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About Neacademia:

Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century Italian punchcutter Francesco Griffo for the famous Venetian printer and publisher Aldus Manutius. The family comprises different versions optimised for specific point sizes, as was traditional in metal type. While the display sizes maintain a visual link to calligraphic roots, text sizes exhibit more typographic qualities, following the hand of the carver, not the calligrapher.

Neacademia was designed with specific allowances for letterpress photopolymer printing. Printed digitally, it can tolerate – and even benefit from – low resolution, rough paper, and low-grade presswork. It also adopts a more traditional approach to kerning and caps-spacing – instead of a multitude of kerning pairs, it makes use of alternative letterforms. In many ways, it feels like using metal type again!

Available in four optical sizes:

  • Neacademia Display (for 24–28 pt and higher)
  • Neacademia Subhead (for 12 pt up to 24–28 pt)
  • Neacademia Text (for sizes around 10–12 pt)
  • Neacademia Small Text (for less than 10 pt)

The listed sizes serve merely as a guidance; do follow your personal preference.

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What others say:

“Do we need yet another Aldine revival? If it is as spirited and well-executed as this one – oh yes, please!”

“If you still ask yourself whether this might be a good addition to your library, typeset the question in Neacademia – you will love that question mark!”

Florian Hardwig for Typographica

Designed by: Sergei Egorov

Published: 2011–2016

Language support:

Cyrillic (43 languages)
Cyrillic (43 languages)
Abaza, Adyghe, Avaric, Azerbaijani (Cyrillic), Bashkir, Belarusian (Cyrillic), Bosnian (Cyrillic), Bulgarian, Buriat, Chechen, Chuvash, Dargwa, Dungan, Erzya, Ingush (Cyrillic), Kabardian, Kalmyk, Kara-Kalpak, Kazakh, Kirghiz, Komi, Komi-Permyak, Kumyk, Lezghian, Macedonian, Moksha, Mongolian, Montenegrin (Cyrillic), Nanai, Nogai, Ossetian, Romanian (Cyrillic), Russian, Rusyn, Serbian (Cyrillic), Tabassaran, Tajik, Talysh (Cyrillic), Tatar, Turkmen (Cyrillic), Tuvinian, Ukrainian, Uzbek

Latin (118 languages)
Latin (118 languages)
Afar, Afrikaans, Albanian, Asturian, Aymara, Basque, Belarusian (Latin), Bosnian (Latin), Breton, Catalan, Cebuano, Chamorro, Cook Islands Māori, Cornish, Corsican, Crimean Tatar (Latin), Croatian, Czech, Danish, Dutch, Eastern Frisian, English, Esperanto, Estonian, Faroese, Finnish, French, Friulian, Galician, Ganda, German, Gilbertese, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Javanese (Latin), Kalaallisut, Karelian, Kashubian, Kinyarwanda, Kurdish, Ladin, Latin, Latvian, Lithuanian, Lombard, Lower Sorbian, Lule Sami, Luxembourgish, Makhuwa, Malaysian (Latin), Maltese, Manx, Maori, Montenegrin (Latin), Neapolitan, Northern Frisian, Northern Khmer (Latin), Northern Sami, Norwegian, Nyanja, Occitan, Palauan, Pedi, Pite Sami, Polish, Portuguese, Quechua, Romanian, Romansh, Romany, Samoan, Sango, Sardinian, Saterfriesisch, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Skolt Sami, Slovak, Slovenian, Somali, Southern Sami, Spanish, Sundanese (Latin), Swahili, Swati, Swedish, Tagalog, Tahitian, Tetum, Tokelau, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Ume Sami, Upper Sorbian, Venetian, Veps, Wallisian, Walloon, Welsh, Western Frisian, Wolof, Xhosa, Yapese, Zulu

Modern Cyrillic 2009
Typographica’s Best of 2012
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small text
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Design: Sergei Egorov

Sergei Egorov was born in Moscow. He graduated from the Moscow Institute of Physics and Technology in 1985. Today, he lives near Washington DC. In the early 90s Sergei got acquainted with Donald Knuth’s type-setting system TeX and everyday TeX programming has gradually grown into a genuine interest across his work in typography and book design. The scope of his interests extends to Cyrillic, Greek, and Latin palaeography, as well as typographic history. Sergei has been creating his own typefaces since 2003.


Post-production : David Březina