TYPE DESIGN INFORMATION PAGE last updated on Sat Jun 22 21:00:51 EDT 2024






Type design in Czechia

[Illustration by Czech cartoonist Jiri Sliva]


A. Gregr

Czech type foundry in the 20th century. Fonts by them include Gregr Roman (1930), Gregr Italic (1931), and Dyrynk Lateinschrift (1928), all made by Karel Dyrynk. [Google] [More]  ⦿

A. Haase

Prague-based foundry. Acquired in 1907 by H. Berthold AG. [Google] [More]  ⦿


Czech design studio. Behance link. Creator of the blackletter / metal band typeface Gothicecream (2012, Ten Dollar Fonts). [Google] [More]  ⦿

Adam Hadraba

Brno, Czechia-based designer of the animated experimental font Distances (2018) and Typelike Icon Set (2018). [Google] [More]  ⦿

Adam Jicha

During his studies, Adam Jicha (Plzen, Czechia) created Wireframe Alphabet (2014). Behance link. [Google] [More]  ⦿

Adam Josefus
[Tungus Studio]

[More]  ⦿

Adam Svejda

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]  ⦿

Akile Nazli Kaya

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.

Creator of the semi-serif typeface Idiot (2012). [Google] [More]  ⦿

Alan Záruba

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]  ⦿

Ales Najbrt

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 (founded by Ales Najbrt and Pavel 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).

At Briefcase Type, he published the typeface BC Thomas Ruhller in 2014. [Google] [More]  ⦿

Alexander Slobzheninov

Designer from Siberia who graduated from Ladislav Sutnar Faculty of Design and Art, University of West Bohemia and is now based in Prague, Czechia. Type, graphic and motion graphics designer who created these typefaces:

  • Octarine (2017). A geometric sans typeface family with two free weights).
  • Fivo Sans (2017, free) and Fivo Sans Modern (2017, free).
  • Wacom (2017). This is a simplified techno sans concept font not actually used by Wacom.
  • Objective and Subjective, two mischievous typeface families published in 2018. Objective was slightly altered and merged with Chris Simpson's Metropolis (2015) in 2020 by Cristiano Sobral in Metropolitano.
  • The 42-font sans family Agrandir (2018). Available from Pangram Pangram.
  • The 7-weight Swiss neo-grotesk Gestalte (2018) that is characterized by mathematically precise horizontal and vertical strokes and terminals.
  • The Baskerville grandchild AS Grafier (2018). A corporate typeface for the identity of Other Poets Society. There is a free beta version, and comes with a variable font option. Published by Pangram Pangram in 2019. The variable font Grafier can also be purchased from Type Tomorrow.
  • The Latin / Cyrillic Object Sans (2018), which is in the Swiss sans style. For the Cyrillic, he was helped by Sonya Yasenkova. Available from Pangram Pangram.
  • The cyrillization of Jeremy Landes's Le Murmure in 2019.
  • Relaate (2019-2020). A multi-genre typeface in which the lower case t and e try to reach for the sky.
  • Right Grotesk (2020, Pangram Pangram). Neutral, functional, slightly hipsterish. First in 51 styles, and then extended to 130 styles, and some variable fonts as well.
  • In 2021, he set out to design one typeface per day for 36 consecutive days. The typefaces explore various ideas and cover almost every imaginable type style: Casual Digital Goose, Chill Out, Damn Low Tech, Flying, Gravity Itself, Ligatureless, Ploite Green Finger, Pretty Dumb Idea, Rembrandt, Those Games, Weird, What A Feature.
  • Typefaces from 2022: Right Sans, Right Gothic (a 98-style variable type family), Weird Serif (a didone for vampires).

Future Fonts link. Type Tomorrow link. [Google] [More]  ⦿

Alexander W. White

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]  ⦿

Alexandr Martsynyuk

Hradec Kralove, Czech Republic-based applied cybernetics student, who created Kokaine (2012). [Google] [More]  ⦿

Alois Ludwig

Brno-born architect (1872) who worked in München and Vienna and died in 1969. Some of his lettering. [Google] [More]  ⦿

Alois Studnicka
[Czech Design and Typography (studio experimentalniho design)]

[More]  ⦿

Alphonse Mucha

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:

CV. One of his alphabets. Viennese Secession link.

View commercial fonts that descend from Mucha's work. [Google] [MyFonts] [More]  ⦿


Czech Design and Typography (studio experimentalniho design). Vendor of Central European versions of Adobe fonts in Czechia. [Google] [More]  ⦿

Anastasia Vrublevska

Prague, Czechia-based designer of 8Bit Schwabacher (2016, pixel font) and Polska Jutra (2016), a 3d typeface inspired by Polish folklore embroidery. Behance link. [Google] [More]  ⦿

Andrea Heikens

Czech-born designer, who made the great art nouveau type family Cafe Noir (2004, free at Chank's). [Google] [More]  ⦿

Andrea Vacovska
[Beige Type]

[MyFonts] [More]  ⦿

Andrej Sevcik
[Narrow Type]

[MyFonts] [More]  ⦿

Aneta Babisova

Graduate of Tomas Bata University. Ostrava, Czechia-based designer of the organic sans typeface Jarmila (2016) which was inspired by Jan Tschichold and the Bauhaus movement. [Google] [More]  ⦿

Aneta Bendakova

Usti nad Labem, Czechia-based designer of the text typeface Neposeda (2016). This typeface was developed during the 29 th Tipo Brda workshop in Ljubljana. Behance link. [Google] [More]  ⦿

Anezka Minarikova

Prague-based designer of the London 2012 alphabet (2012). [Google] [More]  ⦿

Anna Brejsova

Graphic designer in Prague, who created the sharp-edged display typeface Annya (2013) and the experimental typeface Antipon (2014). [Google] [More]  ⦿

Anna Giedrys

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.

