Ani Petrova

Ani Petrova

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.
More… LUC DEVROYE | TYPE DESIGN INFORMATION

Milka Peikova

Milka Peikova

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.
More… LUC DEVROYE | TYPE DESIGN INFORMATION

Radomir Tinkov

Radomir Tinkov

Radomir Tinkov

Radomir Savov Tinkov (RST Fonts) is a Bulgarian type designer. Creator of these typefaces:monoline sans typefaces Usumaru (2009) and Shinbi (2009), RST (2009, techno), Chibi (2009), Toast (2009, ultra-black), the military stencil Pondera (2009), the fat counterless typeface Tenshu (2010), the monoline extended sans family Cillian (2010), the fat geometric typeface Tenshu Extra Black (2011). The monoline sans face Selly (2011), the headline sans Alasar. Nexa Rust (2014, Fontfabric) 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. Muller (2015, Fontfabric). This Hairline-to-Heavy 20-weight Latin / Cyrillic sans family was designed for universal use, and is a tad wider than normal. It is characterized by flush vertical or horizontal terminals. Muller Narrow was added in 2016.
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. Qanelas (2015). A 20-weight geometric sans typeface family (+Cyrillic). Made warmer and friendlier in the 2016 release of Qanelas Soft. Sensa (2015, Radomir Tinkov and Svetoslav Simov) is a hand-crafted 21-style family divided into the subfamilies Sensa Brush, Sensa Pen, Sensa Wild, Sensa Sans, Sensa Serif and Sensa Goodies. Maya Script. Alasar (2015). A narrow sans family. Ridley Grotesk (2016). A modern sans serif workhorse family. Gilroy (2016). A 20style geometric sans typeface family.

More… LUC DEVROYE | TYPE DESIGN INFORMATION

Nikolay Petrousenko

Nikolay Petrousenko

Nikolay Petroussenko

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).
More… LUC DEVROYE | TYPE DESIGN INFORMATION

Authors

A

Adam Katyi
Adam Twardoch
Adrian Frutiger
Akira Kobayashi
Alberto Romanos
Alexei Vanyashin
Alexander Nedelev
Andreas Eigendorf
Andrij Shevchenko
Ani Petrova
Ania Wieluńska
Apostrophic Labs
Asen Tiberiy Baramov

B

Berthold Wolpe
Berton Hasebe
Borys Kosmynka
Botio Nikoltchev

C

Charles Borges de Oliveira
Charles Gibbons
Chris Simpkins
Christian Schwartz
Christian Thalmann

D

Dave Rowland
David Březina
David Jonathan Ross
Denis A Serikov
Dmitriy Chirkov
Dmitry Goloub

E

Eduardo Manso
Eimantas Paškonis
Elena Kowalski

F

Fredrick R. Brennan

G

Galin Kastelov

H

HermesSOFT
Hubert Jocham

I

Ilya Ruderman
Irene Vlachou
Irina Smirnova
Iste Fonts [ Yuri Zabavchik ]
Ivan Petrov

J

Jacklina Jekova
Jakob Runge
Jason Smith
Jean-Baptiste Levée
Jonathan Pierini
Jos Buivenga

K

Kiril Zlatkov
Kostas Bartsokas

L

Lasko Dzurovski
Laura Meseguer
Lisa Fischbach

M

Maciej Włoczewski
Mariya Domnikova
Maria Doreuli
Mariya V. Pigoulevskaya
Mark Simonson
Mateo Broillet
Mateusz Machalski
Matthias Tellen
Michał Jarociński
Miles Newlyn
Milka Peikova
Milos Mitrovic
Mirela Belova

N

Nick Shinn
Nikola Djurek
Nikolay Petrousenko

O

Olga Pankova

P

Panos Haratzopoulos [ Cannibal Fonts ]
Paul Barnes
Peter Biľak
Phil Garnham
Plamen Motev
Przemek Hoffer

R

Radomir Tinkov
Raph Levien
Riccardo Olocco
Ross Milne

S

Sam Radian
Sergiy Tkachenko
Skyhaven
Sláva Jevčinová
Stan Partalev
Steve Matteson
Svet Simov
Svetlin Balezdrov
Swiss Typefaces [ Ian Party ]

T

Thomas Käding
Titus Nemeth
Tobias Frere-Jones
Tom Grace
Toshi Omagari

V

Vaibhav Singh
Vasil Stanev
Vassil Kateliev
Veronika Slavova
Vincent Chan

Y

Yoann Minet
Yury Ostromentsky
 
 

Mozer

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Font Sampler

(EN) The quick brown fox jumps over the lazy dog. (NL) Op brute wijze ving de schooljuf de quasi-kalme lynx. (CS) Nechť již hříšné saxofony ďáblů rozezvučí síň úděsnými tóny waltzu, tanga a quickstepu. (HU) Jó foxim és don Quijote húszwattos lámpánál ülve egy pár bűvös cipőt készít. (RO) Înjurând pițigăiat, zoofobul comandă vexat whisky și tequila. (RU) Разъяренный чтец эгоистично бьёт пятью жердями шустрого фехтовальщика. (BG) Огньове изгаряха с блуждаещи пламъци любовта човешка на Орфей. (SR) Фијуче ветар у шибљу, леди пасаже и куће иза њих и гунђа у оџацима. (EL) Ταχίστη αλώπηξ βαφής ψημένη γη, δρασκελίζει υπέρ νωθρού κυνός. Type your own text to test the font!
Description

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

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.

