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

Designed to be a blank slate, Graphik is a “vanilla-flavored” typeface that is perfectly suited for whatever style of expression is needed. Its purposeful, elegant plainness allows it to move effortlessly between being a central design element or playing a supporting role in a wide range of projects and applications

The inspiration for Graphik came from designer Christian Schwartz’s longstanding interest in the expressive possibilities found in plain typefaces. This stems from his early exposure to Modernist graphic design, particularly posters, from the mid-twentieth century. While many of these designs were dominated by the three iconic sans serifs from Europe: Helvetica, Univers, and Futura, Schwartz was drawn to the “B-list” of sans serifs. The lighter weights of Graphik were influenced by Neuzeit Grotesk, Folio, Recta, and Maxima, while the heavier ones descend from Plak, a wood display typeface, designed by Paul Renner in 1920s.

The low contrast and large x-height give the typeface great versatility. It is suitable for display purposes as well as for text sizes, captions and for such specific tasks as navigation systems and map-making. The typeface is available in weights with corresponding italics, each with five sets of figures.

First drawn as the house style for Schwartzco Inc., it was further developed for Condé Nast Portfolio and later for Wallpaper* and T, the New York Times Style Magazine. Graphik was released as a retail font in 2009. The Cyrillic extension was designed by Ilya Ruderman (CSTM Fonts) in 2015. By the way, this very text is set in Graphik.

Graphik Georgian features lower x-height and lower-hanging descenders, compared to Latin letterforms. This helps to compensate the tall ascenders and descenders, which are natural to Georgian type. There are some alternate glyphs (e.g. the modern forms of დ, ლ, რ). Also present: archaic glyphs, no longer in use in modern-day Georgian language, letters of Svan, Mingrel, and Laz languages. Importantly, the Mtavruli glyphs are to be found in their legitimate Unicode positions (Mtavruli has been added in Unicode 11.0).

Graphik Georgian was designed by Yury Ostromentsky, with native consultation from Alexander Sukiasov, a Tbilisi-based graphic and type designer, one half of Ten Waffle Studio. Special thanks to Lasha Giorgadze, the Georgian brand typography professional, and to Akaki Razmadze, who designed Georgian for Helvetica, FF Meta, and FF Sabon.

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, slashed zero, four stylistic sets

Languages

Afrikaans, Catalan, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, Georgian, German, Hungarian, Icelandic, Italian, Kurdish (lat), Latvian, Lithuanian, Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Slovene, Spain, Swedish, Turkish, 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.

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*.

Yury Ostromentsky

Yury Ostromentsky is a type and graphic designer. 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 worked as a designer and art director for publishers and design studios. From 2004 to 2012, he served as art director of the magazine Bolshoi Gorod (Big City), for which he created several display typefaces as well as several original typefaces and Cyrillic versions of Latin fonts in collaboration with Ilya Ruderman. His typefaces were honored at the Contemporary Cyrillic 2009 and 2014 competitions. In 2004 he and Ruderman, Dmitri Yakovlev and Darya Yarzhambek created DailyType, a website. In March 2014, again with Ruderman, he founded CSTM Fonts.

Typefaces by Yury Ostromentsky: RIA Typeface, Kazimir, Kazimir Text, Pilar, BestLife, Navigo, CSTM Xprmntl 01, 02 and 03, Lurk B, Normalidad.

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

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