абв

bбв
а б в

BULGARIAN ROUNDED GLAGOLITIC  CROATIAN GLAGOLITIC  OLD CYRILLIC

 Fonts Glagolitic Round and Glagolitic Croatian
(angular) are developed in two versions (provisionally
titled “antique” and “grotesque”) with two styles – nor-
mal and bold. The Cyrillic font is only an “antique” ver-
sion – normal and bold. The most popular now typefac-
es Glagolitic Round and Cyrillic have only one style, I
do not know of a “grotesque” version. With these three
fonts, the density of the letter stems is matching the
contrast of the stems in the Tempora (HermesSoft) and
Universum (HermesSoft) typefaces, respectively, ex-
cluding the bold style in Glagolitic Round (“antique”
and “grotesque”), where the above conformity is impos-
sible. The height (“the eye”) of the letters is also main-
tained, as well as the letters’ normal-to-bold proportion,
the way they are in the fonts Tempora (HermesSoft)
and Universum (HermesSoft). In these three fonts,
some letters with variations are also developed, as well
as the most popular two- and three-letter ligatures (for
the “antique” style). Some of the ligatures have counter-
parts in the three alphabets (e.g. ᾛ – ᾛ – Ù ). Most
counterparts are between Glagolitic Round and
Glagolitic Croatian, where the ligatures are developed
mainly based on Jagic (“Glagolitic…”). In the Cyrillic
typeface, the ligatures have been styled according to
various sources.
The font Glagolitic Round (българска обла
глаголица) is developed against a preset module grid
(matrix). Letters and characters in “antique” and “gro-
tesque” are “assembled” from two building blocks –
circles of various sizes (“tabs”) and connecting stems.
Main source for the approximate proportions and the
shape (construction) of the letters in the “antique” style
is the Asseman Gospel (10th c.)
The font Glagolitic Croatian (angular)
(хърватска ъглеста глаголица) is developed
against a preset module grid (matrix). The letters and
the characters in “antique” are “assembled” from two
building blocks – stems and a connecting element,
which through rotation and horizontal or vertical flips
takes different positions to build the shape of the vari-
ous letters.
The “grotesque” version is built much simpler –
just by filling certain parts of the module grid. Sources
for the approximate proportions and the shape (con-
struction) of the letters in the “antique” style are the
2
Rheims (Emmaus) Gospel (14th c.) and a few breviaries
from 14th-15th c.
Cyrillic (кирилица). The font is based mainly
on the cursive of the Suprasal Collection (11th c.). Letter
proportions are set according to the “wide O”. In the
normal style, the proportion of the characters (height to
width) as well as the width of the stem to the height of
the letter are approximately the same as those in the
manuscript. The proportions (image) of many of the
lowercase letters (e.g. α, и, а, б, в, г, к, н, п,
т...) match exactly or almost exactly the letters from
the manuscript. However, the font does not claim to be
an exact replica of the cursive! The letters and the char-
acters, in general, have been stylized quite strongly.
They have been built with a several (minimal number)
universal geometric elements, which are repeated in a
number of letters. Not all letters (e.g. м) follow the
construction of the letters in the manuscript. In some
letters (e.g. з ,ќ) there are more or less significant cor-
rections, made to maintain the stylistic integrity of the
typeface. The versions (different shapes) of some let-
ters, even if not present in the Suprasal Collection, are
developed according to the same stylistics. The bold
style follows the characteristics of the normal style.
Apart from the different variations developed for a
number of letters, for those with higher ascents or lower
descents there are special versions for above-the-line set
(with or without a title). For the most common above-
the-line letters (with or without a title), with more spe-
cific or characteristic shapes, there are versions devel-
oped directly as letter titles. The mix of regulation and
semi-regulation forms, as well as the versions of some
letters with certain specific modifications in their writ-
ing, make the font a more universal one, rather than an
exact replica of scribe Retko’s handwriting.
All this makes it possible to suggest through type,
even if approximately, certain typical paleographic char-
acteristics of manuscripts dating from various periods.
The font has been developed in such a way that set with
a standard leading of 120% (e.g. 10/12, 11/13.2, 12/14.4,
13/15.6 pt, etc.) the descents are not overlapping the as-
cent diacritics and the above-the-line letters under a title
(the so called letter titles). Apart from that, the above-
the-line letters are of the largest possible size (60% of
the height of the lowercase characters). The titles are
