Kazimir Regular

Ebenezer unexpectedly bagged two tranquil aardvarks with his jiffy vacuum.

CSTM Fonts

Kazimir

Kazimir Text Regular

Kazimir Text

Loos Normal Regular

Amazingly few discotheques provide jukeboxes.

Loos

Maregraphe Variable

Maregraphe

Maregraphe Caption Regular

Maregraphe Caption

Maregraphe Display Regular

Maregraphe Display

Maregraphe Poster Regular

Maregraphe Poster

Maregraphe Text Regular

Maregraphe Text

Navigo Regular

Navigo

Normalidad Variable

Normalidad

Yury Ostromentsky is a type and graphic designer. Like Ilya Ruderman, Ostromentsky graduated from the <a href="a">Moscow State University of the Printing Arts</a> in 2002, where he completed a graduation project under the tutelage of Alexander Tarbeev. Since graduating, Ruderman has worked as a designer and art director for publishers and design studios. From 2004 to 2012, he art directed 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 won awards in the Contemporary Cyrillic 2009 and 2014 competitions. In 2004, along with Ruderman, Dmitri Yakovlev, and Darya Yarzhambek, he created the website <a href="http://dailytype.com">DailyType</a>. In March 2014, again with Ruderman, he founded CSTM Fonts. Ostromentsky’s typefaces include RIA Typeface, Kazimir, Pilar, and BestLife.

Family: Kazimir

Family: Kazimir Text

Family: Loos

One day—while looking for an idea of a new typeface—Yury Ostromentsky walked into a pavilion of Marseille tide gauge (marégraphe in French), a coastal station that has been daily measuring the change in sea level since the late 19th century. On the wall of the pavilion, he found a text with unusual details. Yury noticed low contrast and close proportions of that typeface, and remembered the age-relevant French lettering. And then—as he tends to do!—Ostromentsky mixed slightly insane graphics of historic prototypes with his own wild preferences in letterforming and, armed with this blend, started working on a modern serif.The serif turned out sharp and concise, coming in the range of 20 styles—from small size text (Caption) to super-display (Poster)—plus a variable font. Maregraphe offers an impressive case: small caps; regular, tabular and text figures (with currency signs, mathematical symbols and punctuation for each set); circled figures; indexes; arrows.Alternative symbols deserve your particular attention—they are capable of driving a rather reserved basic setting up to the emotional passion of the prototype, or even make it sound louder.Besides Ostromentsky, the team working on Maregraphe included Mikhail Strukov and Ilya Ruderman; mastering was done by Ro Hernández, and kerning—by Igino Marini.

Family: Navigo

Ostromentsky2.jpg

Yury Ostromentsky