Botio Nikoltchev: What Shall Be Done for Bulgarian Cyrillic .loclBGR

In this article I would like to describe the differences between the Bulgarian and Russian Cyrillic. Then I will list the characters you have to include in your fonts if you like to make Bulgarian Cyrillic and the different ways you can make it work with the Open Type features. Lets start with which Letters are different between Russian and Bulgarian Cyrillic. I will specify them for both Sans and Serif typefaces.

.loclBGR for Grotesque Typefaces

Russian Cyrillic
А
Б

В

Г

Д

Е

Ё

Ж

З

И

Й

К

Л

М

Н

О

П

Р

С

Т

У

Ф

Х

Ц

Ч

Ш

Щ

Ъ

Ы

Ь

Э

Ю

Я

Ѝ

а

б

в

г

д

е

ё

ж

з

и

й

к

л

м

н

о

п

р

с

т

у

ф

х

ц

ч

ш

щ

ъ

ы

ь

э

ю

я

ѝ

Bulgarian Modern Cyrillic Script
А

Б

В

Г

Д

Е

Ж

З

И

Й

К

Л

М

Н

О

П

Р

С

Т

У

Ф

Х

Ц

Ч

Ш

Щ

Ъ

Ь

Ю

Я

Ѝ

а

б

в

г

д

е

ж

з

и

й

к

л

м

н

о

п

р

с

т

у

ф

х

ц

ч

ш

щ

ъ

ь

ю

я

ѝ

The red characters are in Russian style and the orange ones in Bulgarian. Please do not forget to include Ѝ and ѝ letter. This characters are needed in the Bulgarian language. The following characters list is all you have to include for loclBGR in your Sans Fonts. Some of the glyphs don’t have to be redesigned in Italics.

  Д (uni0414) is optional
  Ѝ (uni040D)
  Л (uni041B)
  Ф (uni0424) is optional
  в (uni0432)
  г (uni0433)
  д (uni0434)
  ж (uni0436)
  з (uni0437)
  и (uni0438) usually there is no need to redesign in Italic 
  й (uni0439) usually there is no need to redesign in Italic 
  ѝ (uni045D) usually there is no need to redesign in Italic 
  к (uni043A)
  л (uni043B)
  п (uni043F) usually there is no need to redesign in Italic 
  т (uni0442) usually there is no need to redesign in Italic 
  ц (uni0446)
  ш (uni0448) usually there is no need to redesign in Italic 
  щ (uni0449) usually there is no need to redesign in Italic 
  ю (uni044E)

.loclBGR for Serif Typefaces

Russian Cyrillic
А
Б

В

Г

Д

Е

Ё

Ж

З

И

Й

К

Л

М

Н

О

П

Р

С

Т

У

Ф

Х

Ц

Ч

Ш

Щ

Ъ

Ы

Ь

Э

Ю

Я

Ѝ

а

б

в

г

д

е

ё

ж

з

и

й

к

л

м

н

о

п

р

с

т

у

ф

х

ц

ч

ш

щ

ъ

ы

ь

э

ю

я

ѝ

Bulgarian Modern Cyrillic Script
А

Б

В

Г

Д

Е

Ж

З

И

Й

К

Л

М

Н

О

П

Р

С

Т

У

Ф

Х

Ц

Ч

Ш

Щ

Ъ

Ь

Ю

Я

Ѝ

а

б

в

г

д

е

ж

з

и

й

к

л

м

н

о

п

р

с

т

у

ф

х

ц

ч

ш

щ

ъ

ь

ю

я

ѝ

.loclBGR for Serif Typefaces

The following characters-list have to be included in your Serif Fonts. Please consider that the Serif fonts list is a little bit longer. Some of the glyphs don’t have to be redesigned in Italics.