two kinds – short and long, positioned at “two floors” –
at the accent fields of the lowercase and uppercase let-
ters – and can be positioned above a letter or between
two letters. The same applies to the above-the-line let-
ters and the letter titles. The “two floors” make it possi-
ble for a title to be typed on top of an above-the-line
letter, title on top of a title, or title on top of any other
diacritic. Titles on top of high-ascent letters (e.g. ѕ, ì,
ѣ, ι) are chosen from the “top floor”, that is from the
set of titles for uppercase letters. All titles, aspirations,
and other diacritics have equal contrast for the normal
and bold uppercase and lowercase letters. Various (nor-
mal and bold) starting, dividing, closing, and other
characters are also developed.
One can compile a rather complete chronology of
the emergence and the development of the Glagolitic
and Cyrillic typefaces from the book В. Йончев,
“Шрифтът през вековете” (see also Е.Ф. Карский,
“Славянская…”). I give below (taken from В.Й.) only
a few of the more important dates: 1483 – the first
Glagolitic typeface (Croatian); 1491 – the first Cyrillic
typeface of Sweipolt Fiol and Rudolf Borsdorf; 1564
– the first book printed in a semi-regulation type by Iv.
Fyodorov in Russia; 1838 – the first attempt to engrave
and found a typeface in Bulgarian lands (for Theodosi
Sinaitski’s print shop); 1853 – by P. Љafarik’s appoint-
ment, type round Glagolitic letters after the Asseman
and Marin gospels were made. Our Renaissance litera-
ture from Sofroniy Vratchanski’s “Nedelnik” (1806) to
the Liberation in 1878 was printed in Cyrillic type of
better or poorer quality. Some of these typefaces were
preserved (as a lead type) almost until the mid-20th
century. For instance, in Iv. Kadela’s catalogue of the
Royal Court Press, one of them could be found under
the rubric “letters: Slavic”; in a catalogue of the State
Press (the one after the Liberation of 1878) shown were
Bulgarian Glagolitic (most probably Љafarik’s Glagolitic
type), Old Slavic Cyrillic and Old Bulgarian Cyrillic
(Љafarik). These typefaces are long gone. The longest
preserved (and used) as a lead type and in phototypeset-
ting (ECPT) until about 10 years ago, is Monotype’s Old
Bulgarian Slawjanski typeface. It is probably that very
typeface (judging by the style), engraved and founded
after the cursive of the Suprasal Collection, ordered by
Yagitch for his edition of the Bologna Psalter (1907).
This typeface (under a different name), Љafarik’s
Cyrillic and Glagolitic [?] (as rather clumsy compila-
tions) and some other redesigned versions can be found
in some computers of today.
For the development of this project, I owe a lot to Prof.
Vasil Yontchev, who many years ago revealed to me the
vast universe of literature and raised my interest towards
the history of the typeface. I am extremely grateful also
to Hristo Kodov, Bozhidar Raikov and Stefan Kozhu-
harov, whom I deeply respect, for our earliest attempts
together and for the work to complete this project.
Unfortunately, they are no longer with us. My heartfelt
thanks to Boryana Veltcheva and Vasya Velinova for
their patience and our fruitful collaboration. I also thank
to Aksinia Jourova for the opportunity to use the library
of the Prof. Ivan Duitchev Center, to Boryana Hristova
for her assistance for the presentation of the typefaces in
the St. St. Cyril and Methodii National Library, and to
Maria Kostova, who discovered rare old editions in the
library of the University of Sofia St. Kliment Okhridski.
Short bibliography:
1. Ягичъ, И. В. Глаголическое письмо. В: Енцик-
лопедiя славянской филологiи. Выпускъ 3. Графика у
славянъ. Санктпетербургъ, 1911.
2. Карский, Е. Ф. Славянская кирилловская па-
леография. Ленинград, 1928 (фототипно издание,
Москва, 1979).
3. Йончев, В. Шрифтът през вековете. Со-
фия, 1964 (второ издание, 1971).
4. Йончев, В., Олга Йончева. Древен и съвре-
менен български шрифт. София, 1982.
5. Кирило-Методиевска енциклопедия. София,
Т.1, 1985, Т.2, 1995.
6. Джурова, А. Въведение в славянската коди-
кология. София, 1997.
See also works by:
Е. Георгиев, К. Мирчев, П. Илчев, А. И. Собо-
левский, П. А. Лавров, Н. Щепкин, Л. В. Черепнин и
др. Interesting ideas and works on the Glagolitic and
Cyrillic letters can be found also in В. Йончев „Азбу-
ката от Плиска, кирилицата и глаголицата“. Со-
фия, 1997.
К. Кънев, с. Студена, септември 2002
English translation bz Alexander Vantchev
3
 АБВГДЕЖDЗЙEИGКЛ
МНОПРСТУKФХTЩЦЧШЪЫЬЯ
ЮЭЄIPYJHR
ἵBἶCἴFLMἱἰUNVἳἲWXOAZQS
абвгдежdзйeиgклмнопрстуkфхtщц
чшъыьяюэєipyjhr
ίbὸcὶflmέὲunvήὴwoxazqs
ᾸᾺᾼᾉᾍᾋᾏᾈᾌᾊᾎἈἌἊἎΆ
ἉἍἋἏᾹΈἙἝἛῈἘἜἚΉ
ἩἭἫἯῊῌᾙᾝᾛᾟᾘᾜ
АåБВ4
;=<,>\|":.’+-
АБВГДЕЖDЗЙEИGКЛ
МНОПРСТУKФХTЩЦЧШЪЫ
ЬЯЮЭЄIPYJHR . ἵB
ἶCἴFLMἱἰUNVἳἲWXOAZQS
абвгдежdзйeиgклмнопрстуkф
хtщцчшъыьяюэєipyjhr
ίbὸcὶflmέὲunvήὴwoxazqs
ᾸᾺᾼᾉᾍᾋᾏᾈᾌᾊᾎἈἌἊἎΆ
ἉἍἋἏᾹΈἙἝἛῈἘἜἚΉ
ἩἭἫἯῊῌᾙᾝᾛᾟᾘᾜ
;=<,>\|":.’+-

