РУEN
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Latin, Cyrillic, GeorgianLatin, CyrillicLatin, GeorgianGeorgian
7 styles,
2021

Loos Latin, Cyrillic, Georgian Normal

Thin

CSTM Fonts, Daria Karpenko, Yury Ostromentsky, Ilya Ruderman

  • Desktop
    $80
  • Web
    $80
  • App
    $120
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Loos Latin, Cyrillic, Georgian Normal
Thin
The Lifelong Republicans Who Love Bernie SandersThe Lifelong Republicans Who Love Bernie Sanders
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Loos Latin, Cyrillic, Georgian Normal
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Men far och mor gingo visst inte och lyckönskade sig till något, utan i stället voro de ganska bedrövade. De voro ett fattigt husmansfolk, och deras ställe var inte mycket större än en trädgårdstäppa. Då de först flyttade dit, kunde där inte födas mer än en gris och ett par höns, men de voro ovanligt strävsamma och duktiga människor, och nu hade de både kor och gässMen far och mor gingo visst inte och lyckönskade sig till något, utan i stället voro de ganska bedrövade. De voro ett fattigt husmansfolk, och deras ställe var inte mycket större än en trädgårdstäppa. Då de först flyttade dit, kunde där inte födas mer än en gris och ett par höns, men de voro ovanligt strävsamma och duktiga människor, och nu hade de både kor och gäss
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Loos Latin, Cyrillic, Georgian Normal
Thin
Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada; pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. De allí a quince días volvió a Madrid con otras tres muchachas, con sonajas y con un baile nuevo, todas apercebidas de romances y de cantarcillos alegres, pero todos honestos. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro; y en tanto que bailaban.Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada; pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. De allí a quince días volvió a Madrid con otras tres muchachas, con sonajas y con un baile nuevo, todas apercebidas de romances y de cantarcillos alegres, pero todos honestos. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro; y en tanto que bailaban.
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Loos Latin, Cyrillic, Georgian Normal
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К ученику на день рождения пришли гости, его одноклассники: две девочки и три мальчика. Угощение состояло из семи кусков бисквитного торта и пяти бутылок напитка Байкал. Одна девочка съела два куска торта и выпила полторы бутылки воды Байкал. А один из трех мальчиков на спор выпил всю остальную воду и сказал, что мог бы еще. Торт ребята не доели: остался один целый кусок и один надкусанный. После угощения ребята играли в мнения и в балду. День рождения прошел интересно и весело. Когда гости разошлись, ученик остался один и стал думать.К ученику на день рождения пришли гости, его одноклассники: две девочки и три мальчика. Угощение состояло из семи кусков бисквитного торта и пяти бутылок напитка Байкал. Одна девочка съела два куска торта и выпила полторы бутылки воды Байкал. А один из трех мальчиков на спор выпил всю остальную воду и сказал, что мог бы еще. Торт ребята не доели: остался один целый кусок и один надкусанный. После угощения ребята играли в мнения и в балду. День рождения прошел интересно и весело. Когда гости разошлись, ученик остался один и стал думать.
About

Loos is a closed-aperture sans serif with an impressive amount of styles: from Compressed to Extended, from Thin to Black. Simple yet distinctive structures, a slight stroke-contrast, generous counters and sidebearings make the typeface much friendlier than you might think it is when you first see it — it is indeed austere, but with a great sense of humour and its own particular voice.

Loos’ important feature is that it comes with the inktraps that actually do trap the ink. In fat weights, acute angles are softened, while in thin ones stroke connections are significantly thickened — in both cases this brings a tangible, analogue feeling into the typeset text.

The visual idea for the typeface grew out of a cover lettering for Adolf Loos’ book ‘Why a Man Should be Well-Dressed: Appearances Can be Revealing’ (Strelka Press, Moscow, 2016). And even though there is not much left from the original graphics, the name is still relevant — Loos gets back to modernist roots, all while keeping in mind the experience of the past century.

Beyond Latin and Cyrillic, Loos boasts supporting Georgian script. We offer four licensing options for Loos: you can purchase Latin and Cyrillic, Latin and Georgian, only Georgian set, or the all three script options. Advisers on Georgian — Alexander Sukiasov and Lasha Giorgadze.

Specimen (PDF, 1 MB)
Features

Case sensitive forms, standard ligatures, proportional lining figures, proportional oldstyle figures, tabular lining figures, tabular oldstyle figures, fractions, two stylistic sets, contextual ligatures, slashed zero

Languages

Afrikaans, Albanian, Azeri (cyr), Azeri (lat), Bashkir, Belarusian, Bulgarian, Catalan, Chechen, Chuvash, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, Georgian, German, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Moldavian (cyr), Mongolian (cyr), Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovak, Slovene, Spanish, 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.

Daria Karpenko

Daria Karpenko is a graphic and type designer based in Moscow. She had graduated from British Higher School of Art and Design in 2009 and a couple of years later took a Typeface design course supervised by Ilya Ruderman. In 2017-18 was an intern at CSTM fonts type foundry. Daria is an enthusiastic calligrapher. To find fresh design solutions she combines her understanding of the writing process with technological approach. Her scope of interests also includes linguistics and foreign languages, which feeds her experiments with non-Latin writing systems, such as Arabic and Greek. Daria is using her experience to develop logos, lettering and design murals.

Yury Ostromentsky

Graphic and type designer, co-founder of type.today store. Graduate of the Moscow State University of Printing Arts (Department of Arts and Technical Design of Printed Materials). Yury worked as a designer and art director for publishers and design studios. From 2004 to 2012, he was art director with Bolshoy Gorod (Big City) magazine. In 2004, he and lya Ruderman, Dmitry Yakovlev, and Daria Yarzhambek launched the DailyType webpage. Later in 2014, Yury and Ilya Ruderman founded CSTM Fonts type design studio which released Pilar, Big City Grotesque, Kazimir, Navigo, Normalidad, RIA Typeface, Lurk, Loos, Maregraph typefaces and CSTM Xprmntl series, as well as Cyrillic versions of Druk, Graphik, Spectral, Stratos and Apoc. The works by Ostromentsky and CSTM Fonts were awarded by European Design Award, Granshan and Modern Cyrillic Competition.

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. In 2007–2015 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.

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