Двора на кирилицата

Bulgarian Cyrillic. Commercial Fonts | Българска кирилица. Платени шрифтове


 

Axiforma

Axiforma
Axiforma

Axiforma was designed with the single idea of creating a font that starts with the letter A, because let’s face it, this is the best letter. For those of you who didn’t see it coming, Axiforma is a /drum roll/ geometric sans in 20 weights. If you are thinking “Oh boy, another geometric sans”, you clearly know your stuff. Yet, Axiforma is different in at least three crucial ways:
1) It’s made by me
2) It’s not free
3) It’s polite and humble
Additionally, Axiforma is packed with Opentype such as oldstyle numbers, fractions, case sensitive alternates, localized forms, stylistic sets, cyrillic alphabets (Bulgarian & Russian) and many more. Basically it’s quite extensive and kinda great.
Upon using Axiforma, clients will start to behave differently around you and may even start paying you. Your spouse will start working out again just to gain your attention and your kid will become instantly popular at school. After all you are using Axiforma and rumors do spread quickly. That’s what we are talking about – raw font power.

With Axiforma regular typed text is suddently transformed into first class design. That includes branding, posters, headlines, display, presentation materials, websites, logotypes, etc. The world will now be your playground.
To sum it up, Axiforma is badass, thus you should have it and use it everywhere.

 

Designer: Galin Kastelov

Buy on MyFonts

 

TOP | Съдържание ↑

Asterisk Sans Pro

Asterisk Sans Pro
Asterisk Sans Pro

The market for humanistic sans serif type families is saturated, so what can a new release add, and what does it take to stand out from the crowd?
Asterisk Sans Pro (named after my favourite glyph to make) aims to be a highly versatile type family; massively useful due to its pan-European language support and bounty of OpenType features which make it the ideal choice for demanding typography. The look is contemporary; details which give the fonts character at large sizes all but disappear when small, making the middle weights suitable for large chunks of text. The family ranges from a hairline ultra light to a pretty weighty black – a must in a new typeface.
Asterisk Sans Pro supports Latin, modern Greek and Cyrillic, with localized forms for Bulgarian, Serbian and Macedonian to boot. This is rare enough, but to have small caps for all these scripts in both upright and italic fonts is a big plus. Your client may not need all this language support right now, but this typeface gives them the option to grow while keeping a consistent look, and at a similar price point to families with a much narrower scope.
The ability to customize Asterisk Sans Pro through the use of Stylistic Sets in OpenType savvy layout programs means you are really in control. Want more italic forms in the uprights? Go for it. A more Roman italic? Easy! The spurless m, n, r and u, accessible through SS13 give a graphic, almost bauhaus feel. The Dutch IJ glyph can be changed to a much cooler thing using SS14, and the family even supports ij-acute.

Other OpenType features include a wealth of numeral styles (tabular and proportional, lining and oldstyle, plus small cap figures, numerators, denominators, subscript and superscript) and automatic fractions. There are also case-sensitive forms for all caps settings, a bunch of useful arrows, and superscript lower case Latin letters. All in, there are well over 1200 glyphs per font, making Asterisk Sans Pro an invaluable tool in your typeface arsenal, great for everything from corporate identities to editorial work, apps to cookbooks.

 

Designer: Dave Rowland

Buy on MyFonts

 

TOP | Съдържание ↑

Basil

Basil
Basil

A mix between tradition and innovation, Basil is a unique humanist slab serif well suitable for broad range of design projects – editorial, logotype, poster, etc. With its tall x-height and generous internal spaces, the type family was especially designed with legibility in mind and is well suitable for body text at small sizes. In the same time Basil is equally able as titling and headline font due to numerous distinctive visual features that shape its attractive appearance. A true workhorse, packed with lots of OpenType features and full multilingual support, the type family consisting of six weights, with Regular available for free!

Basil type family received Special Mention in Cyrillic text Typeface category at 7th International Type Design Competition for non-Latin typefaces – Granshan 2014. It also was exhibited at New Bulgarian Typography exhibition part of Sofia Design week 2013 and then took part in several travelling exhibitions.

