Every year, Typographica.org makes a selection of their favorite typefaces released in the previous year. One thing that makes this list special, is the way typefaces get chosen. To quote Stephen Coles, Typographica’s editor:
“Of the thousands of typefaces released in 2015, sixty-three are highlighted here, each chosen
because it gave one typophile a particular bit of excitement or joy.”
Check out the Chiavettieri typeface review, beautifully written by Conor Mangat.
Radio Television of Serbia is the biggest broadcaster in the entire Balkans region and has been producing a wide range of content from news and drama to sports programming for almost 60 years. Our typeface RTS Sans was the winner of their Cyrillic Type Design Competition and it was chosen to be their future official corporate typeface.
Once I set out to define the basic characteristics of the typeface, my main focus was on the way they would look on-screen. In order for even small-sized text to be legible on screens of different sizes and resolutions, letters needed to have wide proportions and loose letter-spacing. This also required the small letters to have large x-height. I actively worked on three styles (Regular, Italic, Bold) for four months, with additional time spent thoroughly testing the family.
The RTS website is an essential part of the brand, so it was important that the type could also work as a webfont. Therefore, the bold weight of RTS Sans is thicker than it would normally be if the font were only used in print.
Since Serbia is probably the only country in the world that uses the Cyrillic and the Latin script in equal measure, I decided that the RTS Sans character set should contain both.
Multiple sets of figures were created for RTS Sans to suit various uses: lining, oldstyle (each made in both tabular and proportional widths), superiors and inferiors. Tabular lining figures are set as the default in the family, and they line up throughout the styles (as shown in the picture).
I've included oldstyle figures in the set (a tradition that almost died out once typewriters appeared) because they do not disturb the visual flow of a long text. We found this flexibility in terms of figures necessary for such a versatile brand, both content and medium-wise.
Excellence in Type Design
The judges of the international “Modern Cyrillic 2014” competition selected the typeface Chiavettieri as worthy of this citation for excellence in type design.