4
Asseman Gospel (10th c.) page 122b / Асеманиево евангелие, л. 122б

5
 добенъ е3 омовиту . й3
и2 о . но
ваа2
и2
и2
чаа2 а сьньмищии2
Ύ&цÂа о2
М7
еηáв r иΝáо глΒáа р2
кξáо . и2 о ; и2
Ύ&цÂа о2
М7
е3
вьнеἚяте h чкÂъ " кáξо дш3
М7Ύ&цÂа о2
нект3 а . и2
на3 о же сн2 о вь ни
" кеи2
въи е3
М7 Ύ&цÂа о2 а
" вла и2 ъи2
Рече гÂь . Вься е2 оштете да
творiтъ вамъ члÂци . и2
творите и2 акожд3
"
" стъ . законъ и2 идя
те . є4
ко пространаа2 а . и2
рокь пєть . въводэи2
бє . И3 н2 одэ
штe и2 а.

Asseman Gospel (10th c.) page 122b / Асеманиево евангелие, л. 122б

6
 добенъ е2 тъ члĎку домовиту ․ p2 е
и2 осsтъ о2 ъкровища свое2 о ․ но
ваа2 етъхаа2 И3 да съконч2
и2 Прѣи2 е о2 χдѣ ․
и2 дъ въ о2 твsе2 ое2
чаа2 ьньмищии2
$цŚа о2
М4 е2 тŚаа2 мы ․
ев ι ио гла р2 Ξχщи поlдѣ вь 
ко и2 те въ и2 о  и2 сх 
М4$цŚа о2 тĎую3 ерґ3
е2 ла с2 Ре1 ои2 ъ у4 ени ⁿ
вьнем3 е о2 еп и2
М4 $цŚа о2 тĎхъ о2 рада 
нект3 риа2 а ․ а2 ика и2 тĎхъ о2
на2 о же сн3 ъивш4 о вь ни
 кеи2 т3 рицеί4 ла ґ3 Ре1 ои
въи е2 те свѣ  ко ․ в црс2 вs нбĎм  и3 еп ․
М4 $цŚа о2 т3 ула распа а2
 вла и2 ужинъи2 Єв2 Лу8 ла л2
Рече гŚь ․ Вьсѣ е2 о хоштете да
творόтъ вамъ члĎци ․ и2 ъи
творите и2 ъ такожд2 Ξе бо е2

 стъ ․ lаконъ и2 ънидѣ
те ․ χ3 аты ․ ѣ3
ко пространаа2 ата ․ и2
рокь пχть ․ въводϋи2 гу
бχ ․ И3 χтъ въходϋ
штs и2 ъ ․ Коль χ3 а врата ․

