TYPE DESIGN INFORMATION PAGE last updated on Mon Sep 26 13:18:06 EDT 2016
FONT RECOGNITION VIA FONT MOOSE
Type design in Czechia
Prague-based designer of the straight-edged typeface Fabrikon (2015), the avant-garde sans typeface Counter (2013), Wladiwostok (2013, constructivist), Alma (2013, a wavy typeface), Illumination (2013, an alchemic typeface), Ambush (2013, an alchemic typeface) and Play Font (2013). He studied in Pilsen. Behance link. Another Behance link. [Google] [More] ⦿
A free all caps layered typeface family made in 2015 by the crew at Type Together, namely, Veronika Burian, Jose Scaglione, Sonja Stange, Elena Veguillas and Irene Vlachou. Ahoj is a bold display sans serif inspired by images of old signs and lettering found in different cities. The typeface family was produced in a four-day workshop in Prague. Voluntary contributions will be used to help the victims of the 2015 quake in Nepal. [Google] [More] ⦿
Turkish born Akile Nazli Kaya (b. 1980) is a graduate of the Graphic Design Departmant of Bilkent University in Ankara. Her experience in animation and film studies started in 2005 at Film School Zlin in Czech Republic. Today, she is an animator and film director located in Prague. Behance link.
Czech designer (b. 1964), who holds an MA in Typo/graphic studies from London School of Printing. He founded Alba studio Ltd. in 1996, now Alba Design Press Ltd. in Prague. With his colleagues and design historian Dr. Iva Janakova he co-founded the design magazine Deleatur and served as editor. He teaches at the Academy of Architecture and Design in Prague (where he is a current PhD. candidate) and the Merz Academy in Stuttgart (2002). He was on the organizing committees of the International Graphic Design Biennale in Brno 2004, 2006 and the ATypI Congress 2004 in Prague. At the latter meeting, he and Johanna Balusikova introduced their own project called e-a-t experiment and typography. Creator of Cogito (2004), an experimental typeface. At ATypI 2005 in Helsinki, he spoke on Making democracy visible. [Google] [More] ⦿
Czechoslovakian designer (b. 1962, Prague), who studied at the Academy of Arts, Architecture and Design in Prague from 1982 until 1988. In the early 1990s, he worked as the art director of the Reflex magazine and as editor of the Raut magazine. In 1994 he co-founded Prague-based Studio Najbrt and Lev, which affiliates prominent Czech designers. Together with his co-workers, he is the author of many brands and visual styles, film and theatre posters. Since 1995, he has co-operated with the Karlovy Vary film festival on its visual style.
The Czech Centre London states: "Studio Najbrt was founded in 1994 and is closely connected with the Prague arts scene, designing for theatres, book publishers, film makers, magazines, the National Gallery and art festivals. Ales Najbrt, himself an active artist and performer, works with Zuzana Lednicka and Pavel Lev and their work is recognized for its humour and clear typography. Studio has received many important awards for their poster and book design." His creations include the very East-European poster typeface Prazska Petka (1989, for a film poster), Jedovlym Pismem (1988, a hairy logotype done for the Sklep theater).
New York-based designer of the revival fonts Preissig Antikva, Preissig Italika, Menhart Italika and Menhart Manuscript, which won awards at the TDC2 2001 competition (Type Directors Club). He is a professor of graphic design at the Hartford Art School of the University of Hartford, and specializes in publication design. Author of the bestseller How to Spec Type, Type In Use", The Elements of Graphic Design (2002, Allworth Press), and Thinking in Type (2005). [Google] [More] ⦿
Born in Ivancice, Moravia (Czechia), in 1860, died in Prague in 1939. Famous for his sleek posters of women at the height of the art nouveau movement. In 1885 he studied at the Munich Academy of Art and then moved to the Academie Julian in Paris. In Paris, he took commissions for illustrations, portraits and decorative projects, but became most famous for his poster designs for plays, especially under the patronage of Sarah Bernhardt in the 1890s. The success of his posters led to a commercial career in decorative design for commercial and advertising products. Mucha also created jewelry designs, and briefly taught art in New York. In 1910, Mucha returned to Prague to work on nationalistic art, including murals, postage stamps, stained glass and bank notes.
Digital fonts that were inspired by Mucha:
Anna Giedrys, who is based in Lidzbark Warminski, Poland, and in Czechia, works as a graphic designer focusing on visual identities, illustrations, and typeface design. She obtained an MA in graphic design and visual communication from the University of Fine Arts in Poznan (Sign and Typography Studio) and graduated as a Master of Arts. During her exchange studies of graphic and fashion design at Vilnius Fine Arts Academy (Lithuania), she fell in love with calligraphy, lettering, and pattern design. Currently, she runs her own studio Ancymonic and collaborates with Rosetta Type Foundry. Google Plus link.
Brno, Czechia-based designer of the inky hand-crafted Mikulka (2015), which was part of her Masters thesis. In 2012, she created the scratchy typeface Ginsberg (2012) and in 2011, she completed work on the medieval font Freising (2011), both at Masaryk University. The precise date of the origin of the Freising Manuscripts cannot be exactly determined; the original text was probably written in the 9th century. They are the first Latin-script continuous text in a Slavic language and the oldest document in Slovene. [Google] [More] ⦿
Czech Fraktur page. It has a lot of information and samples, includes a table (reproduced below), and has a small archive: Gothenburg (WSI), MA-Gotic (Will Software), Magdeburg (Scriptorium), SchwabenAlt-Bold, Diamond-Gothic (Jim Fordyce, 1993), Engrossing (Scriptorium, 1994), Fiorne (WSI), GF-Gesetz (Lorenz Goldnagl, 1999), JGJDrerGothic (Jeffrey Glen Jackson, 1997, based on Albrecht Dürer), OffenbachChancery, Ruritania, Schwabach, WornManuscript (Phillip Andrade, 1999), Suetterlin, MA-Bastarda1 (Will Software), FFraktur1, DSNormalFrakturBold (BfdS, 1997), Old-London, WilhelmKlingsporGotisch-Dfr.
Ariel Laurencio Tacoronte
The designer of the well-known Formata typeface (available at Berthold), Bernd Möllenstädt was born in 1943 in Germany. He has lived in Westfalia and Berlin and now lives in Munich. He studied typesetting and graphic design, and joined the Berthold typefoundry in 1967. In 1968, he became the head of the type design department, and remained head until 1990. Lange was the artistic director there, and when Lange retired in 1990, Möllenstädt became type director.
He designed two strong sans font families for the Berthold Exklusiv Collection, Formata (1984) and Signata (1993). Formata, a popular sans serif face, is the corporate typeface of Postbank, Allianz, VW Skoda and Infratest Burke.
Since 1998, Möllenstädt has worked independently from his own studio in Munich, and continues his association with Berthold as an independent designer. He most recently completed small caps and fractions for Formata, and added the Euro symbol to many typefaces in the Berthold collection.
At Dalton Maag, he was responsible for SkodaSans (2000-2001), a custom font family that may be downloaded here.
Graphic design and type competition in Brno held at regular intervals. In 2000, theinners included Stefan Sagmeister (Grand Prix), Peter Bilak (best design in the type category), and Josef Týfa (special award for life-long contribution to Czech type design and typography). Normally, this is a graphic design competition, but every fourth year, a type competition is added. In 2004, the jury included Frantisek Storm, Stefan Sagmeister and Peter Bilak. [Google] [More] ⦿
Prague-based designer. He created an innovative set of ornamental capitals / icons for Antropofest 2013.
Briefcase (Prague, Czechia) offers original Czech typefaces by designers, who may not wish to set up their own type foundry. Operating as a coop, it complements Brousil's Suitcase Type, which offers more traditional typefaces. Their participants include Tomas Brousil himself, as well as Marek Pistora, Filip Kraus, Jakub Samek, Vojtech Riha, Jan Novak, Ales Najbrt, Petra Docekalova, Radek Sidun, Jana Horackova, and Petr Babak. As of 2015, they published these typeface: BC Alphapipe, BC Dres, BC Falster Grotesk, BC Kakao, BC Liguria, BC Merkur, BC Mikser, BC Motel Sans, BC Motel Slab, BC Pramen Sans, BC Pramen Slab, BC Prkno, BC Rebecca, BC Reflex, BC Reformulate, BC Rezan, BC Steiner, BC Sijan, BC Thomas & Ruhller, BC Trhan, BC Vafle. [Google] [More] ⦿
Czech designer in 1941-1943 at Joh. Wagner of the display roman typeface Pracht, a hookish creature showing lots of anger. Nick Curtis created the cuddly showcard typeface Pracht Antiqua NF (2010), which is a faithful rendering of Pracht Antiqua Schmallfett, designed by Carl Pracht for Norddeutsche Schriftgießerei in 1942. Stefan Hattenbach's Luminance (2002) is an interpretation of Pracht. [Google] [MyFonts] [More] ⦿
Czech font archive: 3rdMan, 3rdMan, AKVALEIR, AardvarkCafe, AardvarkCafe, Adamfont, Adam's-Font, Aeroportal-Bold, Aeroportal-Medium, Aeroportal, Airmole, AirmoleAntique, AirmoleShaded, AirmoleStripe, AmSans, AmSanslight, AmazonCE, Ambitsek, Amerika, AmerikaAlternates, Antigoni, AntigoniBdBold, AntigoniLight, AntigoniMed, Argor-Brujsh-Scaqh, AstronBoy-Italic, AstronBoy, AstronBoyVideo, AstronBoyWonder, AthenaUnicode, BadaBoomBB, BadaBoomCE, Bahamas-Bold, Bahamas, BahamasHeavy, BahamasLight, BaronKuffner, Baveuse, Baveuse3D, BenguiatFrisky, BlueHighway-Bold, BlueHighway, BlueHighwayCondensed, BlueHighwayLinocut, Bohemian-typewriter, Bosanova, Boulder, Brisk-CE, BrokenGhostCE, Brooklyn-Bold, Brooklyn-BoldItalic, Brooklyn-Italic, Brooklyn, Bullpen-Italic, Bullpen, Bullpen3D, CMUBright-Bold, CMUBright-BoldOblique, CMUBright-Oblique, CMUBright-Roman, CMUBright-SemiBold, CMUBright-SemiBoldOblique, CMUConcrete-Bold, CMUConcrete-BoldItalic, CMUConcrete-Italic, CMUConcrete-Roman, CMUSansSerif-Bold, CMUSansSerif-BoldOblique, CMUSansSerif-Oblique, CMUSansSerif, CMUSerif-Bold, CMUSerif-BoldItalic, CMUSerif-BoldNonextended, CMUSerif-BoldSlanted, CMUSerif-Italic, CMUSerif-Roman, CMUSerif-RomanSlanted, CMUTypewriter-BoldItalic, CMUTypewriter-Italic, CMUTypewriter-Light, CMUTypewriter-LightOblique, CMUTypewriter-Oblique, CMUTypewriter-Regular, CMUTypewriterVariable-Italic, CMUTypewriterVariable, Camilla, Cardo, Champagne&Limousines-Bold, Champagne&Limousines-BoldItalic, Champagne&Limousines-Italic, Champagne&Limousines, Champagne&LimousinesThick-Bold, Champagne&LimousinesThick-BoldItalic, Champagne&LimousinesThick-Italic, Champagne&LimousinesThick, ChroniclesofaHero, ChroniclesofaHeroBold, Chrysanthi-Unicode, CirqueDuFreakCE, CopperPot-Bold, CopperPot, DISTInkingBold, DISTInkingRegular, DeiGratia, Desyrel, Engebrechtre-Bold, Engebrechtre-BoldItalic, Engebrechtre-Italic, Engebrechtre, EngebrechtreExpanded-Bold, EngebrechtreExpanded-BoldItalic, EngebrechtreExpanded-Italic, EngebrechtreExpanded, EtBoemieRex, Eurofurencebold, Eurofurencebolditalic, Eurofurenceitalic, Eurofurencelight, Eurofurencelightitalic, Eurofurenceregular, Existence-Light, Existence-Light, Existence-StencilLight, Existence-UnicaseLight, ExpresswayFree, FAFERS-font, FantasticPete, Flatform-Light, France-Bold, France-Bold, France, FutureMillennium, FutureMillenniumBlack, FutureMillenniumItalic, Galette-Medium, Garogier, Geekabyte, Geekabyte2CE, Gemerald, Gentium-Italic, Gentium, GentiumAlt-Italic, GentiumAlt, Ginko, GnuolaneFree, Goodfish-Bold, Goodfish-BoldItalic, Goodfish-Italic, Goodfish, Gotika, GotikaApvalus, GotikaBrokas, GotikaSerifaiA, GotikaSerifaiB, GoudyBookletter1911, GrixelKyrou7Wide, GrixelKyrou7WideBold, GrixelKyrou7WideBoldXtnd, GrixelKyrou7WideXtnd, GrutchHanded, Guanine, GubbenIL, GunnyHandwriting, Gunplay, Gunplay3D, HappyKiller, HauntAOE, HildaSonnenschein-Dingbats, HildaSonnenschein-ExtraCharacters, HildaSonnenschein, IgnisetGlaciesSharp, IgnisetGlaciesSharpBold, IgnisetGlaciesSharpBoldItalic, IgnisetGlaciesSharpItalic, Ikusuteito, Impacted, InfraRed, InfraRedBlack, InfraRedBold, InfraRedExtraBold, InkiCE, Insula, JaneAusten, Junicode-Bold, Junicode-BoldItalic, Junicode-Italic, Junicode-Regular, KabanaBold, KabanaBook, Koala-Bold, Komikazoom, Legendum-Regular, LiberationMono-Bold, LiberationMono-BoldItalic, LiberationMono-Italic, LiberationMono, LiberationSans-Bold, LiberationSans-BoldItalic, LiberationSans-Italic, LiberationSans, LiberationSerif-Bold, LiberationSerif-BoldItalic, LiberationSerif-Italic, LiberationSerif, Linus, Love'sLabour, MPH2BDamase, MaassslicerItalic, Mager-Fat, Mager-FatItalic, Mager-Italic, Mager, Mastodon-Bold, Mastodon, MastodonHairline, Metrolox, Mogul, Monika, MonikaBold, Monofur, Monofuritalic, NegotiateFree, NewBrilliant, OFLGoudyStM-Italic, OFLGoudyStM, OctinCollegeFree, OctinPrisonFree, OctinSportsFree, OctinSpraypaintFree, OctinStencilFree, OctinVintageFree, Pakenham, Phorssa, PlasmaDripBRK, PlasmaDripCE, PlasmaDripEmptyBRK, Pricedown, Prociono-Regular, Promocyja, Promocyja, Propaganda, Pupcat, PykesPeakZero, RexliaFree-Regular, Rina, RingbearerCE, RingbearerMedium, Ritalin-Bold, Ritalin, RitalinExtraBold, RittswoodProfile_6-Bold, RittswoodProfile_6-Regular, RittswoodYoung-Extended, RittswoodYoung-Regular, Sandoval, Sanserifing, SaucyMillionaire, SaucyMillionaire, Scriptina-Alternates, Scriptina-Medium, Scriptina, Share-Regular, Share-Regular, Share-TechMono, Share-TechMono, Share, ShareTechMono, Steelfish-Bold, Steelfish, SteelfishOutline, StillTime, Strenuous, Strenuous3D, Summertime, SummertimeExtraCharacters, SummertimeExtraOblique, SummertimeOblique, Supersoulfighter, Syndrome-X, TacoSalad, TacoSalad, TeamouseVS, Teen-Bold, Teen-BoldItalic, Teen-Italic, Teen, TeenLight-Italic, TeenLight, Thryomanes, ThryomanesBold, ThryomanesBoldItalic, ThryomanesItalic, TimesSansSerif, Tincushion, TripSerifCE-Bold, TripSerifCE-BoldItalic, TripSerifCE-Italic, TripSerifCE-Light, TripSerifCE-LightItalic, TripSerifCE, Tycho'sRecipe, Uni0553, Uni0554, Uni0563, Uni0564, Unifur, Vahika-Bold, Vahika-BoldItalic, Vahika-Italic, Vahika, Vectroid, VelvendaCooler, VelvendaMegablack, VeraHumana95, VeraHumana95Bold, VeraHumana95BoldItalic, VeraHumana95Italic, Vibrocentric-Bold, Vibrocentric-BoldItalic, Vibrocentric-Italic, Vibrocentric, WeenCE, Wintermute, WirWenzlaw, WoskBlurCE, XBOX360, XalTerion, Xenippa, XiBeronne, Xirwena, YoureGone-Italic, YoureGone, Zekton-Bold, Zekton-BoldItalic, Zekton-Italic, Zekton, akaDora, akaDylanCollage, akaDylanOpen, akaDylanPlain, akaFrivolity, akaFrivolity, akaHoggle, akaPotsley, jGaramond-Bold, jGaramond-Italic, jGaramond, kawoszeh, ninifont-regular, px_sans_nouveaux, rittswoodclassic-regular, rittswoodofficelg-regular, skolacekCE, upirpaw, urania_czech. [Google] [More] ⦿
Software and TeX specialist at the University of Bayreuth, Germany, who designed AuriocusKalligraphicus (2004), a calligraphic type 1 handwriting font. In 2006, these fonts were added: Lukas Svatba (originally called AmiciLogo for the group Amici Musicae Antiquae in September 2004, this was changed, after adding Czech and Slovak diacritics for the wedding of Lukas Palatinus and Ludmila Nyvltova in the Spring of 2005), Jana Skrivana. Alternate URL. From the readme file: Each font features oldstyle digits and (machine-generated) boldface and slanted versions. Lukas Svatba is provided in a variant with a long s with the same input convention as in fraktur.sty by Matthias Mühlich. [Google] [More] ⦿
Prague-based graphic designer, typographer and type designer. She was working on Qualtagh in 2010. Born in Paris, she studied design in the UK and briefly worked in Belgium in 2008-2009. [Google] [More] ⦿
Czech Design and Typography (studio experimentalniho design)
Prague-based designer of Bubblegum Font (2012, +Outline, Spatial, BigLine, Line, Normal), CEP (2010, an experimental typeface influenced by in-ear headphones), and Oxalis (2012, highly experimental family).
Czech designer (b. Brno) who graduated in Informatics at the Masaryk University in Brno in 2005, spent a term at the Denmark's Designskole in Copenhagen in 2004 and graduated with distinction from the MA in Typeface Design at the University of Reading in 2007, where he wrote a thesis on his typefaces called Skolar and Surat. Skolar won an award at Paratype K2009. It was designed with scholarly and multilingual publications in mind. See, e.g., Skolar Devanagari.
From 2004 to 2007, he ran his own design studio DAVI, with projects in graphic, web and interface design. Back in Brno, he worked with Tiro Typeworks (Canada) as an associate designer. At ATypI 2008 in St. Petersburg, he spoke about multi-script typography.
His typefaces include
Great fonts for astrology, hieroglyphics, alchemy and the occult, by Toronto's Jan and Denise Koehler, mostly designed between 1993 and 1995. They moved to Litomerice and then Teplice, the Czech Republic, recently. MyFonts sells the fantastic Meso Americano dingbats, Hypnotica, AlchemySymbols (two fonts), BlackMagick, Border Twins (2010), CastlesShields, Curly Jane (2010), Cubista Geometrica (2010: op art), DaggersAlphabet, Dendera (ancient Egyptian Zodiac symbols), Dragons, Eggnog (2010), Fontazia Floradot (2012), Fontazia Papilio (2009), Fontazia Pop62 (2011, dingbats of flowers), Fontazia AquaFlorium (2010, fishtank dingbats), Fontazia Mazzo (2010, vases), Fontazia Stiletto (2011), Fontazia Y3K (2009, aliens), the Hieroglyph family (dingbats, really), Jolly Jester (2010, curly hand), MagiWriting, Meandros (2010, a paperclip design inspired by the Greek Key, or Fret, motif), Phaistos, Pocket Wrench (2010, octagonal), Polka Dot Wrench (2010), PowersofMarduk, Praha Deco (2010, inspired by the Prague art deco movement), the RongoRongo family (Easter Island script), SkeletonAlphabet, Sublimina, Superchunk, WhiteMagick, Yenda (2010, bold and angular).
List of font packages: Aglab, Alchemy Symbols, American Sign Alphabet, Ancient Writings Vol. 1, Ancient Writings Vol. 2, Angelica, The Astrologer Bundle, Astrologer, Aztec Day Signs, Black Magick, Braille Alphabet, Castles&Shields, Celestial Writing, Celtic Astrologer, Certar, Chinese Zodiac, Coptic Alphabet, Daggers Alphabet, Dendera, Dinosauria, Dragons, Egyptian Deities, Enochian Writing, Egypt. Hieroglyphics Vol 1, Egypt. Hieroglyphics Vol 2, Egypt. Hieroglyphics Vol 3, Egypt. Hieroglyphics Vol 4, Futhark, Greco, Hebrew Basic, Hypnotica, Magi Writing, Magick&Mystic, Malachim Writing, Masonic Writing, Maya Day Names, Maya Month Glyphs, Meso Americano, Meso Deko, Morse Code, Old Persian Cuneiform, Passing the River, Phaistos, Pike's Alphabets, Powers of Marduk, Sanskrit Writing, Semaphore Code, Signals&Signs, Skeleton Alphabet, Sublimina, Tengwanda Gothic, Tengwanda Namarie, Theban Alphabet, The Egyptologist, Tolkien Scripts, WhiteMagick, Skeleton Alphabet, Hebrew Basic, Sanskrit Writing. Note: I cannot find an entry for Jan Koehler at MyFonts, where all Deniart fonts are said to have been made by Denise Koehler. [Google] [MyFonts] [More] ⦿
Partner of Jan Koehler in Deniart Systems, which operated from 1993-2009 in Toronto, and then in Litomerice (Czech Republic). Her typefaces include: Skeleton Alphabet, Sanskrit Writing, White Magick Symbols, Theban Alphabet, Tolkien Tengwanda Namarie, Tolkien Tengwanda Gothic, Sublimina, Semaphore, RongoRongo (a system of glyphs discovered in the 19th century on Easter Island), Powers Of Marduk, Phaistos Disk Glyphs, Passing The River, Old Persian Cuneiform (1995), Morse Code, Meso Deko, Maya Month Glyphs, Maya Day Names, Masonic Writing, Malachim Writing, Magi Writing, Hypnotica, Egyptian Hieroglyphics Basic, Egyptian Hieroglyphics - The Egyptologist, Hebrew Basic, Greco (Greek face), Futhark, Enochian Writing, Egyptian Hieroglyphics - Deities, Medieval Dragons, Dinosauria, Egyptian Hieroglyphics - Dendera, Daggers Alphabet, Coptic Alphabet, Chinese Zodiac Symbols, Tolkien Certar, Celtic Astrologer Symbols, Celestial Writing, Castles&Shields, Braille Alpha, Black Magick, Aztec Day Signs, Astrologer Symbols, Angelica, American Sign Alphabet, Alchemy Symbols, Tolkien Aglab, Fontazia AquaFlorium (2010, fish tank dingbats), Snow Crystals (2010, followed by Snow Crystals 2 in 2012), Star Crystals (2010, more snow-like structures but having 8 instead of 6 axes of symmetry), Karika Swirls (2010), Karika Hearts (2010), Karika Encore (2011), Fontazia Chateaux (2011), Fontazia Chateaux Deux (2011), Fontazia Insomnia (2011), 21 Emmerson (2011), 4 Point Greek Fret (2011: labyrinthine), 4 Point Florals (2011), 4 Point Deco (2011), Mykonos (2011, labyrinthine), Harmonics (2011, a zig-zag face), Fontazia Motyl (2011, butterfly dings), Holiday Penguins NF (2011, Christmas dingbats), Fontazia Christmas Tree (2011), Eggs Galoe (2012, Easter egg font), Border Glyphs (2012, hieroglyphic), Fontazia Christmas Baubes (2012), Fontazia Christmas Tree 2 (2013), Karika Hypnotica (2014, hypnotic or kaleidoscopic glyphs), Symcaps Vario X1, Symcaps Vario X2, Symcaps Vario X3 (2016, op-art design). Klingspor link. [Google] [MyFonts] [More] ⦿
Conference to be held from June 16-17, 2004 in Brno, Czechia. This meeting is related to the 21st International Biennale of Graphic Design Brno 2004. [Google] [More] ⦿
Conference held on 22-23 June 2000 in Brno, Czechia, and related to the 19thInternational Biennale of Graphic Design Brno 2000. Speakers included Ales Najbrt (Czechia), Jan Solpera (who spoke about Josef Týfa), and Andrej Krátky (Slovakia). [Google] [More] ⦿
Jan Buchtela (b. 1988, Mariánské Lázné, Czechia) set up Design Komando in Prague in 2014. He created Moniak Sans in 2014 and wrote: Moniak Sans is a linear, humanist sans with a vertical stress axis. Distinctive for its open strokes, Moniak features generally broader typeface proportions to offer excellent readability even at small sizes. [Google] [MyFonts] [More] ⦿
E-a-t (experiment and typography) is a joint Czech and Slovak enterprise that through publications and exhibitions tries to increase the visibility of Czechoslovak type design. Exhibitions in 2004 include Brno and Prague. In 2005, one is planned in Bratislava. Review by Dan Reynolds.
