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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.

Read more:

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)
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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)
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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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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.

Assistance:

Post-production : David Březina

Jeg har ventet på deg

This novel, situated in the 1950s on a small island along the southern coast, tells a life-changing story of three sisters. The author, Mirjam Kristensen, is an exquisite prosaist and storyteller. The book designed by Frode Bo Helland, is set in Neacademia, and published by Forlaget October.

scripts

type family

country

Norway

year

2014

Parenthesis

Parenthesis is a journal publication that conveys bookbinding, typography, collecting, publishing and related areas. It is published twice a year, with a Fall and a Spring issue and supplied to members of the Fine Press Book Associations. Each issue is unique in its design and produced alternatively between North America and Europe. This issue was designed and typeset by Andrew Steeves in Neacademia by Sergei Egorov and printed at Gaspereau Press, Kentville, Nova Scotia. Current and past issues can be directly ordered from FPBA website.

scripts

type family

country

Canada

year

2014

Someone somewhere

This debut book from Dana Mills portrays contemporary rural life with unsentimental clarity. It presents a collection of short stories balancing between overwhelming circumstances, strange beauty and hope. For this beautiful yet simple design Andrew Steeves from Gaspereau Press selected Sergei Egorov’s typeface Neacademia. It was awarded in the 32nd edition of The Alcuin Awards, Canada’s national competition for excellence in book design.

scripts

type family

country

Canada

year

2013

Hypnerotomachia Poliphili

One of the signatures of the first Russian translation of Hypnerotomachia Poliphili by Francesco Colonna (first published by Aldus Manutius in 1499). The translation is by Prof. B. M. Sokolov, and it is a work in progress. The book’s typography is by Sergei Egorov, set in his Neacademia Caption.

scripts

type family

country

Russia/USA

year

2012