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Oswald

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(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

Oswald is a reworking of the classic style historically represented by the ‘Alternate Gothic’ sans serif typefaces. The characters of Oswald were initially re-drawn and reformed to better fit the pixel grid of standard digital screens. Oswald is designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.
Since the initial launch in 2011, Oswald was updated continually by Vernon Adams until 2014. Vernon added Light and Bold weights, support for more Latin languages, tightened the spacing and kerning and made many glyph refinements throughout the family based on hundreds of users’ feedback. In 2016 the family was updated by Kalapi Gajjar and Alexei Vanyashin to complete the work started by Vernon, and support languages that use the Cyrillic script. In January 2019, it was updated with a variable font Weight axis.

Design, Publisher, Copyright, License

Principal design: Vernon Adams

Design: Kalapi Gajjar, Alexei Vanyashin

Publisher: Vernon Adams

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

Alexei Vanyashin

Alexei Vanyashin is a Russian typeface designer, typographic researcher and educator. He was born in Moscow, Russia in 1982, studied Graphic Design since 2000 at Moscow Stroganov University of Arts, and later type design at British Higher School of Art and Design, where he now teaches. He runs his own foundry Cyreal, and collaborates with Swiss Typefaces as a Cyrillic specialist. Among his many custom type projects are works for Red Dot holder Ermolaev Bureau, GEO, and Afisha magazines. LearnCyrillic.tumblr.com is Alexei’s recent effort to provide educational resources for Cyrillic learners.

Web:
Typefaces: Jura, New Rubrik and New Rubrik Edge, Alice, Lobster, Nunito, Nunito Sans, Libre Franklin, Raleway, Lora
More… Identifont | Alexei Vanyashin

Reviews

Despite the strong historical prototype and the popular type genre, the Cyrillic of Oswald has way too many problems to ignore. Sadly, it’s not worth using.
Mikhail Strukov, Ilya Ruderman, Yury Ostromentsky: Cyrillic on Google Fonts: Neo-Grotesques

Free License

Download v.4.100: Oswald | Google Drive

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Oswald in Use

WEB: Пасти „Балкан“
WEB: МЕНИДЖЪР.NEWS (BG)
WEB: БУЛЕВАРД „БЪЛГАРИЯ“ (BG)

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Jura

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Description

“Jura is a family of sans-serif fonts in the Eurostile vein. It was originally inspired by some work I was doing for the FreeFont project in designing a Kayah Li range for FreeMono. I wanted to create a Roman alphabet using the same kinds of strokes and curves as the Kayah Li glyphs, and thus Jura was born. It has been expanded to include glyphs for the Cyrillic and Greek alphabets as well. The original Kayah Li glyphs have been included in this font. (Note that glyphs for writing mainstream Burmese are not and never have been a part of this font.)” – Daniel Johnson.

N.B. The Jura family has an unfortunate name clash with Ed Merritt’s Jura serif font.

July 2016 Alexei Vanyashin redesigned Jura as part of Google Fonts Improvement project. This repo contains both legacy v2.26, and the new v.3.

Design, Publisher, Copyright, License

Design: Daniel Johnson, Alexei Vanyashin

Specimen:

License: SIL OPEN FONT LICENSE

Daniel Johnson

Designer at the Open Font Library, Daniel Johnson contributed to the GNU Freefont project.

Web:
Typefaces: Jura, Didact Gothic, Pfennig
More… TYPE DESIGN INFORMATION | Daniel Johnson

Alexei Vanyashin

Alexei Vanyashin is a Russian typeface designer, typographic researcher and educator. He was born in Moscow, Russia in 1982, studied Graphic Design since 2000 at Moscow Stroganov University of Arts, and later type design at British Higher School of Art and Design, where he now teaches. He runs his own foundry Cyreal, and collaborates with Swiss Typefaces as a Cyrillic specialist. Among his many custom type projects are works for Red Dot holder Ermolaev Bureau, GEO, and Afisha magazines. LearnCyrillic.tumblr.com is Alexei’s recent effort to provide educational resources for Cyrillic learners.

Web:
Typefaces: Jura, New Rubrik and New Rubrik Edge, Alice, Lobster, Nunito, Nunito Sans, Libre Franklin, Raleway, Lora
More… Identifont | Alexei Vanyashin

Free License

Download v.5.103: Jura | Google Drive

Get permission to open a file on Google Drive

Font development: Jura | GitHub

Jura in Use

Jura

WEB: Hedonist (BG)

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Cantarell

Font Sampler | Version 0.024

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Font Sampler | Version 0.101

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Description

The Cantarell typeface family is a contemporary Humanist sans serif, and is used by the GNOME project for its user interface and the Fedora project.