Czech FontStructor who made these fonts in 2009 and 2010: Husi BRK, Baculka (octagonal), Topol (condensed), Krasopis Script, Krasopis (connected upright script), Kyklop (ultra fat deco face), Kolecka (2010, curly face), Dvojlom, Bublifuk, Rozeklany, Robustni, and Nedotazane. In 2011, he created the bilined typeface Svinutek, the octagonal typeface Shishoid, Zapadlo (octagonal), and Puntiky (texture face). [Google] [More] ⦿
Central European font links at Filip Blazek's Czech site. Great jump site for typography in general. Some links are taken from my own pages. Jump page for Polish typography. List of the special Polish characters: A, a, E and e ogonek; C, c, N, n, O, o, S, s, Z, and z acute; Lslash, lslash, Zdotaccent and zdotaccent. [Google] [More] ⦿
Filip Kraus (b. 1986) studied at the Type Design and Typography Studio of the Academy of Arts, Architecture and Design in Prague, class of 2014. His graduation typeface was Exalt. He designed the BC Mikser typeface (2014: monospaced and perhaps a programming font) and several other typefaces, among them the new typeface for Prague street signs. As a graphic designer he collaborates regularly with Jan Novak. Since 2012 he has worked as a teacher at the Michael Secondary School in Prague. His typefaces are published by Briefcase Type. BC Mikser won an award at TDC 2016. [Google] [More] ⦿
Czech graphic designer and typographer from Prague who is currently studying graphic design at the Pilsen College of Art and Design. Creator of the geometric futuristic typeface Matey (2009), the geometric typeface Donator (2010, free), and the architectural print typeface Qart (2009). Behance link. [Google] [More] ⦿
Also Francysk Skaryna, b. 1486 Polazk (white Russia), d. 1541 Prague. First printer in white Russia (Belarussia). Skaryna was one of the first to publish in the Cyrillic alphabet, but not the very first as Oktoikh was published by Schweipolt Fiol in 1491. [Google] [More] ⦿
Austrian art nouveau era painter, 1880-1932, who took the Czech citizenship in 1919. His Viennese Secession poster for the Kaiserjubiläums Möbel Ausstellung (a furniture exhibition during the Kaiser's Jubilee) inspired David Kerkhoff to design Fiebiger Eins (2013) and Fiebiger Zwei (2013). Fiebiger has many traits of the arts & crafts movement. Biography at the University of Magdeburg. [Google] [More] ⦿
Franz Kafka (1883-1924) is one of the most influential fiction writers of the early 20th century; a novelist and writer of short stories whose works, only after his death, came to be regarded as one of the major achievements of 20th century literature. He was born to middle class German-speaking Jewish parents in Prague, Bohemia [now capital of the Czech Republic, but then part of the Austro-Hungarian Empire]. Kafka's work-the novels The Trial (1925), The Castle (1926) and Amerika (1927), as well as short stories including The Metamorphosis (1915) and In the Penal Colony (1914)-is now collectively considered to be among the most original bodies of work in modern Western literature. Much of his work, unfinished at the time of his death, was published posthumously.
He has nothing to do with type design, except for the fact that I use the term Kafkaesque to describe a gloomy, dark and/or illogical style of lettering. Well, not totally true---some people have tried to digitize his handwriting, most notably Julia Sysmalainen in her typefaces Josef K Paneuropean (2015) and Mister K (2008). [Google] [More] ⦿
German scribe and calligrapher (b. Soborten, Czechoslovakia, 1923, d. Wiesbaden, 1982), and designer of several text families, such as Poppl-Fraktur (1986), Poppl-Antiqua, Poppl-College (1981), Poppl-Exquisit (1970), Poppl-Nero (1982, his last face), Poppl-Laudatio (1982; see the clones OPTI Peach (Castcraft) and Poem Lavish (Softmaker)), Poppl-Pontifex (1974), and Poppl-Residenz (1977, classic calligraphy). These typefaces can be bought at Berthold.
Revivals: His neo-gothic typeface Saladin was later digitized and expanded by Patrick Griffin as Lionheart (2006, Canada Type). Hip Hop NF (2007) is a bouncy retro typeface based on Friedrich Poppl's Dynamische Antiqua (1960, Stempel). Elfort (2009, Iza W, Intellecta Design) is a calligraphic revival of work by Poppl. Poppl Stretto (1969) was at the basis of a revival by Canada Type called Wonder Brush (2012, Kevin Allan King and Patrick Griffin).
Zdenek Gromnica is a Czech type designer (b. 1989, Olomouc). He set up Future Millennium.
Creator of Ignis et Glacies -Sharp- (2006, a futuristic sans caps face), Infrared (2006), Xaligraphy, XaligraphyBold, XaligraphyBoldItalic, XaligraphyItalic, XaligraphyThin, XaligraphyThinItalic (2006, semi-calligraphic family), InfraRed (2006), FutureMillennium (2006, sans---caps only), Elemental End (2010, sans), Memoria Vestri (2010, hand-printed), Not Just Groovy (2011), Jolana (2012), Pixel Millennium (2012, pixel face), Dominik (2012, sans), and Groovy Fast (2009, sans headline face).
Graduate of Masaryk University in Brno, Czechia, class od 2013. Brno-based graphic artist who created a blackletter typeface in 2011 at Masaryk University that is based on lettering in the Krems Bible (1333/1334, Austria). In 2015, he published the splendid handwriting font Linkingabo. Behance link. [Google] [More] ⦿
Gilberto Moya Perona
Czech state type foundry (est. 1951) from the communist era at which Josef Týfa, Oldrich Menhart and Rudolf Ruzicka worked for some time. Týfova Antikva (1959, inspired by the work of architect P.L. Nervi) by Josef Týfa later became Tyfa Text (and ITC Tyfa, 1998). Frantisek Storm made a version of it under Týfa's supervision. Menhart published typefaces such as Grazdanka (1953). An unknown designer made Universal Grotesk in 1951. This typeface was used for road signs in Czechoslovakia. [Google] [MyFonts] [More] ⦿
Jan Horcik (Heavyweight, Prague, Czechia, est. 2014) created the street art semi-graffiti typeface Joe182 (2014), which is based on a thick chisel-tip marker. Joe182 was named after lettering seen in the streets of New York City in the 1970s and 80s. He also made the thin display typeface Atlantic and the nibbed pen typeface Oasis (2016). [Google] [MyFonts] [More] ⦿
Designer (b. 1911, See bei Niesky (Sachsen), d. 1979, Leipzig) at Typoart in 1955-1959 of the garalde typeface Tschörtner-Antiqua. This family became very popular as a workhorse in the DDR. This was digitized in three optical weights as GTF Toshna (2007-2008, German Type Foundry) by Andreas Seidel (see also here). Tschörtner was a book and graphic designer, who worked as a graphic artist for the Feutsche Theater in Reichenberg, Czechia (1932-1938) and at the graphic design agency G. Rebner&Co. in Leipzig (1938). He joined the military in 1940. After the war, he made book covers and typographic greeting cards. Thanks to Horst Erich Wolter he started work in 1955 on Tschörtner-Antiqua. After that, he worked for publishers such as Insel, Kippenberg, List, Neumann and Edition. In 1973, the city of Leipzig gave him the Gutenberg Prize. MyFonts link. Biography. [Google] [MyFonts] [More] ⦿
Illustrator and book designer (b. 1880, Prague, d. 1945, New York). He became German in 1907. From 1907 until 1933, he was professor of graphics at the Staatlichen Akademie fü Graphische Künste und Buchgewerbe in Leipzig. He fled Germany in 1933 and after a long voyage, ended up in the USA, where he died. Blackletter typefaces designed by him include Steiner-Prag-Schrift (1912, Genzsch&Heyse), Batarde (Bauersche Giesserei, 1916). Some of his work is archived at the Department of Rare Books and Special Collections of the Princeton University Library. [Google] [More] ⦿
Ilya Gromov (Prague) created the display typeface Hip Slab (2011-2013).
All the fonts below were converted from Metafont into type 1 by Karel Piska in 2005-2006 using his own tools, METAPOST, FontForge and t1utils. Karel Piska is with the Institute of Physics, Academy of Sciences, Prague.
Inky Otter Design (was: Rokus Media)
Czech type designer (b. 1955, Prague) who studied at the Academy of Arts, Architecture and Design under the direction of Prof. Milan Hegar and Jan Solpera. Since 1994 Ivana Koudelková is working as a designer for URW++. She did numerous font localizations as well as creating Greek, Cyrillic and Devanagari alphabets for several hundred fonts. She is associated with Profonts as well.
Prague-based designer who made his first typeface in 2011, a monoline sans. He also made the multilined connected script typefaces Andante (2011) and Forte (2011), and the micture-of-two-thicknesses typeface VKUS (2011).
In 2013, he published Publikum Book, which is inspired by Public (1956, Stanislav Marso), a typeface that was very popular in Czech newspapers, books and magazines. [A related typeface is Tomas Brousil's RePublic Text, 2003.] At the end of 2013, in cooperation with Georg Seifert (creator of Glyphs app) in Usti nad Labem, Czech Republic, Jakub designed Georg.
Jakub Samek (b. 1988) studied at the Art High School of Vaclav Hollar and now continues his studies at the Studio of Typography at the Academy of Arts, Architecture and Design in Prague. He is a co-founder of studio Mütanta (2011). At Briefcase Type, he published the monospace typeface BC Reformulate (2014). [Google] [More] ⦿
Jan Buble (b. 1989, Prague, Czechia) set up his own Typefoundry in 2014. His first commercial typeface, Abnormal (2014), is a slightly quirky almost-monoline sans. It is instantly recognizable by its daring reverse contrast. [Google] [MyFonts] [More] ⦿
Jan Charvat studied electrical engineering and computer graphic programming at Prague University. set up his own commercial typefoundry in Czechia in 2014. In 2014, he published Globe Grotesk Display, a sans typeface family inspired by Universal Grotesk (1951, Grafotechna). It is contemporary in some design elements (an organic b and a handicapped g spring to mind), yet it has inktraps and other features that hearken back to the era of print. In 2015, he created the poster typeface Velodrama. He currently works for Monotype in Bad Homburg as a font engineer. Speaker at ATypI 2016 in Warsaw on Capital additions to Georgian typography. [Google] [MyFonts] [More] ⦿
Jan Hus (1370-1415) introduced the principle of a diacritic (in his case, a dot above some letters) in his "Orthographia Bohemia" (1406-1412). This work became the basis for modern Czech typography. Hus was burnt at the stake in Konstanz, but not because of his typographic convictions. [Google] [More] ⦿
Jan Hýsek is the owner of Lege.cz. He wrote several texts on typography now published at Lege.cz, which is an internet bookshop with a special focus on typography. Hýsek is a writer, photographer, poet, bookseller, musician and computer specialist. The name Martin Manis is an alias. [Google] [More] ⦿
Czech designer of Skvär (2013), an angular serifed typeface developed during Typeclinic 6 and Typeclinic 7 in 2013. In 2014, he continued the development of Skvaer. At Typeclinic 2015, Skvaer was perfected. During Typeclinic 11th International Type Design Workshop, he created the Latin / Cyrillic / Greek typeface Queen (2015). [Google] [More] ⦿
Jan Novak (b. 1989) studied at the Academy of Arts, Architecture and Design in Prague, and at the Zürcher Hochschule der Künste in Switzerland. His typefaces (like the award-winning Falster Grotesk, 2014 and Liguria, 2014) are published by Briefcase Type. [Google] [More] ⦿
Born in Prague in 1949, Jan Schmoeger emigrated to Australia in 1980, and is a book designer in Mentone, Victoria. Creator of the rounded octagonal headline sans typefaces Paragraph (2007, Paragraph), Paragraph Stretch (2011, Paragraph; a unicase effect Porsche-look family), Bentwood (2008, Paragraph), Circula (2010, a geometric caps-only sans based on arcs), Diagond (2010, organic), Mentone (2008, Paragraph, along the lines of Frutiger/Myriad), ParaCaps (2008, Paragraph, geometric caps), Galette (2008, 6 styles of a screen sans with hint of art nouveau, originally called Alfons but renamed), Tertre (2009, octagonal, based on French signage; Tertre Extra Bold is free), Tenby Eight, Seven, Six, Five and Four (2008, Paragraph, squarish geometric display sans series), Tenby Stencil (2011), Springsteel (2009, Paragraph, a tense sans serif), Springsteel Extreme (2011), Springsteel Serif (2011) and Paperclip (2007, Paragraph).
Karlovy Vary, Czechia-based designer of Rodak (2014, a rounded sans typeface) and Maturia (2014, an ink-trapped school project typeface family that was influenced by Rathousky's Metron). [Google] [More] ⦿
Czech designer (b. 1939, Jindrichove Hradci) went to the Art School in Prague (1954-1958) and the Academy of Art, Architecture and Design in Prague (or: School of Applied Arts) (1959-1965). From 1973 until 2003, he taught at that academy, and headed the Font Studio at the School of Applied Arts. His best-known student was Frantisek Storm. His typefaces:
At the ATypI in Prague, Frantisek Storm said about Jan Solpera: Solpera always plays with the alternates. At that meeting, Storm described Solpera as a precise and patient man, who insisted on having many alternates (in his types). Klingspor link. [Google] [MyFonts] [More] ⦿
Graphic designer from Hradec Kralove, Czech Republic. Behance link. He created a groovy smoky hazy all caps alphabet in 2009. In 2010, he followed that up with a stitching font and with Suche Hrdlo, an Escher trompe l'oeuil typeface. [Google] [More] ⦿
Designer of the paper-fold logotype Fontai (2009), Average (2012, an averaged typeface), Architekti (2009, headline face), and the logo typefaces Kruzynski (2009) and Candy Cane O (2009). He does identity and branding in Prague. [Google] [More] ⦿
Jana Horackova (b. 1962) studied at the Type and Book Culture department of the Academy of Arts, Architecture and Design in Prague. During her studies, she participated in an internship at the Nottingham Polytechnic University, focusing on digital font processing. She is currently involved in research work among tribal communities of the Alto Purus river basin in Amazonia, where she she is studying medicinal and ritual herbs as part of her doctorate studies.
