Dala Floda

Paul Barnes (Commercial Type)
Cyrillic: Ilya Ruderman

This stencil Renaissance-style serif was conceived as a result of Paul Barnes’ long walks through old cemeteries and docks — Dala Floda is all about how exquisite shapes confront the reality. It is a rare case of stenciling which follows the logic of the letterforms (in the italics, especially). It makes Dala Floda is such a great fit for large and very large text sizes.

Dala Floda has a sibling sans Dala Moa, and an even more display version called Dala Prisma, with ornamental stripes (both with no cyrillics yet).

Arkhangelskoye Museum by Zoloto Group Arkhangelskoye Museum by Zoloto Group Arkhangelskoye Museum by Zoloto Group Arkhangelskoye Museum by Zoloto Group PR Hotel Myasnitsky PR Hotel Myasnitsky

Druk

Berton Hasebe (Commercial Type)
Cyrillic: Ilya Ruderman and Yury Ostromentsky (CSTM Fonts)

An absolute world hit, initially designed for Bloomberg Businessweek magazine. The fonts in the collection are strictly heavyweight and of extreme widths — so as to keep the character of the typeface, even if sacrificing the range of its use.

Partly because of Bloomberg Businessweek’s remarkable style, the extra-wide and extra-condensed sans type is in vogue again. You can see Druk anywhere on the Web, in exhibition design, and even on Saturday Night Live.

Flacon Magazine by ONY Agency Flacon Magazine by ONY Agency Stranger, a music video by Yung Lean Stranger, a music video by Yung Lean Russian National Museum of Music Zoloto Group Russian National Museum of Music Zoloto Group A–Z Museum by ONY Agency A–Z Museum by ONY Agency

Kazimir

Ilya Ruderman and Yury Ostromentsky (CSTM Fonts)

One of our bestsellers, Kazimir follows the spirit of Russian pre-revolutionary typography, while looking fresh and today as ever. Thanks to that, Kazimir works equally well in setting Tolstoy, or the latest news. The wildest letterforms, best fit for display setting, can be found in the Irregular set.

A year after its release, Kazimir got a text counterpart with lower contrast and wider proportions. Kazimir Text, together with Graphik, work in RBC, a Russian digital business media and a daily newspaper.

Visual & Syntactic Materialities by Elena Etter Visual & Syntactic Materialities by Elena Etter «Серебряный век Константина Павловича Кузнецова» by ABC Design «Серебряный век Константина Павловича Кузнецова» by ABC Design Uppa Winery by Redo Bureau

Parmigiano

Riccardo Olocco, Jonathan Pierini (Typotheque)
Cyrillic: Irina Smirnova, Ilya Ruderman

Parmigiano is, by far, the most ambitious font project based on works of Giambattista Bodoni. The designs of Bodoni are reinterpreted, resulting in four large font families with different optical sizes. This is a contemporary, pragmatic typeface which feels equally great in print and on screen.

Aivazovsky exhibition catalogue for Tretyakov Gallery, by ABC Design Aivazovsky exhibition catalogue for Tretyakov Gallery, by ABC Design Aivazovsky exhibition catalogue for Tretyakov Gallery, by ABC Design Max Weber, Die Stadt, by Daria Yarzhambek and Yury Ostromentsky, Strelka Press «Звучащая художественная речь: Работы Кабинета изучения художественной речи» by Arbeitskollektiv «Звучащая художественная речь: Работы Кабинета изучения художественной речи» by Arbeitskollektiv

Trola

Jordi Embodas (Tipographies)
Cyrillic: Pilar Cano and Ferran Millan (Letterjuice), Ilya Ruderman and Yury Ostromentsky (CSTM Fonts)

Trola is a compact and practical Dutch serif. It works well both as text and headline font. Lowercase cyrillics are a bit larger than the latins — Letterjuice, who designed the Cyrillic set initially, say the idea is from Tagir Safayev’s speech at University of Reading.

Tipographies’ faux newspaper font specimen Tipographies’ faux newspaper font specimen Tipographies’ faux newspaper font specimen Barcelovers magazine Barcelovers magazine

CSTM Xprmntl 02

Yury Ostromentsky (CSTM Fonts)
expertise in Georgian: Alexander Sukiasov

Xprmntl 02 is second in the series of experiments by CSTM Fonts. Regular, Bold, and Italic have very little in common, graphically — the coherence of the typeface is enforced by hand and will of the author. That’s why we are particularly happy to see two, or even all three styles, used in a single design project. Yury Ostromentsky commented on the design process on CSTM Fonts’ Telegram channel.

This is also our first release with Georgian glyph set.

Graphics for Pardes, a kosher grocery, by Alexander Lartsev Graphics for Pardes, a kosher grocery, by Alexander Lartsev Graphic identity for Japan-themed festival, graduation project by Anastasia Cherepanova, HSE Art and Design School Graphic identity for Japan-themed festival, graduation project by Anastasia Cherepanova, HSE Art and Design School Нецентральная Москва, graduation project by Victoria Makeeva, HSE Art and Design School Нецентральная Москва, graduation project by Victoria Makeeva, HSE Art and Design School Журавли, a music album by Коррупция

CSTM Xprmntl 03

Yury Ostromentsky (CSTM Fonts)

Xprmntl 03 is a super-display, combining Blackletter and Cyrillic Ustav scripts. In the middle between the two masters, a hybrid, transitional style is born. The typeface is not yet finished, and can be purchased at FutureFonts only. Yury shows and tells about designing Xp03 in CSTM’s Telegram channel. This year Xprmntl 03 was an important element in graphic identity of Typomania Festival.

And there’s more

Ilya Ruderman and Yury Ostromentsky (of type.today и CSTM Fonts) also took part in other projects, that won Modern Cyrillic 19. Ilya designed cyrillics for Yandex Sans (by Commercial Type). Ilya and Yury together designed cyrillics for Sang Bleu superfamily (by Swiss Typefaces), and also consulted Lucas Descroix (Nostra) on their projects. And, at least, Yury consulted Olga Pankova (Curbe).

Yandex Sans Yandex Sans Yandex Sans Sang Bleu Sang Bleu Sang Bleu Curbe Curbe Nostra Nostra