 

Designer: Vassil Kateliev

More information and purchase options: foundry

Buy on MyFonts

 

TOP | Съдържание ↑

Bergen Text

Bergen Text
Bergen Text

Bergen Text is the younger twin and a lifetime companion of Bergen Sans with perfect legibility and adorable personality. It has been carefully crafted to improve readability experience particularly on small text sizes. Bergen Text is a family of of 6 fonts. While being a small font family it has plenty of Open Type features for highly professional use and Extended Latin, Cyrillic (including Bulgarian character set) and Greek language support.

Designer: Milos Mitrovic

Publisher: Mindburger

Buy on MyFonts

 

TOP | Съдържание ↑

Bergen Sans

Bergen Sans
Bergen Sans

Bergen Sans is a contemporary sans serif font family of 6 fonts. Carrying clean and stylized Scandinavian geometry, partnered with explosive post Bauhaus type aesthetics, Bergen Sans is perfect companion in any designer’s ‘survival’ kit. While being a small font family it has unlimited capabilities and plenty of Open Type features for highly professional use. Bergen Sans also includes Extended Latin, Cyrillic (including Bulgarian alternates) and Greek language support.

Designer: Milos Mitrovic

Publisher: Mindburger

Buy on MyFonts

 

TOP | Съдържание ↑

Bw Surco

Bw Surco
Bw Surco

Bw Surco is a fresh and optimistic humanist sans serif with hand-stroke cues. Its soft, rounded shapes, balanced x-height and the contrast between the romans and the true italics, all build towards a very practical font family with a friendly and spontaneous personality.
It comes in 12 styles supporting all Western Latin languages + European Cyrillic, with stylistic variations for Bulgarian, Serbian and Macedonian. It features many OpenType features like old style and lining figures, case-sensitive forms or fractions.
The intermediate weights perform very well for mid length texts while the Light and the Black really stand out when used at large sizes, bringing a positive voice to any branding, packaging or advertising project.
The entire font family is available under our DEMO license for free.

Designer: Alberto Romanos

More information and purchase options: foundry

Buy on MyFonts

 

TOP | Съдържание ↑

Centrale Sans Pro

Centrale Sans Pro
Centrale Sans Pro

A humanist design typeface incorporating elements from the more rationally constructed grotesque typefaces. Its characteristics are relatively large x-height and open apertures. The overall effect suggests approachability without the sentimentality carried by some of the more authentic humanist designs – contemporary and precise.

Designers: Alexander Nedelev, Veronika Slavova

More information and purchase options: foundry

Buy on MyFonts

 

TOP | Съдържание ↑

Centrale Sans Condensed Pro

Centrale Sans Condensed Pro
Centrale Sans Condensed Pro

A humanist design typeface incorporating elements from the more rationally constructed grotesque typefaces. Its characteristics are relatively large x-height and open apertures. The overall effect suggests approachability without the sentimentality carried by some of the more authentic humanist designs – contemporary and precise.

Designers: Alexander Nedelev, Veronika Slavova

More information and purchase options: foundry

Buy on MyFonts

 

TOP | Съдържание ↑

Centrale Sans Inline

Centrale Sans Inline
Centrale Sans Inline

A humanist design typeface incorporating elements from the more rationally constructed grotesque typefaces. Its characteristics are relatively large x-height and open apertures. The overall effect suggests approachability without the sentimentality carried by some of the more authentic humanist designs – contemporary and precise.

Designers: Alexander Nedelev, Veronika Slavova

More information and purchase options: foundry

Buy on MyFonts

 

TOP | Съдържание ↑

Cera Pro

Cera Pro
Cera Pro

The pan-European Cera Collection is driven by pure geometry and contains the bestselling Cera Pro, its stenciled counterpart Cera Stencil, the hand-crafted display companion Cera Brush and Cera Round Pro.
With six weights, a clean italic – carefully slanted 10 degrees – useful dingbats and arrows, Cera is a steadfast companion for when you need to set clean text and headlines in print, on screen and in multiple languages. For best on-screen performance, the TrueType files for web and desktop fonts have been manually hinted.
The pan-European Cera PRO supports the Latin, Cyrillic and Greek scripts. With over 980 glyphs per weight, Cera cares about localised letterforms and has the OpenType features to match.