Designer of the uncial/blackletter typeface Rebeka, which is based on 13th century Italian bastarda scripts. Read its review by Dan Reynolds. We find it published in 2014 at Briefcace Type as BC Rebecca. [Google] [More] ⦿
Czech art historian and author of Avant-Garde Page Design 1900-1950 (Delano Greenidge Editions, 2002). This book presents a comprehensive visual lexicon of early 20th-century page design. Illustrations include designs by Pablo Picasso, Henri Matisse, Wassily Kandinsky, Marcel Duchamp, Aleksandr Rodchenko, Lázló Moholy-Nagy, El Lissitzky, and Jan Tschichold. [Google] [More] ⦿
Jaroslav „Dero“ Polakovic
Czech type designer. Creator of a rather clumsy typeface in 1923 that exhibits quite a few irregularities. Image from Veronika Burian's thesis. In 2014, Petra Docekalova wrote a thesis about Jaroslav Benda. [Google] [More] ⦿
Czech graphic designer based in Hradec Kralove. Creator of the condensed blackletter font Future Combat (2012).
Jiří Novák (b. 1973) is the Czech FontStructor whose fonts in 2011 include Repropolis, Cyklopilot (a nice Peignotian face), Duotwin (De Stijl stencil face), Polystereon (counterless, octagonal), Plexilesk (square stencil), Naocetka (pixelish), Motodidakt (pixelish), Kultivar (stencil), Autogramot, and Uradia (octagonal). In 2012, he made Sadorost and Rototuc (stencil face). In 2013, he created PolystereonAB2416 and PolystereonAD2416, In 2015, he published MuratoporAA24, MandatetrinkaAC60 and MandatetrinkaAA60. [Google] [More] ⦿
Czech poster artist and graphic designer, 1924-2003. Postage stamp engraver. He did the design work, including the typography, for the subway system in Prague. MyFonts writes about Metron: Metron by Jiri Rathousky is so far the most ambitious typeface made to order in the Czech Republic. Despite the fact that for a number of years it has not been used for the purpose for which it was designed, every inhabitant of Prague is still well aware of its typical features. Metron was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. The typeface was replaced in 1986 by Helvetica, something that clearly puzzled Storm. In 2003, Rathousky contacted Storm to digitize Metron, but he died that same year. Metron was digitized by Frantisek Storm and Marek Pistora (Storm Foundry) in 2004. [Google] [MyFonts] [More] ⦿
Designer in Opava, Czech Republic. Graduate of the Typemedia program at KABK, class of 2016. Jitka created these typefaces:
Czech illustrator, painter and writer. Hrusice, 1887, d. Prague, 1957. He was a newspaper caricaturist. Lada produced nearly 600 cartoons of the Svejk characters, depicting Austria-Hungary officers and civil servants as incompetent, abusive and often drunk [Svejk is the main character in Jaroslav Hasek's World War One novel The Good Soldier Svejk].
Czech designer (b. 1913, Nachod Beloves, d. 2007) who lived and worked in Prague. Before the Second World War, he designed advertisements for Bata, Prazdroj, Thymolin and others. He later started to design the graphic elements of signs and fonts. FontShop link. Czech postage stamp designed by him in 1965. Týfa lived and worked in Prague. Before the Second World War, he designed advertisements for Bata, Prazdroj, Thymolin and others. He later started to design the graphic elements of signs and fonts. His typefaces:
Joseph Maria Olbrich (b. 1867, Troppau, Austria, which today is Opava in the Czech Republic; d. Düsseldorf, Germany, 1908, from leukemia) was an Austrian architect, and co-founder of the Vienna Secession artistic group, which was formed in 1897 by a number of Austrian painters, sculptors, and architects who had resigned from the Association of Austrian Artists, including Gustav Klimt, Koloman Moser, Josef Hoffmann, Joseph Maria Olbrich himself, Max Kurzweil, Otto Wagner, and others. His architectural works, especially his exhibition buildings for the Vienna and Darmstadt Secessions, have had a strong influence on the development of the Art Nouveau Style. Like most architects of that period, he drew several alphabets, such as these Modern German capitals.
Jozef Ondrik (b. 1988, Ruzomberok, Slovakia) studied at the School of Applied Arts in Slovakia and at the Graphic Design and Typography Department of Tomas Bata University in Zlin (Czech Republic). He currently lives in Prague. He created Paper Font and Merian CC (2011, an outline typeface done with Radim Pesko). [Google] [More] ⦿
Czech design studio in Prague, and publisher of "Font" (in Czech): Od roku 1991 vydáváme odborný èasopis Font, toho èasu jediný specializovaný èasopis v ÈR zamìøený na grafiku, písmo, typografii, pre-press, reklamní praxi atd. Mezi odbìratele patøí vìtina tuzemských grafických studií, výtvarníkù a reklamních agentur. [Google] [More] ⦿
Czech designer and book artist (1876-1949). Director of the state press Statni Tiskarna. Author of these books: Typograf o Knihach (1925, Druhé Vydani, Bydal Spolek Typografia, Prague: the 1925 version is the second edition; the first edition was privately published in a very limited edition in 1911 by Dyrynk himself), Rules of Typesetting (Pravidla sazby), The Book Beautiful (Krasna Kniha).
Typefaces include Dyrynk Lateinschrift (1928, A. Gregr typefoundry---Dyrynkova Latinka in Czech; Burian mentions that it is from 1930), Malostranska Antiqua (1927), Malostranska Italic (1928), Gregr Roman (1930), Gregr Italic (1931), Otakar Brezina (1946, Statni Tiskarna), Biblicke pismo (1933, unpublished), Konupek Italic (1946, unpublished), and a set of pictograms (1933, Statni Tiskarna).
Karel Piska works at the Institute of Physics, Academy of Sciences, Prague, and specializes in Neo-Assyrian Cuneiform fonts covering also Akkasdian, Ugaritic and Old persian. There, he designed these fonts from 1999-2003 (free downloads): NAOldPersianAcadBFType1, NAOldPersianAcademicType1, NAOldPersianClassicType1, NAUgariticAcadBFType1, NAUgariticAcademicType1, NAUgariticClassicType1, NeoAssyrianAcadBFType1a, NeoAssyrianAcadBFType1b, NeoAssyrianAcadBFType1c, NeoAssyrianAcademicType1a, NeoAssyrianAcademicType1b, NeoAssyrianAcademicType1c, NeoAssyrianClassicType1a, NeoAssyrianClassicType1b, NeoAssyrianClassicType1c. Free metafonts of his include Syllabary A No. 56A (additional cuneiform signs), The page also has a rare metafont triple called "cunmfa", "cunmfb" and "cummfc" by Jo Grant (1992). He wrote "Fonts for Neo-Assysian Cuneiform," Proceedings of the EuroTeX Conference, Heidelberg, Germany, September 20-24, 1999, Günter Partosch andi Gerhard Wilhelms eds, Giessen, Augsburg, 1999, pp. 142-154. At TUG 2005 he spoke on the conversion of Metafont fonts to outline fonts using Metapost. After theoretical conversion, the FontForge font editor is used for removing overlap, simplification, rounding to integer, autohinting, generating outline fonts, and necessary manual modifications. [Google] [More] ⦿
Type designer, book illustrator, painter and graphic designer, b. 1896, Heiligenberg bei Olmütz, d. 1986, Prague. Graduate of the Hochschule für Kunsthandwerk in Prague. Later he taught at this school.
In 1925, he created Svolinsky Antiqua which was used in K.H. Macha's book May. One size was cast by the Prague printing house Prumyslova Tiskarna. This high-contrast display typeface borrows ideas from the didones. Wenceslas Script was published in 1933 by Monotype. Finally, the also made an unpublished Grotesk in 1943. [Google] [More] ⦿
Czech designer (b. 1970) who created Hovado (1995) and the poster lettering typeface Excholer (1995, for Zivel magazine). With Petr Krejzek, she founded ReDesign in 1999. She is involved in identity design and as such, creates logotypes. In 1992, Klara Kvizova and Jan Solpera copublished the booklet Teimer's antiqua - a design of modern type roman and italics. [Google] [More] ⦿
Kolektiv studio is a Prague based, multi-disciplinary design studio founded by Lukas Kijonka and Michal Krul. They designed the monospaced sans typeface Mono Dinner Pro (2013) and the experimental typefaces X (2015), Meetfactory (2012) and Width (2012).
La Mère Noelle
Steven Heller writes this about this Czech designer who was born in Pilsen in 1897, went on to become professor at UMPREM in Prague in 1923, emigrated to the United States in 1939, and died in 1976 in New York: Ladislav Sutnar was a progenitor of the current practice of information graphics, the lighter of a torch that is carried today by Edward Tufte and Richard Saul Wurman, among others. For a wide range of American businesses, Sutnar developed graphic systems that clarified vast amounts of complex information, transforming business data into digestible units. He was the man responsible for putting the parentheses around American telephone area-code numbers when they were first introduced. [...] Overshadowed by two contemporaries, El Lissitsky and Moholy-Nagy, Sutnar is a relatively unsung leader of Modern objective typography. Yet he was a household name in Prague. Exhibition about his work in Prague (2003).
In 2013, Tomas Brousil created the roundish sans family Ladislav. He writes: The Ladislav font revitalises Sutnar's legacy, while not explicitly copying any of his original fonts. It however keeps true to their technicist character and initial principles of character creation - a simple modular system of combined geometrical segments. This approach affects all round shapes of capital and lowercase letters, as well as the shapes of the majority of numbers.
Lengua Mongola (was: Vocabulario Mongol)
Ariel Laurencio's great Mongol language page. He has some links to other Mongol language pages. His page also has the Cyrillic Mongol font Ch Opus (1992, Andrejs Grinbergs, Tilde Ltd) and the Mongol transliteration font Galig (1990, by Akira Kamimura). [Google] [More] ⦿
Czech creator of Lenka Stabilo (2012, OFL: hand-printed).
Letterhead Studio VV Fonts
Letterhead Studio is located in Moscow. One of its designers is Vsevolod Vlasenko (b. 1981), who graduated from Stroganov Moscow State University of Arts and Industry, Master of Design program, in 2005. He is currently located in Prague, where he is senior designer at Live Ocean.
He created the typefaces Dreamland Roman (curly letters), Unhooked Roman and Johnny The Hook Roman in 2008-2009. In 2010, he made the playful didone Bookvarium. Insomnia (2007) is a slightly curly almost upright script.
Typefaces from 2015: Light Dreams (hyper-curly floriated font).
Czech site with helpful tables of all Latin and Slavic alphabets. Downloadable fonts made by Libor Sztemon in 2001 for his software, Liborsoft, include CNR-Solca, Casy-EA-Bold (a didone), Casy-EA, Darseni-e-Afshenasi, Dee-Sathairn, Euransi-e-Nauromane, FZDHTJW--GB1-0, FZHLJW--GB1-0, GaramondWLHalbfett, Havirov, Johaansi-ye-Peyravi (blackletter), Khorshide_Iran, LiborsoftInternational, LinguaLatina, Masnavi-e-Nauromane, OldMoravianGlagolitic, Ostrava (a copy of Flyer), PrydEuro-Cymraeg, Shahanshah-e-Xatt, TNRLiboriusVII, TempsEuro-Catalan, Times-NR-Czech, Times-NR-Greenlandic, Times-of-EuransiLS, Times-of-SlaviskPSMT, Times-of-Slavs, Times-of-Tajiki, Times-of-the-West, TimesNREuskaraEuransiEsperanto, TimesNewRomanHungarian, Velehrad, VelehradBold, Zemanho-ye-Darseni, Ardashir-e-Urofarsi, Daftar-e-Urofarsi, Gam-e-Urofarsi, Jahan-e-Urofarsi, BohemiaLS, BohemiaPS-BoldLS, BohemiaPS-BoldItalicLS, BohemiaPS-ItalicLS, LiborsoftCzechia, MoraviaLS, Moravia-BoldLS, Moravia-BoldItalicLS, Moravia-ItalicLS, SilesiaLS, SilesiaPS-BoldLS, SilesiaPS-BoldItalicLS, LiborsoftSilesiaPS-ItalicLS, Miyane-ye-Urofarsi (Liborsoft), Name-ye-Urofarsi, Parvane-ye-Urofarsi, Peyk-e-Urofarsi, Sadsale-ye-Urofarsi, ahpur-e-Urofarsi, Setare-ye-Urofarsi, Siyah-e-Urofarsi, Times of Tajiki, Tarik-e-Urofarsi, Zeman-e-Darseni, Zaman-e-Urofarsi, TimesNREuskaraEuransiEsperanto, Friulan Nazzi-Faggin (2001, a didone). Another directory. [Google] [More] ⦿
Lost at Sea Co
Prague-based creator of the hand-crafted spurred vintage typeface Vienna Hotel (2015), the spurred hand-crafted El Capitan (2015), and the Victorian typeface Fiero Rough (2015). He also made Apparel Icons (2015). Behance link. Creative Market link. [Google] [More] ⦿
Graphic designer in Brno, Czechia. He made the striped vector format font Candy Type (215), and a wonderful coloful decorative caps alphabet called Flat Alphabet (2015) and the equally interesting Circular Stamp Retro Vector Type and Circular Stamp Marine Vector Icons. Creative Market link. [Google] [More] ⦿
Czech designer of the grunge monospace font Urania Czech (2006) and of the didone numbers-only font Stöhr Numbers (2006). In 2009, he made the old typewriter typeface Bohemian Typewriter (based on the Czech Remagg typewriter). In 2010, that was followed by another typewriter font, USIS 1949, which was based on United States Information Service reports from 1949.