  Д (uni0414) is optional
  И (uni0418)
  Й (uni0419)
  Ѝ (uni040D)
  Л (uni041B)
  Ф (uni0424) is optional

  в (uni0432)
  г (uni0433)
  д (uni0434)
  ж (uni0436)
  з (uni0437)
  и (uni0438) usually there is no need to redesign in Italic
  й (uni0439) usually there is no need to redesign in Italic
  ѝ (uni045D) usually there is no need to redesign in Italic
  к (uni043A)
  л (uni043B)
  н (uni043D)
  п (uni043F) usually there is no need to redesign in Italic
  т (uni0442) usually there is no need to redesign in Italic
  ц (uni0446) usually there is no need to redesign in Italic
  ч (uni0447) usually there is no need to redesign in Italic
  ш (uni0448) usually there is no need to redesign in Italic
  щ (uni0449) usually there is no need to redesign in Italic
  ь (uni044C) usually there is no need to redesign in Italic
  ъ (uni044A) usually there is no need to redesign in Italic
  ю (uni044E)

Historical forms

If you like you can also include some historical forms. They are important for scientific and old texts set before the 1945 spelling reform.

  Ѫ (uni046A)
  ѫ (uni046B)
  Ѣ (uni0462)
  ѣ (uni0463)

How to make .loclBGR work in OpenType

In my opinion there are two ways to make Bulgarian Cyrillic work in your OpenTypes. The first way is use Open Type ’locl’ feature (Localized Forms). You have to add a .loclBGR suffix to all characters which have Bulgarian Cyrillic forms. The second way is to define them as a Stylistic Set. I recommend implementing both features so you can assure that the Bulgarian forms will work properly in all Apps and will also give the opportunity to non-Bulgarian designers to use them without switching the spell check of the text they are working on. So let’s code a little. First you have to make sure that you have the language system in your Font:

 languagesystem cyrl dflt;
 languagesystem cyrl BGR; 

This is how the script should look like for local Bulgarian feature (locl)

  feature locl{ 
  script cyrl;
  language BGR ;
   sub uni0414 by uni0414.loclBGR;
   sub uni041B by uni041B.loclBGR;
   sub uni0424 by uni0424.loclBGR;
   sub uni0432 by uni0432.loclBGR;
   sub uni0433 by uni0433.loclBGR;
   sub uni0434 by uni0434.loclBGR;
   sub uni0436 by uni0436.loclBGR;
   sub uni0437 by uni0437.loclBGR;
   sub uni0438 by uni0438.loclBGR;
   sub uni0439 by uni0439.loclBGR;
   sub uni045D by uni045D.loclBGR;
   sub uni043A by uni043A.loclBGR;
   sub uni043B by uni043B.loclBGR;
   sub uni043F by uni043F.loclBGR;
   sub uni0442 by uni0442.loclBGR;
   sub uni0446 by uni0446.loclBGR;
   sub uni0448 by uni0448.loclBGR;
   sub uni0449 by uni0449.loclBGR;
   sub uni044E by uni044E.loclBGR;
  }locl;

Of course if you like your code to be cleaner, you can make two classes. For example, locl1 class for the Russian characters and locl2 class for the Bulgarian ones. Et voilà! The script looks like this:

  feature locl{ 
  script cyrl;
  language BGR ;
   sub @locl1 by @locl2;
  }locl;

Then you can do the same for the Stylistic Set. For example, I decided to make the Bulgarian Cyrillic as stylistic set 04 (.ss04). I’m using the “ss04” (Stylistic Set 04) in my example but of course you can use any stylistic set from 01 to 20, so in your case it can be “ss01” or “ss07”, depending on how many stylistic sets your font will have.
Please note that it is not necessary to duplicate the characters which you have already made as .lclBGR and then rename them with suffix .ss04.
For that purpose we will just make a little hack in the code:

  feature ss04{ 
   sub uni0414 by uni0414.loclBGR;
   sub uni041B by uni041B.loclBGR;
   sub uni0424 by uni0424.loclBGR;
   sub uni0432 by uni0432.loclBGR;
   sub uni0433 by uni0433.loclBGR;
   sub uni0434 by uni0434.loclBGR;
   sub uni0436 by uni0436.loclBGR;
   sub uni0437 by uni0437.loclBGR;
   sub uni0438 by uni0438.loclBGR;
   sub uni0439 by uni0439.loclBGR;
   sub uni045D by uni045D.loclBGR;
   sub uni043A by uni043A.loclBGR;
   sub uni043B by uni043B.loclBGR;
   sub uni043F by uni043F.loclBGR;
   sub uni0442 by uni0442.loclBGR;
   sub uni0446 by uni0446.loclBGR;
   sub uni0448 by uni0448.loclBGR;
   sub uni0449 by uni0449.loclBGR;
   sub uni044E by uni044E.loclBGR;
  }ss04