Cantarell was originally designed by Dave Crossland as part of his coursework for the MA Typeface Design programme at the Department of Typography in the University of Reading, England. Dave was motivated to undertake a study of typeface design because he believes it is essential that when we use digital tools, our freedom to use, understand, modify and share these tools is respected. Otherwise, when the tool does not work in the way that we need, we will be unable to fix it. These fonts are developed using only such “libre” software, mainly FontForge.

Cantarell was originally aimed at on-screen reading in a specific use-case and environment: reading web pages on an HTC Dream mobile phone.

That device was the first to ship with Google Android, and came installed with a web browser that supported the exciting web fonts feature known as @font-face. As Dave’s very first typeface design, the typeface has many faults, yet he asserts it achieves his goal of improving readability on this device.

Since the design is aimed at display on-screen at small sizes, the printed output (especially of the bold and oblique) may not work well. Fonts tuned to the needs of printing will be developed in the future.

The fonts were initially published on the 6th of July 2009 on Dave Crossland’s foundry website under the terms of the GNU General Public License version 3. In May 2010 the fonts were republished through Google Web Fonts under the terms of the SIL Open Font License version 1.1. In November 2010 the project became part of the GNOME project and is now under active development by the GNOME design community.

Design, Publisher, Copyright, License

Principal design: Dave Crossland

Design: Nikolaus Waxweiler , Jacques Le Bailly , Eben Sorkin , Alexei Vanyashin , Florian Fecher

Publisher: Abattis

License: SIL OPEN FONT LICENSE

Dave Crossland

Dave Crossland attended the University of Reading’s MA Typeface Design programme and graduated in 2009. In his thesis he related the history of the software freedom movement to key concepts in type design. His student project “Cantarell” was included in the launch of Google Web Fonts and chosen as the default User Interface font for GNOME 3.

Web:
Typefaces: Cantarell
More… Dave Crossland

Free License

Download: Version 0.024 | 2016

Download: Version 0.101 | 2018

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• Open the file.
• On the “You need permission” page, click “Request access”.
• The owner of the file will get an email asking for approval.
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Lobster

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The Lobster font took a different approach. The new OpenType format gives us the possibility to have multiple versions of each letter, and that’s exactly what we are doing: Instead of compromising the design of our letters to force connections, we do what lettering artist do. We draw many versions of each letter and a lot of different letter-pairs (aka “ligatures”) so we always use the best possible variation of each letter depending of the context of the letter inside each word. All this happens automatically in any browser that supports ligatures. Design: Pablo Impallari. Cyrillic design by Alexei Vanyashin and Gayaneh Bagdasaryan (adding support for Russian, Ukrainian, Belarusian, Macedonian, Moldovan, and Serbian languages).

Design, Publisher, Copyright, License

Principal design: Pablo Impallari

Cyrillic design: Alexei Vanyashin, Gayaneh Bagdasaryan

License: SIL OPEN FONT LICENSE

Pablo Impallari

Pablo Impallari is a self taught type designer, still learning through books, blogs, forums & detailed observation, with the help of friend and colleagues. He thinks that typefaces are living beings, they always continue to evolve over time. Even if the original designer died over 500 years ago, contemporary designers push their ideas forward, adapting to changing technology and keeping up with the always shifting way we perceive the alphabet. Pablo continues to actively design and release his own typefaces and help other designers learn and publish new fonts.

Web:
Typefaces: Lobster, Libre Franklin, Itim, Sriracha, Rawline, Caveat, Raleway
More… TYPE DESIGN INFORMATION | Pablo Impallari

Alexei Vanyashin

Alexei Vanyashin is a Russian typeface designer, typographic researcher and educator. He was born in Moscow, Russia in 1982, studied Graphic Design since 2000 at Moscow Stroganov University of Arts, and later type design at British Higher School of Art and Design, where he now teaches. He runs his own foundry Cyreal, and collaborates with Swiss Typefaces as a Cyrillic specialist. Among his many custom type projects are works for Red Dot holder Ermolaev Bureau, GEO, and Afisha magazines. LearnCyrillic.tumblr.com is Alexei’s recent effort to provide educational resources for Cyrillic learners.