More… LUC DEVROYE | TYPE DESIGN INFORMATION


Ani Petrova

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.
More… LUC DEVROYE | TYPE DESIGN INFORMATION


Mirela Belova

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.
More… LUC DEVROYE | TYPE DESIGN INFORMATION


Nikolay Petrousenko

Nikolay Petroussenko

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).
More… LUC DEVROYE | TYPE DESIGN INFORMATION

Free Mozer SemiBold

Download: Mozer SemiBold Fontspring

Commercial License

Where to buy: Fontspring

Where to buy: MyFonts

If you like this site and find it useful, help us to make it better by giving feedback, suggesting improvements or by donation.

Donate

Milka

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Font Sampler

(EN) The quick brown fox jumps over the lazy dog. (NL) Op brute wijze ving de schooljuf de quasi-kalme lynx. (CS) Nechť již hříšné saxofony ďáblů rozezvučí síň úděsnými tóny waltzu, tanga a quickstepu. (HU) Jó foxim és don Quijote húszwattos lámpánál ülve egy pár bűvös cipőt készít. (RO) Înjurând pițigăiat, zoofobul comandă vexat whisky și tequila. (RU) Разъяренный чтец эгоистично бьёт пятью жердями шустрого фехтовальщика. (BG) Огньове изгаряха с блуждаещи пламъци любовта човешка на Орфей. (SR) Фијуче ветар у шибљу, леди пасаже и куће иза њих и гунђа у оџацима. (EL) Ταχίστη αλώπηξ βαφής ψημένη γη, δρασκελίζει υπέρ νωθρού κυνός. Type your own text to test the font!
Description

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

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.
More… LUC DEVROYE | TYPE DESIGN INFORMATION


Botio Nikoltchev

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.
More… LUC DEVROYE | TYPE DESIGN INFORMATION


Ani Petrova

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.
More… LUC DEVROYE | TYPE DESIGN INFORMATION


Adam Twardoch

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.
More… LUC DEVROYE | TYPE DESIGN INFORMATION


Andreas Eigendorf

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).

More… LUC DEVROYE | TYPE DESIGN INFORMATION

Free font download (Milka Free)

Where to download: Lettersoup

Commercial License

Where to buy: Lettersoup

Where to buy: Fontspring

Where to buy: MyFonts

If you like this site and find it useful, help us to make it better by giving feedback, suggesting improvements or by donation.

Donate

Vocal

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Description

Vocal is a sans serif type family designed by Ani Petrova. The family has 28 weights, ranging from Hairline to Heavy with matching Italics and Small Caps. In addition, you get a nice alternate version of the Heavy weight with extra thin accents. Which is a pure joy for setting titles. Vocal comes with extended coverage of the Latin, Greek and Cyrillic Script. The Regular and Medium weights are perfect for body text while the extra drawn Italic gives an interesting texture to the text. The stems are a little tapered to the middle and the corners are cuted, wich makes them a little rounded in small sizes. That gives the font an organic, warm and friendly touch. Vocal is equipped for complex, professional typography with Open Type Features including — small caps, localized forms, standard ligatures, subscripts, superscripts, numerators, denominators, numbers in circles arrows, currency symbols and fractions. The fonts are carefully hinted and its wide proportions make them a perfect choice for screen usage. Vocal suits also ideal for book and editorial design.

Design, Publisher, Copyright, License

Design: Ani Petrova

Publisher: Lettersoup

Specimen: Vocal (PDF)

Ani Petrova

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.
More… LUC DEVROYE | TYPE DESIGN INFORMATION

Free font download (Vocal Light)

Where to download: Lettersoup

Commercial License

Where to buy: Lettersoup

If you like this site and find it useful, help us to make it better by giving feedback, suggesting improvements or by donation.

Donate

Kardinal

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Description

Kardinal Pro is a sans serif humanistic type family designed by Ani Petrova. The family has 16 weights, ranging from Thin to Black with extra drawn italics. The Kardinal Pro type family is ideally suited for small text, books and magazines, branding, posters, as well as web and screen design, headlines and more. KardinalPro comes in 16 styles with extended language support. It supports Latin and Cyrillic Scripts. All weights contain standard ligatures, proportional figures, tabular figures, old style figure, numerals and arrows, matching currency symbols and fractions. The construction of characters combines between clean grotesque style and calligraphic features with humanist fragrance. Outstanding for the designs are the small serifs. They give the letters movement and freshness, as well as contribute to better readability in different volume texts and include lots of details that give it a unique personality. The Regular and Medium weights are perfect for body text while the italic gives an interesting texture to the text. The range of styles provides good flexibility to this family. The fonts are carefully hinted and perfect for digital use.