Design: Jakob Runge

More information and purchase options: foundry

Buy on MyFonts

 

Fonts in Use

 

TOP | Съдържание ↑

Cera Round Pro

Cera Round Pro
Cera Round Pro

The pan-European Cera Collection is driven by pure geometry and contains the bestselling Cera, its stenciled counterpart Cera Stencil, the hand-crafted display companion Cera Brush and now Cera Round Pro.
As powerful as any other member of the collection, Cera Round Pro combines warmth with elegance and its support for Cyrillic and Greek makes it a reliable and engaging companion for international communication.
Drawing on a tradition of machine-milled lettering and combining it with the technical geometry of Cera, Cera Round Pro features circular stroke endings and softly rounded corners to create cheerful feeling text. Amongst its smooth, yet precise letterforms, the circular o takes on a new, striking quality.
While the regular has been carefully proofed for long editorial texts, Cera Round Pro’s six weights, thin to black, allow for a whole range of expression in display typography. Where the light weights have all the cleanliness and precision of technical drawings, its heavy weights are playful and soft:perfect for strong headlines and packaging projects.
With this broad spectrum of expression, from technical to friendly — and always sincere — Cera Round is an excellent choice for branding and editorial design. Its large x-height also means that it is recommended for interface design.

And while Cera Round Pro may be a counterpart to Cera, it’s not just Cera with rounded corners. We’ve carefully reworked and adjusted many of the glyphs to adapt them to Cera’s new attitude. When rounded edges and smooth shapes created new optical problems, we found new solutions: making Cera Rounded Pro an individual member of the Cera Collection.
Beyond Latin, Cera Round supports Greek and Cyrillic with localised alternatives and, as always, it is equipped with several typographic extras: tabular figures, arbitrary fractions, useful symbols and dingbats.

 

Design: Jakob Runge

More information and purchase options: foundry

Buy on MyFonts

 

Fonts in Use

 

TOP | Съдържание ↑

Clone

Clone
Clone

Clone is a type family by Lasko Dzurovski from Macedonia. The lovechild of cyber-culture and genetic font modification takes inspiration from coding, technology and architecture. A quasi-monospaced typeface that gives a nod to the quirkiness of engineered fonts without sacrificing a natural reading experience. Biomechanical future meets CAD blueprints. The first generation of Clone has rounded forms, the next one is already in the making.

Design: Lasko Dzurovski

More… | Допълнителна информация…

Buy on MyFonts

 

TOP | Съдържание ↑

Estimo

Estimo
Estimo

Estimo is an unusual, yet elegant type family of three styles in five weights. Originally developed as upper-case-only family, Estimo was inspired by the works of Bulgarian type and graphic designers in 1980’s. It is characterized by its lack of diagonal strokes (wherever possible), thus experimenting with letterforms without losing legibility. This unique typeface is suitable for all kinds of creative and editorial works, creating impact for headlines of all sizes, as well as readability for text blocks.

Designer: Vassil Kateliev

More information and purchase options: foundry

Buy on MyFonts

 

TOP | Съдържание ↑

Fedra Sans

Fedra Sans
Fedra Sans

Fedra Sans reflects the original design brief: it humanises the communicated message and adds simple, informal elegance. An important criterion was to create a typeface which works equally well on paper and on the computer screen. The typeface attempts to reconcile two opposing design approaches: rigidity of a typeface designed for the computer screen and flexibility of a handwriting.

Design: Fedra Sans was designed in 2001 by Peter Biľak. In 2004 the OpenType Pro version was released with Cyrillic designed by Gayaneh Bagdasaryan.

TRY it | Пробвай

 

TOP | Съдържание ↑

Figgins Sans

Figgins Sans
Figgins Sans

To meet the burgeoning demands of commerce, type founders in 1830s London introduced a plethora of new fonts which abandoned the traditional nib-informed model. Most radical were bold, capital-only designs with almost no stroke contrast, stripped bare of serifs. To all intents and purposes these minimal expressions of utility were identical to 20th century functionalism. Recontextualizing one of the original sans fonts, Shinn offers an alternative proposition to the myth of modernism.

