Zhuk Vodoljub i Tarhany (“The Diving Beetle and the Cockroaches”) is a Ukrainian children’s book published by ACCA, with stories by Ukranian poet, writer and linguist Maik Yohansen (Майк Йогансен, 1895–1937). The book features a lively and varied typographic approach that combines several contemporary Ukrainian typefaces, supporting the playful narrative while maintaining clarity for young readers.

The publication relies on a multi-font system rather than a single dominant typeface. Script and display fonts are used for titles, short phrases, and expressive accents, helping to convey mood, humor, and character. These more decorative styles appear alongside a neutral sans serif, which is used for longer passages to ensure readability throughout the book.

Among the typefaces used is Bairak Script Regular by Oleksandr Donchenko, which adds a handwritten, informal tone to selected elements. DR Agu Sans Medium by Dmytro Rastvortsev serves as the primary readable sans serif, while DR Galushki Hole Regular, also by Rastvortsev, introduces a playful display character well suited to children’s publishing.

Additional display fonts include Kolyada Regular by Kyrylo Tkachov of Inner Space, which brings a folkloric feel, and Pomidorko 2 Regular by Antonina Chikhiro, used for bold and expressive typographic moments. Decorative accents are further enriched by Spaghetti Script by Iryna Dviliuk, contributing to the informal and friendly atmosphere of the layouts. The Espuma Pro font by Andrii Konstantynov from Mint Type is also used.

Typography and illustration are closely integrated throughout the book. The rounded, soft letterforms echo the shapes and rhythms of the illustrations, creating a cohesive visual language across spreads without overwhelming the page.

The illustrations were created by Veronika Bondur, Tetiana Zuiko, Anastasiia Makovetska, Elvira Mishchenko, Daria Shevchenko, and Anastasiia Krapivina. The cover was designed by Larysa Chaika.

Kamenyar is used in body text, with Trembita for headers and captions. The sans on the cover is Suisse Int’l. KyivType Serif features for the “Outside of Ukraine” chapter opening.

From Slanted Publishers:

This Slanted issue is not about war. Instead, it delves into the lives of remarkable individuals within the creative industry in and hailing from Ukraine, as they endeavor to maintain a semblance of normalcy amidst their diligent efforts. This narrative underscores the inseparable bond between culture and design, raising the question of its feasibility.

During the NEED conference in Warsaw in early September 2023, the Ukrainian delegation motivated the Slanted team to initiate a magazine dedicated to the Ukrainian design sphere, advocating that “better now than never!” Without their invaluable assistance, input, and valor, such an endeavor would have been inconceivable. The editorial policy refrains from producing issues centered on a city or country if physical presence isn’t feasible, as the essence of a place cannot truly be captured from a distance. However, with each new connection established, the palpable tension among individuals becomes increasingly apparent, underscoring the universal impact of current circumstances.

The sheer volume of nearly 1,500 submissions was overwhelming, and the selection process inherently subjective. Despite meticulous deliberations, every decision, formulation, and work runs the risk of being perceived as flawed, insufficient, or misunderstood. The compilation features 20 interviews with designers and creatives both within and beyond Ukraine, offering diverse insights, responses, and perspectives.

Many of the showcased works and texts reflect upon the ongoing war, which has persisted for over two years. Despite this, there remains a glimmer of hope for its resolution, with a collective aspiration for design discourse to eventually transition to other topics. This issue serves as a significant contemporary time capsule, a testament to the profound impact of design, and an expression of Slanted Publishers’ unwavering commitment to this cause.

The magazine features three different covers by with artworks by Mykola Kovalenko, Dasha Podoltseva, and Anna Sarvira.

One of Bulanov büro’s first projects in the year 2025 was the development of a visual identity for Ukraine’s Innovation Support Office (Офіс підтримки інновацій).

This project brought together a team of inspired professionals with an ambitious mission - to make Ukraine a hub for advanced global military technologies.

The Innovation Support Office is a platform that promotes the growth of technological solutions and innovative projects aimed at strengthening Ukraine. It turns challenges into opportunities, supports breakthrough ideas, and helps build an ecosystem for the sustainable development of technologies that can transform the country and the world.

The team behind the visual identity quickly connected with the client on shared values, which made the creative process smooth and inspiring. The final visual concept was based on dazzle camo – a style that is bold, dynamic, and slightly unconventional, just like innovation itself.

This type of dazzle camouflage has become a subculture in areas such as science, art, film, fashion, and exhibition design. The goal was to bring this visual language into Ukrainian miltech.

The logotype was developed with the support of Dmytro Rastvortsev, while the fonts used for headlines and promotional materials included Enerhodar by AlfaBravo and Rastvortsev’s e-Ukraine.

