As references, we looked at humanist grotesques that support Serbian Cyrillic. In this case, the typeface would serve a purely informational role, while the rest of the visual identity would carry the emotional character. It also meant we could potentially use an existing typeface rather than designing one from scratch.
Some of the references we considered included: 29LT Zarid Sans, Bw Surco, Asterisk Sans Pro and SFT Ritam Sans.
This is a theme that naturally comes to mind when thinking about Belgrade. However, considering that local residents associate the park with something kind, magical, and child-friendly, this aesthetic would likely feel out of place.
Here, we leaned toward a humanist sans serif with subtle contrast — a direction that could quietly reflect the presence of the historical observatory within the forest. But as surveys showed, this association wasn’t central for the local community that actively uses the park.
This theme could fit the park quite naturally, but there’s a risk that, in its pure form, it might come across as too stereotypical and heavy-handed.
The tomb of merchant Jovan Savić was built in the mid-20th century, based on a design by architect Grigorij Samojlov, a descendant of Russian émigrés in Serbia. The inscription combines historical elements of Slavic lettering with more contemporary grotesque forms — featuring wider proportions, softer, rounder shapes, no stroke contrast, and a bold overall weight.
Letters A and E from our reference.
Example of Latin uncial script.
Oxford, Bodleian Library MS. Selden Supra 30.
https://digital.bodleian.ox.ac.uk/objects/12e49e0a-4075-4fbe-ba26-d91dfa6d4f27/surfaces/402d792a-f6ec-43b8-a99e-c14be326f0a2/
Example of Greek uncial script
Oxford, Bodleian Library MS. Barocci 217:
https://digital.bodleian.ox.ac.uk/objects/bb50d638-dcad-4a4f-8414-e6d82f5660fd/surfaces/e76a18d7-1b5a-4491-a482-f2c008a7cdd1/
Example of Greek uncial script
Oxford, Bodleian Library MS. Laud Gr. 35:
https://digital.bodleian.ox.ac.uk/objects/55b2e494-4845-403e-9ba6-d812bda79329/surfaces/fd38dafc-ad57-4360-ace1-f954ea2f310e/
Example of Cyrillic ustav script
Dijak, G. S. (1180) Miroslav's Gospel.
https://www.loc.gov/resource/gdcwdl.wdl_02363/?sp=4&st=image&r=-0.079,0.036,0.801,0.68,0
Example of Cyrillic Ustav
Ostromir Gospel (Ostromirovo Evangelie)
1056–1057
https://expositions.nlr.ru/facsimile/OstromirGospel/RA5320/prosmotr?t=digit&list=4
The Л-Д-А combination from our reference sample.
Example of the Л-Д-А combination from Ivan Fedorov’s “Azbuka,” 1578. (Below: людьска)
Example of decorative serifs on Т and Г, and the descender on Ц from our reference.
Example of heavy triangular serifs in Cyrillic Ustav script.
https://expositions.nlr.ru/facsimile/OstromirGospel/RA5320/prosmotr?t=digit&list=4
Example of the letter И from our reference.
Example of an inscription with the characteristic diagonal in the letters И and Н, from Krušedol Monastery in Serbia.
Left: example of the И construction in a contemporary Serbian typeface (Orto RNIDS).
Right: example of the И construction in a contemporary Russian typeface (PT Sans).
Example of the letters С and О from our reference.
Example of an inscription featuring pointed forms of the letters С and О, from Krušedol Monastery in Serbia.
[Animation showing the typeface development process]
Evolution of the typeface.
Zvezdara and Orto used together.
Some adjustments to Zvezdara to improve its harmony with Orto.
Small caps and lowercase forms in the Zvezdara font.
Serbian Latin script (Latinica).
Full character set of the Zvezdara typeface.
[Here will be images showing how the typeface is used in the project.]
Zvezdara font in use.