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18 styles,
2020
  • Desktop
    $480
  • Web
    $480
  • App
    $600
48px
Graphik Compact ThinGraphik Compact Thin
  • Desktop
    $60
  • Web
    $60
  • App
    $75
48px
Graphik Compact Thin ItalicGraphik Compact Thin Italic
  • Desktop
    $60
  • Web
    $60
  • App
    $75
48px
Graphik Compact ExtralightGraphik Compact Extralight
  • Desktop
    $60
  • Web
    $60
  • App
    $75
  • Desktop
    $60
  • Web
    $60
  • App
    $75
48px
Graphik Compact LightGraphik Compact Light
  • Desktop
    $60
  • Web
    $60
  • App
    $75
48px
Graphik Compact Light ItalicGraphik Compact Light Italic
  • Desktop
    $60
  • Web
    $60
  • App
    $75
48px
Graphik Compact RegularGraphik Compact Regular
  • Desktop
    $60
  • Web
    $60
  • App
    $75
  • Desktop
    $60
  • Web
    $60
  • App
    $75
48px
Graphik Compact MediumGraphik Compact Medium
  • Desktop
    $60
  • Web
    $60
  • App
    $75
  • Desktop
    $60
  • Web
    $60
  • App
    $75
48px
Graphik Compact SemiboldGraphik Compact Semibold
  • Desktop
    $60
  • Web
    $60
  • App
    $75
  • Desktop
    $60
  • Web
    $60
  • App
    $75
48px
Graphik Compact BoldGraphik Compact Bold
  • Desktop
    $60
  • Web
    $60
  • App
    $75
48px
Graphik Compact Bold ItalicGraphik Compact Bold Italic
  • Desktop
    $60
  • Web
    $60
  • App
    $75
48px
Graphik Compact BlackGraphik Compact Black
  • Desktop
    $60
  • Web
    $60
  • App
    $75
48px
Graphik Compact Black ItalicGraphik Compact Black Italic
  • Desktop
    $60
  • Web
    $60
  • App
    $75
48px
Graphik Compact SuperGraphik Compact Super
  • Desktop
    $60
  • Web
    $60
  • App
    $75
48px
Graphik Compact Super ItalicGraphik Compact Super Italic
  • Desktop
    $60
  • Web
    $60
  • App
    $75
About

Graphik Compact is all about efficiency in copy fitting, having been designed to be narrow and space-saving without looking condensed. Used for both headlines and text, it gives a comfortable reading experience coupled with economy of space without appearing overtly narrow or crammed on the page, screen, or sign. With nine weights from Thin to Super, Graphik Compact can express ideas with attention-grabbing boldness or take on a more supportive role in a typographic palette. It feels perfectly at home in the world of branding, wayfinding, video and broadcast design, web design, apps, and user interfaces and is easily legible at small sizes on small screens. Graphic Compact is yet another family with Cyrillic from the large Graphik collection by Commercial Type studio. The author of Cyrillic version is Ilya Ruderman.

Features

Case sensitive forms, standard ligatures, proportional lining figures, proportional oldstyle figures, tabular lining figures, tabular oldstyle figures, ordinals, fractions, denominator, numerator, subscript / inferiors, superscript / superiors, five stylistic sets

Languages

Afrikaans, Azeri (cyr), Azeri (lat), Bashkir, Belarusian, Bulgarian, Catalan, Chechen, Chuvash, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, German, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Moldavian (cyr), Mongolian (cyr), Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovene, Spain, Swedish, Tadzhik, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (lat)

Authors

CSTM Fonts

Ilya Ruderman and Yury Ostromentsky (CSTM Fonts)

They are both graphic and type designers. Founders of CSTM Fonts (2014) type foundry and a new font distributor type.today (2016).

Graduated from Moscow State University of Print (Graphic Design Department), where they took Alexander Tarbeev’s classes. Later Ilya Ruderman graduated from Type & Media (Royal Academy of Art), the Hague, the Netherlands. After graduation he was a tutor of Type&Typography course at British Higher School of Art and Design, Moscow (2008-2015), was an art-director of information agency RIA Novosti. He is an author of cyrillic versions of such typeface as Lava, Graphik, Neutraface and others, that was made for such studios as Typotheque, Commercial Type, Typonine and House Industries. He is an author of: Permian typeface, Big City Grotesque and several other corporate typefaces.