Design: Nick Shinn | Shinntype publishes

Shinntype | Страница на шрифта

TOP | Съдържание ↑

Gaytan Sans & Serif

Gaytan Sans & Serif
Gaytan Sans & Serif

Gaytan (Bulgarian for braid) is a fresh new insight on archaic letterforms. A family of two unicase typefaces – a modernlooking sans and more classic looking serif, equipped with many alternates, sothey can suit any typographic taste.
Gaytan’s unique design was inspired by Old Church Slavonic Cyrillic, Bulgarian Ustav andthe Russian Vyaz stiles, as well as the avant-garde works of Bulgarian typedesigners in late 1970s.

Designer: Vassil Kateliev

More information and purchase options: foundry

Buy on MyFonts

 

TOP | Съдържание ↑

Genplan Pro

Genplan Pro
Genplan Pro

Genplan Pro is a display family of nine typographic layers with a retro feeling. They could be stacked upon each other or could be used separately. Genplan Pro is based on the lettering in the title of the general plan of Moscow of 1935. It supports all European languages including Greek, and many Cyrillic languages including the Asian ones. It has uppercase and small-caps letters.
It also includes currency signs for Russian Rouble, Ukrainan Hryvnia and Kazakh Tenge. It has many alternate glyphs, Ukrainian regular ligatures, discretionary ligatures, language based alternates for Polish (the kreska), Albanian (the shape of J) and Bulgarian (triangular Д and Л).

As a typeface designed for display purposes, it’s great for use in logos and headlines.

 

Designer: Dmitry Goloub

Publisher: Thundertype

Buy on MyFonts

 

TOP | Съдържание ↑

Gotham

Gotham
Gotham Gotham

The product of an ongoing research project into orthography, Gotham’s character set includes extended variations of the Latin, Greek, and Cyrillic alphabets, covering more than 200 languages worldwide.
The number of letters in the Cyrillic alphabet depends on a reader’s geographic and historic circumstances. The 45-letter alphabet developed by Byzantine missionaries in the ninth century lost eight letters to the reforms of Peter the Great, and an additional four under the Bolsheviks. While the remaining 33 letters satisfied the Russian language, the expansion of the Soviet Union brought the application of Cyrillic to unrelated language groups, including Turkic, Uralic, Tungusic, Caucasian, and Mongolic languages. New phonemes were addressed not only through the application of accent marks, but through the expansion of the alphabet itself. As a result, there are nearly as many Cyrillic localizations as there are languages: the alphabets of neighboring Russia and Ukraine differ by four letters, Bulgaria borrows thirty letters from the Russian alphabet (but draws sixteen of them differently), and the Azeri language of Azerbaijan — spoken by as many as thirty million people, and codified five different ways since 1918 — includes one letter used nowhere else in the world.
A survey into linguistic, cultural, political, economic, and technological conditions in the region, along with a review of typography created by native speakers, led to H&Co’s Cyrillic-X character set, which is included standard in all Gotham packages. Consulting with H&Co on the project were two Cyrillists: Maxim Zhukov, former Typographic Coordinator to the United Nations, and Ilya Ruderman, creator of the Type & Typography program at the British Higher School of Art and Design in Moscow.

The Cyrillic-X™ character set covers Abaza, Adyghe, Aghul, Archi, Avar, Azeri, Bashkir, Belarusian, Bosnian (Cyrillized), Bulgarian, Russia Buriat, Chechen (Cyrillized), Chuvash, Crimean Turkish, Dargwa, Dungan, Erzya, Ingush, Juhuri, Kabardian, Kalmyk, Karachay-Balkar, Kazakh, Khalkha (Cyrillized), Kirghiz, Komi, Komi-Permyak, Kumyk, Lak, Lezgi, Macedonian, Hill Mari, Meadow Mari, Moksha, Moldovan (Cyrillized), Mongolian, Montenegrin (Cyrillized), Nanai, Nogai, Old Russian, Ossetian, Russian, Rusyn, Rutul, Serbian (Cyrillized), Southern Altai, Tabassaran, Tajik, Tatar (Cyrillized), Tati, Tsakhur, Tundra Yukaghir, Turkmen (Cyrillized), Tuvin, Udi, Udmurt, Ukrainian, Uyghur (Cyrillized), and Uzbek.

 

Designer: Hoefler & Co.

Buy on Typography

 

Fonts in Use

 

TOP | Съдържание ↑

Greta

Greta
Greta

Greta is a contemporary typeface family specifically designed for the demands of newspaper printing; it consists of four primary text weights (each in three grades) and is optimized for use at small sizes.