Veresnevi Samotsvity (“September Gems”) is a theater festival that has brought joy and inspired audiences for 54 years.

This long history reflects its significance in the cultural life of Ukraine. The festival brings together theaters, artists, and directors from across the country, creating a unique atmosphere of idea exchange and artistic energy. This event contributes to the development and promotion of Ukrainian culture and art.

This year, a rebranding was carried out, introducing modernized posters, a new logo, a seasonal emblem, the theater’s overall style, and souvenir designs.

“Вересневі самоцвіти” is rendered in Repyakh, a typeface that recreates the artistic heritage of the renowned Ukrainian graphic artist Mykola Butovych. It was designed by Lev Type studio in collaboration with Dmytro Rastvortsev in 2024. For the main information, e-Ukraine, also designed by Dmytro Rastvortsev, is used.

The “Veres Fest” logo made from geometrical shapes and the three-dimensional outlined “54” number appear to be custom drawn.

The art project “Скарбниця” (“Skarbnytsia”; English: “The Treasure”) is dedicated to cities and towns that have suffered from Russian aggression, terrorist attacks, occupation, or have been wiped off the face of the earth. These are handmade miniatures created to keep these cities forever in our memory.

The idea was conceived by Tetyana Zubko. The website features Kyiv Region and Geraldton.

Lilova is a bakery located in Vinnytsia, my hometown in Ukraine. Lilia, the chef and friend of mine, draws inspiration from the natural world. Her name, Lilia, even means “lily” – a flower!

The concept for Lilova blends natural motifs with baked goods. I selected shapes that mirror both elements nature and baking. Take the croissant, resembling a seashell, or the silhouette of a leaf, mirroring the form of a loaf of bread. These shapes not only establish a visual connection but also symbolize Lilia's commitment to using only the freshest, locally sourced ingredients in her baked goods.

See the full case study on Behance.

Notes from Ukraine was a concert celebrating the centennial of the famed Ukrainian carol “Shchedryk”, known worldwide as “Carol of the Bells” which took place at Carnegie Hall, New York, on December 4, 2022. 


• 2,800 people attended the concert
• 76,000 people watched online
• Over 200 media mentions in the United States, with in-depth stories published
in leading media such as – The New York Times, CNN, Opera Wire, MSNBC,
ABC News, CBS NY, and others 

• Over 150 media mentions in Ukraine

See the full case study on Behance.

Ukrainska Pravda (Українська правда, “The Ukrainian Truth”) has awarded the Power of Women (Сила жінок) prize for the first time to Ukrainian female leaders who “approach victory through daily work, self-sacrifice, and care for the next generations of Ukrainians.” The laureates of the prize in the Culture category were 15 artists and art managers.

“In the face of war, there is a woman’s face. It’s the face of women who, in the first days of full-scale invasion, joined the army or became volunteers. Those who drive science and education, culture and business in the most difficult period of the Ukrainian state's existence,” notes the editorial board of Ukrainska Pravda.

Every reader of Ukrainska Pravda could nominate their candidate for the Power of Women list. The laureates were determined by the editorial board and a group of experts from the proposed list.

The event design and landing page used the Ukrainian fonts Mak (by Valentyn Tkachenko) and NAMU (by Dmytro Rastvortsev for Banda).

Повернись живим / Come Back Alive is a charitable foundation providing competent assistance to the army and a public organization engaged in security and defense sector analytics, implementing rehabilitation projects for veterans through sports.

The Come Back Alive foundation has been operating since 2014. Their main goal is to make the defense forces more effective, help save military lives, and systematically counter the enemy. To achieve this, the Foundation purchases equipment, including thermal optics, quadcopters, vehicles, surveillance and reconnaissance systems. "Return Alive" is also the first charitable organization in Ukraine to obtain permission to purchase and import military and dual-use goods. Specifically, the organization's team has procured and delivered to the units of the Armed Forces the Bayraktar TB2 strike UAV complex, 11 special armored vehicles, and 1460 7.62mm caliber machine guns for the 21st brigade of the Armed Forces.

The foundation's instructors have trained over 10,000 highly qualified military specialists, including sappers, snipers, drone operators, and infantry. They also provide training in field medicine and establish training complexes for field medicine in the Armed Forces, support the conduct of secret missions that cannot be disclosed until victory.

The organization's website is designed in military colors, with materials presented in a clear and understandable layout. The headlines use Laqonic 4F from 4th february (Sergiy Tkachenko), and body text is set in e-Ukraine, a free font from Fedoriv Agency ( Dmytro Rastvortsev). In the foundation’s social media, you can also find the exceptional Volja by Marymo (Nil Khasevych, Marchela Mozhyna).