Vajs J., J. Kurz. Evangelarium Assemani. Codex Vaticanus 3. slavicus glagoliticus. Pragae, 1955, T. II, c. 246)

7
 АБВГДЕЖDЗЙEИGКЛМНОПРСТУKФ
ХTЩЦЧШЪЫЬЯЮЭЄIPYJ
BMCFLUNVWXOAZQSHR
абвгдежdзйeиgклмнопрстуkфхtщцчш
ъыьяюэєipyj
bmcflunvwoxazqshr
АáБВâГДäАБàВГåДАíБВîГДïАБìВГóДАôБ
;=<,>\|":.’+-
АБВГДЕЖDЗЙEИGКЛМНОПРСТУKФ
ХTЩЦЧШЪЫЬЯЮЭЄIPYJ
BMCFLUNVWXOAZQSHR
абвгдежdзйeиgклмнопрстуkфхtщцчш
ъыьяюэєipyj
bmcflunvwoxazqshr
аÁбвÂгдÄабÀвгÅдаÇбвÉгдÊабËвгÍдаÎбвÏгдÌабÓвгÔд
;=<,>\|":.’+-

АБВГДЕЖDЗЙIИGКЛМНОПРСТУФХOЩЦЧШЪЬЯЮ
абвгдежdзйiиgклмнопрстуфхoщцчшъьяю
KHQJMNATSR bkjvmnastr
АáБВâГДäАБàВГåДАãБВçГДéАБêВГëДАíБВîГДïАБìВГóДАôБ
; = < , > \ " : . `+ -
АБВГДЕЖDЗЙIИGКЛМНОПРСТУФХOЩ
ЦЧШЪЬЯЮ
абвгдежdзйiиgклмнопрстуфхoщцчшъьяю
KHQJMNATSR bkjvmnastr
bÁбвÂгдÄbбÀвгÅдbÃбвÇгдÉbбÊвгËдbÍбвÎгдÏbбÌвгÓд
; = < , > \ " : . `+ -

8
 АБВГДЕЖDЗЙIИGКЛМНОПРСТ
УФХOЩЦЧШЪЬЯЮ
абвгдежdзйiиgклмнопрст
уфхoщцчшъьяю
ἉἍἋἏᾸᾺᾼᾉᾍᾋᾏᾊᾎᾈ
ᾌἜἈἌἊἎᾹΆἩΈἙἝἛῈἘἚΉἭ
ἫἯῊῌᾙᾝᾛᾟᾘᾜᾚᾞἨ
KHQJMNATSR bkjvmnastr
АáБВ3 АБ2 АéБêВëГíДА ï Б3 А
;=<,>":.`+-
\
АБВГДЕЖDЗЙIИGКЛМНОПРСТ
УФХOЩЦЧШЪЬЯЮ
абвгдежdзйiиgклмнопрст
уфхoщцчшъьяю
ἉἍἋἏᾸᾺᾼᾉᾍᾋᾏᾊᾎᾈ
ᾌἜἈἌἊἎᾹΆἩΈἙἝἛῈἘἚ
ΉἭἫἯῊῌᾙᾝᾛᾟᾘᾜᾚᾞἨ
KHQJMNATSR bkjvmnastr
bΏèбΑèвΒèгΓèдbΕè
бÁвÂгÄдbÀ ÅбÃвÇгÉдb Ê ËбÍвÏгÌдbÓ ÔбÖв
;=<,>":.`+-
\

9
 АБВГДЕЄЖIMHGЗLSPUИOКЛМН
ОΑПРСΞТУІҖФХΘЦЧΤШЩЪЫЏЬ
ѢЮЯΆΫΧΌΊΠõѲЌѴúΥҐ
абвгдеєжim׳зlsptиoклмноαпрсξт
уѕìфхθцчτшщъыџьѣюя
έϋχόίôšѳќѵûυґ

ACBDEFJNKЍVЙXWYΒΓΕΖΗ∆
ZΝЋîЅЈЇΚЊΦΡΣѪЎ�ÄΩΎΈ
ЂЁЃΨΪΟЉΉΙΛ
Ώacbðd²®−ϐ°3⁄4efjnhg©kѝvйxwΐyΰ
ïüíβγεζηδzνéŠÛÚÜћіїјöòκΆњ
͵φρσÂÇÃ�άωÀÁ
ÖÒύÌÓÔÑήђёѓÍÈÊËψϊÎςÏποљʹ
åàώëèιλÕóêñ
ᾈἋἜᾏᾸἛῈἎἝἚἏἘἍÙἉâᾼÝᾹ
ŸᾺŽᾋἊᾍãἙçᾉäᾌἈἌᾊᾎ
   ffi ffl ff  ; ₎  ₍    ⁿ     
․
‥⁾⁽ὫὯ[]