Before 2013 Yury Ostromentsky worked mostly as an editorial designer and art-director of BigCity Magazine, where he used his personal lettering, that was the base of the Pilar typeface, released by CSTM Fonts last year. He is an author of several book series designs and logotypes.

Both typefaces of Ilya Ruderman and Yury Ostromentsky were the winners of such type design competitions as Modern Cyrillic 2009, Modern Cyrillic 2014, Granshan 2011, European Design Award 2012. Kazimir typeface and Tele2 Typefamily, the CSTM Fonts’s latest releases, were among the winners of Granshan 2015.

Ilya Ruderman

Ilya is a type and graphic designer and teacher, lives and works in Barcelona. He is a graduate of the Moscow State University of the Printing Arts (2002), where his graduation project was done under the supervision of Alexander Tarbeev. He has a MA degree in type design from the Type & Media program at the Royal Academy of Art in the Hague (2005). After completing the program, he returned to Moscow, where he has collaborated for a number of media: Kommersant, Afisha, Moskovskiye Novosti, Bolshoi Gorod and Men’s Health Russia. In 2005-2007 he was art director for Afisha’s city guidebooks, following which he was art director for RIA-Novosti, a news agency, for several years. Since 2007 he has also supervised the curriculum in type and typography at the British Higher School of Art and Design in Moscow. He has been very active as a consultant on Cyrillic since 2008. In 2014 he founded CSTM Fonts with Yury Ostromentsky.

Typefaces by Ilya Ruderman: BigCity Grotesque Pro, Kazimir, Kazimir Text, Navigo, Permian (a typeface-brand for the city of Perm) and Cyrillic versions of: Austin, Dala Floda, Graphik, Marlene, Moscow Sans (as a consultant), Typonine Sans, Thema.

Commercial Type

Based in New York and London, Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Barnes and Schwartz, their staff, and outside collaborators, and also represents the two and their team when they work together on type design projects. Following the redesign of The Guardian, the team headed by Mark Porter, including Barnes and Schwartz, was awarded the coveted Black Pencil by the D&AD. The team was also nominated for the Design Museum’s “Designer of the Year” prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper*.

Christian Schwartz

Christian Schwartz, a type designer and one of the founders of the type foundry Commercial Type, lives and works in New York. A graduate of Carnegie Mellon University in Pittsburgh, Pa., he worked for a time at MetaDesign in Berlin. After returning to the United States, he worked at type studio Font Bureau, going independent in 2001. In 2007, he and London designer Paul Barnes founded Commercial Type. The studio’s projects include typefaces for The Guardian, Esquire, T (The New York Times Style Magazine), the Empire State Building and Sprint. Also in 2007 Schwartz was awarded the prestigious Prix Charles Peignot, given to designers under 35 years of age for “outstanding contributions to type design.” He has been on the short list of the Museum of Design, in London, as Designer of the Year and was rated among the top 40 most influential designers under 40 years of age by Wallpaper* and on Time’s list of top 100 designers.

Typefaces by Christian Schwartz: FF Bau, Farnham, Graphik, Guardian, Neue Haas Grotesk, Kommissar, Neutraface, Produkt, Stag

Hrvoje Živčić

Hrvoje Živčić (born 1986) lives and works in Zagreb, Croatia where he studied visual communications at School of Design, University of Zagreb and earned his master degree in 2010. In 2011 he was selected, together with Dario Dević, as one of the best New Visual Artists under 30 by New York’s Print Magazine. In 2012 he earned another master degree, this time from Type and Media course at the Royal Academy of Art (KABK) in the Hague. His diploma typeface Mote was published in 2013 by Typonine. These days he teaches typography at School of Design in Zagreb and works on type and graphic design projects, ranging from custom signage typefaces to editorial and book design.

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