The typeface was designed at ParaType (ParaGraph) in 1989-2004 by Vladimir Yefimov and Olga Chaeva. A spin-off from Encyclopedia-4 type family of the Polygraphmash type design bureau (1987, Vladimir Yefimov and Isay Slutsker). Inspired by Helvetica (Neue Haas Grotesk) of Haas typefoundry, 1957 by Eduard Hoffman and Max Miedinger. Based on the 19th century Grotesque designs, Helvetica brought a new level of mathematical accuracy to the sans serif category. Widely used for many applications, from magazines and books to advertising and headlines. 4 basic styles of Pragmatica were developed in 1989 by Vladimir Yefimov. Eight additional styles were developed in 2003 by Olga Chaeva. Condensed styles were developed in 1993-2004 by Vladimir Yefimov, Alexander Tarbeev and Manvel Shmavonyan, with participation of Dmitry Kirsanov. Extended styles were developed in 2004 by Olga Chaeva and Manvel Shmavonyan.

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Swift 2.0 Italic

Gerard Unger developed this newspaper font between 1984 and 1987 for Dr.-Ing. Rudolf Hell GmbH, Kiel. He was mainly influenced by William A. Dwiggins (1880-1956), the typographic consultant of Mergenthaler Linotype, who started to develop more legible, alternative fonts for newspaper printing as early as 1930. Swift was named after the fast flying bird. Austere and concise, firm and original, Swift is suited for almost any purpose. Swift has been specially developed to sustain a maximum of quality and readability when used in unfavorable print and display processes, e.g. newspapers, laser printing and low resolution screens. Its robust, yet elegant serifs and its large x-height provide an undeniable distinction to the typeface, making it suitable for corporate ID and advertising purposes as well. Swift 2.0 family was designed in 1995. It's an improved version with technical and aesthetic enhancements and new family members. Cyrillic version was developed for ParaType in 2003 by Tagir Safayev.

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This typeface was designed for the International Typeface Corporation in 1980 by Victor Caruso. Franklin Gothic was originally designed by Morris Fuller Benton and first issued by American Type Founders in 1904. This version, issued by ITC in 1980, offers a wider range of weights and its slightly narrower proportions and larger x-height make it eminently suitable for headlines and display use. Condensed versions were added by David Berlow in 1991. Cyrillic version was developed at ParaType (ParaGraph) in 1993 by Isay Slutsker and Tatiana Lyskova. Condensed Cyrillic styles were added in 2002 by Isay Slutsker and Dmitry Kirsanov.

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The Bitstream version of Monotype Rockwell, 1934. Twentieth-century design influence is revealed in strokes of more even weight than in the original nineteenth-century Egyptians or Slab Serifs. Rockwell is a prime example of this twentieth-century approach. It seems to be a simple Constructivist geometric sans with strong square slab serifs added to. Angular terminals make its sturdy design particular sparkling. It is a strong face for headlines and posters, and is legible in very short text blocks. Cyrillic version was developed at ParaType in 2000 by Isay Slutsker and Manvel Shmavonyan.

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The typeface was designed at TypeMarket in 1992-1993 by Alexey Kustov. Similar to Eurostile by Aldo Novarese, 1962, Nebiolo.

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The typeface was designed at ParaType (ParaGraph) in 1992 by Tagir Safayev. Based on Frutiger, of Mergenthaler Linotype, 1976 by Adrian Frutiger. Frutiger was originally designed for use on signs at the new Charles de Gaulle Airport at Roissy. The straightforward sans serif shapes are suited well for both text and display setting. Six additional styles were added in 1998-2000.

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Academy was designed circa 1910 at the Berthold type foundry (St.-Petersburg). It was based on Sorbonne (H. Berthold, Berlin, 1905), which represented the American Type Founders rework Cheltenham of 1896 (designers Bertram G. Goodhue, Morris F. Benton) and Russian typefaces of the mid-18th century. A low-contrast text typeface with historical flavour. The modern digital version was designed at Polygraphmash type design bureau in 1989 by Lyubov Kuznetsova.

