2. Öàðü Ïåòð I ñ åãî ðåôîðìîé êèðèëëè÷åñêîãî
øðèôòà (1708 –1710), âîçìîæíî, áûë ïåðâûì,
êòî õîòåë ïðèáëèçèòü êèðèëëèöó ê ëàòèíèöå.
Ôàêòè÷åñêè ýòî áûëà ïåðâàÿ â èñòîðèè ïîïûòêà
àäàïòàöèè êèðèëëè÷åñêîé ãðàôèêè ê ôîðìå ëà-
òèíñêîé.
It was Tzar Peter the First realising the reform of
Cyrillic (1708 –1710) probably was the first man
who wanted to bring Cyrillic letterforms nearer to
Latin ones. In fact there was the first attempt in
the history to adapt Cyrillic to Latin.
8. Ñòðî÷íûå ëèòåðû òðåõ êåãëåé, èçãîòîâëåííûå
â Àìñòåðäàìå ïî îðèãèíàëàì Êóëåíáàõà
è ïðèñëàííûå â Ìîñêâó â 1707 ãîäó.
Áóêâà ô êðóïíîãî êåãëÿ è áóêâà ¿ ñðåäíåãî êåãëÿ
ìîñêîâñêîé ðàáîòû
Äîïîëíèòåëüíûå ñòðî÷íûå ëèòåðû òðåõ êåãëåé,
èçãîòîâëåííûå â Àìñòåðäàìå è ïðèñëàííûå
â Ìîñêâó îñåíüþ 1709 ãîäà
9. Ãðàæäàíñêèé øðèôò.
Ïåðâîíà÷àëüíûé êîìïëåêò 1707 ãîäà.
Ïðîïèñíûå è ñòðî÷íûå ëèòåðû êðóïíîãî è
ñðåäíåãî êåãëåé, èçãîòîâëåííûå â Àìñòåðäàìå è
â Ìîñêâå â 1707 ãîäó ïî îðèãèíàëàì Êóëåíáàõà.
Ëèòåðû Ô, ô ìîñêîâñêîé ðàáîòû.
Ïåðåðèñîâêà àâòîðà
17. Ïåðâàÿ ñòðàíèöà êíèãè
Óñòàâ î âîéñêàõ ìîðñêèõ è î èõ àðñåíàëàõ.
Ñàíêò-Ïåòåðáóðã, 1715
Ãðàæäàíñêèé øðèôò.
Ñòðî÷íûå êðóïíîãî êåãëÿ,
ïðîïèñíûå è ñòðî÷íûå ñðåäíåãî êåãëÿ,
ãðàâèðîâàííûé èíèöèàë
18. Äæàìáàòòèñòà Áîäîíè (1740–1813)
è êèðèëëè÷åñêèå øðèôòû èç åãî êíèãè
Manuale tipografico (Ïàðìà, 1818).
Øðèôòû Áîäîíè íå ïðèìåíÿëèñü â
Ðîññèè è íèêàê íå ïîâëèÿëè íà ôîðìó
ïîñëåäóþùèõ êèðèëëè÷åñêèõ øðèôòîâ.
Giambattista Bodoni (1740–1813)
and Cyrillic typefaces from his book
Manuale tipografico (Parma, 1818).
Bodoni’s fonts did not use in Russia and
they had no inf luence at all on the let-
terforms of following Cyrillic faces.
21. Ôèðìåí Äèäî (1764–1836), îáðàçöû åãî
êèðèëëè÷åñêèõ øðèôòîâ èç êàòàëîãà
1828 ãîäà è ïðèâåòñòâåííûé àäðåñ
ðóññêîìó èìïåðàòîðó Àëåêñàíäðó I
(1814). Øðèôòû Äèäî øèðîêî ýêñïîð–
òèðîâàëèñü â Ðîññèþ è îïðåäåëèëè
ôîðìó êèðèëëè÷åñêèõ øðèôòîâ.
Firmin Didot (1764–1836), his Cyrillic
typefaces from the catalogue of 1828
and his message of greeting to Russian
Imperor Alexander the First (1814).
Didot’s fonts were widely exported to
Russia and defined the letterform of
following Cyrillic faces.