Her typefaces:

  • Signika (2011) and Signika Negative (2011). A free sans family at Google Web Fonts, it was designed for pedestrian signage.
  • Yrsa and Rasa (2015, open-source type families published by Rosetta with financial support from Google). The fonts support over 92 languages in Latin script and two languages in Gujarati script (Gujarati and Kachchi). The design and production are by Anna Giedrys and David Brezina. Yrsa is the name of the Latin-only type family. Rasa is the name of the Gujarati type family. They explain: Both type families are intended for continuous reading on the web (longer articles in online news, magazines, blogs). In Yrsa, a special consideration was given to Central and East European languages and proper shaping of their accents. Rasa supports a wide array of basic and compound syllables used in Gujarati. In terms of glyphs included Rasa is a superset of Yrsa, it includes the complete Latin. What makes Yrsa & Rasa project different is the design approach. It is a deliberate experiment in remixing existing typefaces to produce a new one. The Latin part is based on Merriweather by Eben Sorkin. The Gujarati is based on David Brezina's Skolar Gujarati. Anna Giedrys updated Yrsa substantially in 2021.
  • In 2021, Ross Mills, Anna Giedrys and Paul Hanslow co-designed the 14-style sans family Laconia at Tiro Typeworks.

Fontsquirrel link. Behance link. [Google] [More]  ⦿

Anna Kilianova

Brno, Czechia-based designer of the inky handcrafted 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]  ⦿

Anna Mackova

Anna Sabachova Mackova is an illustrator / designer in Teplice, Czechia. She created Type Diary (2013) in which several hand-drawn alphabets are presented. [Google] [More]  ⦿

Antonin Kavalec

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), JGJDurerGothic (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.
Alte Schwabacher 1470
Andreas-Schrift 1942-1948 Hans Kühne (1910-1961)
Breitkopf-Fraktur 1750 Johann Gottlob Imanuel Breitkopf (1719-1794)
Caslon-Gotisch 1760 William Caslon (1692-1766)
Claudius 1931-1937 Rudolf Koch (1876-1934)
Deutsche Kursiv 1909 Richard Ludwig
Deutsche Werkschrift 1934 Rudolf Koch (1876-1934)
Deutsche Zierschrift 1919-1921 Rudolf Koch (1876-1934)
Eckmann-Schrift 1900-1902 Otto Eckmann
Ehmcke-Schwabacher 1920 Fritz Helmut Ehmcke (1878-1965)
Eisenacher Fraktur 1994 Christian Spremberg (1956)
Fette Gotisch 1893 Hausschnitt
Fichte-Fraktur 1934-1939 Walter Tiemann (1876-1951)
Frühling 1913-1914 Rudolf Koch (1876-1934)
Gilgengart 1938 Hermann Zapf (1918)
Kleist-Fraktur 1928 Walter Tiemann (1876-1951)
Koch-Fraktur 1910-1921 Rudolf Koch (1876-1934)
Lincoln-Gotisch 1907 Morris Fuller Benton
Maximilian 1926 Rudolf Koch (1876-1934)
Normal-Fraktur 1913-1914 Rudolf Koch (1876-1934)
Offenbacher Schwabacher 1926 Rudolf Koch (1876-1934)
Peter-Jessen-Schrift 1899-1900 Rudolf Koch
Post-Fraktur 1935-1940 Herbert Post (1903-1978)
Rhapsodie 1951 Ilse Schüle (1903-1997)
Straßburg 1926 Hausschnitt der H. Berthold AG
Tannenberg 1933-1935 Emil Mayer (1898-1983)
Thannhaeuser-Fraktur 1937 Herbert Thannhaeuser (1898-1963)
Unger-Fraktur 1794 Johann Friedrich Unger (1750-1804)
Walbaum-Fraktur 1800 J. G. Justus Erich Walbaum (1768-1837)
Wallau 1924-1936 Rudolf Koch (1876-1934)
Wartburg-Fraktur 1998 Christian Spremberg
Weißgotisch 1936-1937 Emil Rudolf Weiß (1875-1942)
Wilhelm-Klingspor-Schrift 1920-1926 Rudolf Koch (1876-1934)
Zentenar-Fraktur 1937-1938 Friedrich Hermann Ernst Schneidler (1882-1956)
[Google] [More]  ⦿

Ariel Laurencio Tacoronte
[Lengua Mongola (was: Vocabulario Mongol)]

[More]  ⦿

Barbora Mlejnkova

Brno, Czechia-based designer of the stick typeface called Authors (2013). [Google] [More]  ⦿

Beige Type
[Andrea Vacovska]

Andrea Vacovska (Beige Type, Prague, Czechia, b. 1987, Klatovy) created Blaue Brush (2014), a handmade typeface painted with a Japanese brush marker on smooth paper. [Google] [MyFonts] [More]  ⦿

Benny Water

Prague, Czechia-based designer of the sans typeface Fundamenteel (2018). [Google] [More]  ⦿

Berjo Mouanga

Graphic designer and illustrator in Brno, Czechia. He created animal silhouettes out of letters in 2009. [Google] [More]  ⦿

Bernd Möllenstädt

The designer of the well-known Formata typeface (available at Berthold), Bernd Möllenstädt was born in 1943 in Germany and died in 2013. He lived in Westfalia, Berlin and finally Munich. He studied typesetting and graphic design, and joined the Berthold type foundry 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.