In 2012, he made the old typewriter typeface Albertsthal Typewriter.
In 2014, he made Hermes 1943 (old typewriter font), Susanne Nouveau, Modern Typewriter and Elegant Typewriter.
Idea and identity designer in Prague. The LK font (2011) is an exclusive purely geometric typeface designed by graphic designer Lumír Kajnar in collaboration with Lars Kemper: The layout of the LK font was inspired by the styles of modern typographers from the first part of the 20th century (DeStijl movement, Theo van Doesburg typeface 1919). [Google] [More] ⦿
Czech type designer, b. 1973, who studied at the Academy of Arts, Architecture and Design in Prague. At ATypI 2004 in Prague, he spoke about the history of Czech type. With Frantisek Storm, he created the digital version in 2004 of Metron. MyFonts writes: Metron by Jiri Rathousky is so far the most ambitious typeface made to order in the Czech Republic. Despite the fact that for a number of years it has not been used for the purpose for which it was designed, every inhabitant of Prague is still well aware of its typical features. Metron was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. Other typefaces: Spectrum, Reflex BPM (2001), Wafle Two, Wafle Stencil, Dot, Teg, Sutnar, Merkur (published at Suitcase Type Foundry, this typeface was based on letters of a metal toy kit), Plastik, Vitalana, Propag, Vafle (1997, extended in 2006 by Thomas Brousil at Suitcase Type Foundry; the typeface originated from the digitisation of an insignia found on Luftwaffe airplanes, where it originally would have conformed to some Deutsche Industrie-Norm. They write: Vafle is soulless, purely utilitarian, plain. Two versions were created---Vafle round and angular), Recorder, Micro.
In 2014, he published Meridianus Sans and Serif (based on sketches of Rotislav Vanek) at Signature Type Foundry. Reflex, Merkur and Vafle were also published by Briefcase Type. [Google] [MyFonts] [More] ⦿
Graduate from the type design program at the University of Reading in 2010. Marian designed Timeline for his thesis. Timeline is a full family with serif, sans and Arabic subfamilies. It is intended for information design---the serif is kept uncomplicated while the sans and Arabic are basically monoline styles.
Marian has both a Polish and a Czech background. With Tomek Bersz, he runs a studio in Warsaw. In 2015, she co-authored a book on the cultural history of Polish type design with Agata Szydloska. Speaker at ATypI 2016 in Warsaw. [Google] [More] ⦿
Czech graphic designer. During Typeclinic 11th International Type Design Workshop, she created the organic typeface Tulsia (2015). [Google] [More] ⦿
Graphic designer in Litomerice, Czech Republic. Behance link. He created Grideater (2011) based on the grid design that characterizes the work of Wim Crouwel and so many others. Grideater has many weights that were designed together, as a whole. The design is modular and octagonal, and consists of Grideater Stencil and Grideater Semiround in various weights. [Google] [More] ⦿
Czech designer (b. 1997) of the free pixel typefaces Super Glue (2015), Black and White (2015), Hakelgraph (2015), Pixel Grafiti (2015), Pixel Point (2015), Crazy Creation (2015), Pixeleris (2015) and The Fozderien (2015). He also made the hairline typeface Slim Slim (2015) and A2 Script (2015). Many of his fonts are made with FontStruct. [Google] [More] ⦿
Matej Kaspar Jirásek
His web page in in Slovakia, but his body is in Brno (and before that, Prague). This graphic designer created the fat rounded typeface Rusalka (2011), Dargov Grotesk (2015), Inter Grotesk (2015), Helios Serif (2015), Neu Neon (2015), Boris Serif (2015), Burza Display (2015) and Deci Display (2015, inline style). [Google] [More] ⦿
Matt Frost Type is located in Madison, WI. Matt designed some fonts at Chank's place, including Cowboy Rhumbahaut (2000), a take on a mid 19-th century ornamental face. His home page. In 2011, he set up Matt Frost Foundry.
His commercial typefaces include
Czech creator of the old typewriter font Psacstroj (2011), Rifle 1 (2012, a wooden plank typeface), Willy 2 (2011, hand-printed), Ozzy 2 (2011, grunge blackletter face), and Mucha (2011, art nouveau).
In 2013, the dot matrix typeface family PlDvl was created.
Czech site with several free fonts developed in a mathematically precise manner:
Freelance graphic designer based in Prague. In June 2010, she graduated from the Prague College with a degree in Graphic Design. Behance link.
Necrocock in a Czech death metal group formed in 1992 that revels in perversity, burials and cremations. For some reason, unknown to the author, necrocock is also a tag word in typeface classification used to describe legible sans (or oddly serifed) typefaces that are a bit bumpy or shifty, as if spooked by glyph ghosts. Examples include Hubert Jocham's Versa Sans and Verse Serif, Vlad Viperov's Markofontina (2014), Richard Yeend's Burgstaedt Antiqua, ITC Biblon, Monotype's Buccardi, Tipotype's Sedan, and a large portion of Frantisek Storm's typefaces, who as a death metal activist himself, must be considered as the main representative of this genre. Storm's typefaces in this style include Academica, AndulkaSans, AnselmSans, AnselmSerif, DynaGrotesk-2014, Farao, Hercules, JannonSans, JohnSans, LexonGothic, Mediaeval, SebastianPro, and Serapion. [Google] [More] ⦿
Nikola Klimova (Rajec-Jestrebi, Czechia) set up the Nikola Klimova Typefoundry in Prague in 2014. Slurm (2014) is a set of hand-printed typefaces: Slurm is a hand-drawn fun font that is ideal for use in headlines, descriptions and logotypes used in product design and similar applications. [Google] [MyFonts] [More] ⦿
Baltimore, Maryland-based designer of Frimbo (2004) and Frimbo Serif (2004). He also made the wonderful Preissig-Antikva influenced NsfBook, the sans typeface Nisamuel Sans (2005), KisbefeSans (2005), FineGold (2005), Kisbefe2 (2005) and the handwriting typeface ASLetters (2005). [Google] [More] ⦿
Czech type designer. Author of "A book of Type and Design" (English Language version of "TYPOGRAFICKÁ PÍSMA LATINKOVA", published by the State Office of Technical Literature, Prague, 1957), Tudor Publishing, New York, 1960. [Google] [More] ⦿
Czech type designer (b. Prague 1897, d. Prague 1962) who was mainly active at Grafotechna, a state foundry in Prague. Menhart was also an author who wrote about type and its history. After the World War II, he helped the communist party to promote itself. He was the author of fonts celebrating the victory of communism in hand-written manifests. Menhart considered himself foremost as a craftsman, and derived typefaces from calligraphic origins. Author of Nauka o pismu (1954) and Tvorba typografickeho pisma (1957). PDF file of Nauka o Pismu.
Koprivnice, Czechia-based designer, b. 1989, Bilovec, Czechia. His typefaces include Trendy Roma (2012, sans and slab), Steelovy (2011, art deco prismatic typeface), Inspiration (2011, a thin architectural typeface), and Spock (2011, modular, logical, and mini-slabbed). In 2014, he set up his own typefoundry. In 2014, Ondrej created Zirkel, a geometric sans in 16 weights.
Or Ottokar Karlas. Type designer (b. Prague, 1965) at Storm Type in Czechia, who co-designed the 25-weight Preissig font family in 1998 with Frantisek Storm, after work by Vojtech Preissig. He is an independent typographer and teaches at the Academy of Arts, Architecture and Design in Prague. At ATypI 2004 in Prague, he spoke about the history of Czech type. [Google] [MyFonts] [More] ⦿
P22 Type Foundry
Richard Kegler's fun Buffalo-based foundry, which he founded in 1995 together with his wife, Carima El-Behairy. Currently, on staff, we find type designers James Grieshaber and Christina Torre. In 2004, it acquired Lanston Type. P22 has some great unusual, often artsy, fonts.
The fonts are: Industrial Design (an industrial look font based on letters drawn by Joseph Sinel in the 1920s---this font is free!), LTC Jefferson Gothic Obliquie (2005, free), Sinel (free), P22Snowflakes (2003, free), Acropolis Now (1995, a Greek simulation typeface done with Michael Want), P22 Albers (1995; based on alphabets of Josef Albers made between 1920 and 1933 in the Bauhaus mold), Arts and Crafts (based on lettering of Dard Hunter, early 1900s, as it appeared in Roycroft books), Ambient, Aries (2004, based on Goudy's Aries), Arts and Crafts ornaments, Atomica, Bagaglio, Bauhaus (Bauhaus fonts based on the lettering of Herbert Bayer), Bifur (2004, Richard Kegler, after the 1929 original by Cassandre), Blackout, P22 Brass Script Pro (2009, Richard Kegler; based on an incomplete script fond in a booklet from Dornemann&Co. of Magdeburg Germany, ca. 1910 entitled Messingschriften für Handvergoldung; for years, P22 and MyFonts claimed that Michael Clark codesigned this, but Michael does not want any credit, as he did only about 20 letters), Cage (based on handwriting and sketches of the American experimental composer John Cage), P22 Casual Script (2011, Richard Kegler, a digitization of letters by sign painter B. Boley, shown in Sign of the Times Magazine), Cezanne (Paul Cezanne's handwriting, and some imagery; made for the Philadelphia Museum of Art), Child's Play, Child's Play Animals, Child's Play Blocks, Constructivist (Soviet style lettering emulating the work of Rodchenko and Popova), Constructivist extras, Czech Modernist (based on the design work of Czech artist Vojtech Preissig in the 20s and 30s), Daddy-o (Daddy-o Beatsville was done in 1998 with Peter Reiling), Daddy-o junkie, Da Vinci, Destijl (1995, after the Dutch DeStijl movement, 1917-1931, with Piet Mondrian inspired dingbats; weights include Extras, P22 Monet Impressionist (1999), Regular and Tall), Dinosaur, Eaglefeather, Escher (based on the lettering and artwork of M.C. Escher), FLLWExhibition, FLLW Terracotta, Folk Art (based on the work of German settlers in Pennsylvania), Il futurismo (after Italian Futurism, 1908-1943), Woodtype (two Tuscan fonts and two dingbats, 2004), P22 Woodcut (1996, Richard Kegler: based on the lettering carved out in wood by German expressionists such as Heckel and Kirchner), , Garamouche (2004, +P22 Garamouche Ornaments; all codesigned with James Grieshaber), GD&T, Hieroglyphic, P22 Infestia (1995), Insectile, Kane, Kells (1996, a totally Celtic family, based on the Book of Kells, 9th century; the P22 Kells Round was designed with David Setlik), Koch Signs (astrological, Christian, medieval and runic iconography from Rudolf Koch's The Book of Signs), P22 Koch Nueland (2000), Larkin (2005, Richard Kegler, 1900-style semi-blackletter), London Underground (Edward Johnston's 1916 typeface, produced in an exclusive arrangement with the London Transport Museum; digitized by Kegler in 1997, and extended to 21 styles in 2007 by him as P22 Underground Pro, which includes Cyrillic and Greek and hairline weights), Pan-Am, Parrish, Platten (Richard Kegler; revised in 2008 by Colin Kahn as P22 Platten Neu; based on lettering found in German fountain pen practice books from the 1920s), Preissig, Prehistoric Pals, Petroglyphs, Rodin / Michelangelo, Stanyan Eros (2003, Richard Kegler), Stanyan Autumn (2004, based on a casual hand lettering text created by Anthony Goldschmidt for the deluxe 1969 edition of the book "...and autumn came" by Rod McKuen; typeface by Richard Kegler), Vienna, Vienna Round, Vincent (based on the work of Vincent Van Gogh), Way out West. Now also Art Nouveau Bistro, Art Nouveau Cafe and the beautiful ornamental font Art Nouveau Extras (all three by Christina Torre, 2001), the handwriting family Hopper (Edward, Josephine, Sketches, based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art), Basala (by Hajime Kawakami), Cusp (by James Grieshaber), P22 Dearest (calligraphic, by Christina Torre), Dwiggins (by Richard Kegler), Dyrynk Roman and Italic (2004, Richard Kegler, after work by Czech book artist Karel Dyrynk), Gothic Gothic (by James Grieshaber), La Danse (by Gábor Kóthay;), Mucha (by Christina Torre), Preissig Lino (by Richard Kegler), P22Typewriter (2001, Richard Kegler, a distressed typewriter font), the William Morris set (Morris Troy, Morris Golden, Morris Ornaments, based up the type used by William Morris in his Kelmscott Press; 2002), Art Deco Extras (2002, Richard Kegler, James Grieshaber and Carima El Behairy), Art Deco Display, the Benjamin Franklin revival font Franklin's Caslon (2006), Dada (2006) and the Art Nouveau font Salon (bu Christina Torre).