Web:
Typefaces: Jura, New Rubrik and New Rubrik Edge, Alice, Lobster, Nunito, Nunito Sans, Libre Franklin, Raleway, Lora
More… Identifont | Alexei Vanyashin

Free License

Download v.2.100: Lobster | Google Drive

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Raleway

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Description

Raleway is an elegant sans-serif typeface family. Initially designed by Matt McInerney as a single thin weight, it was expanded into a 9 weight family by Pablo Impallari and Rodrigo Fuenzalida in 2012 and iKerned by Igino Marini.

It is a display face and the download features both old style and lining numerals, standard and discretionary ligatures, a pretty complete set of diacritics, as well as a stylistic alternate inspired by more geometric sans-serif typefaces than its neo-grotesque inspired default character set.

It also has a sister family, Raleway Dots.

60 Cyrillic languages | Кириллица

Raleway Fonts v.3.000 included core Cyrillic support for 17 languages in Roman styles. Core Cyrillic glyphs were drawn by Pablo Impallari in 2013.

In August-September 2016 (Raleway v.4.000) existing Cyrillic was redrawn and expanded for both Roman and Italic by Alexei Vanyashin and Ivan Petrov (Cyreal) to support 60 Cyrillic languages:

Adyghe, Agul, Altay, Avar, Azerbaijani (Cyrillic), Balkar, Bashkir, Belarusian (Cyrillic), Bosnian (Cyrillic), Bulgarian, Buryat, Chechen, Chuvash, Crimean Tatar (Cyrillic), Croatian (Cyrillic), Dargin, Dungan, Erzya, Gagauz (Cyrillic), Ingush, Kabardian, Kalmyk, Karachay, Karakalpak, Kazakh, Khakas (Cyrillic), Khinalugh, Komi, Kumyk, Kurdish (Cyrillic), Kyrgyz (Cyrillic), Lak, Lezgian, Macedonian, Mari (Hill and Meadow), Moksha, Moldovan (Cyrillic), Mongolian (Cyrillic), Montenigrin, Nanai, Nogai, Ossetian, Russian, Rusyn, Rutul, Sakha/Yakut, Serbian (Cyrillic), Tabasaran, Tajik, Talysh (Cyrillic), Tat, Tatar, Turkmen, Tuvan, Udi, Udmurt, Ukrainian, Uyghur (Cyrillic), Uzbek (Cyrillic), Yukaghir (Northern and Southern).

Localised variants are available for Bulgarian, Serbian, Macedonian, Chuvash, and Bashkir languages.

Includes currencies: ₮, ₴, ₸, ₽.

Design, Publisher, Copyright, License

Design: The League of Moveable Type

License: SIL OPEN FONT LICENSE

Pablo Impallari

Pablo Impallari is a self taught type designer, still learning through books, blogs, forums & detailed observation, with the help of friend and colleagues. He thinks that typefaces are living beings, they always continue to evolve over time. Even if the original designer died over 500 years ago, contemporary designers push their ideas forward, adapting to changing technology and keeping up with the always shifting way we perceive the alphabet. Pablo continues to actively design and release his own typefaces and help other designers learn and publish new fonts.

Web:
Typefaces: Lobster, Libre Franklin, Itim, Sriracha, Rawline, Caveat, Raleway
More… TYPE DESIGN INFORMATION | Pablo Impallari

Alexei Vanyashin

Alexei Vanyashin is a Russian typeface designer, typographic researcher and educator. He was born in Moscow, Russia in 1982, studied Graphic Design since 2000 at Moscow Stroganov University of Arts, and later type design at British Higher School of Art and Design, where he now teaches. He runs his own foundry Cyreal, and collaborates with Swiss Typefaces as a Cyrillic specialist. Among his many custom type projects are works for Red Dot holder Ermolaev Bureau, GEO, and Afisha magazines. LearnCyrillic.tumblr.com is Alexei’s recent effort to provide educational resources for Cyrillic learners.

Web:
Typefaces: Jura, New Rubrik and New Rubrik Edge, Alice, Lobster, Nunito, Nunito Sans, Libre Franklin, Raleway, Lora
More… Identifont | Alexei Vanyashin

Free License

Download v.4.020: Raleway | Google Drive

The Raleway Font Project: GitHub

Raleway in Use

WEB: Велики Преслав (BG)
WEB: Lex Medica News (BG)
WEB: Твоята готварска книга (BG)
WEB: Inprint (BG) (EN)
WEB: Packtato (BG) (EN)
WEB: Пловдив чете (BG)
WEB: АПОЛОНИЯ (BG)

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Lora

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Description

Lora is a well-balanced contemporary serif with roots in calligraphy. It is a text typeface with moderate contrast well suited for body text. A paragraph set in Lora will make a memorable appearance because of its brushed curves in contrast with driving serifs. The overall typographic voice of Lora perfectly conveys the mood of a modern-day story, or an art essay.