In 2016, URW publised his text typeface Classica Pro, which was unfinished when Möllenstädt died in 2013. The missing styles and details were done under the guidance of Volker Schnebel.

Full CV. Klingspor link. [Google] [MyFonts] [More]  ⦿

Bienale Brno

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]  ⦿

[Kenji Kaminski]

Calligrapher and type designer in Prague. Designer of these typefaces:

  • Alexana Neue (2017). A rounded stencil typeface.
  • Aoku (2018). A minimalist sans.
  • Bankay (2017). An urban graffiti / Asian emulation font.
  • Beril (2018). A modern titling sans.
  • Bridge (2017). A sci-fi typeface family.
  • Lemar (2017). A handcrafted typeface.

Creative Market link. Behance link. [Google] [More]  ⦿

Bohdan Heblik

Prague-based designer. He created an innovative set of ornamental capitals / icons for Antropofest 2013.

Behance link. [Google] [More]  ⦿

Briefcase Type

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 (2014, Jan Novak), 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.

More recent fonts: BC Minim, BC Baseliner (a variable font by Simon Matejka), BC 3018 (2018: dingbats), BC Brief (2017, Matyas Machat), BC Novatica (2016, Tomas Brousil and Marek Pistora), BC Sklonar (2016, Marek Pistora and Martin Vacha). [Google] [More]  ⦿

Bronislav Maly

Type designer. He created the concave-stroked sans typeface Cantoria (1969, Grafotechna). [Google] [More]  ⦿

Buro 128
[Neil Johnston]

Buro 129 (Neil Johnston, Prague, Czechia) created the hand-drawn typeface Pferda in 2013 together with Jan Dvorak. [Google] [More]  ⦿

Carl Pracht

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]  ⦿

Caron Twice
[Martin Cincar]

Martin Cincar (Prague, Czechia) designed these typefaces:

  • The sans typeface Atwic (2019).
  • The large typeface family Copperplate New (2019), which is modeled after Frederic Goudy's Copperplate Gothic (1901-1904).
  • The 4-style sans typeface Susie (2021). This was inspired by Susan Kare's 1984 Apple system font Chicago.
  • Calligraphic Afera Beauty (2021). A sharp display serif; the name calligraphic refers perhaps to some terminals. Two variable fonts are available as well.
  • Little Micro Sans (2021). A sans with contrast).
  • Pixel Grid (2021). A dot matrix superfamily with 220 styles.
  • Sans Atwic Modern (2021). A 19-style sans.
  • Wild Title Sans (2021). An experimental sans in 11 styles.
[Google] [MyFonts] [More]  ⦿

Ceské fonty
[Lenka Melcakova]

Czech font archive: 3rdMan, 3rdMan, AKVALEIR, 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, ChroniclesofaHero, 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]  ⦿

Christian Gollwitzer

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]  ⦿

Christian Jansky

[More]  ⦿

Claire Coullon

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]  ⦿

Clara Istlerová

Illustrator, calligrapher and typographer, b. 1944 in Czechoslovakia. [Google] [More]  ⦿

Color Works
[Jan Safarik]

Color Works is Jan Safarik (b. 1987, Zlin, Czechia), who lives in Prague. He created the bold rounded sans typeface Cargo (2012). [Google] [More]  ⦿

CVUT Czechia

Arial, Courier New and Times New Roman East-European fonts. Truetype and type 1. [Google] [More]  ⦿

Czech Design and Typography (studio experimentalniho design)
[Alois Studnicka]

Filip Blazek writes about typography. His own fonts include Pozorius, Studnicka Antikva and Duboryt. Alois Studnicka (Prague) seems to have designed PozoriusCESample. [Google] [More]  ⦿

Czech Fonts for WWW

Jiri T. Pelech's place with some Czech font downloads. [Google] [More]  ⦿

Czech FTP site

Contains over 270 type 1 fonts for use in X-Windows, including many interesting fonts from Star Division. [Google] [More]  ⦿

Czech Linux

Site has X fonts for 8859-2 and Linux support for the Czech language. [Google] [More]  ⦿

Czech Typography Archives

Flickr group on Czech typography. [Google] [More]  ⦿

Czechoslovak TeX Users Group

This TeX users group has an active Bulletin, which has several interesting issues with articles each month. Free access to the issues. (In Czech) [Google] [More]  ⦿

Daniel Quisek
[NC Type (or: Netvarec Typefaces)]

[More]  ⦿

Darina Lepisova

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).

Behance link. [Google] [More]  ⦿

David Brezina

Czech designer (b. Brno) who graduated with a Masters 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. Later David founded Rosetta Type.

