.0
Svet Simov
Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. Highly innovative designer whose creations have lots of style and flair. Many fonts are for both Latin and Cyrillic.
Web:
Typefaces: Mozer, Panton, Gilam, Glober, Colo Pro, Squad, Noah, Mont, Mont Blanc, Zing Rust, Intro, Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Rafale RU, Rafale BG, Dan, Uni Neue, Uni Sans, Simbal, Nexa, Code Next, Fester, Gabriel Sans
More… LUC DEVROYE | TYPE DESIGN INFORMATION
Ani Petrova
Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov’s typefoundry. 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.
Web:
Typefaces: Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Mixa, Sofia Sans, Mozer, Milka, Uni Sans, PH, Nexa Script
More… TYPE DESIGN INFORMATION | Ani Petrova
Radomir Tinkov
Based in Sofia, Bulgaria, Radomir Tinkov began his career as a graphic and web designer. “Typography is an essential part of almost every aspect of life and design in particular,” he says, “so it got me curious and little by little I started to create fonts on the side.” His earliest designs were limited to mainly display faces, but he knew that he wanted to create a deeper type library filled with more versatile and useful designs. “As time passed, I learned more and more and began to create custom typefaces to solve real problems in other design projects I was working on and just like that, my first marketable font was created.”
Web:
Typefaces: Phenomena, Sensa, Noah, Muller, Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Gilroy, Qanelas, Qanelas Soft
More… MYFONTS | Radomir Tinkov
Free License
Download for PERSONAL USE: Fontfabric
Commercial License
Where to buy: Fontspring
Where to buy: MyFonts
Sprite Graffiti Font is the first Bulgarian Cyrillic graffiti font created on May 24th.
Design, Publisher, Copyright, License
Design: Arsek & Erase (Four Plus)
Font developers: Ani Petrova, Vasil Stanev
Publisher: Fontfabric
License: Fontfabric EULA Free Font License Ver. 2.0
Free License
Download: Sprite Graffiti Font | Fontfabric
Milka is an 8-style stencil font family created by a team of designers born within the span of almost 70 years. It is a digital expansion on an alphabet designed in 1979 by the famous Bulgarian artist Milka Peikova.
The basic Milka font is a clean stencil design, while the Aged, Baked, Brittle, Crunchy, Dry and Soft styles are inspired by stencil and letterpress techniques and expand the usefulness by adding various degrees of warmth or roughness. The Milka font family has extensive Latin, Cyrillic and Greek character set support including localized forms for Russian and Bulgarian as well as numerous OpenType features.
Since 2014, Berlin-based Bulgarian type designer Botio Nikoltchev has been working with three Bulgarian female designers (the original designer Milka Peikova, who passed away in 2016 at the age of 96, and with Ani Petrova and Anelia Pashova, both from a young generation), as well as with Berlin-based Adam Twardoch and Andreas Eigendorf to create a modern revival of Ms Peikova’s inspiring stencil alphabet. Milka Peikova (1919-2016) was one of Bulgaria’s most famous female artists whose work has influenced several generations of Bulgarian designers. During her impressive career spanning almost seven decades, she created paintings, posters, book covers, textile designs and alphabets, both individually and together with her husband Georgi Kovachev-Grishata (1920–2012).
To try Milka in your project, download the Milka Free (uppercase-only) version at MyFonts!
Design, Publisher, Copyright, License
Design: Milka Peikova, Botio Nikoltchev , Ani Petrova , Adam Twardoch , Andreas Eigendorf
Copyright 2016 by Botio Nikoltchev. All rights reserved.
Specimen: Milka
Milka Peikova
Milka Peikova (b. 1919, Pavel, Bulgaria, d. 2016, Sofia, Bulgaria) was a famous Bulgarian artist. She created paintings, posters, book covers, portraits of famous Bulgarians, textile designs and alphabets, both individually and together with her husband Georgi Kovachev-Grishata (1920-2012). She is a graduate of the Bulgarian National Art Academy, class of 1948. She founded Cosmos magazine and designed for the Women Today and Problems of Art magazines.
In 1979, she designed an alphabet that was extended to an 8-style Latin / Greek / Cyrillic stencil typeface—Milka (2016)—by a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf. The basic Milka font is a clean stencil design, while the Aged, Baked, Brittle, Crunchy, Dry and Soft styles are inspired by stencil and letterpress techniques and expand the usefulness by adding various degrees of warmth or roughness.
Milka Peikova also designed the first Bulgarian typeface for phototypesetting called Grilimil with her husband Georgi Kovachev-Grishata. She is the recipient of the first prize for a typeface at the Bulgarian National Book Exhibition and Illustration.
Botio Nikoltchev
Botjo Nikoltchev, b. 1978, Sofia, Bulgaria. Botio studied graphic and type design in Potsdam. He is living and working as a freelance designer in Berlin. He studied communication design at the University of Applied Science Potsdam and took type design classes with Luc(as) de Groot. After his studies Botio worked with Ole Schäfer (Primetype) on the Cyrillic characters of PTL Manual, PTL Manual Mono and PTL Notes. Since 2010 he has been collaborating with Ralph du Carrois and Erik Spiekermann as type designer and art director at Carrois Type Design, focusing on Cyrillic, Greek and Arabic language extensions and CI projects. In 2014, he set up the commercial typefoundry Lettersoup.