Technically Lora is optimised for screen appearance, and works equally well in print.

Lora is a Unicode typeface family that supports languages that use the Latin and Cyrillic scripts and its variants, and could be expanded to support other scripts.

Expansion to GF Cyrillic Plus, Pro, and locl has been completed by original author Olga Karpushina in August-September 2016.

Design, Publisher, Copyright, License

Design: Olga Karpushina, Alexei Vanyashin for Cyreal

License: SIL OPEN FONT LICENSE

Alexei Vanyashin

Alexei Vanyashin is a Russian typeface designer, typographic researcher and educator. He was born in Moscow, Russia in 1982, studied Graphic Design since 2000 at Moscow Stroganov University of Arts, and later type design at British Higher School of Art and Design, where he now teaches. He runs his own foundry Cyreal, and collaborates with Swiss Typefaces as a Cyrillic specialist. Among his many custom type projects are works for Red Dot holder Ermolaev Bureau, GEO, and Afisha magazines. LearnCyrillic.tumblr.com is Alexei’s recent effort to provide educational resources for Cyrillic learners.

Web:
Typefaces: Jura, New Rubrik and New Rubrik Edge, Alice, Lobster, Nunito, Nunito Sans, Libre Franklin, Raleway, Lora
More… Identifont | Alexei Vanyashin

Free License

Download v.3.006: Lora | Google Drive

Font development: Lora | GitHub

Lora in Use

WEB: BOYSCOUT
WEB: FOCUS NEWS
WEB: Blog of Ivan
WEB: Регионален исторически музей Пловдив

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Type Design

Cyrillic samples by Vera Evstafieva

Source: Learn Cyrillic

Cyrillic basic construction. Examples by Irina Smirnova

Source: cyrillicsly.com

Cyrillic – beginners guide by Alexei Vanyashin
Alexei Vanyashin – Why do we (still) use Cyrillic

Italic Glagolitic Script

Drawing: Nenad Hančić

Cyrillic small letter „ц“ in italic

Drawing: Alexander Stetsiuk
Italic discussion at TYPEDRAWERS

BTW, which is the better Bulgarian “в” /ve/

BTW, is this Bulgarian “в” /ve/ better?, asks Christian Thalmann, author of Cormorant font family
Drawing: Christian Thalmann
Modern Cyrillic discussion at GITHUB

Quality Cyrillic Script | Качество кириллицы в шрифте

Source: livejournal.com

And if you think about the Cyrillic type design don’t miss the issues of Alexandra Korolkova.
Alexandra Korolkova: “Relatively easy way to determine the quality of the Cyrillic font | Относительно лёгкий способ определить качество кириллицы в шрифте”
Alexandra Korolkova:“Нет предела совершенству | There is no limit to perfection”.

Dashes, Rules and Dot Leaders

The smallest typographic line is the hyphen, the short dash used to link hyphenated words and for wordbreaks at the end of a line. Ems and ens return to help describe the other line dashes: the en dash, the width of an en space, and the em dash, a popular line the width of an em space.

Source: I Love Typography

As Alexander & Nicholas Humez, describe it in the book ABC Et Cetera, “The em dash is used to indicate abrupt transitions—What?—and quasi-parenthetical expressions—such as this one.” The two-em dash and the three-em dash are precisely as long as their names imply.

The two remaining character-size lines are the underscore or understrike (_), and the increasingly popular pipe, also known as a vertical or a vertical bar (|). Incidentally, the grids created using vertical bars and understrikes, open at the top, for the filling-in, letter by letter, of information are known as combs.

Larger typographic lines are referred to as rules, which is perhaps not surprising in a field as traditional as typography. A hairline rule is a particular fine line; other rules are defined by width as measured in points. At some undefined point a wide rule becomes a bar. Bar width is also measured in points. Cutoff rules are used to distinguish the width of columns of type, and a leader of dashes sometimes carries the eye across a column of information, linking, for instance, a chapter title to a page number. A dot leader is a row of periods or midpoints set for the same purpose.