22. Äåêîðàòèâíûå è çàãîëîâî÷íûå øðèôòû èç êàòàëîãîâ
ôèðìû Ðåâèëüîí è Êî. 1841 è 1849 ãîäîâ.
Æîðæ Ðåâèëüîí (1802–1859) ê ñåðåäèíå ÕIÕ âåêà
ñíàáæàë øðèôòàìè áîëüøèíñòâî òèïîãðàôèé â Ðîññèè.
Îí ïðîåêòèðîâàë è íàðåçàë ëàòèíñêèå è êèðèëëè÷åñêèå
øðèôòû îäíîâðåìåííî, ïîýòîìó èõ ðèñóíîê ïîëíîñòüþ
ñîîòâåòñòâóåò äðóã äðóãó.
Decorative and display typefaces from Revillon & Co. (1841,
1849).
George Revillon had supplied with fonts the most of press-
es in Russia in the middle of 19th century. He designed and
cut Latin and Cyrillic fonts simultaneously therefore its
letterforms are completely matches to each other.
23.  êîíöå ÕIÕ – íà÷àëå ÕÕ âåêà øðèôòû â Ðîññèè
ïðîèçâîäèëèñü êàê êðóïíûìè ñëîâîëèòíÿìè
(Ëåìàí, Áåðòãîëüä), òàê è ìåëêèìè ôèðìàìè,
êàê ïðàâèëî, îäíîâðåìåííî â êèðèëëè÷åñêîì
è ëàòèíñêîì êîìïëåêòàõ, ïðè÷åì ñîâïàäàþùèå
ëèòåðû èç îáîèõ àëôàâèòîâ (A, B, C, H è äð.)
äåëàëèñü ïî îäíîìó ðèñóíêó.
In the late 19th – early 20th centuries fonts in
Russia were produced by large companies like
O.Lehmann and H.Berthold (St.Petersburg), and by
small firms as well. As a right fonts were cut in
Cyrillic and Latin character sets. The same letters
of both alphabets (A, B, C, H etc.) were developed
from one design.
Ãàðíèòóðà Ëàòèíñêàÿ äëÿ ðó÷íîãî íàáîðà Ñàíêò-Ïåòåð-
áóðãñêîãî ñëîâîëèòíîãî çàâåäåíèÿ Áåðòãîëüä (1901)
– àäàïòàöèÿ øðèôòà Lateinisch (1899) ôèðìû H.Berthold
(Áåðëèí) – ïîñëå âîéíû áûëà ïåðåèìåíîâàíà â Ëèòåðà-
òóðíóþ.
H.Berthold (St.Petersburg) made Cyrillic version of Latei-
nisch (H.Berthold, Berlin, 1899) for hand composition in
1901. The font was renamed in 1950th to Literaturnaya
(Literary).
24. Ãàðíèòóðà Àêàäåìè÷åñêàÿ äëÿ ðó÷íîãî íàáîðà Ñàíêò-
Ïåòåðáóðãñêîãî ñëîâîëèòíîãî çàâåäåíèÿ Áåðòãîëüä
(1910) – àäàïòàöèÿ øðèôòà Sorbonne (1905) ôèðìû
H.Berthold (Áåðëèí) – âåðñèè øðèôòà Cheltenham (ATF,
1896) Áåðòðàìà Ãóäõüþ. Ôîðìà çíàêîâ êèðèëëè÷åñêîé
âåðñèè îñíîâàíà íà ãðàôèêå ðóññêèõ øðèôòîâ XVIII âåêà.
Äèçàéíåð Àëåêñàíäð Ëåî (?).
Academy font for hand composition was produced by
font
H.Berthold (St.Petersburg) in 1910. It was Cyrillic adapta-
tion of Sorbonne (H.Berthold, Berlin, 1905) which was the
reworked version of Cheltenham (ATF, 1896) by Berthram
Goodhue. Cyrillic letterforms of Academy based on Russian
fonts of the 18th century. Designer Alexander Leo (?).
АД ЕЖЗИ
КЛМУФЦ
Õàðàêòåðíûå çíàêè ãàðíèòóðû Àêàäåìè÷åñêàÿ.