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

  • CODAN (2005): a typeface inspired by the city of Copenhagen.
  • Yunnan (2004): oriental simulation face. Discussion on typophile.
  • Skolar and Surat (2008). Skolar was designed for multilingual scientific publications and is a serifed typeface in the Menhart tradition. It was published in 2009 by Type Together, and it is also listed by Rosetta Type. Skolar Basic (2009, Type Together) is the official name of this 6-style text family. Surat is an accompanying Gujarati family. Related to that, he wrote The evolution of the Gujarati typographic script (2007, University of Reading). Rosetta writes: Skolar was originally designed for academic publications: its vast character set caters for 90+ Latin-script languages, and its Greek and Cyrillic extensions together with Latin transliterations add support for another 70+ languages. All scripts are available with small caps, superior and inferior letters, five sets of numerals and alternate character forms (see note about the versions below). A comprehensive set of arrows (easily accessed via OpenType) and bullets round off the character set to meet the needs of even the most complex editorial and academic text settings. The light and extrabold styles (upright and italics) were designed with help from Anna Giedrys and Elena Schneider. Skolar's Cyrillic harmonises well with the Latin in its careful balance of distinctive styling and solid performance. Designed in consultation with Alexandra Korolkova, it supports most Slavic languages as well as many others like Kazakh and Mongolian. Additionally, Skolar includes language-specific forms for Serbian and Bulgarian. The Greek is a modern interpretation of the classic styles found in academic works, and is characterised by lively, fluid forms and varying stress. It includes both monotonic and polytonic Greek, and was designed in consultation with Irene Vlachou and Gerry Leonidas. Complete Skolar family also supports Indic scripts Devanagari (codesigned with Vaibhav Singh) and Gujarati distributed separately. Skolar has received international praise at the 2008 ED Awards, and was also shortlisted as one of the best typefaces that year by I LOVE TYPOGRAPHY. In 2009, the Cyrillic was awarded a Special Diploma at the international type design competition Modern Cyrillic, and won the first prize in Granshan's Cyrillic text type category. In 2015, the 72-font family Skolar Sans (see also, Skolar Sans PE, 2016), codeveloped by David Brezina and Slava Jevcinova at Rosetta Type Foundry, won a silver medal at the European Design awards. Skolar PE was added in 2020.
  • Yrsa and Rasa (2015, open-source type families published by Rosetta with financial support from Google). The fonts support over 92 languages in Latin script and 2 languages in Gujarati script (Gujarati and Kachchi). The design and production are by Anna Giedrys and David Brezina. Yrsa is the name of the Latin-only type family. Rasa is the name of the Gujarati type family. They explain: Both type families are intended for continuous reading on the web (longer articles in online news, magazines, blogs). In Yrsa, a special consideration was given to Central and East European languages and proper shaping of their accents. Rasa supports a wide array of basic and compound syllables used in Gujarati. In terms of glyphs included Rasa is a superset of Yrsa, it includes the complete Latin. What makes Yrsa & Rasa project different is the design approach. It is a deliberate experiment in remixing existing typefaces to produce a new one. The Latin part is based on Merriweather by Eben Sorkin. The Gujarati is based on David Brezina's Skolar Gujarati.
  • Adobe Gujarati (2012).
  • In 2019, at Rosetta Type, together with Slava Jevcinova and William Montrose, he released the variable font Adapter (with three axes, for latin, Greek and Cyrillic).
  • In 2020, he released Handjet (started in 2018, at Rosetta Type), which is built on the principle of a dot matrix printer or handjet printer. Glyphs are made up of collections of individual modules that take 23 elemental shapes. The Handjet family covers Armenian, Arabic, Cyrillic, Greek, Hebrew and Latin. Github download link.
  • Gridlite (2020, Rosetta Type) is a modular pixel typeface with adjustable foreground and background patterning. It also has a variable type format with three axes, Weight, Background, and Element Shape.

Blog. Myfonts link. Klingspor link. Speaker at ATypI 2013 in Amsterdam on the topic of multilingual type design. [Google] [MyFonts] [More]  ⦿

David Hladik

Prague-based designer of the geometric experimental typeface Anthology (2015) and the display sans typeface Note (2015) whose tall ascenders emulate musical notes. [Google] [More]  ⦿

Debora Escudeiro

During her graphic design studies in Recife, Brazil, Debora Escudeiro created a great vernacular typeface (2015), the dot matrix typeface Night (2015). [Google] [More]  ⦿


Czech outfit. They created the free typeface Delarocca in 2010. Westcoast Ink (2010) is also free. [Google] [More]  ⦿


Czech design mag. Has occasionally some articles on typography. [Google] [More]  ⦿

Denia Vanikova

During her studies in Prague, Denisa Vanikova created the text typeface DeCaslon (2013). [Google] [More]  ⦿

Deniart Systems
[Jan Koehler]

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]  ⦿

Denise Koehler

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]  ⦿

Design and Visual Communication in the Digital Age

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]  ⦿

Design as an Open Space

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]  ⦿

Design Komando
[Jan Buchtela]

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]  ⦿

[Martin Vacha]

Displaay is Martin Vacha's type foundry in Prague set up in 2014. Martin Vacha studied at the Academy of Arts, Architecture and Design in Prague. His early fonts were designed during his studies at UMPRUM in Prague. His typefaces:

  • Greed (2020). A narrow sans (+variable font with a weight axis) originally commissioned by Anymade Studio for Polansky Gallery.
  • Ofform (2019). A modular folded paper font by Marek Suchanek, Kristina Jandova and Martin Vacha that started out as a custom typeface for the fashion brand Ofform 3D.
  • Dazzed (2019).
  • Gellix BMM.
  • Matter (2016-2017). A sans inspired by Akzidenz-Grotesk (1896, Berthold Type Foundry), Theinhardt (2009, François Rappo), Classic Grotesque (1926, Frank Hinman Pierpont), Neuzeit Grotesk (1928, Wilhelm Pischner), Helvetica (1957, Max Miedinger and Eduard Hoffmann), Unica (Team '77, Lineto), Plain (2013, François Rappo), Futura (1927, Paul Renner) and Avenir (1988, Adrian Frutiger). Matter Mono was added in 2021. Haffer (2021) is a cold version of Matter with strict horizontal or vertical terminals.
  • Hellix (2011). A geometric sans with hipster elements. By 2020, he completed Fellix, Gellix, Hellix and Yellix.
  • Natron (2012). A sans and its display companion, Natron Alt.
  • Reckless (2012-2017). A text typeface inspired by Plantin and Times New Roman.
  • Wallop (2013). A sans.
  • Documan (2013). A rounded typeface that is part sans, part slab serif.
  • In 2016, Marek Pistora and Martin Vacha published the technical, almost typewriter, sans typeface BC Sklonar at Briefcase Type: The Sklonar typeface was originally designed exclusively for Zdenek Sklenar's S Gallery's corporate identity, conceived by Studio Najbrt in 2011. Two years later however, the gallery, including several works of art, was destroyed in a gas explosion. During the time of its use, the typeface appeared in promotional materials, in exhibitions, and also in artistic publications. But first and foremost, it excellently complemented the clean gallery space created by architect Josef Pleskot.
  • Roobert (2017). A bespoke typeface for Moogfest 2017 designed together with Anymade Studio. Roobert PX is a pixel font.
  • Teodor (2019-2020). Martin writes: In Teodor you can find certain similarities with Romana (1892 Gustav F. Schroeder), Caslon 224 (1725 William Caslon and Edward Benguiat), Grouch (1970 Tom Carnase and Ronne Bonder) and Perpetua (1925 Eric Gill). It has a variable type option.
  • Tobias (2019-2020), a transitional typeface with elements of Times, Times New Roman and Baskerville. Plus a variable font with a weight axis.
  • Github link.
  • Avantt (2021).
[Google] [More]  ⦿


Czech type foundry, est. 2015. [Google] [MyFonts] [More]  ⦿


Vendor of Central European encoded fonts. [Google] [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.

Old dead link. [Google] [More]  ⦿

Egor Pas

Moscow-based designer. With Peter Bankov at the Prague School of Design, he created an experimental stick font (2016). He also made the Latin / Cyrillic stencil typeface Modul (2016). [Google] [More]  ⦿

Eliska Karesova

Graphic and print desigfner in Dvur Kralove nad Labem, Czech Republic. She created the thin condensed sans display typeface Radiator in 2013. Behance link. [Google] [More]  ⦿

Eliska Kordulova

Czech designer (b. 1996) of the free handwriting font Kordulova (2014). Home page. [Google] [More]  ⦿

Elizabeth Ruzicka

During her studies, Uherske Hradiste, Czechia-based Elizabeth Ruzicka designed the floriated decorative caps typeface Ex Natura (2016). [Google] [More]  ⦿

Elizaveta Gvozdeva

During her studies in Prague, Elizaveta Gvozdeva designed the wavy display typeface Wine (2018), which is based on Frantisek Storm's Trivia Sans. [Google] [More]  ⦿

Enyon Eugenius

Slovak scientist (b. 1988) who lives in Prague. Creator of the handwriting typefaces Enyon Handwrite (2008) and Naramel (2008). Home page. [Google] [More]  ⦿

Erika Bartosova

Prague, Czechia-based designer of the connect-the-dots typeface Astryc (2016). [Google] [More]  ⦿

Eva Vopelkova

Usti nad Labem, Czechia-based designer of the experimental typeface Pronansiesjn (2016). [Google] [More]  ⦿


Czech computer chess jump page, with a few links to font sites. [Google] [More]  ⦿

Evzen Jecho

Designer (b. 1945, Zlin, Czechia) at Alphabet Design in Toronto of the ornamental dingbat typeface JechoTecho1 (see also 2005, Bitstream). Klingspor link. [Google] [More]  ⦿


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]  ⦿

[John Galt-Fansy]

Czech graphic designer and typographer. In 2021, he released the comic / children's book font Cartooner and the rounded bold caps typeface family Chortler. [Google] [MyFonts] [More]  ⦿

Filip Blazek
[Typo.z (was: Designiq)]

[More]  ⦿

Filip deSign

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

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]  ⦿

Filip Matejicek

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). In 2017, he designed the sans typeface Nuckle. [Google] [More]  ⦿

Filip Stary

Czech designer of the free squarish typeface SpaceType (2020). [Google] [More]  ⦿

Florian Karsten

Florian Karsten Studio (Brno, Czech Republic) focuses on graphic design, type design and programming. They create websites, books, programmes, typefaces and functional systems. They are excited about open-source and peer2peer networks. Designer of exclusive high quality typefaces:

  • Space Text or Space Grotesk (2016), based on Colophon's space Mono. A free variable font at Google Fonts in 2020. Github link.
  • FK Roman VF (2019). A variable font with a weight and optical size axis.
  • The retail typefaces FK Display, FK Grotesk (2019), FK Raster Grotesk, FK Screamer (2018: a condensed sans), and FK Roman (2019).
  • Montagu Slab (2021, Google Fonts). Based on 19th century models. Five optical sizes and many weights. Includes a variable font. Github link.