For sure you can use also classes:

  feature ss04{
   sub @locl1 by @locl2;
  } ss04

Marks in the Cyrillic Script

Some characters in the Cyrillic script need marks but they do not have a Unicode and actually do not exist as precomposed characters. A nice way to make them work is using Combining Marks. Please note that in that case the kerning might have some issues. I will talk about them a little bit later.

  CyrillicBrevecomb (no unicode)
  Gravecomb (uni0300)
  Acutecomb (uni0301)

The following characters need Anchors so that the combining marks will be positioned properly:

  А (uni0410)
  Г (uni0413)
  Е (uni0415)
  З (uni0417)
  И (uni0418)
  К (uni041A)
  О (uni041E)
  С (uni0421)
  У (uni0423)
  Ъ (uni042A)
  Ю (uni042E)
  Я (uni042F)
  а (uni0430)
  г (uni0433)
  е (uni0435)
  з (uni0437)
  и (uni0438)
  к (uni043A)
  о (uni043E)
  с (uni0441)
  у (uni0443)
  ъ (uni044A)
  ю (uni044E)
  я (uni044F)

You can also create them as precomposed characters and then access them via OT features. This method works in my opinion better but makes the font size bigger. First you have to define three lookups in the Feature Panel/Prefix (if you work with Glyphs App). In FontLab the “prefix” is the down square in the OpenType panel. In the following code example in the last lookup are the actual precomposed characters.

  lookup loclBGRa{
    sub uni0433 by uni0433.loclBGR;
    sub uni043A by uni043A.loclBGR;
    ...
  }loclBGRa;

  lookup loclBGRb{
    sub uni0453 by uni0433.loclBGR acutecomb;
    sub uni045C by uni043A.loclBGR acutecomb;    
    ...
  }loclBGRb;

  lookup loclBGRc{
    sub uni0433.loclBGR acutecomb by uni0433_acutecomb.loclBGR;
    sub uni043A.loclBGR acutecomb by uni043A_acutecomb.loclBGR;
    ...
  }loclBGRc;

Ok, then we can use this lookups in every feature that we need. In our particular case we defined Bulgarian Cyrillic as .loclBGR and .ss04. For the local feature the code will look like this:

  feature locl{
    script cyrl;
    language BGR;
    lookup loclBGRa;
    lookup loclBGRb;
    lookup loclBGRc;
  }locl;

And for the stylisic set 04 like this:

  feature ss04{
    lookup loclBGRa;
    lookup loclBGRb;
    lookup loclBGRc;
  }ss04;

The Future

Let’s talk a little bit about the future. Cyrillic Script is still evolving nowadays. The type-designers go different ways to solve its issues. That is one of the main reasons why we have Bulgarian and Russian Cyrillic. Actually I am not a big fan of this division. In my opinion there is just one Cyrillic with different solutions, which is quite nice in the complex world we live in. I often hear from Russian and Western type-designers that they do like the so-called Bulgarian forms. And that’s why I asked myself how would it be possible to use both designs not just as local forms but as the entire Cyrillic Extended. One way would be to include all the characters which have different forms:

  ѓ ќ ґ ғ җ ҙ қ ҝ ҡ

double (with Russian and Bulgarian form) and then define them in the features as I described above. This will expand the Font and increase the file size. Another possibility or idea, which is based on the ttfdiet tool made by Adam Twardoch and Karsten Lücke, would be to use the ccmp’ feature, but which can also be used in other features like “locl” and ”ss04”. Then the feature code will look like this:

  feature locl{
    script cyrl; 
    language BGR;
    lookup loclBGRa{
     sub uni0433 by uni0433.loclBGR;  
     sub uni043A by uni043A.loclBGR; ... 
    } loclBGRa;   
    lookup loclBGRb {  
     sub uni0453 by uni0433.loclBGR acutecomb;  
     sub uni045C by uni043A.loclBGR acutecomb; ... 
    }loclBGRb;
   }locl;