Öèôðîâàÿ âåðñèÿ: Ëþáîâü Êóçíåöîâà, ÏàðàÒàéï, 1989.
Distinctive caharacters of Academy.
Digital version by Lubov Kuznetsova, ParaType, 1989.
25. Вверху: Жирный Akzidenz Grotesk. Фирма Бертольд
(H.Berthold AG). Страница из каталога. Германия, Берлин.
Слева: Accidenz Grotesk. Рекламное объявление в журнале
Deutscher Buch- und Steindrücker. Германия, Берлин, 1899.
26. Вверху: Bauhausbücher. Буклет работы Ласло
cher
cher.
Мохой-Надя (László Moholi-Nagy). Мюнхен, 1927.
Шрифт Akzidenz Grotesk.
Слева: Akzidenz Grotesk и Akzidenz Grotesk fett.
H.Berthold AG. Страницы из каталога. Германия,
Берлин.
27. Вверху: International Zeitung. Плакат работы
Карла Герстнера (Karl Gerstner). Цюрих, 1960.
Шрифт Akzidenz Grotesk halbfett.
halbf
Слева: Akzidenz Grotesk schmal halbfett (Stein-
schrift eng) и Akzidenz Grotesk schmalfett
(Bücher-Grotesk halbfett). H.Berthold AG.
Страницы из каталога. Германия, Берлин.
29. Вверху и слева: Гарнитура Akzidenz Grotesk.
H.Berthold AG, 1898-1968. Фрагмент каталога. Германия,
Берлин. Металлический набор.
30. Гюнтер Герард Ланге (Gunter Gerard Lange, 1921-
u
ü
2008). Главный художник фирмы H.Berthold AG и
автор множества прекрасных шрифтов.
Гарнитура Akzidenz Grotesk Buch. Гюнтер Герард
Ланге. H.Berthold AG, 1969-1985. Германия,
Берлин. Фотонабор.
31. Вверху: Шрифты Royal-Grotesk и Accidenz-Grotesk.
H.Berthold AG. Разворот из каталога. Германия, Берлин.
Слева: Гарнитура Рояль Гротеск. Словолитное заведение
Бертгольд, Санкт-Петербург. Образцы шрифтов Государст-
венного Треста ПОЛИГРАФ. Москва-Ленинград, 1927.
32. Вверху: Гарнитура Рубленая, полужирное широкое
Г
начертание. Каталог ручных и машинных шрифтов.
Москва, 1966.
Слева: Гарнитура Акциденц-Гротеск. Словолитное
заведение Бертгольд, Санкт-Петербург. Образцы
шрифтов Государственного Треста ПОЛИГРАФ.
Москва-Ленинград, 1927.
33. Вверху и слева: Гарнитура Akzidenz Grotesk.
Кириллическая версия. H.Berthold AG.
Германия, Берлин. Фотонабор.
37. Ãàðíèòóðà Îáûêíîâåííàÿ íîâàÿ äëÿ ðó÷íîãî íàáîðà
– îäíà èç ïåðâûõ, âûïóùåííûõ â Ðîññèè (ÑÑÑÐ) ïîñëå
äîëãîãî ïåðåðûâà, â 1940 ãîäó (äèçàéíåðû Ãàëèíà Áàííè-
êîâà, Íèêîëàé Êóäðÿøåâ, Àíàòîëèé Ùóêèí). Ðèñóíîê
îñíîâàí íà øðèôòå Îáûêíîâåííàÿ ¹27 ìîíîòèïíàÿ
(
(Monotype Series No. 27, Neo Didot Russian) è ïðåäíàçíà-
÷àëñÿ äëÿ 4-ãî ñîáðàíèÿ ñî÷èíåíèé Â.È.Ëåíèíà.
Obyknovennaya novaya (New Standard) font by Galina Ban-
nikova, Nikolay Kudryashev, Anatoly Shchukin for hand
composition was one of the first types released in Russia
(USSR) after the long break in 1940. Based on Obyknoven-
naya No. 27 (Monotype Series No. 27, Neo Didot Russian).