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Futura Futuris Black

The typeface was designed at ParaType (ParaGraph) in 1991 by Vladimir Yefimov. Based on Futura of the Bauer company, 1927 by Paul Renner. Futura is a registered trade mark of Neufville, SL. Condensed styles were added by in 1993 by Vladimir Yefimov and Alexander Tarbeev.

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A Bitstream version of News Gothic that was created by Morris Fuller Benton for American Typefounders and first appeared in 1908. There is the standard American sanserif of the first two thirds of the twentieth century with narrow proportions and a large x-height. Despite, or perhaps because of, the font’s unconventional relationships in proportion and form, News Gothic has long been a popular typeface for almost any use. Cyrillic version developed for ParaType in 2005 by Dmitry Kirsanov.

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FF Meta Normal Line Figures

FF Meta Normal Small Caps

FF Meta Normal Small Caps & Line Figures

FF Meta Book Old Style Figures

FF Meta Book Line Figures

FF Meta Book Small Caps

FF Meta Book Small Caps & Line Figures

FF Meta Medium Old Style Figures

FF Meta Medium Line Figures

FF Meta Medium Small Caps

FF Meta™ was designed in 1991-93 by Eric Spiekermann based on the typeface comissioned by the German Post Office (Bundespost) in 1984 as an exclusive corporate font. However the face was not accepted by the customer and the whole project was cancelled. In 1989 its artwork was digitized and the new face of 3 styles was created by Just van Rossum. It was named FF Meta after Meta Studio in which the new typeface was used exclusively. Then FontShop started to distribute FF Meta and some extra weights together with the corresponding italics and small caps were added by Luc(as) de Groot. The face is very popular, especially in the US where it has been used for setting of ID magazine, the leading publication for industrial and communication design. Meta has been hailed as "the typeface for the nineties". Young designers seem to appreciate its rugged charm, which owes a lot to the detailed requirements of small type on bad paper. Cyrillic versions were developed for ParaType in 2001 by Tagir Safayev and Olga Chayeva.

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The typeface was designed for the International Typeface Corporation in 1975 by Tony Stan, inspired by the typefaces of the French punchcutter Claude Garamond (middle of the 16th century) and its modern versions. This version has a large x-height, close letterspacing and a wide range of weights and widths. A very popular typeface in advertising, for catalogues, brochures and packaging. Cyrillic versions were developed at ParaType (ParaGraph) in 1993-1995 by Alexander Tarbeev.

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Designed at ParaType (ParaGraph) in 1992 by Vladimir Yefimov. Based on Kudryashevskaya Encyclopedicheskaya of Polygraphmash, 1960–74, a typeface by Nikolai Kudryashev and Zinaida Maslennikova. A very lightweight style with neutral letterforms, it is quite space-saving. Excellent for long texts, headings and display typography.

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Designed at ParaType (ParaGraph) in 1997 by Andrey Kryukov and Dmitry Kirsanov. Based on the artwork of Moscow graphic designer Andrey Kryukov (1923–1997). For use in advertising and display typography.

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This typeface was licensed by the International Typeface Corporation in 1982 from Linotype-Hell company. The family was developed in 1978 by designers headed by John Quaranta, based on the typeface of English typographer John Baskerville, circa 1757. An excellent text face for books and magazines, it is also useful at larger sizes in advertising and newspapers. Cyrillic version was developed at ParaType (ParaGraph) in 1993 (designer Tagir Safayev). Expert Cyrillic fonts added in 1997.

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The Bitstream version of Bell Gothic designed by Chauncey H. Griffith in 1938 for telephone directories of the Bell Telephone Company. It is a good sans serif choice for listings, catalogues and directories as its design is very space saving. The weight of the line is moderate and uniform. Being a clear and easy-to-read font, Bell Gothic is popular now for display and magazine advertising. Cyrillic version was developed for ParaType in 1999 by Olga Chaeva.

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ITC Eras® is a sans serif type design of unusual style, thanks to its slight forward slant and subtle variations in stroke weights. ITC Eras also has a large x-height. The inspirations for ITC Eras are twofold: Greek stone-cut lapidary letters and Roman capitals. The combination of wide curves and close letterspacing emphasizes large open areas, the inner forms of the letters. ITC Eras is not a precise, geometric face. It looks spontaneous, like an unserifed written script. French designer Albert Boton created ITC Eras in cooperation with Albert Hollenstein, also from France. Cyrillic version was developed for ParaType in 2002 by Gayaneh Bagdasaryan.