Design, Publisher, Copyright, License

Design: Ani Petrova

Publisher: Lettersoup

Specimen: Kardinal (PDF)

Ani Petrova

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.
More… LUC DEVROYE | TYPE DESIGN INFORMATION

Commercial License

Where to buy: Lettersoup

If you like this site and find it useful, help us to make it better by giving feedback, suggesting improvements or by donation.

Donate

News

News

Media News

UK Parliament

19 March 2018

UK Parliament
The visual identity of the UK Parliament has been reviewed and updated

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 beta 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.
The visual identity of The House of Commons – PDF

Read more…

Type.Today Journal

23 November 2017

First Prize
First Prize now comes with enhanced versatility

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

Read the whole article…

Type.Today Journal

October 2017

Druk
New typeface: Druk

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

Read the whole article…

Robert Slimbach: Introducing Ten Oldstyle

Adobe Typekit Blog

27 November 2017

Ten Oldstyle

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 …”

Robert Slimbach
Robert Slimbach

Read the whole article at Adobe Typekit Blog…

Welcome IBM Plex, Farewell Helvetica

Local Fonts News

24 November 2017

https://youtu.be/xcs9snQnkJs

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

IBM Plex on Github…

Ilya Ruderman for Yandex Sans and Serif

Ilya Ruderman

18 November 2017

Ilya Ruderman tells about the creation of a Yandex Sans and Yandex Serif fonts (the video is in Russian).

More…

Svobodny font

Aleksandr Andreev, Github

22 November 2017

Svobodny is a new implementation of GNU FreeFont. The purpose of this project is to provide a font that “looks” like Times New Roman, but contains all of the necessary characters and font features for typesetting Church Slavonic, as well as Greek, Georgian, Arabic, Armenian, Coptic, Syriac, and other scripts used by researchers in Byzantine Studies, theology, liturgics, philology, and related fields. This is because many publishers require texts to be set in “Times New Roman”. Based on GNU FreeFont, which provides a useful set of free scalable (i.e., OpenType) fonts covering as much as possible of the ISO 10646/Unicode UCS (Universal Character Set), Svobodny font extends upon GNU FreeFont by providing a number of additional features not available in GNU FreeFont:

  • Full compatibility with Adobe Glyph List
  • Support of proper glyph composition / decomposition and positioning needed for Church Slavonic support
  • Support of the Ponomar Project Private Use Area policy

More…

Pacifico now has Cyrillic Script

Google Fonts

1 November 2017

Pacifico
Pacifico

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.

More…

Bw Modelica goes pan-European

BwType News

9 August 2017

Bw Modelica

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.

More…

Variation-specific font-family names in IE 6-8

Adobe Typekit Blog

27 June 2017

Variation-specific font-family names in IE 6-8

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.

Read the whole article at Adobe Typekit Blog…

Media News

Guardian

15 January 2018

Guardian
The Guardian with the design experts Commercial Type introduce a font called Guardian Headline

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.

Read the whole article…

Type Journal

14 December 2017

Yuri Yarmola
An interview with Yuri Yarmola on font designer tools, Photoshop effect and FontLab VI

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).

Read the whole interview…

GlyphMorf

Local Fonts News

30 November 2017

GlyphMorf

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.

GlyphMorf

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Nunito Sans with Cyrillic Extended

Local Fonts News

29 November 2017

Nunito Sans

Ninito Sans is coming soon with Cyrillic Extended thanks to Alexei Vanyashin.

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November fonts selection

Local Fonts News

27 November 2017

TT TunnelsTT Tunnels by Typetype is a display sans font family. This typeface has five styles.

AsketAsket by Elena Kowalski is a sans serif typeface with Latin and Cyrillic scripts.

Bw Modelica LGCBw Modelica LGC by Alberto Romanos is a sans serif typeface with Latin, Greek and Cyrillic scripts.

AdysAdys 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.

AvertaAverta 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.

CombaxCombax 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.

Wind, a Layered Typeface for Optical Illusions

Typotheque

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.

WindWindWind

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OpenType Design Variation Axis Tags

Microsoft, Github

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:

  • It fosters conventionality and familiarity.
  • It facilitates interoperability.

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Gospels of Tsar Ivan Alexander

WIKIPEDIA

1 November 2017

Gospels of Tsar Ivan Alexander
Gospels of Tsar Ivan Alexander

Review the Gospels of Tsar Ivan Alexander at British Library.

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Most Appreciated Projects on Behance

Ailerons Typeface on BehanceModerne Sans - Clean Typeface on BehanceMoon - Free Font on BehanceCoves - Free Font on Behance

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