Freelance designer Myroslava Holub has created a wonderful calendar for the year 2024. All proceeds from the sale of the calendar go towards supporting the Armed Forces of Ukraine.

In this calendar, you won't find photographs or illustrations—instead, it features vibrant minimalism both in color and design elements. The standout features are the typefaces— Kharkiv Tone (by Katya Drozd), Volja (by Marchela Mozhyna), Irpin Type (by Aronetiv Foundry and Oleksiy Popovtsev), and e-Ukraine (by Fedoriv Agency and Dmytro Rastvortsev).

The publication Riso culture provides artists with a fresh perspective on the creation of their art. From the website RISOДЕНЦІЯ (Risodentsia), translated from Ukrainian:

RISOДЕНЦІЯ is the first Riso studio and art workshop in Ukraine, cultivating the craft of art, design, and eco-printing on the iconic Japanese Risograph printing machines. RISOДЕНЦІЯ is part of a large creative community united by a love for craft technologies and unique prints. This community consists of 893 RISO studios worldwide (343 in Europe alone). […]

It’s a multitude of art festivals, art exhibitions, and other events. It’s an active and creative youth that not only creates beauty but also businesses. RISOДЕНЦІЯ joins this vibrant group with unique Ukrainian artistic ideas, offering young creative generations bright modern tools and a path to global cultural platforms.

For the design of their website and social media, the company uses Laqonic 4F by 4th february (Sergiy Tkachenko) and e-Ukraine by Dmytro Rastvortsev and Fedoriv Agency.

Ukraine.Resilience –

was created to reach European society through art and documentary photography.

To show the realities of war as well as the human experience of defending universal values and democracy.

To create empathy and boost European community to support Ukraine.

The project was set up through private efforts and resources and needs support for further development.

The project included two photography exhibitions in Berlin-Kreuzberg – shown at Kunstquartier Bethanien in August 2022 and at Zimmer48 in February/March 2023 – that were accompanied by concerts and community meetings.

DR Kruk by Dmitry Rastvortsev was used for the headlines, and Univers was used for the text in the Instagram graphics dedicated to promoting the project.

The central element of the entire visual style is the military trident – the trident (or tryzub, Ukrainian: тризуб) of the Ukrainian People’s Republic’s People’s Army. Therefore, the entire identity system is primarily based on historical heritage. As these symbols have already been used on shoulder patches, they are recognizable.

The graphic style is built upon the new symbols of the Armed Forces of Ukraine, or AFU (known in Ukraine as ZSU; Ukrainian: ЗСУ), which have a clear historical foundation. It incorporates the best practices of international military symbolism.

The primary typeface, UAF Sans, was developed by Dmytro Rastvortsev. The design embodies the finest Ukrainian typographic traditions, military style, and fulfills all communication needs of the Armed Forces of Ukraine. There are also variations available for nameplates and equipment.

For the design of honorary certificates, acknowledgments, credentials for awards, award letters, and for awards and battle (honorary) flags of military units of the AFU, the ceremonial typeface Volja is used. Volja was designed by Marchela Mozhyna based on the lettering of the well-known Ukrainian graphic artist of the times of the national liberation struggles, Nil Khasevich.

See more images in the case study at Behance.

Telegraf.Design is a Ukrainian media company dedicated to design and creative and tech industries. In 2021, it presented a unique artifact to the world: the first printed magazine about Ukrainian design.

Issue 1 of Telegraf magazine discusses Ukrainian identity, achievements, and fears. It showcases Ukrainian design through the eyes of those who create it. The magazine consists of 200 incredibly beautiful pages and involved the participation of 25 talented contributors in its creation.

It also features the premiere of Dmytro Rastvortsev’s DR Kruk. Inerta has been used as the main typeface for the articles. Mariupol serves for the magazine logo.

The magazine was designed by Nonna Starushchenko (Нонна Старущенко), Glib Kaporikov, and Dima Muzychenko (Дима Музыченко) from LLIWELL.

Detail from the magazine website

Detail from the magazine website

The Hedgehog Temple is a powerful, visually striking tribute to the diverse Ukrainian creative community members who bravely defended their country during the war, including DJs, musicians, artists, journalists, and film directors. It encourages visitors to contemplate the sacrifices made by these individuals and the significance of community, support, and dedication.

Together with the Kurenivka team, 200 copies of Andriy Lytvyn’s work Стовпи українського суспільства (Pillars of Ukrainian Society) were taken to the desert to be gifted to people interested in helping Ukraine in its fight against the invader. They were exclusively crafted for the event with the assistance of Yaroslav Korets and Oleksandr Slobodianyk.