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ITC Officina Sans Medium Italic

Designed for the International Typeface Corporation in 1990 by Erik Spiekermann. A sans serif version of ITC Officina Serif. Sharing the same weights, shapes and proportions, this typeface is as good and strong as its serifed sister. Legible, economical and robust, it is well suited for office correspondence, but has a wider application in advertising and display work. Additional styles and small caps were developed in 1998 by Ole Schafer. Cyrillic version was developed at ParaType (ParaGraph) in 1994 by Tagir Safayev. Additional Cyrillic styles and small caps were developed for ParaType in 2002 by Olga Chaeva.

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ITC Charter® was designed in 1987 by Matthew Carter as a first original typeface of Bitstream, Inc. It was licensed by the International Typeface Corporation in 1993. The face follows traditional mid-18th century Roman types in proportion and form, Pierre Simon Fournier’s especially, but with some very non-traditional traits. It has narrow proportions for economical use of space, a generous x-height for best readability at small sizes, and sturdy, open letterforms. With square serifs and Old Style typeface structure ITC Charter is a highly legible text face for use on both low resolution printing devices and high resolution imagesetters. Cyrillic version was developed at ParaType in 2001 by Vladimir Yefimov.

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Octava Regular SC OSF

Octava Regular OSF

PT Octava™ was designed at ParaType in 2001 by Vladimir Yefimov. The first (Cyrillic only) version named Scriptura Russica (1996) consisting of three styles (book, italic, bold) was commissioned by the Russian Bible Society. Lately the Latin letters and bold italic were added. Inspired by Lectura, 1969, by Dick Dooijes and Stone Print, 1991, by Sumner Stone. In spite of large x-height the typeface is both space saving and quite legible at small sizes. Expert fonts including small caps (book) and old style figures are available.

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The typeface was designed at TypeMarket in 1996 by Sergey Shanovich. Based on Optima by Hermann Zapf, 1958.

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Designed at NII OGIZ type design bureau circa 1940. Based on Latinskaya of the Berthold foundry (St.-Petersburg, 1901), Cyrillic version of Lateinische of H.Berthold (Berlin, 1899). The digital version was developed at ParaType (ParaGraph) in 1996 by Lyubov Kuznetsova. The favorite text typeface of Soviet typography.

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Parangon Light

Parangon Book

Parangon Medium

Parangon Bold

Parangon Condensed Extra Light

Parangon Condensed Light

Parangon Condensed Book

Parangon Condensed Medium

Parangon Condensed Bold

Parangon Extra Condensed Extra Light

PT Parangon™ was designed in 1986-2002 by Anatoly Kudryavtsev and licensed by ParaType. This type family belonges to Neogrotesque subclass of closed Sans Serif. Letterforms of lower case is based on the tradition of 1710 Civil type and some modern Italic types. The family has a lot of weights and styles including Extra Condensed, Condensed, Regular, Extra Light, Light, Bold, Extra Bold. For advertising and display matter. Also it can be used for texts in advertising magazines.

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The typeface was designed for Bauer company, 1927, by Paul Renner. Futura is a registered trade mark of Neufville, SL. This is a sans serif face based on geometrical shapes, representative of the aesthetics of the Bauhaus school of the 1920s-30s. Issued by the Bauer Foundry in a wide range of weights and widths, Futura became a popular choice for text and display setting. Cyrillic version was developed at ParaType (ParaGraph) in 1995 by Vladimir Yefimov.

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The typeface was designed at TypeMarket in 1996 by Sergey Shanovich. Based on ITC American Typewriter of Adobe by Joel Kaden, Tony Stan, 1974.

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Designed by Ernst Friz for Visual Graphic Corp. in 1965 and released by ITC in 1974. The bold weight was added by Vic Caruso. Two italics were created by Thierry Puyfoulhoux in 1994. Useful for display and promotional texts. Cyrillic version was developed at ParaType (ParaGraph) in 1997 by Alexander Tarbeev.

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