In 2006, Kegler added Declaration, a font set consisting of a script (after the 1776 declaration of independence), a blackletter, and 56 signatures. Many of the fonts were designed or co-designed by Richard Kegler. International House of Fonts subpage. Lanston subpage (offerings as of 2005: Bodoni Bold, Deepdene, Flash, Fleurons Granjon, Fleurons Garamont, Garamont, Goudy Thirty, Jacobean Initials, Pabst, Spire).
In-house fonts made in 2008 include Circled Caps, the Yule family (Regular, Klein Regular, Light Flurries, Heavy, Klein heavy, Heavy Snow, Inline; all have Neuland influences). Kegler / P22 created a 25-set P22 Civilité family in 2009 based on a 1908 publication from Enshedé, the 1978 English translation by Harry Carter, and a 1926 specimen also from Enshedé.
At ATypI 2004 in Prague, Richard spoke about Vojtech Preissig. Speaker at ATypI 2010 in Dublin, where he presented Making Faces: Metal Type in the 21st Century about which he writes: This film has the dual aim of documenting the almost-lost skill of creating metal fonts and of capturing the personality and work process of the late Canadian graphic artist Jim Rimmer (1931-2010). P22 type foundry commissioned Mr. Rimmer to create a new type design (Stern) that became the first-ever simultaneous release of a digital font and hand-set metal font in 2008. At ATypI 2011 in Reykjavik, he showed Making Faces.
Typefaces from 2014: LTC Archive Ornaments (Richard Kegler and Miranda Roth).
Page42 Type Foundry
Czech type, graphic and visual design studio run by Matej Syxra (b. 1980) in Prague. Creators of Flatform (2008, slab serif), TripSans (2008: exclusively licensed to Radio 1 for their new corporate identity designed by Klára Nemravová), Wosk Blur (2009), Strobe (2009, modern sans), Ween (2009), and Vitamin (2006, exclusively licensed for LIPOXAL medical products). At Dafont, one can download Flatform and the TripSerif CE family (2008, done with Jan Moravec). Aka Matej Sychra. [Google] [More] ⦿
A stencil typeface dating back to Czechoslovakia in the 1930s. It is shown in Stencil Type (Steven Heller and Louise Fili, Thames and Hudson). Jeff Levine made a digital revival in 2015 called Czech Stencil JNL. [Google] [More] ⦿
Czech type and graphic designer, 1935-1970. He created a Walbaum/Didot-style roman in 1967 called Teimer's Antiqua. It was submitted to Grafotechna in 1967 but never manufactured. Suitcase Type Foundry (Tomas Brousil) started work on its digitization in 2005, and published it in 2006. Some letters were modified. The 24-style family is called Teimer Std. In 1992, Klara Kvizova and Jan Solpera copublished the booklet Teimer's antiqua - a design of modern type roman and italics. [Google] [MyFonts] [More] ⦿
Pavel Zelenka was born in 1970 in the Czech Republic. After five years of medical studies he left university to become graphic designer. In 1995 he co-founded two-person DTP business called Marvil, which within a few years became a full service graphic and pre-press company employing 10 people. He is an OpenType and Unicode enthusiast and his company, Studio Marvil, has converted more than 3000 fonts to OpenType format for URW++. In 2003, together with his friends Filip Blazek, Pavel Kocicka and Jakub Krc he began to publish Typo magazine, a Czech/English bi-monthly concerning typography, visual communication and graphic design. [Google] [More] ⦿
Czech designer (b. 1967) who studied at the Academy of Arts, Architecture and Design in Prague. He founded Studio Machek & Babak. Since 2003, he works as a graphic designer at his own studio, Laboratory. Head of the Graphic Design and New Media department at the Academy of Arts, Architecture and Design in Prague since 2005.
Designer of the experimental typeface Prkno (1992-1993, wooden plank-shaped letters). At Briefcase Type in 2014, he published the grungy typefaces Prkno, Rezan, Sijan (a needle and thread font) and Trhan.
Graphic designer in Ostrava, Czechia. He created a typeface in 2012.
Typefoundry in Prague, Czechia, est. 2014 by Petra Docekalova, b. 1991, Ostrava, Czechia. She studied at the Academy of Arts, Architecture and Design in Prague and is a member of editorial team of TYPO9010, a book about Czech digital typefaces created between 1990 and 2010. Her graduation project consisted of a book about Jaroslav Benda and his typefaces. In 2014, she was working as a type design intern at Suitcase and Briefcase Type Foundry.
Her first commercial typeface, Monolina (2014), is a contemporary monolinear script that is based on the contrast between classical (beautiful) calligraphy and quickly jotted manuscript (sketches). As all styles are based on the single stroke of a round nib pen, the letter is rounded. [Google] [MyFonts] [More] ⦿
Fine Arts graduate from UCLM (University of Castilla-La Mancha) in Spain, who works as a graphic designer in Cuenca, where he set up the Pisto Casero commercial typefoundry in 2013, after a period of free font production. He worked at DO2 Magazine. Gilberto Moya Perona is the designer of most fonts at Pisto Casero, which in 2014 was based in Brno, Czechia.
Typefaces from 2011: Paper Cube (3d, outlined), the ink spill typeface Sopa de Letras, the fat counterless typeface Minimal, the outline typeface I Am Online With U, the 3d hand-printed outline typeface Indietronica, the stencil pixel typeface Stencil 8Bit, Wet Arial (a beautifully executed type treatment face), and the 3d pixel typeface Chip Tunes.
Typefaces from 2012: Awakened, Corrupted Democrazy (grungy), Czech Tales (a beautiful curly typeface inspired by traditional Czech fairytales), Neon Serif (multilined, prismatic), Democrazy (sans and serif with very tall ascenders).
Typefaces from 2014: I Am Online With You (a connected outline font family).
Typefaces from 2015: Santanelli (an all caps rounded hipster display typeface).
Radek Sidun (b. 1980) wrote a graduation thesis at the Prague Academy of Arts, Architecture and Design (Graphic Design and Visual Communication, MgA. 2010) on diacritics in world languages. He has worked at Cornel Windlin's Zurich studio for two years. He is currently based in Prague, where he is an associate editor of Komfort magazine and teaches at the Type Design and Typography studio of the UMPRUM Prague Academy of Arts, Architecture and Design.
Designer at the Suitcase Type Foundry of RePublic (a 2004 revival, done with Tomas Brousil, of Public by Stanislav Marso, 1955. Note that Public was used to set the text of a Czechoslovak Communist party newspaper, Rudé Právo). At Briefcase, he published BC Alphapipe and BC News (for which he received a TDC Certificate of Typographic Excellence 2015).
RP is a small scale digital type-foundry established in 2009 by Czech designer Radim Pesko, who currently lives in Amsterdam. He is a regular contributor to various publications including Dot Dot Dot magazine. He currently teaches at Rietveld Akademie in Amsterdam and co-guides a project for ECAL/University of Art and Design in Lausanne. His creations:
Radko Hromátka (b. 1980) established the Radko Hromátka foundry in Prague in 2006. Radko created the art deco sans caps family Galanda Moderna (2010), which took ideas from book covers of famous Slovak painter, graphic artist and illustrator Mikulas Galanda (1895-1938).
In 2012, he created the polygonal typeface Vaba.
Type designer in Prague whose typefaces are published at Signature Type Foundry. Most of them were designed after sketches by Professor Rotislav Vanek of the Studio of Graphic Design and Visual Communication at the Academy of Arts, Architecture and Design in Prague. Roman's typefaces include:
Rosetta is an independent foundry, set up in 2011 by David Brezina, José Scaglione and Veronika Burian, with a strong focus on multi-script typography. It is headquartered in Brno, Czechia. Other designers include Anna Giedrys, Amélie Bonet and Titus Nemeth. They specialize in multilingual typefaces.
Fonts at the time of the start-up include Aisha (Titus Nemeth: Arabic, Latin), Maiola (Cyrillic, Greek, Latin), Nassim (Arabic, Latin), Roxane (Devanagari, Latin), and Skolar (Cyrillic, Greek, Latin, Gujarati, Sanskrit).
In 2011, they published Neacademia (by Sergei Egorov). Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century Italian punch-cutter Francesco Griffo da Bologna for the famous Venetian printer and publisher Aldus Pius Manutius. The family is designed for lengthy texts.
In 2012, Arek (Latin/Armenian) by Khajag Apelian was published by Rosetta Type Foundry.
At Storm Type, Czech designer Rotislav Vanek published the Clara type system in 2012: it consists of full palettes of weights for Clara Sans and Clara Serif. Rotislav is professor and head of the Studio of Graphic Design and Visual Communication at the Academy of Arts, Architecture and Design in Prague. Through Tomas Nedoma, he got gis ideas translated into digital typefaces at Nedoma's typefoundry, Signature Type. His typefaces there include some made with Roman Cernohous (Aktion, Corridor), Marek Pistora (Meridianus Sans+Serif), and Tomas Nedoma (Fenomen Sans, Galaxy, Haven, Quodlibet Serif and Quodlibet Sans). [Google] [MyFonts] [More] ⦿
Rudolf (Rudolph) Ruzicka was a Czech type designer (1883-1978), wood engraver and designer, who worked for 50 years as a consultant for the Mergenthaler Linotype Company. He had a farm in Vermont. Designer of these typefaces:
Jesse Ragan is working on Ruzicka Collection. This comprises digital versions of the alphabets shown in Rudolf Ruzicka's 1968 portfolio Studies in Type Design.
Ruzicka was also known for his engravings: see this wood engraving example.
Signature Type Foundry
Tomas Nedoma established Signature Type Foundry in Prague in 2014. Most of their work is influenced by and rooted in the work of Professor Rotislav Vanek of the Studio of Graphic Design and Visual Communication at the Academy of Arts, Architecture and Design in Prague. In many cases, Vanek's sketches were digitized by participating type designers. Except where explicitly mentioned below, all typefaces were made by Tomas Nedoma. The typefaces:
Communication designer in Lissone, Italy, who created the display typeface family Galerie (2015). She explains: Galerie is a new family of typefaces for the National Gallery in Prague I designed during my six-months Erasmus in the typography studio UMPRUM (2012). The National Gallery in Prague is composed of seven buildings,each of which focuses on different art periods or styles in Czech Republic: the seven galleries don't have a unitary typographic design. The aim of the project is to create a new institutional image, which keeps a unique typographical structure for all the buildings, but also differs according to each artistic content. The family has a simple and thin shape as basis, and a different set of extrabold serifs for each building. Four up to seven were designed: the Medieval, Classical, Baroque and Cubist typefaces. [Google] [More] ⦿
Slovak graphic designer, who graduated from the Academy of Fine Arts in Bratislava, Slovakia, and the Faculty of Fine Arts in Brno, Czechia, both in 2009. Then she did a Masters in type design at the KABK in 2010, and currently works as a type and book designer in The Netherlands. For her thesis project, she developed the angular text family Dora (2010), which tries to preserve an element of handwriting. A 1906 renaissance antiqua from Genzsch&Heyse inspired her to a revival.
Czech type designer, 1883-1950. MyFonts writes: Slavoboj Tusar was the brother of Czech prime minister in the 1920s and 30s. His typeface [note: Tusar Antiqua] was introduced at the Exposition of Decorative Arts in Paris in 1925, revised and manufactured by Lanston-Monotype in 1926 and redesigned and digitized in 2004 [note: by Frantisek Storm, as Tusar Text, Tusar Book, Tusar Deco]. Tusar's advertising and typographic activities and writings are unique inspiring sources for today's young designers. Tusar Antiqua was originally cast by Prumyslova Tiskaran in Prague. The Monotype version, a year later, was slightly different.
Spurnej Type Foundry
Spurnej Type Foundry was founded in 2014 in Prague, Czechia, by Jakub Spurny. In 2014, Jakub created Senohraby, an uppercase display typeface inspired by an old sign at the Senohraby train station that is now slowly chipping away. Senohraby Paint emulates a flat brush and features a few scratches and irregulartities. [Google] [MyFonts] [More] ⦿
Designer (1910-1976) at Grafotechna of Vega (1956, a grotesk), Public (1955-1958, a heavy short-ascendered face), Grafotechna Garamond (1959), Prazke Kamene (1958, an elongated condensed sans; also spelled Prazske Kamenne; some mention the date 1956; revived by Patrick Griffin at Canada Type in 2005 as Trump Gothic, and as a rounded version in Trump Soft Pro in 2013), Orion (1960, a sans), and Marso Grotesque (or Marsova Grotesque, or Marsuv Grotesk, 1958-1960; revived by Steve Matteson in 1960 at Ascener as Miramonte).