10
 АБВГДЕЄЖIMHGЗLSPUИOКЛМН
ОΑПРСΞТУІҖФХΘЦЧΤШЩЪ
ЫЏЬѢЮЯΆΫΧΌΊΠõѲЌѴúΥҐ
абвгдеєжim׳зlspuиoклмноαпрсξт
уѕìфхθцчτшщъыџьѣюя
έϋχόίôšѳќѵûυґ

ACBDEFJNKЍVЙXWYΒΓΕΖΗ∆
ZΝЋîЅЈЇΚЊΦΡΣѪЎ�
ÄΩΎΈЂЁЃΨΪΟЉΉΛΙ
Ώacbðd²®−ϐ°3⁄4efjnhg©kѝvйxwΐyΰ
ïüíβγεζηδzνéŠÛÚÜћіїјöò
κΆњ͵φρσÂÇÃ�άωÀÁÖÒ
ύÌÓÔÑήђёѓÍÈÊËψϊÎςÏποљʹ
åàώëèλιÕóêñ
ᾈἋἜᾏᾸἛῈἎἝἚἏἘἍÙἉâᾼÝᾹ
ŸᾺŽᾋἊᾍãἙçᾉäᾌἈἌᾊᾎ
   ffi ffl  ; ₎  ₍ ff    ⁿ  

‥⁾⁽ὫὯ[]․

11
Suprasal Collection (11th c.) p. 254/ Супрасълски сборник, с. 254

12
пр�штааше у4 орити мђ․ и2 �а2
сђ я3 о мечемъ о2 ъс�чеши ми главχ․ за
нἤе молἤχ тђ повели и2 о сътворити․ да у4
в�си како крь2 тия3 ь2 ьть2 �о2 �
ти навыкохомъ․ христосовы ради любь2 е
разгн�вавъ же сђ кънђзъ․ о2 ъзости ст3
го мχченика и2 еа․ повел� мечемъ у4
с�кнχти и․ Ξвђтыи2 е мχченикъ․ я3 о
въторыи в�нь2 ъ получивъ рече․ благо-
д�ть2 пов�даί4 огу моέ3 у․ даръ-
ствовавъшуу4 у ми различь2 ъ
мχкамъ тръп�нию в�нь2 да пр�-
л�зошђ мостъ рекомыи2 темись2 ъ-
вл�къ ризы своϋ․ и2 �въ на небо․ по-
моли сђ глаголἤђ сице․ господи да о2 връ-
зχтъ сђ небеса․ и2 а прии2 тъ душχ
раба твоέ3 о․ я3 оже и2 юдемъ твои2 ъ
вь2 �чь2 ъкъве․ и2 �кого и2 пль-
нἤения έ3 еб� в�руϋ гĠи tсу хрьсте․
се вьсе страждχ․ и2 �кнχвъше и2 ъвръ-
гошђ и2 �кχ․ се же сђ сътвори въ ср�-
м�․ стар�и2 ъствуί4 у прову-
ц�саръствуί4 у же вь2 �кы и2 у хръ-
сту господу нашему․ έ3 уже слава ны-
нἤ� и2 но и2 �кы в�комъ а3
м�сђца марта кѳ․ мχчениέ3 т3 го tθ4 рахиси-
я․ и2 ужины έ3 о
Въ л�то осмонадесђтоέ цр2 � персьска са-
воря․ гонἤениέ выстъ на црь2 тосо-
вы․ и2 ътχштђϋ вь2 едръжителя бо-
Suprasal Collection (11th c.) p 527/ Супрасълски сборник, 254 (по Йордан Заимов (София, Т. 1, с. 527)

13
 абвабвабвабвабвабваб а3 б3 б3 б3
и2
!и2
ииииииииииииииииииииииииииииииииииииииии
ииииииииииииииииииииииииииииииииии
ииииииииии
и3
А3 Б3 А3 Б3 А3 БВАБВАБВАБВĂАБĄВ
аб3 б3 б3 бĖваŞбвŎабǾв
ὠАὢАὤАὥАБ3 А3
а2 б3
а3 б3 б3
бὄбвὅввὐввὑввὒва3 нὶнлὶлрὶргήгкήкхήх