(
The type family was designed especially for the Fourth
Collection of the Works by Vladimir Lenin.
ÀÄ ÅÆÇ Ë
àáãäæçéóô
Õàðàêòåðíûå çíàêè ãàðíèòóðû Îáûêíîâåííàÿ íîâàÿ.
Öèôðîâàÿ âåðñèÿ: Âëàäèìèð Åôèìîâ, ÏàðàÒàéï, 1996.
Distinctive caharacters of New Standard.
Digital version by Vladimir Yefimov, ParaType, 1996.
44. Ãàëèíà Áàííèêîâà (1901–1972).
Áàííèêîâñêàÿ ãàðíèòóðà (1946–51)
áûëà ïåðâûì îðèãèíàëüíûì øðèôòîì
äëÿ õóäîæåñòâåííîé ëèòåðàòóðû,
ðàçðàáîòàííûì â ÑÑÑÐ. Òîãäà ñíà÷àëà
ðèñîâàëè êèðèëëèöó, à ïîòîì ê íåé
ïðèñòðàèâàëè ëàòèíèöó. Ïîýòîìó ëàòè-
íèöà ÷àñòî áûëà âåñüìà ñòðàííîé.
Galina Bannikova (1901–1972).
Bannikova was the first original type-
face for fiction designed in the USSR. At
that time Cyrillic alphabet was drawn
the first, then Latin characters was
added to it. Therefore Latin often was
rather strange.
АДЕЖЗЛУЛ
ЛУ
абезйкфцэ
Õàðàêòåðíûå çíàêè ãàðíèòóðû Áàííèêîâñêàÿ.
Öèôðîâàÿ âåðñèÿ: Ëþáîâü Êóçíåöîâà, ÏàðàÒàéï, 2001.
Distinctive caharacters of Bannikova.
Digital version by Lubov Kuznetsova, ParaType, 2001.
45. Âàäèì Ëàçóðñêèé (1909–1994).
Ã
Ãàðíèòóðà Ëàçóðñêîãî (1962) áûëà ïåð-
âîé â Ðîññèè êèðèëëè÷åñêîé íàáîðíîé
àíòèêâîé ñòàðîãî ñòèëÿ, ðàçðàáîòàííîé
íà îñíîâå èòàëüÿíñêèõ øðèôòîâ ýïîõè
Ðåíåññàíñà (íà÷àëî XVI âåêà). Îäíàêî
íåêîòîðûå ëàòèíñêèå ëèòåðû âñå æå
èìåþò äîâîëüíî ñòðàííóþ ôîðìó.
Vadim Lazurski (1909–1994).
Lazurski typeface (1962) was the first
Cyrillic old style font designed in Rus-
sia. Its letterforms was inspired by
the early 16th century fonts of Italian
Renaissanse. Nevertheless some Latin
letters are of the rather strange form.
АДЕЖЗЛУФУ
УФ
абдезйкфцэ
Õàðàêòåðíûå çíàêè ãàðíèòóðû Ëàçóðñêîãî.
Öèôðîâàÿ âåðñèÿ: Âëàäèìèð Åôèìîâ, ÏàðàÒàéï, 1984.
Distinctive caharacters of Lazurski.
Digital version by Vladimir Yefimov, ParaType, 1984.
46. Ñîëîìîí Òåëèíãàòåð (1903–1969).
Àêöèäåíòíàÿ Òåëèíãàòåðà (1959) –
àâòîðñêèé øðèôò ñ åäâà íàìåòèâøèìèñÿ
çàñå÷êàìè è ýëåìåíòàìè êàëëèãðàôèè.
àáäåæçéêëô
Õàðàêòåðíûå çíàêè ãàðíèòóðû Àêöèäåíòíàÿ Òåëèíãàòåðà.
Solomon Telingater (1903–1969). Öèôðîâàÿ âåðñèÿ: Ëþáîâü Êóçíåöîâà, ÏàðàÒàéï, 2001.
Telingater Display (1959) is a f lared sans Distinctive caharacters of Telingater Display.
Display
serif with calligraphic f lavour. Digital version by Lubov Kuznetsova, ParaType, 2001.