Many years ago in a hardware store I read this quote: “ If your computer does not cause any problems it is already too old.” That seems to be true for all new developments. The method above is not an exception. The main issue is with the kerning. For example, we have the character ”ӑ” which is actually compounded from two characters: the Cyrillic letter “a” (uni0430) and the cyrillic breve “˘” That means that the text-engine will not interpret the combinations as a “letter, a-breve, letter” but as “letter, a-cyrillic, breve-cyrillic, letter”. This causes two types of problems with the kerning. The first problem appears with combinations like ”T,ӑ-cyrillic” which will be interpreted as “T, a-cyrillic, breve-cyrillic” by the text-engine. This means that we will have the kerning value of ”T,a-cyrillic” thus the “T” might end rather close to the breve – . Second problem is with combinations like ”ӑk” which will be interpreted as “a-cyrillic, breve- cyrillic, k-cyrillic” as a result we will have no kerning (it does not make any sense to kern combining marks). There is a possibility to set „lookupflag IgnoreMarks;“ in the kerning feature. The marks between two characters will be ignored from the text engine. In this particular example we will have the kerning value of ”ak”.Another approach is the so called contextual kerning “kern ‘Ta’ by +20 if ‘a’ is followed by a combining Mark”. The only App which provides UI for making contextual kerning is Microsoft VOLT. So as you see we still have a lot to do for the Cyrillic Script in technical and in design aspect.

8 July 2016

Botio Nikoltchev

Originally published at LETTERSOUP.DE
Republished with the permission of the author

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

Milka Free

Milka Free
  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 at MyFonts!

DOWNLOAD LINK

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

Donate

Ropa Mix Pro (2 free fonts)

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Description

Ropa Mix Pro is the third charming sister of the Ropa Type System. While Ropa Sans is cool and somewhat technical – almost like brushed steel and Ropa Soft Pro warm and friendly – closer to smoked wood, the new Ropa Mix Pro family combines the characteristics of its both older sisters.

The medium weights of Ropa Mix Pro serve well in body text, while the thinner and bolder styles make an excellent choice for headlines. Fonts from the Ropa Mix, Soft and Sans families can be used together to create a richer mix, and the humanistic italics round up the typographic system with additional quirky flavor.

To continue with the tradition established by Ropa Sans Pro and Ropa Soft, two styles of Ropa Mix Pro are available free of charge: the smooth and understated Regular Italic and the strikingly distinct Extra Bold Italic.

Ropa Mix Pro provides advanced typographical support with features such as case-sensitive forms, fractions, super and subscript characters, and stylistic alternates. It comes with a complete range of old style and lining figures, witch are in tabular and proportional widths. In addition to an extensive coverage of Latin-based languages, Ropa Mix Pro provides essential support for the Cyrillic and Greek writing systems. It is manually hinted and optimized for screens, hence it has an excellent web-font, eBooks or Apps performance.

Design, Publisher, Copyright, License

Design: Botio Nikoltchev

Publisher: Lettersoup

Copyright 2016 by Botio Nikoltchev. All rights reserved.

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

Free font download (Ropa Mix Pro Italic, Ropa Mix Pro Extra Bold Italic)

Where to download: Lettersoup

Commercial License Buy

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

Ropa Soft Pro

{"autoplay":"true","autoplay_speed":3000,"speed":300,"arrows":"true","dots":"true"}
Description

Ropa Soft Pro is Ropa Sans Pro’s charming sister. While Ropa Sans is cool and somewhat technical, almost like brushed steel, the new Ropa Soft Pro family brings a warm and friendly feel, closer to smoked wood, through its rounded corners.

The medium weights of Ropa Sans Pro serve well in body text, while the thinner and bolder styles make an excellent choice for headlines. Fonts from the Ropa Soft and Sans families can be used together to create a richer mix, and the humanistic italics round up the typographic system with additional quirky flavor.

To continue with the tradition established by Ropa Sans Pro, two styles of Ropa Soft Pro are available free of charge: the smooth and understated Regular and the strikingly distinct Extra Bold Italic.