The fonts Vernyhora by Bohdan Hdal and KyivType Sans by Dmytro Rastvortsev were chosen for the inscriptions.

How is a female writer born? What does she want to convey to the world through her writing? How does she try to find her author’s voice to become recognizable? This book is a guide to the world of writing and creativity which unites fifteen contemporary authors and five authors of the past who share their writing secrets and rituals that help them write.

Анатомія письменниці (“Anatomy of a Female Writer”) was published by Creative Women Publishing, Ukraine, in February 2023.

The design was handled by Ornella Ostapenko (art direction, layout) and Oksana Borovets (design, photo production), with illustrations by Khrystyna Lukashchuk. KyivType Sans is the brand typeface of the publishing house, and is used in many of its possible looks. Headlines use a style on the far end of its contrast and weight axis; subheaders are set in a style with a negative “middle bar” setting; and the low contrast instance which looks like a “regular”, low contrast sans, is used for the tables of contents. Minion was used for body copy.

The Pavillon-Presse is a museum for the printing arts in Weimar, Germany. On September 30, 2022, Ukrainian brand and typeface designer Kateryna Korolevtseva will give a lecture as part of their regular type gathering. Korolevtseva will provide insights into typeface design in Ukraine: from historical heritage to modern works. The event is free of charge; a few tickets are still available.

The poster announcing the event was designed by Korolevtseva herself, using her Expromt. This “modern slab serif typeface with unusual inner high contrast” and varied proportions was “inspired by the Ukrainian type design heritage, especially by the cover of a collection of works for piano created by Ukrainian graphic artist Hryhoriy Berkovych in the early 1930s.” See more of this work in progress on the designer’s website.

33 Letters for Ukraine started as a spontaneous and independent idea inspired by 36 Days of Type, where we drew 33 letters of the Ukrainian alphabet and posted it on our Instagram account in March–April 2022.

We wanted to use the power of the design community to express solidarity with Ukraine, show that it is an independent country with its own culture, history, and language.

We quickly gained following and were able to invite many special guests to contribute to the initiative with their work.

In our design we are using fonts designed by Ukrainian designers Ivan Tsanko (Menorah Grotesk) and Dmytro Rastvortsev (KyivType Sans) and want to feature interviews with Ukrainian creatives in the future to help promote their work.

Design by Joasia Fidler-Wieruszewska, with support from Aga Kotowska and Alina Rybacka-Gruszczyńska. Development by Olena Subchuk from Editor X / Wix Studio team

Karloff Neutral is used for the website and identity of payment aggregator Mercuryo. From Ivan Velichko, creative director at Moscow-based design studio Shuka (via type.today):

Mercuryo had an idea of a product: to make paying in crypto currency as easy as paying with regular, ‘fiat’ money. At the time, everyone was mostly buying Bitcoin or Ethereum, but you couldn’t use those in your daily life.

We had little knowledge of crypto currency problems, but it sounded amazing. One of the founders looked like a true British dandy — in a waistcoat and beautiful socks, which gave us an idea of Alice in Wonderland with the trickster White Rabbit whose ears are sticking out of a hat.

To complete all this we needed a typeface, something Clarendon-like. Kazimir and Robert are too smooth and fancy, they made everything look rather boring than as an identity, — even though a ‘right’ and ‘quality’ typeface was exactly what we were looking for.

We tried Karloff right away, even before we considered the two aforementioned typefaces, and yet we were attempting to replace it all along — this typeface is not very convenient with its long ascenders and descenders. However, it did have this trickster vibe that we needed.

This entire time I bore it in my mind and at some point just realised that those long, old-fashioned ascenders are giving the right feeling, too. At the very least, they are rhyming with the rabbit’s ears, and Karloff is an excellent complement to the boring and mechanistic sans serif used for body text.

Read the whole article on the type.today website.

Karloff was conceived by Peter Biľak and designed by Pieter van Rosmalen with Nikola Djurek. Maria Doreuli translated the design to Cyrillic and Greek. In the Mercuryo identity, Karloff Neutral is paired with Brutal Type by Dmitry Rastvortsev and Gayaneh Bagdasaryan. Creative and art direction by Ivan Vasin. Design and illustration by Mary Yudina.

F37 Caslon by F37 Foundry in use for Wired magazine’s “Bill Gates” issue from March/April 2021. Creative Director: Andrew Diprose.

F37 Caslon has been in use as a guest feature for “The future of food” section in the latest issue of Wired magazine from March/April 2021, alongside from A2-TYPE. Two sans serifs are used for smaller headlines and body copy, one of them seems to be Aperçu from Colophon; the other Wired’s stalwart sans, Brutal Type from Brownfox.