Web:
Typefaces: Sofia Sans, Milka, Milka Free, Ropa Mix Pro, Ropa Soft Pro, Ropa Sans Pro, Quasimoda
More… Botio Nikoltchev
Ani Petrova
Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov’s typefoundry. 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.
Web:
Typefaces: Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Mixa, Sofia Sans, Mozer, Milka, Uni Sans, PH, Nexa Script
More… TYPE DESIGN INFORMATION | Ani Petrova
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.
Andreas Eigendorf
Berlin, Germany-based font engineer. Designer of several CE versions of FontFont fonts, such as the CE versions of Ole Schaefer’s Fago: FF Fago Office Sans CE, Fago Office Serif CE (2000).
Free font download (Milka Free)
Where to download: Lettersoup
Commercial License
Where to buy: Lettersoup
Where to buy: Fontspring
Where to buy: MyFonts
PH from Fontfabric is a multifaceted Latin and Cyrillic font system consisting of different font weights and types of condensation. The full version of PH consists of 96 fonts.
Design, Publisher, Copyright, License
Design: Ani Petrova, Asen Petrov
Publisher: Fontfabric
Ani Petrova
Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov’s typefoundry. 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.
Web:
Typefaces: Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Mixa, Sofia Sans, Mozer, Milka, Uni Sans, PH, Nexa Script
More… TYPE DESIGN INFORMATION | Ani Petrova
Free License
Download 4 free demo fonts: PH | Fontfabric
Commercial License
Where to buy: MyFonts
DOWNLOAD 4 free demo fonts at Fontfabric
Buy the full Version at MyFonts (it consists of 96 fonts).
The Uni Sans font family includes 14 weights – seven uprights with seven italics.
It is characterized by excellent legibility in both – web & print design areas, well-finished geometric designs, optimized kerning, excellent web-font performance and legibility etc.
Inspired by the classic grotesque strong typefaces like DIN and Dax – Uni Sans has his own unique style in expressed perfect softened geometric forms.
The font family is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and minimum variations.
Uni Sans font styles are applicable for any type of graphic design in web, print, motion graphics etc and perfect for t-shirts and other items like posters, logos.
Design, Publisher, Copyright, License
Design: Svet Simov, Ani Petrova (cyrillic alphabet), Vasil Stanev (font development)
Publisher: Fontfabric
Copyright 2009 by Fontfabric. All rights reserved.
License: Fontfabric EULA Free Font License Ver. 2.0
Svet Simov
Fontfabric is the foundry of Svetoslav Simov, a visual designer who is located in Sofia, Bulgaria, b. 1984. Highly innovative designer whose creations have lots of style and flair. Many fonts are for both Latin and Cyrillic.
Web:
Typefaces: Mozer, Panton, Gilam, Glober, Colo Pro, Squad, Noah, Mont, Mont Blanc, Zing Rust, Intro, Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Rafale RU, Rafale BG, Dan, Uni Neue, Uni Sans, Simbal, Nexa, Code Next, Fester, Gabriel Sans
More… LUC DEVROYE | TYPE DESIGN INFORMATION
Ani Petrova
Type designer, b. 1988, Sofia, Bulgaria, who works at Fontfabric, Svetoslav Simov’s typefoundry. 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.
Web:
Typefaces: Intro Rust Complete, Intro Rust, Head, Script, Intro Script R H2 Base, Intro Head R Base, Mixa, Sofia Sans, Mozer, Milka, Uni Sans, PH, Nexa Script
More… TYPE DESIGN INFORMATION | Ani Petrova
Vasil Stanev
Typographer and type designer in Sofia, Bulgaria, b. 1982, Sofia, who worked mostly for Svetoslav Simov’s typefoundry, Fontfabric, before setting up his own shop, VSF (Vasil Stanev Foundry).
Web:
Typefaces: Combax, Etymonster, Tengwar Sindarin, Rafale RU, Rafale BG, Uni Sans, TDR
More… TYPE DESIGN INFORMATION | Vasil Stanev
Free License
Download: Uni Sans Free | Fontfabric
Commercial License
Where to buy: Fontspring
Where to buy: MyFonts
Welcome to the first annual ranking of the Top 10 Cyrillic fonts of 2019! Choose from the list below your favourite font. If you can’t find it in the list, you can add its name at the bottom of the page. If you are suggesting a Cyrillic font, please make sure that it has been published in 2019. Fonts published before 2019 will not be included in the ranking.
The winning font will be announced in December 2020. Until then the voting will remain open. We are looking forward to your votes!
Orthodoxal Ornaments
$ 36.00
Cirilica Pisana Nova D
$ 0.00
BLOCK Light
$ 0.00
Bw Modelica LGC by Alberto Romanos is a sans serif typeface with Latin, Greek and Cyrillic scripts.