абвабвабвабвабвабваб а3
и2
!и2
ииииииииииииииииииииииииииииииииииииииии
ииииииииииииииииииииииииииииииииии
ииииииииии
и3
А3
аб3
ὠАὢАὤАὥАБ3
а2
а3
бὄбвὅввὐввὑввὒва3


14
The font sets Glagolitic Round, Glagolitic Croatian (angular) and Cyrillic are produced in
two formats – Open Type (OTF) and PostScript Type 1.
The usage of OTF was necessary for a number of reasons:
1) The large number of signs in a single style – for the various types of Glagolitic, the
average number of characters per style is 300, while for the Cyrillic it is almost 700.
2) The support of complete kerning information (character spacing) is possible only in
OTF, because standard PostScript fonts with their 256-character limitations do not allow
kerning to be maintained, for instance between versions of letters а/Ώ and о – 16 at the
same time
(ао, аα, аβ, аγ, аδ, аε, аζ, аη).
3. OTF is platform-independent, that is applications with full OTF support, such as
PhotoShop or InDesign, are capable of reading a document created on a different platform. E.g.
from Windows to Macintosh, and vice versa.
4. Only OTF in combination with Adobe InDesign allows the full utilization of all functional
capabilities of the font sets
Except in OTF, the above font sets are available also in “standard” PostScript Type 1, where the
Glagolitic sets are in two files, while the Cyrillic sets are in three. This “distribution” is necessary
because of the 256-character limitation in the “standard” font.
The different font sets are used much in the same way, with Cyrillic having a bit more
complicated structure, due to the presence of many titles, above-the-line letters, letter titles,
aspirations, accents, et al. All styles within the Glagolitic and Cyrillic sets have the same
mappings for matching letters, including titles, above-the-line signs, ligatures, et al. It is strongly
recommended to use Adobe InDesign, which has a special “Insert Glyph” palette. From this
palette, all characters in a certain style can be selected.
All styles are defined in such a way that the titles, the above-the-line letters, the letter titles, as
well as all accents can be positioned:
1. between two letters – this is done automatically, using the standard character metrics

(члĎци, свѣ, гла, на, прѣпüбнаг2

, рожьство).
2. above a letter – in order to position an element above a letter (title, above-the-line letter,
letter title, etc.) there are a number of special characters defined replacing the numerals 1-9.
These are characters with negative widths and various sizes, as well as the matching widths with
positive metrics. At first, we position the cursor before the letter, above which we want to place an
element (title, above-the-line letter, letter title, etc.), then we position the respective element using
the special characters from 1-9, and then with the same positive metrics we “push” the cursor
ahead, to restore the normal word spacing.

, м3
(цр2 е, м3
, на2
, не1
я, прп2
гκ).
This way of typing allows a very precise positioning of an element (title, above-the-line
letter, letter title, etc.) above letters with varying base widths.

( a9
, a1
, а2
, а2
, Ἡ7
, Ἡ7
).
We are not aware of any practical solution to position above-the-line characters with such a
precision in other typefaces.
Ivan Neytchev, HermesSoft

15
 © 2002, Act Soft Ltd, HermesSoft Company
© 2002, Kancho Kanev
All rights reserved.

This project is sponsored by Act Soft Ltd;

technical relisation by HermesSoft Company
and the great work of Plamen Peev.
Graphic design of this publication by Kancho Kanev.
This publication is made with
Adobe InDesign 2.0 CE under Mac OS X
and printed by Vertikal 7.

АБВ АБВ ГЛáα@2

@2
А АБВОН
абв абв абвαи абвон
АБВ АБВ АБВΑИ АБВОН
абв абв абвαи абвон
АБВГД АБВ АБВГД АБВ
абвгд абвон абвгд абвон
АБВГД АБВ АБВГД АБВ
абвгд абвон абвгд абвон
HermesSoft Company
1421 Sofia, Bulgaria
24-34, Lozenec street, entry V, ap. 50
tel/fax 03592-963 1101, tel: 03592-655 808
www.hermessoft.com

Act Soft Ltd.

1407 Sofia, Bulgaria,
51, Tcherni Vrah, blvd floor. 5
03592-962 0193, 03592-962 0195
www.act-soft.com

16