Ropa Soft Pro provides advanced typographical support with features such as case-sensitive forms, fractions, super and subscript characters, and stylistic alternates. It comes with a complete range of old style and lining figures, witch are in tabular and proportional widths. In addition to an extensive coverage of Latin-based languages, Ropa Soft Pro provides essential support for the Cyrillic and Greek writing systems. It is manually hinted and optimized for screens, hence it has an excellent web-font, eBooks or Apps performance.

Design, Publisher, Copyright, License

Design: Botio Nikoltchev

Publisher: Lettersoup

Copyright 2016 by Botio Nikoltchev. All rights reserved.

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

Free font download (Ropa Soft Pro Regular, Ropa Soft Pro ExtraBold Italic)

Where to download: Lettersoup

Commercial License

Where to buy: Lettersoup

Where to buy: Fontspring

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Ropa Sans Pro

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Description

Ropa Sans Pro is a sans serif font family of 8 weights plus extra designed italics and small caps, and Ropa Soft Pro’s cool sister. While the upright styles pay a distant homage to the technical aesthetics of the early-20th century DIN series, the strongly humanistic italics breathe in quirky freshness and create a unique flavor. Four styles (Ropa Sans, Ropa Sans SC, Ropa Sans Italic and Ropa Sans SC Italic) are available free of charge.

Suitable for both body and headline use, Ropa Sans Pro provides advanced typographical support with features such as case-sensitive forms, fractions, super and subscript characters, and stylistic alternates. It comes with a complete range of old style and lining figures, witch are in tabular and proportional widths. In addition to an extensive coverage of Latin-based languages, Ropa Sans Pro provides essential support for the Cyrillic and Greek writing systems.

It is manually hinted and optimized for screens, hence it has an excellent web-font, eBooks or Apps performance. lettersoup has also released the Latin-only basic subset of Ropa Sans Regular and Italic under the SIL Open Font License.

Design, Publisher, Copyright, License

Design: Botio Nikoltchev

Publisher: Lettersoup

Copyright 2014 by Botio Nikoltchev. All rights reserved.

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

Free fonts download (Ropa Sans Pro: Regular and Italic, SC Regular and SC Italic)

Where to download: Lettersoup

Commercial License

Where to buy: Lettersoup

Where to buy: Fontspring

Where to buy: MyFonts

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Ropa Mix Pro

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Description

Ropa Mix Pro is the third charming sister of the Ropa Type System. While Ropa Sans is cool and somewhat technical – almost like brushed steel and Ropa Soft Pro warm and friendly – closer to smoked wood, the new Ropa Mix Pro family combines the characteristics of its both older sisters.

The medium weights of Ropa Mix Pro serve well in body text, while the thinner and bolder styles make an excellent choice for headlines. Fonts from the Ropa Mix, Soft and Sans families can be used together to create a richer mix, and the humanistic italics round up the typographic system with additional quirky flavor.

To continue with the tradition established by Ropa Sans Pro and Ropa Soft, two styles of Ropa Mix Pro are available free of charge: the smooth and understated Regular Italic and the strikingly distinct Extra Bold Italic.

Ropa Mix Pro provides advanced typographical support with features such as case-sensitive forms, fractions, super and subscript characters, and stylistic alternates. It comes with a complete range of old style and lining figures, witch are in tabular and proportional widths. In addition to an extensive coverage of Latin-based languages, Ropa Mix Pro provides essential support for the Cyrillic and Greek writing systems. It is manually hinted and optimized for screens, hence it has an excellent web-font, eBooks or Apps performance.

Design, Publisher, Copyright, License

Design: Botio Nikoltchev

Publisher: Lettersoup

Copyright 2016 by Botio Nikoltchev. All rights reserved.

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

Free font download (Ropa Mix Pro Italic, Ropa Mix Pro Extra Bold Italic)

Where to download: Lettersoup

Commercial License

Where to buy: Lettersoup

Where to buy: Fontspring

Where to buy: MyFonts

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Ropa Soft (2 free fonts)

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Description

Ropa Soft Pro is Ropa Sans Pro’s charming sister. While Ropa Sans is cool and somewhat technical, almost like brushed steel, the new Ropa Soft Pro family brings a warm and friendly feel, closer to smoked wood, through its rounded corners.