Public was quite popular in Czech newspapers, books and magazines. There are two digital revivals. The first one, from 2002, is called RePublic and was created by Tomas Brousil. The second one is called Publikum, and was published by Jakub Caja in 2013.
Vegan (2014, Vojtech Riha) is a modern, structured sans featuring delicate, humanist elements, inspired by Marso's Vega.
Graphic designer in Prague and Katowice, Poland. Behance link. He has many great examples of typographic compositions and creative lettering, such as Carigraphy (2009, hand-drawn letters on a Cadillac). He designed the condensed didone family Fidentia (2010), Cukrik Type (2009, glyphs like pieces of candy), Pampas (2009, a curvy multiline face), and a whole bunch of hand-made typefaces. Digart link. [Google] [More] ⦿
Nove Straseci, Czech Republic-based graphic designer, who runs Lazar Studio there since 2007. Stepan Prokop is student of Institute of Art and Design in Pilsen, Graphic Design. He created the lively Uud typeface in 2010. Drate (2010) is a scratchy multiline face. Custom type. [Google] [More] ⦿
Storm Type Foundry
Storm Type is a major Czech foundry that offers the inspiring work of Frantisek Storm (b. 1966, Prague). Most typefaces are made by Storm himself. The typefaces:
At ATypI 2004 in Prague, he spoke about his own Czech typefaces, on his Czech Typeface Project, and on the life of Josef Týfa.
Suitcase Type Foundry
Suitcase Type is a Czech foundry, est. 2003 by Tomas Brousil (b. 1975), who lives in Prague. He graduated from the Prague Academy of Arts, Architecture and Design (Type Design and Typography, MgA. 2009) where his graduation project was the 96-family Tabac typeface system, published in 2010. He teaches in the Type Design and Typography department of the Prague Academy of Arts, Architecture and Design.
The Tabac family was augmented in 2012 with Tabac Slab and Tabac Mono, which have a full range of weights from Hairline to Black. Tabac Glam, a fashionable Peignotian high contrast sans, was added in 2016.
Other typefaces from 2008-2010 include Monopol (a six-weight condensed sans that includes a hairline weight), Idealista (2010, organic, a mix of styles), Nudista (2009, a multistyle take on DIN with a superb fashion mag hairline, Nudista Thin), Kulturista (2009, a part slab part serif extension of Nudista), Comenia Sans (2008, a 12-style complementary family to Storm's Comenia Serif for school textbooks), Metalista (2008, unicase octagonal metallic face).
2007 was a successful year. Brousil created Bistro Script (2007, fifties diner style script), Corpulent (2007), and Gloriola (2007, a sans in 14 styles, including a hairline. The last typeface family won an award at TDC2 2008 and at Typographica's Best of 2007. Stephen Coles likes its position between the cool sterility of de Groot's monolinears and the warmth of Latin designers: With a broad range of weights, a complete Western character set, and a sack of ligatures and alternates, Gloriola has the depth required for complex identity systems and publication design. This shrewd response to the fashions of today is going to be useful for many years to come.). The year 2007 also saw Purista (a 10-style cousin of Eurostile), which includes hairline weights. Ellen Lupton says this about Purista: I've been feeling hungry for a stylish, edgy sans who enjoys evenings out on the town and long mornings of crisp conversation. In other words, I've been craving a font who likes to party but who can also help out with the dishes.
Production in 2005-2006: Teimer's Antiqua (2006: a didone family based onn unpublished 1967 design by Pavel Teimer), Rokoko (2006, an octagonal custom typeface for the Rokoko Theatre in Prague), Sandwich (2006, a lively display caps set), Vafle (2006: based on an original concept by Marek Pistora from 1997, with minor adaptations and 11 new weights), Dederon Sans and Serif (2005, the sans version being inspired by TypoArt's Liberta; see also here for a comparison with Underware's Dolly), Dederon Serif.
Typefaces from 2004 or earlier include Fishmonger (2004, a sans family), RePublic (a 2004 revival, done with Radek Sidun, of Public by Stanislav Marso, 1955. Note that Public was used to set the text of a Czechoslovak Communist party newspaper, Rudé Právo), Botanika (2005, a sans family including many typewriter styles and several mono weights), Atrament (2003, a narrowed grotesque inspired by the lettering used on the title of the almanac "Devetsil - Revolucni slovnik" (1922) edited by Karel Teige, in 30 styles!), Magion (2004, a simple geometric font), Fishmonger (2004, a broad 50-weight futuristic family), Katarine (2004, a warm sans family with appropriate dingbats added in), and Orgovan (2004-2005, a punk/brush family).
Typefaces from 2013 include the roundish sans family Ladislav: The Ladislav font revitalises Sutnar's legacy, while not explicitly copying any of his original fonts. It however keeps true to their technicist character and initial principles of character creation - a simple modular system of combined geometrical segments. This approach affects all round shapes of capital and lowercase letters, as well as the shapes of the majority of numbers. The g consists of two disjoint circles.
Typefaces from 2014: Urban Grotesk (a very airy, open grotesque typeface with large x-height and uniform grayness).
Typefaces from 2015: Pacifista (stencil).
Brousil made many corporate or identy fonts. Examples include Brzda (a custom font for Czech artist Pavel Brazda), Budovatel (a custom font for the Bohemian National Hall in New York), and Union (custom webfonts for the Czech graphic design union).
Typefoundry in Prague, Czechia, est. 2014 by Vojtech Riha (b. 1989), who studied at the Technical School of Ceramics in Karlovy Vary, and at the Studio of Typography of the Academy of Arts, Architecture and Design in Prague.
His typefaces include Vegan (2014), a modern, structured sans featuring delicate, humanist elements. Vegan was inspired by Stanislav Marso's distinctive shadow font Vega (1956, Grafotechna). This workhorse family has six styles and six matching italics.
In 2015, his typeface Kunda Book won a bronze medal at the European Design awards. He also designed the sans typeface family Hrot. At Briefcase Type, he published BC Dres (partly octagonal), BC Kakao (hand-drawn: when drawing Kakao, he frequently referenced Bohumil Lanz and Zdenek Nemecek's book Typeface in Advertising (published by Merkur Publishing House, Prague, 1974)), BC Pramen Sans and Slab, BC Motel Sans and Slab and BC Steiner in 2014. [Google] [MyFonts] [More] ⦿
SuSE CR s.r.o (Czech Republic) and URW++ Design and Development GmbH (Germany) have reached an agreement to ship URW equivalents of the 35 standard PostScript fonts using the ISO 8859-2 encoding with the Czech SuSE Linux 6.4 distribution. The fonts are distributed with the GNU General Public Licence. The type 1 fonts: URW Gothic L EE Book, URW Gothic L EE Demi, URW Gothic L EE Book Oblique, URW Gothic L EE Demi Oblique, URW Bookman L EE Light, URW Bookman L EE Demi Bold, URW Bookman L EE Light Italic, URW Bookman L EE Demi Bold Italic, Century Schoolbook L EE Roman, Century Schoolbook L EE Bold, Century Schoolbook L EE Italic, Century Schoolbook L EE Bold Italic, Nimbus Sans L EE Regular, Nimbus Sans L EE Bold, Nimbus Sans L EE Regular Italic, Nimbus Sans L EE Bold Italic, Nimbus Sans L EE Regular Condensed, Nimbus Sans L EE Bold Condensed, Nimbus Sans L EE Regular Condensed Italic, Nimbus Sans L EE Bold Condensed Italic, Nimbus Roman No9 L EE Regular, Nimbus Roman No9 L EE Medium, Nimbus Roman No9 L EE Regular Italic, Nimbus Roman No9 L EE Medium Italic, Nimbus Mono L EE Regular, Nimbus Mono L EE Bold, Nimbus Mono L EE Regular Oblique, Nimbus Mono L EE Bold Oblique, URW Palladio L EE Roman, URW Palladio L EE Bold, URW Palladio L EE Italic, URW Palladio L EE Bold Italic, URW Chancery L EE Medium Italic. [Google] [More] ⦿
Czech designer of the brush scripts Lemonfish (2016), Cupcakia (2016) and Karlita (2016), the hand-crafted typeface Funisima (2016) and the calligraphic script typefaces Lavandia (2016) and Hanelka (2016). Creative Market link. [Google] [More] ⦿
Vit "Tasuki" Brunner (Czechia) recommends the 14 best free fonts. Summarizing his recommendations:
Creator of Moove (2013), Buns (2013, plump), the bold monoline sans display typeface Obligum (2013), and of the experimental geometric typeface Cryst (2013). Tereza is located in Plzen, Czechia. [Google] [More] ⦿
Jörg Knappen's page on the European Computer Modern fonts. "The following languages are supported by the Cork encoding: Afrikaans, Albanian, Breton, Croat, Czech, Danish, Dutch, English, Estonian, Faroese, Finnish, French, Frisian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Irish (modern orthography), Italian, Letzeburgish, Lusatian (Sorbian), Norwegian, Polish, Portuguese, Rhaetian (Rumantsch), Romanian, Slovak, Slovene, Spanish, Swedish, Turkish." [Google] [More] ⦿
TheyGraphics is a multidisciplinary graphic design studio. Working in advertising, retail, fashion, company profiles, broadcast, illustration, type design and music. Their offices are in Stockholm, Sweden and Prague, Czech Republic. The designers: Fredrik Forsberg (Stockholm), Jiri Adamik-Novak (Stockholm), Zdenek Patak (Prague). The fonts: Leda (experimental), Motion (hairline octagonal), Prank (Amelia-inspired), Logarex and Garamond Preissig. [Google] [More] ⦿
Brno, Czechia-based designer of the free avant garde font Select Regular (2013).
This Czech blog has an icon font archive: Atmandings, Bagarozz, Cartographer, DISTYolksEmoticons, DotCom, Emoticons, Entypo, Evilz, Heydings-Icons, IconBitOne, Kfon, MexicanOrnaments, ModernPictograms, NaiveOrnamentsFree, NoticeStd, Nymphette, Paskowy, SLZodiacIcons, SirucaPictograms, SoftOrnaments, SymbolSigns-Basisset, WCRhesusABta, WebSymbols-Regular, Webmasters, Zodiac01. [Google] [More] ⦿
TypeTalks Symposium 2013 was held in Brno, Czechia, on September 6-7, 2013. This third symposium was organized by the Rosetta Type Foundry and Anna Giedrys. Speakers included David Brezina (the founder of the Typetalks series), Ben Mitchell, Sonia de Puineuf, Goran Patlejch, Claus Eggers Sørensen, Radoslav Vecerka, Laura Meseguer, Jasso Lamberg, and Erik van Blokland. [Google] [More] ⦿
Bi-monthly Czech type and graphic design magazine set up in 2003 by Pavel Zelenka, Filip Blazek, Pavel Kocicka and Jakub Krc. Some issues are free. Linda Kudrnovská is its present editor-in-chief. Issue 13 (2005) deals with readability and legibility, for example. Some of the articles: The Science of World Recognition (Kevin Larson), The Bouma Supremacy (Hrant Papazian), Lateral Interference, Response Bias, Computation Cost and Cue Value (Peter Enneson), and Producting legible text on screen: Where do we look for guidance? (Mary C. Dyson). Issue 14 (2005) has an article by Iva Knobloch on Vojtech Preissig and by Adam Twardoch on FontLab 5. Table of contents. [Google] [More] ⦿
The Czech association TypoDesignClub was founded in 1996. Its members include Petr Babak, Pavel Benes, Lubos Drtina, Karel Haloun, Filip Heyduk, Pavel Hrach, Clara Istlerova, Milan Jaros, Jan Jiskra, Otakar Karlas, Ivan Kral, Petr Krejzek, Vaclav Kucera, Klara Kvizova, Zuzana Lednicka, Pavel Lev, Tomas Machek, Josef Maly, Richard Marsak (left 2001), Boris Myslivecek, Ales Najbrt, Robert V. Novak, Milan Pasek (d. 1998), Pavel Petr, Marek Pistora, Radomir Postl, Jan Solpera, Lubomir Sedivy, Petr Sejdl, Ondrej Smerda, Frantisek Storm (resigned 1999), Pavel Stastny, Rostislav Vanek and Zdenek Ziegler. At irregular intervals, the club publishes "Annual". [Google] [More] ⦿
Typo.z (was: Designiq)
Filip Blazek (alias Filip de Sign, b. 1974) writes about typography and ran Filip de Sign--Czech Graphic&Design Studio, founded in 1997 in Prague [in 2003, its name was changed to Designiq]. In 2000, he graduated from the Faculty of Arts at the Charles University in Prague. He regularly contributes to professional periodicals in the field of graphic design.
