Unicase typography was commonly used by Bulgarian typographers in the past century. Snaga Uni resulted from the authors’ in-depth examination of this rich typographic legacy, trawling through a vast body of work comprising lettering, covers, and type sketches from the 20th century and beyond. Part of the process was fruitful discussions with Bulgarian type designer and illustrator Kiril Zlatkov, who followed the project’s development since its earliest phase.

On a script level, creating a unicase for Latin or Greek posed no real problem. Greek consultant Irene Vlachou’s guidance and input encouraged the authors to explore ancient uncial letters. Formerly disused letterforms were revived to create a surprising, modern look for Snaga Uni’s Greek complement.
However, a unicase squared or standard Cyrillic proved more difficult as there are very few differences between the uppercase and lowercase letters. To achieve sufficient distinction between the two cases, the round Cyrillic or so-called Bulgarian letterforms were required.
This approach neutralized the ongoing issue of how multiple conventions are integrated into contemporary digital fonts. Since both squared and round Cyrillic operated on the same level as uppercase and lowercase, there was no need to formally separate the main and secondary letterforms. This approach made the unicase an extremely friendly format for the Cyrillic part of the Snaga Uni.
Feedback from early adopters led to the design of many alternate shapes during production. Instead of narrowing down the options, these alternates were kept and integrated into stylistic sets. This turned Snaga Unicase into a typographic puzzle, an exciting playground for creating covers, posters, editorial design, and instant logos with a unique typographic texture.