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20 styles,
2017
  • Desktop
    $670
  • Web
    $1,032
  • App
    $3,035
48px
Stratos ThinStratos Thin
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
48px
Stratos BoldStratos Bold
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
  • Desktop
    $42
  • Web
    $84
  • App
    $250
About

A family that rethinks concepts of weight and width, spanning multiple hierarchies within a single style.

Stratos is a geometric grotesque whose peculiar utility is derived from unusual ideas about proportion. It eschews conventional notions of typographic relationships — not just for novel effect, but to empower the user to do more interesting things with type.

The first and most obvious of these surprises can be seen in the difference between its upper- and lowercase. The caps are condensed, inspired by gothic wood type of the 20th century, while the minuscules are akin to certain classic geometric sans serifs, with circular rounds (o, d, b, p, q) and horizontal terminals (a, c, e, g, s). This contradiction presents intriguing possibilities. Used separately, the two designs exude individual personalities: the compact caps fill a page with the impact of a Victorian-era poster; the lowercase conveys an austere modernity. When employed together, the look is unexpected but surprisingly functional, thanks to carefully balanced spacing and weight.

Awards & distinctions Type Directors Club New York Certificate of excellence 2017

Cyrillic was produced by Ilya Ruderman and Yury Ostromentsky (CSTM Fonts) in 2017.

Languages

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

Authors

Yoann Minet

Yoann Minet is an École Estienne alumni where he grew an attire in both cultural aspects of type design and folklore. His works span from the most traditional aspects of text typefaces to utterly contemporary designs.

Production Type

Based in Paris, Production Type is a digital type design agency founded in 2014 by Jean-Baptiste Levée. Its activities span from the exclusive online distribution of its retail type for design professionals, to the creation of custom typefaces for the industrial, luxury, and media sectors. Production Type’s collection is well known for gathering talented and innovative designers, and strives to release contemporary, unique typefaces for demanding designers. Through numerous awards (D&AD, Type Directors Club, Tokyo TDC…), the agency has also been acclaimed for its projects for Renault, Vanity Fair or Courrèges.

Ilya Ruderman

Ilya Ruderman, a type and graphic designer and teacher, lives and works in Moscow. 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, 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.

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, Pilar, BestLife.

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.

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