His typefaces include Pozorius, Studnicka Antikva and Duboryt. In 2013, he designed Smalt, a typeface for the street signs in Prague. He explains: Until very recently, the typefaces used on enamel street signs were drawn by hand. Unfortunately the producers introduced computers to the process which resulted in brutal degradation of the typographic quality of street signs. Two years ago, I was invited to organize a typographic workshop at the Academy of Art, Architecture and Design, Prague, and I asked a group of students to create a typeface for Prague street signs based on the letterforms used between 1890s and 1990s. The result was very impressive, so I decided to undrego the process of countless negotiations with Prague municipality. The project has a happyend: Last year, Prague mayor accepted the proposal and all street signs in the capital of the Czech Republic are required to use the students' typeface system and follow certain guidelines. No more Helvetica Condensed Bold extended to 130 percent but a beautiful typeface Smalt (Czech for enamel).
Alternate URL. Very useful pages for Central European typography, with plenty of links and practical information. Interview. Blazek's old site, still jam-packed with font information. Coauthor of Typography in practice (Praktická typografie), published by ComputerPress, 2000, 2004. Founder of Typo Magazine, which focuses on typography, graphic design and visual communication.
Speaker at ATypI 2006 on diacritics (PDF of Filip's presentation). At ATypI 2009 in Mexico City, he spoke on posters from the 1989 Velvet Revolution. Speaker at ATypI 2011 in Reykjavik. Speaker at ATypI 2013 in Amsterdam: Typeface for Prague enamel street signs. [Google] [More] ⦿
This typeface became famous for its use on traffic signs in Czechoslovakia. It was designed in 1951 by an unknown type designer at the Czech typefoundry Grafotechna.
Free download of two fonts made in 2010 and 2012 respectively, also by an unknown designer. One of these fonts claims in its metadata that the original is due to Vladimir Balthasar in 1934. In 2016, Peter Bilak reports that Indra Kupferschmid told him that Universal Grotesk is basically Kristall Grotesk (Wagner & Schmidt in Leipzig). As Wagner & Schmidt morphed into the East-German typefoundry TypoArt some time after 1945, Bilak conjectures that Grafotechna got its matrices from Wagner & Schmidt.
Upir Typo is Vaclav Krejci's Czech foundry. Designer of GUI Design Icons (2009), Upirpaw (handwriting), Pixelanky (2006), Skicack (2007, a sketched version of Times), and Scribel CE (2006, handwriting), Suprexy CE (2006, octagonal monospaced font), Thinpaw (2014, hand-printed), Awardos (2014: dingabts for awards and badges), Clocko (2014: clock dingbats).
Born in Prague in 1973. She grew up in Munich, where she studied Industrial Design at the University of Applied Sciences. She worked as product and graphic designer in Vienna, Austria and Milan, Italy. She graduated with an MA degree in type design from the University of Reading. She joined Dalton Maag in London in the autumn of 2003. In Milan, she was at Die kleine Fonderie, a studio headed by Andrea Braccaloni as part of LeftLoft. In 2005, she and José Scaglione founded Type Together.
Her typeface Maiola (2003), spiced up by the prototypical Czech angular design elements, received the Type Directors Club award in 2004 (Certificate of Excellence in Type Design) (see here) and was the "Judge's Choice". FF Maiola, released in 2005, includes Latin, Greek and Cyrillic letters and ligatures. For Maiola Cyrillic (2004), she received some help from Maxim Zhukov. In 2010, the Maiola family was published at Type Together. Other designs include Ronnia Sans and Gitter. She created LL Mila (2002, Leftloft: a condensed sans with a trademark "g"), which was part of the exhibition "Contemporary Type Design in Italy" during AtypI in Rome (2002). In 2005, she collaborated with Gerard Unger on the 12-weight corporate family Allianz. With José Scaglione she created the text typeface TT Carmina (2006), which can be had via MyFonts as Karmina (2007). Also with Scaglione, she did the humanist sans family Ronnia (2007, Type Together). In 2007, her slab serif family Crete was published at Cabinet Type. She won an award at Granshan 2008.
In 2015, Veronika Burian and José Scaglione finally published the 18-style editorial sans typeface family Ebony. It is unrelated to the 1890 Marder & Luse font Ebony.
In 2016, Veronika Burian and José Scaglione codesigned Portada, a sturdy serif typeface family for use on screen and small devices. It comes with an extensive free set of icons.
Czech designer in Prague who operates as Whynot. In 2015, she created the hand-crafted typeface Bebekvi. In 2014, Nika created a splendid set of zodiac symbols in EPS format, and a colorful zoo alphabet for children. Creative Market link. [Google] [More] ⦿
Czech graphic design, photography and type design studio run by Matej Hlavacek (b. 1977, Prague). Matej studied Graphic Design at AAAD in Reykjavik/Iceland. Later he moved to Prague and attended the master program in Studio of Typography under the supervision of Frantisek Storm at AAAD. In 2009 he founded Vesturbaer Studio together with photographer Jiri Hronik. His fonts:
V.H. Brunner (1886-1928) was a Czech illustrator and book designer. He created about 600 books in total. His eight typefaces [five roman and three italic] have never been published. His typefaces are characterized by Czech diacritics that bleed into the body of the text. [Images on this page from Veronika Burian's thesis]. [Google] [More] ⦿
Prague-based researcher and TeX specialist who obtained a PhD in computer vision from the Czech Technical University in Prague in 2003. Designer of free semaphore fonts in OpenType and Type 1 formats, January 2008. The Semaphor font family contains 5 shapes (regular, bold, slanted, bold slanted, and mono) in 3 variants (differ by a pillar shape). They were obtained by rewriting the original Metafont sources he made in 1998 to Metatype1, and utilizing FontForge: Semafor-Bold, Semafor-Bold-Slant, Semafor-NoPillar-Bold, Semafor-NoPillar-Bold-Slant, Semafor-NoPillar, Semafor-NoPillar-Slant, Semafor-NoPillar-Mono, Semafor-PesonPillar-Bold, Semafor-PersonPillar-Bold-Slant, Semafor-PersonPillar, Semafor-PersonPillar-Slant, Semafor-PersonPillar-Mono, Semafor-Regular, Semafor-Slant, Semafor-Mono. He also made a softball metafont. [Google] [More] ⦿
Archive of free foreign language fonts covering Arabic, Armenian, Bengali, Bulgarian, Burmese, Cambodian, Celtic, Chinese, Croatian, Czech, Estonian, Old English, Farsi, Georgian, German, Greek, Hawaiian, Hebrew, Hindi, Hmong, Hungarian, Icelandic, Japanese, Khmer, Korean, Latvian, Myanmar, Nepali, Persian, Polish, Punjabi, Romanian, Russian, Serbian, Slovenian, Tagalog, Tamil, Thai, Turkish, Ukranian, Urdu, Vietnamese and Welsh. [Google] [More] ⦿
Ostrava, Czechia-based designer of these free fonts: Gunny Handwriting (2003), Tincushion (2003-2014), Hieroglyphic (2002, paperclip font), Fashionism, Milanotica (2012), Gunny Rewritten (2014), Blrrpix Strict (2014, pixel face), Kvantita (2014, script), Simply City (2014, organic sans).
Typefaces from 2015: Jack Brusher (brush font), Gunny Manual, Gomes Strikes Agaian, Octagonal, Fashionism (thin sans), Bublina The Dog (comic book face), Quality of Life.
Typefaces from 2016: Residualni (brush calligraphy), Ales&Hegar Raw (outlined party present font; inspired by the book "Mladezi" by Mikolas Ales (1852-1913). Its cover was designed by Milan Hegar who tried to imitate Ales's ornamental upper case letters from the original 1910s magazines).
Brno (was: Jihlava), Czechia-based designer of the hand-printed typeface families Hugo (2015, outlined and hand-crafted), Snacker (2015, sans), Claire (2015, with Halloweenish Extras), Radka (2015) and Handy (2015) and of Personal Abstract Font (2015).
Typefaces from 2016 include Organic (hand-crafted), Cheesecake (hand-crafted), Hippo In The Woods, Paoul (hand-crafted), Cheesecake (brush font), George and Francis. Behance link. Another Creative Market link. [Google] [More] ⦿
Czech expressionist type designer from Svetec u Biliny, Bohemia, b. 1873. His work was influenced by Japanese art and symbolism. During World War II, Preissig supported the Czech resistance and was arrested in 1940. He died in 1944 in the Dachau concentration camp. Preissig is representative of the Czech cubist period, 1910-1925. His only book typeface, Preissig Antikva, was cast in 1925 at the Czech State Printing Office foundry in Prague, where he had returned to settle in 1930. This lively angular typeface had a hand-drawn poster-look feel. It was a milestone in Czech type design and served as inspiration for later developments, including typefaces by Menhart, Ruzicka, and Tyfa.
Preissig Antikva was the basis of several digitizations:
Graphic designer from and in Singapore. Her first fonts appeared in 2009: Hybrid (experimental), Prahaha (rounded monoline sans), Rue (informal sans with bent strokes: it was her final project at VSUP, the Academy of Arts Architecture and Design Prague).
Typefaces from 2013: Twilight (a monoline font that silumates synapses on the surface of neurons).
Czech graphic designer (b. 1983) who studied graphic design and visual communication at Academy of Arts, Architecture and Design in Prague. During her bachelor thesis she researched stencil fonts and designed typefaces by her own. She also studied at the Academy of Fine Arts and Design, Bratislava.
Prague-based graphic and type designer who cofounded Theygraphics with Stockholm-based Fredrik Forsberg and Jiri Adamik-Novak. He obtained an MA from VSUP MA VSUP (Academy of Art, Architecture and Design) in Prague. [Google] [More] ⦿
Czech TeX and font software expert, whose place on the web is called IceBear Soft. He created makebarcode, a free package done in 2008 for the TeX community. It contains TeX macros for printing various 2/5 bar codes and Code 39 bar codes. The macros do not use fonts but create the bar codes directly by vrules. It is therefore possible to vary width to height ratio, ratio of thin and thick bars. The package is convenient for printing ITF bar codes as well as bar codes for identification labels for HP storage media. In 2010, he published OCR-B Outline. These are type1 and OpenType versions of an earlier Metafont by Norbert Schwarz (Ruhr Universitaet Bochum, Bochum, Germany). [Google] [More] ⦿
Zuzana Licko is the co-founder of Emigre, together with her husband Rudy VanderLans. Licko was born in 1961 in Bratislava, Czechoslovakia, and emigrated to the U.S. in 1968. She graduated with a degree in graphic communications from U.C. Berkeley in 1984. Her fonts: Lo-Res "Coarse Resolution" (1985), Modula (1985), Citizen (1986), Matrix (1986), Matrix II (2007, a reworking of Matrix in 18 styles), Matrix II Display (2007, a further 31 styles), Lunatix (1988), Oblong (1988, with Rudy VanderLans), Senator (1988), Variex (1988) with Rudy VanderLans), Elektrix (1989), Triplex Roman (1989), Totally Gothic (1990), Journal (1990), Tall Pack (1990), Quartet (1992), Narly (1993), Dogma (1994), Whirligig (1994), Base 9&12 (1995), Soda Script (1995: this may have some uses, but I can't think of any), Mrs Eaves (1996, her best font, a Baskerville), Mrs Eaves XL (2009, an extension and improvement of Mrs Eaves), Mister Eaves Sans and Mister Eaves Modern (2009, +XL Modern) [from their blurb: Mr Eaves was based on the proportions of Mrs Eaves, but Licko took some liberty with its design. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique characteristics---for me, it's an experiment that went partially wrong in the overly curly "z"'s and "r"'s, but as an experiment, it's fine], Filosofia (1996, which has a unicase version), Base Monospace (1997), Hypnopaedia (1997, nice dingbats), Tarzana (1998, an ordinary sans serif), Solex (2000; looks a lot like Scala or Nimbus), Fairplex (2002), and Puzzler (2005, a geometric pattern and decoration font). Many of her fonts are of mediocre quality (Dogma, Senator, Narly and Variex come to mind). Triplex and Filosofia are/were incorrectly kerned. The name Solex infringes on the trademark of the motorbike "Solex" (sold to Yamaha, and now produced by the Hungarian company "Impex"). The name Journal is the same as that of Phil Martin's Journal, which was made in 1987 (see here). At some point, she made a pixel font, PixelsDream, but I do not know if it was ever published. In 2013, she designed the rounded sans family Program OT.
Interview by Rhonda Rubinstein. Rudy VanderLans, Zuzana Licko and Mary E. Gray wrote Emigre (The Book): Graphic Design into the Digital Realm (1993, Van Nostrand Reinhold, New York). Her work is discussed by William H. Powes (in More from Eastern Europe: Czechoslovakia. Art Direction, vol. 45, pp. 62-63, 1994), Laurie Haycock Makela (in Three New Faces. Design Quarterly, vol. 158, pp. 22-25, 1993), Mike Jones (in Two Colors, one vision. Design, vol. 500, pp. 64-66, 1999) and Patrick Coyne (in Communication Arts, vol. 34, pp. 64-73, 1992).