Some languages such as Bulgarian, Serbian or Macedonian prefer variant letter shapes to the standard Cyrillic shapes. Local feature replaces standard forms with localized ones when the text is tagged Bulgarian, Serbian or Macedonian.

Design: Greta Text was designed in 2007 by Peter Biľak.

TRY it | Пробвай

TOP | Съдържание ↑

HK Grotesk Pro

HK Grotesk™ Pro is a sans serif typeface inspired by the classic grotesques. It is a multi-purpose typeface that can be used on a wide range of topics without being obtrusive to the reader’s eye. It has features that can be identified with Akzidenz Grotesk, Univers, Trade Gothic and Gill Sans typefaces.

This HK Grotesk™ Pro version enhances the capabilities and range of the free HK Grotesk typeface.

Design: Alfredo Marco Prodil, Cyrillic design Stefan Peev

TRY it | Пробвай

TOP | Съдържание ↑

Irma Text

Irma Text
Irma Text

Irma Text is a fluid Sans-serif typeface which balances two contradictory construction principles. While it has inherited the geometric structure of the previously-published Irma Display typefaces, it is also inspired by the principles of drawing and cursive writing. Although combining geometric and handwritten models may seem paradoxical at first sight, this synthesis of two different construction principles lends the typeface its unique, dynamic character. Irma Text is sophisticated and personal, yet composed and assured.

Some languages such as Bulgarian, Serbian or Macedonian prefer variant letter shapes to the standard Cyrillic shapes. Local feature replaces standard forms with localized ones when the text is tagged Bulgarian, Serbian or Macedonian.

Design: Irma Text was designed in 2009–2011 by Peter Biľak.

TRY it | Пробвай

TOP | Съдържание ↑

Lava

Lava
Lava

Lava was designed for magazine use, but far transcends its original application. It’s a no-nonsense workhorse typeface that can handle large quantities of text with ease. It’s legible and harmonious at small sizes, sophisticated and elegant at large sizes.

Some languages such as Bulgarian, Serbian or Macedonian prefer variant letter shapes to the standard Cyrillic shapes. Local feature replaces standard forms with localized ones when the text is tagged Bulgarian, Serbian or Macedonian.

Design: Lava (Latin and Greek) was designed in 2013 by Peter Biľak. Cyrillic version was designed by Ilya Ruderman.

TRY it | Пробвай

TOP | Съдържание ↑

Macho

Macho
Macho

Macho has a complex nature. He’s a true “gentle giant”. He kicks asses as a splendid fighter, but also, being a gentle lover, leaves girls breathless. You can count on him in any situation and it’s always good to have him by your side. The brave Macho supports all Latin languages, as well as Cyrillic. His família consists of nine weights plus matching italics. It is stuffed up with various OpenType features such as small capitals, fractions, local forms, ordinals, alternates, ligatures and a full set of superscript and subscript glyphs.

Designer: Michał Jarociński

Buy on MyFonts

 

TOP | Съдържание ↑

Mato Sans

Mato Sans
Mato Sans

Legible and dynamic shape, tons of OpenType options, different scripts – that’s Mato Sans. Difficult small size, long text in Vietnamese, huge heading in Russian or table full of figures to create? It’s not a problem with this family. There are over 2000 glyphs in every weight with such features: superscript and subscript characters, tabular lining and old style figures, small caps, fractions, arrows or even case sensitive parenthesis. Mato Sans was designed for use in Latin as well as in Cyrillic script. Every font contains an extended set of Cyrillic characters including special, local glyphs for Bulgarian, Macedonian and Serbian.

Designer: Maciej Włoczewski (on Behance)

Buy on MyFonts

 

TOP | Съдържание ↑

Skolar

Skolar
Skolar

Skolar is a robust text typeface designed to address the needs of serious typography. It has been used extensively across diverse platforms and purposes. Skolar’s letterforms follow conventional proportions allowing for comfortable reading. It maintains credibility while while incorporating a subtle personal style.
Features such as its relatively large x-height, robust serifs, and low contrast make Skolar a reliable choice even at small sizes and for the most complex editorial and academic text settings. Skolar’s vast character set caters for over two hundred languages and various transliterations (Pinyin, Sanskrit) using Latin, Cyrillic, Greek (incl. polytonic), Devanagari, and Gujarati scripts.

