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Certain characters are markedly different between Text and Display subfamilies. Courtesy Grilli Type.

What are its distinguishing characteristics? GT Eesti has a pleasant, straightforward quality. The text version’s dynamic character is due in part to diagonal cuts that open up the apertures. The ink traps and strongly tapered letterforms in this version prevent ink and pixel bleeding. The display subfamily’s more static nature derives from its horizontal and diagonal stroke endings and slightly larger counters. What should I use it for?

Swap in GT Eesti for a refreshing change of pace from, anywhere from books and posters to online uses. Who’s it friends with? It pairs quite well with, and also looks great with. Or double up on sans serifs and experiment with Bonus round: Grilli Type also offers, a limited-edition set of charming wooden blocks the designers created in collaboration with the Czech company that produced the original Soviet Union-era toy ($38 plus shipping).

There’s also the whimsically entitled book designed by Reto Moser, Apfel, Ball, und Cha-Cha-Cha. The reflects the playful spirit of the toys and children’s books that inspired the typeface. Courtesy of Grilli Type.

Everyday designs using Zhurnalnaya roublennaya Type production in the young Soviet Union In the communist period, Soviet consumer goods were limited both in number and in regards to aesthetic options to choose from. It was the same with typefaces for books, posters, newspapers, etc. There were only few of them: the same recognizable characters appeared on greyish cinema tickets and from art books to magazines for children. The geometric sans serif typeface was Zhurnalnaya roublennaya, as grey and dull as everyday communist life itself. Beside its own type foundries, Tsarist Russia had a few branch offices of European ones. Chief among them, H. Berthold AG from Germany, acquired a smaller type foundry in St.

Petersburg in 1900, and another one in Moscow in 1901. At that time Berthold was one of the biggest type foundries in the world, and so its typefaces quickly spread throughout Russia. After the communist revolution the Russian printing industry continued to use existing fonts, often from Western companies, but in the 1930s there was an evident need to create the Soviet empire’s own printing equipment and typefaces. This was especially the case as the Iron Curtain started to descend and the material heritage of the previous imperial time wore out. Later Soviet Union specimens of Zhurnalnaya roublennaya with Latin and Cyrillic, designed by Anatoly Schukin Those sources also mention the German typeface as a prototype, created by Jakob Erbar for the Ludwig & Mayer foundry in 1922.