Ukrainian type designers often emphasize the historicity of letters. And we are no exception.

We have been working with letters for about 12 years and we always love receiving orders for Cyrillic — here we can show all our knowledge about Cyrillic in some specific work.

For inspiration, very often we look at historical samples of such Cyrillic handwritings as: Ustav (pic.1), Napivustav (pic.2), Vyaz (pic.3) and Skoropys (pic.4).

We, Ukrainian designers, have long set a course to distinguish our Abetka (alphabet) from the Russian alphabet by focusing on the historicity of the Cyrillics. Nevertheless, we make it modernized, we work with it as with a living organism.

In these sketches (pic.5) we just wanted to demonstrate the “Ukrainianity” of the Cyrillic lettering. It is written here “АБЕТКИ” (“Abetkи”)—alphabettes in Ukrainian.

different examples of lettering

We are now in Ukraine and, as you know, there is a war. Unfortunately, there is no way to write this word in a calligraphic way, as we love and know how to do (see our Instagram profile: @vikatavita and website: vikavita.com).

Therefore, the lettering was done on the iPad in between running into the bomb shelter and after that there was work on the vectors.

Thanks for attention! And greetings from Ukraine💛💙

Woman’s Search for Meaning

In a prison cell in Turkey sits an award-winning artist and visual journalist. With little sunlight and few materials, he creates astonishing art. This powerful essay by Greg Manifold, creative director at The Washington Post, tells Fevzi Yazıcı’s story.

I am breathtaken at Fevzi’s courage and persistence. His latest artwork, limited to pencils and pens, is astounding. I think of Viktor Frankl’s words: “What then matters is to bear witness to the uniquely human potential at its best, which is to transform a personal tragedy into a triumph, to turn one’s predicament into a human achievement.”


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New borders: the working life of Elizabeth Friedlander

I first heard of Elizabeth Friedländer in an article about early female typeface designers. Using some of the typefaces mentioned in the text I decided to prepare a few images for our Instagram account. That personal exercise opened the door to extra information about the names included in the article. There was an exhibition on Elizabeth’s work at the Ditchling Museum (England), and Katharine Meynell had released the film Elizabeth in 2016. While looking for more information about her I also found the book I am writing about today. This book, letterpress printed and bound by hand, was published as a limited edition of 325 copies. A couple of months ago—coinciding with the launch of Women in type—I finally found it online and was able to read it. The University of Victoria Library scanned the pages and made the book available for all.

The book is full of reproductions of her work, not only finished and published projects but also drawings and documentation of her design process. The author tells us about her life’s path, moving from one country to another, and finding ways to nurture her career as a designer. The text includes insightful quotes from personal documents and imagery from the material she carefully preserved, allowing us to know about her work and career through primary sources.

Rough work in Indian ink for different projects

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