Schrift magazine, aka Type Journal, has selected seven remarkable Cyrillic 2019 of 2018 among them you see Gauge by Alexander Tarbeev, CSTM Xprmntl 03 (even if it was not finalised until 2020,) and Akkurat by Lineto studio whose Cyrillic version was consulted by Ilya Ruderman and Yury Ostromentsky. Therefore the typeface changes focus a little bit: the renovated version of the typeface looks more book-like, unlike its sharp-toothed original. Unlike other serif revivals, it doesnt seek to refine details, make them narrower, bring more contrast, on the contrary, it decreases contrast and makes the typeface kinder.
Still plenty of questions when it comes to contours, but the typefaces look well in text. Ten works made during the autumn semesters were published on a showcase website, and this is a great example of what can be done with no prior experience and under a tight deadline. The task is usual: designing a viable font, based on a historic specimen. In autumn semester, the course is curated by Tobias Frere-Jones, with additional critique provided by Matthew Carter. The last version has five additional weights in serif and a Cyrillic set (for all styles.). Since the initial release on Future Fonts, the project has become significantly bigger: back then it was only a wicked serif, while now it is both a whimsical handwritten sans serif and a wide Egyptian typeface.
They used Rubik as an example and made the results, as well as the program, freely available. In December, the library has been enriched by 19 new typefaces: Smeijers Arnhem and Sansa now have Cyrillic and Greek glyphs (with Sansa also possessing Arabic ones), while Thomas Thiemich designed a very beautiful Arabic set for the display Gustella with reverse contrast. The typeface has eight styles, ranging from Thin to Black, all equipped with generous sidebearings. Especially for the new signage, Andrey Kostantinov (Mint Type) designed the RoadUA typeface to be distributed under a Creative Commons license.