Open Font Library link. Fontsquirrel link. Github link. [Google] [More]  ⦿


Michal Kvasnihka's Czech site with Czech versions of the Computer Modern fonts, CS Concrete, and a handwriting font called Slabikar. [Google] [More]  ⦿

Fonts Archiv

40-font archive. In Czech. [Google] [More]  ⦿


From the Faculty of Informatics, Masaryk University, Brno, Czechia, Jan Pazdziora's PERL module for extracting information from TFM files. Free. GitHub link. [Google] [More]  ⦿

Franciscus Skaryna

Also Francysk Skaryna, Francisk Skaryna and Franciscus Scorina de Poloczko, b. 1486 Polazk (white Russia), d. 1541 Prague. Scientist and educator from Polotsk (current Belarus). 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.

Digital revivals of his typeface include Skaryna 2017 Title (2020, Aliaksei Koval). [Google] [More]  ⦿

Frantisek Storm
[Storm Type Foundry]

[MyFonts] [More]  ⦿

Franz Fiebiger

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

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]  ⦿

Friedrich Poppl

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). Poppl Fraktur was revived and modernized by Ralph Unger as Parler Fraktur in 2018. [Google] [MyFonts] [More]  ⦿

Future Millennium
[Zdenek Gromnica]

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).

Devian tart link. Dafont link. Klingspor link. Fontspace link. [Google] [MyFonts] [More]  ⦿

Gabriel Adam

Graduate of Masaryk University in Brno, Czechia, class of 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]  ⦿

[Michal Kostany]

Michal Kostany is a Czech graphic designer. Operating as Galax, he published the techno / sci-fi fonts Magnetica and Tachyon in 2019. [Google] [MyFonts] [More]  ⦿

George Moore

Author of Moderni Maliri (Modern Painters, Prague 1909). The art nouveau title page was designed by Vladimir Zupansky. [Google] [More]  ⦿


Prague-based designer of some pay pixel fonts, such as Pixie Bold, Pixie Regular and Pixie Symbol, all done in 2009. [Google] [More]  ⦿

Gilberto Moya Perona
[Pisto Casero]

[MyFonts] [More]  ⦿


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.

Grafotechna Garamond was introduced in 1959 by Stanislav Marso.

Praha (1968) is a text typeface that was revived by Synoptic Office in 2017. [Google] [MyFonts] [More]  ⦿

Hana Dovinova

Czech creator of a typographic poster entitled Diplomky (2012). Behance link. [Google] [More]  ⦿

[Jan Horcik]

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, the dry brush typeface Haas Effect (2016) and the nibbed pen typeface Oasis (2016). [Google] [MyFonts] [More]  ⦿

Helena Jakoube

Graphic designer in Prague who created the softly rounded sans lower case typeface Hero (2013). She also created a few sets of informal pictograms, such as her Smile series, and a Dress Code series.

Behance link. [Google] [More]  ⦿

Hellmuth Tschörtner

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]  ⦿

Hertzz Seextwood

Czech designer of the organic round sans typefaces LogoBlogo (2010) and Logoblogo2 (2010, lowercase only).

Devian Tart link. Graphicriver link. [Google] [More]  ⦿

Honza Steiner

Czech designer of Grabstein (2019: Handschrift, Sans, Gotik), Bar Forst (2019: script) and Stone Runes (2018). [Google] [More]  ⦿

Hugo Steiner-Prag

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). Designer of Akzidenz und Kalender Schmuck (1912, C.F. Rühl, Leipzig). Some of his work is archived at the Department of Rare Books and Special Collections of the Princeton University Library. [Google] [More]  ⦿

Ieva Ozola

Prague, Czechia-based student-designer of the floriated caps alphabet Botanical (2016), which is inspired by the flora of Tenerife. [Google] [More]  ⦿

Ilya Gromov

Ilya Gromov (Prague) created the display typeface Hip Slab (2011-2013).

Behance link. [Google] [More]  ⦿

Ina Kuchuk

Czech designer of the experimental typefaces Imperfection (2018: scratchy) and Rock On (2018: textured). [Google] [More]  ⦿

[Karel Piska]

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.