The medium weights of Ropa Sans Pro serve well in body text, while the thinner and bolder styles make an excellent choice for headlines. Fonts from the Ropa Soft and Sans families can be used together to create a richer mix, and the humanistic italics round up the typographic system with additional quirky flavor.

To continue with the tradition established by Ropa Sans Pro, two styles of Ropa Soft Pro are available free of charge: the smooth and understated Regular and the strikingly distinct Extra Bold Italic.

Ropa Soft Pro provides advanced typographical support with features such as case-sensitive forms, fractions, super and subscript characters, and stylistic alternates. It comes with a complete range of old style and lining figures, witch are in tabular and proportional widths. In addition to an extensive coverage of Latin-based languages, Ropa Soft Pro provides essential support for the Cyrillic and Greek writing systems. It is manually hinted and optimized for screens, hence it has an excellent web-font, eBooks or Apps performance.

Design, Publisher, Copyright, License

Design: Botio Nikoltchev

Publisher: Lettersoup

Copyright 2016 by Botio Nikoltchev. All rights reserved.

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

Free font download (Ropa Soft Pro Regula, Ropa Soft Pro ExtraBold Italic)

Where to download: Lettersoup

Commercial License Buy

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.

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Ropa Sans (4 free fonts)

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Description

Ropa Sans Pro is a sans serif font family of 8 weights plus extra designed italics and small caps, and Ropa Soft Pro’s cool sister. While the upright styles pay a distant homage to the technical aesthetics of the early-20th century DIN series, the strongly humanistic italics breathe in quirky freshness and create a unique flavor. Four styles (Ropa Sans, Ropa Sans SC, Ropa Sans Italic and Ropa Sans SC Italic) are available free of charge.

Suitable for both body and headline use, Ropa Sans Pro provides advanced typographical support with features such as case-sensitive forms, fractions, super and subscript characters, and stylistic alternates. It comes with a complete range of old style and lining figures, witch are in tabular and proportional widths. In addition to an extensive coverage of Latin-based languages, Ropa Sans Pro provides essential support for the Cyrillic and Greek writing systems.

It is manually hinted and optimized for screens, hence it has an excellent web-font, eBooks or Apps performance. lettersoup has also released the Latin-only basic subset of Ropa Sans Regular and Italic under the SIL Open Font License.

Design, Publisher, Copyright, License

Design: Botio Nikoltchev

Publisher: Lettersoup

Copyright 2014 by Botio Nikoltchev. All rights reserved.

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

Free fonts download (Ropa Sans Pro: Regular and Italic, SC Regular and SC Italic)

Where to download: Lettersoup

Commercial License Buy

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.

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Attractive

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Description

Attractive comes in two styles Regular and Italic with extended coverage of the Latin-, Greek- and Cyrillic Script. The design origins of Attractive are in early-20th centuries technical style aesthetics, but they are combined with nice humanistic characters and details. We also made the typeface a little soft with small round corners, that way it reminds print work with hot metal typesetting and its much more legible on screen. The shapes are optically corrected, yet retain an uncut charm. The typeface works is an exellmletn choose for small text sizes, books and magazines, branding, posters, as well as web and screen design. Attractive is equipped for complex, professional typography with Open Type Features including: localized forms, standard ligatures, subscripts, superscripts, numerators, denominators, arrows, currency symbols and fractions. Attractive is carefully hinted and optimized for screens. The fonts are a perfect choice for digital use. It is free for personal and commercial use. Njoy and be attractive!

Design, Publisher, Copyright, License

Design: Ani Petrova , Botio Nikoltchev

Publisher: Lettersoup

Copyright 2019 by Ani Petrova, Botio Nikoltchev. All rights reserved.

Specimen: Attractive (PDF, 962.92 KB)

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

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

Free font download

Where to download: Lettersoup

Commercial License Buy

Where to buy: Lettersoup $495.00

Where to buy: Fontspring $570.00

Where to buy: MyFonts $467.99

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

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