Designer: David Březina

Publisher: Rosetta

More information and purchase options: foundry

Buy on Adobe Typekit

Buy on MyFonts

 

TOP | Съдържание ↑

Scotch Modern

Scotch Modern
Scotch Modern

Recontextualizing the 10-point type of a scientific report published in 1870, Shinn expresses massive respect for the readability of a much-maligned genre. He has produced sleekly refined, micro-detailed vector drawings by eye, without the usual assistance of scans for tracing, thus presenting an ironic critique of the way in which mechanical imagery beguiles us with the trite veracity of simulacra, conditioning the expectations of perception.

Design: Nick Shinn | Shinntype publishes

Shinntype | Страница на шрифта

TOP | Съдържание ↑

Sybilla

Sybilla
Sybilla

Sybilla is a robust, but friendly, humanist slab serif well suitable for broad range of design projects. A true workhorse and superb text type family, Sybilla was especially designed with legibility in mind. Its soft almost cursive shapes and generous internal spaces define a slab serif that is easier on the reader’s eye and help establish a feeling of warmth and friendliness.
The type family consists of eight weights with complimentary italics. While the Light, Book, Regular and Medium weights are great performers for body text, the Thin, Bold and Heavy weights make an excellent choice for headlines. Also there is the specially designed Ultra weight if extra punch is needed. Sybilla has extensive multilingual support and specially designed Cyrillic that works harmoniously with its Latin counterparts – a perfect choice for design projects that need both writing systems running side by side.

Designer: Vassil Kateliev

More information and purchase options: foundry

Buy on MyFonts

 

TOP | Съдържание ↑

Sybilla Pro

Sybilla Pro
Sybilla Pro

Sybilla Pro a humanist slab serif well suitable for broad range of design projects. Its unique, soft and almost cursive shapes help define a warm and friendly slab serif that is more legible and easier on the reader’s eye. This newly developed extended type family consists of seven weights in three widths with complimentary true italics. It is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text and signage as well as web and screen design.
Sybilla Pro provides a broad range of advanced typographical features such as small caps, case-sensitive forms, fractions, scientific inferiors, super- and subscript characters. It comes with a complete figure range set of oldstyle and lining figures, each in tabular and proportional widths.

Sybilla Pro has extensive multilingual support, covering more than 70 Latin-based languages and specially designed Cyrillic that works harmoniously with its Latin counterparts – a perfect choice for projects that need both writing systems running side by side.

 

Designer: Vassil Kateliev

More information and purchase options: foundry

Buy on MyFonts

 

TOP | Съдържание ↑

Whitney

Whitney
Whitney

The product of an ongoing research project into orthography, Whitney’s character set includes extended variations of the Latin, Greek, and Cyrillic alphabets, covering more than 200 languages worldwide.

Designer: Hoefler & Co.

Buy on Typography

 

Fonts in Use

 

TOP | Съдържание ↑

Yesterday

Yesterday
Yesterday

This is a geometric uncial font with a retro/art-deco feel. It comes in four weights, each in upright and oblique styles. It has Unicode coverage for Latin, Greek (modern diacritics only), and Cyrillic, plus the Euro and peace signs. This font began as part of a project to design a local currency. Sadly, the municipality canceled the endeavor before the design competition had started. I’m including one of the prototypes in the gallery section as an example of this font’s many uses.

Designer: Thomas Käding

Buy on MyFonts

 

TOP | Съдържание ↑

 

 

Stefan Peev | Стефан Пеев

If you like this site and find it useful, help us to make it better by giving feedback, suggesting improvements or by donation.

Donate

Съвременни форми на кирилицата

Съвременна българска форма на кирилицата

Вашият коментар

Попълнете полетата по-долу или кликнете върху икона, за да влезете:

WordPress.com лого

You are commenting using your WordPress.com account. Log Out / Промяна )

Twitter picture

You are commenting using your Twitter account. Log Out / Промяна )

Facebook photo

You are commenting using your Facebook account. Log Out / Промяна )

Google+ photo

You are commenting using your Google+ account. Log Out / Промяна )

Connecting to %s