  • Tibetan: Corff-ctib (originally by Sam Sirlin (1996) and Oliver Corff et al (1999-2002)).
  • Sinhala: Haralambous-sinbxa10, Haralambous-sinbxb10, Haralambous-sinbxc10, Haralambous-sinha10, Haralambous-sinhb10, Haralambous-sinhc10, all originally by Yannis Haralambous (1994) for The Wellcome Trust, London.
  • Malayalam: Hellingman-mm10, Hellingman-mm12, Hellingman-mm17, Hellingman-mm6, Hellingman-mm8, Hellingman-mmb10, Hellingman-mmb12, Hellingman-mmb17, Hellingman-mmc10, Hellingman-mmc12, Hellingman-mmc17, Hellingman-mmcb10, Hellingman-mmcb12, Hellingman-mmcb17, Hellingman-mmcsl10, Hellingman-mmcsl12, Hellingman-mmsl10, Hellingman-mmsl12, all originally by Jeroen Hellingman (1993-1998).
  • Kannada: Kannada-kan10, Kannada-kan10b, Kannada-kan10s, Kannada-kan11, Kannada-kan11b, Kannada-kan11s, Kannada-kan12, Kannada-kan12b, Kannada-kan12s, all by G.S. Jagadeesh & Venkatesh Gopinath (1991-1998).
  • Bengali: PalashPal-bang10, PalashPal-bangsl10, PalashPal-bangwd10, all by Palash Baran Pal (2001-2002).
  • Punjabi/Gurmukhi: Punjabi-pun10, by Hardip Singh Pannu (1991). Also Singh-grmk10, Singh-grmk12, Singh-grmk8, Singh-grmk9 by Amarjit Singh (1995).
  • Tamil: Ridgeway-wntml10 by Hal Schiffman, Vasu Renganathan and Thomas Ridgeway (1988-1991).
  • Telugu: Telugu-tel10, Telugu-tel100, Telugu-tel10b, Telugu-tel10s, Telugu-tel11, Telugu-tel11b, Telugu-tel11s, Telugu-tel12, Telugu-tel12b, Telugu-tel12s, Telugu-tel18 by Lakshmankumar Mukkavilli (1991-1997).
  • Hindi (Devanagari): Velthuis-dvng10, Velthuis-dvng8, Velthuis-dvng9, Velthuis-dvngb10, Velthuis-dvngb8, Velthuis-dvngb9, Velthuis-dvngbi10, Velthuis-dvngbi8, Velthuis-dvngbi9, Velthuis-dvngi10, Velthuis-dvngi8, Velthuis-dvngi9, Velthuis-dvpn10, Velthuis-dvpn8, Velthuis-dvpn9, VelthuisBombay-dvnb10, VelthuisBombay-dvnb8, VelthuisBombay-dvnb9, VelthuisBombay-dvnbb10, VelthuisBombay-dvnbb8, VelthuisBombay-dvnbb9, VelthuisBombay-dvnbbi10, VelthuisBombay-dvnbbi8, VelthuisBombay-dvnbbi9, VelthuisBombay-dvnbi10, VelthuisBombay-dvnbi8, VelthuisBombay-dvnbi9, VelthuisBombay-dvpb10, VelthuisBombay-dvpb8, VelthuisBombay-dvpb9, VelthuisCalcutta-dvnc10, VelthuisCalcutta-dvnc8, VelthuisCalcutta-dvnc9, VelthuisCalcutta-dvncb10, VelthuisCalcutta-dvncb8, VelthuisCalcutta-dvncb9, VelthuisCalcutta-dvncbi10, VelthuisCalcutta-dvncbi8, VelthuisCalcutta-dvncbi9, VelthuisCalcutta-dvnci10, VelthuisCalcutta-dvnci8, VelthuisCalcutta-dvnci9, VelthuisCalcutta-dvpc10, VelthuisCalcutta-dvpc8, VelthuisCalcutta-dvpc9, VelthuisNepali-dvnn10, VelthuisNepali-dvnn8, VelthuisNepali-dvnn9, VelthuisNepali-dvnnb10, VelthuisNepali-dvnnb8, VelthuisNepali-dvnnb9, VelthuisNepali-dvnnbi10, VelthuisNepali-dvnnbi8, VelthuisNepali-dvnnbi9, VelthuisNepali-dvnni10, VelthuisNepali-dvnni8, VelthuisNepali-dvnni9, VelthuisNepali-dvpnn10, VelthuisNepali-dvpnn8, VelthuisNepali-dvpnn9, all by Frans J. Velthuis et al (1991-2005) from the University of Groningen.
  • Sanskrit: Wikner-skt10, Wikner-skt8, Wikner-skt9, Wikner-sktb10, Wikner-sktbs10, Wikner-sktf10, Wikner-sktfs10, Wikner-skts10, all by Charles Wikner (1996-2002).
Alternate URL. [Google] [More]  ⦿

Inky Type (or: Inky Otter Design; was: Rokus Media)
[Nini Prower]

Creator of the free handwriting typeface Nini Font (2007-2008), the handcrafted SnapHand (2015) and the cartoon typeface Riffic (2015). Fontspring link. [Google] [More]  ⦿

[Jeffree Benet]

Jeffree Benet (Inky Brain, Prague, Czechia) created the free arrowed font Arrowrifficly (2011). Prague Post link. Behance link. [Google] [More]  ⦿

Inna Bagaeva

Graphic designer in Magnolia, AR, who created an Alphonse Mucha illustration in 2012. Behance link. [Google] [More]  ⦿

Irina Sidorina

Based in Prague, Irina Sidorina designs and illustrates. Her portfolio includes the techno font Isatech (2009). [Google] [More]  ⦿


Prague-based designer of these typefaces in 2015: Perfo, Hex, Quad (free). [Google] [More]  ⦿

Ivana Koudelkova

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.

Ivana created the formal script Ivana Script (2005, URW).

In 2012, she co-designed the grungy headline typeface Retroactive Pro with Ralph M. Unger at Profonts. Savour Pro (2013, Profonts) is a calligraphic typeface.

Klingspor link. [Google] [MyFonts] [More]  ⦿


Prague-based designer of the display typeface Perfo (2014). [Google] [More]  ⦿

Ivo Zazvorka

Prague, Czechia-based designer of the domino font Autorsky (2017). [Google] [More]  ⦿

J. Linzboth

Czech type designer. [Google] [More]  ⦿


JAF34 is an independent graphic designer in Prague. Creator of the thin experimental typeface Work 30 (2013) and the hipster typefaces Universum (2014) and Dupliciter (2014).

In 2015, he created the sans typeface FOTR, the wide display typeface Fat Pleasure, and the urban art stick font Primitive.

Typefaces from 2017: Circularis (organic sans based on the geometry of the circle), Circularis Alt.

In 2019, with Koi and Ahmed Eraqi, he co-designed Hurringtown Script.

Typefaces from 2020: Yeezus (conjuring up rave, rap, acid and futurism). [Google] [MyFonts] [More]  ⦿

Jakub Bohos

In 2016, during his studies in Brno, Czechia, Jakub Bohos designed the bilined display typeface Unknown (2016). [Google] [More]  ⦿

Jakub Caja

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.

The angular signage typeface Baobab was designed in 2015. [Google] [More]  ⦿

Jakub Foglar

Based in Prague, Czechia, Jakub Foglar created Yellowstone (2015), an all caps display sans based on the lettering seen for marking the trails in Yellowstone Park. Behance link. [Google] [More]  ⦿

Jakub Samek
[Makes Type]

[MyFonts] [More]  ⦿

Jakub Sloup

Czech engineer. Creator of the upright connected school script Písankové psaí Jakub Sloup opt (2011). [Google] [More]  ⦿

Jakub Spurny
[Spurnej Type Foundry]

[MyFonts] [More]  ⦿

Jan Buble

Jan Buble (b. 1989, Prague, Czechia) set up his own type foundry in Prague 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 Buchtela
[Design Komando]

[MyFonts] [More]  ⦿

Jan Charvat
[Renegade Fonts]

[MyFonts] [More]  ⦿

Jan Horcik

[MyFonts] [More]  ⦿

Jan Hus

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

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]  ⦿

Jan Janecek

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 Koehler
[Deniart Systems]

[MyFonts] [More]  ⦿

Jan Matousek

[More]  ⦿

Jan Moravec

Czech codesigner, with Matej Syxra, of the free family TripSerif CE (2008), which can be downloaded at Dafont. [Google] [More]  ⦿

Jan Novák

Czech designer. Dafont also mentions the name Heinz Newman. Creator of the 3-d pixel fonts Khalijaka Black and Outline (2007) and the hairline octagonal typeface Boulder (2007). [Google] [More]  ⦿

Jan Novak

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 BC Liguria, 2014) are published by Briefcase Type. [Google] [More]  ⦿

Jan Novysediak

Czech designer of the paperclip typeface Spinka (2014). [Google] [More]  ⦿

Jan Rambousek

Czech designer (1895-1976) of the didone family Brno Z (Grafotechna, 1959). [Google] [More]  ⦿

Jan Safarik
[Color Works]

[More]  ⦿

Jan Schmoeger

[MyFonts] [More]  ⦿

Jan Sindler

While living in Karlovy Vary, Czechia, Jan Sindler designed Rodak (2014, a rounded sans typeface) and Maturia (2014, an ink-trapped school project typeface family that was influenced by Rathousky's Metron).

Recently, he joined Lucasfonts in Berlin. At Futurefonts, he published Rotor (2019), a monospaced typeface with an axis for rotating glyphs on the X axis, as if in three-dimensional space.

Graduate of the TypeMedia program at the Royal Academy of Art (KABK) in Den Haag, The Netherlands, class of 2020. His graduation typeface there was Gabion, a text and display family.

Between 2018 and 2020, he developed the script typeface Afrikola.

Typefaces from 2021: Rotor (experimental; static and variable).

Future Fonts link. [Google] [More]  ⦿

Jan Solpera

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:

  • Insignia (1979-1982), a sans typeface family. This was renamed since Neville Brody has a font by that name, even though Brody's font was made only in 1990, eleven years after Solpera's font. The digital version by Frantisek Storm (2000, Storm Type Foundry) is called Solpera. See also here for this sans-serif family. He designed the fonts on the banknotes of the Czech National Bank.
  • With Frantisek Storm, he designed Josef Sans in 2013, in the hope of adding a new sans family to Tyfa's Roman (Tyfa Antikva).
  • Areplos (Book and Text), published in 2005 by Storm Type Foundry based on a 1982 original by Solpera.
  • Circo (1971, H. Berthold AG). This Western style slab serif phototypeface was later carried by Lettergraphics as Cirque. For a digital version, see Harold Lohner's free typeface Flying Circus.
  • Comenia Sans (Storm Type Foundry), Comenia Script, Comenia Serif, Comenia Text.

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]  ⦿

Jan Urban

[More]  ⦿

Jan Vitásek

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]  ⦿

Jan Vranovsky

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

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]  ⦿

Jana Vinklerova

Prague, Czechia-based designer of the experimental paper strip font Scratch (2018). [Google] [More]  ⦿


Czech designer of Jannafont (2013, hand-printed). Dafiont link. [Google] [More]  ⦿

Jaro Mohola

Graphic designer in Brno, Czechia. In 2011, he created a Hebrew simulation face. [Google] [More]  ⦿

Jaroslav Andel

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

[More]  ⦿

Jaroslav Benda

Czech painter, graphic artist, author, designer of postage stamps and posters, b. 1882, d. 1970, Prague. From 1920 onwards he was Professor of Applied Arts at the School of Applied Arts.

Petra Docekalova, an expert on Benda, writes: Czech typography has been long influenced and deeply shaped by an incredibly hard-working figure---Jaroslav Benda. He was an important pillar who stood at the beginnings of contemporary Czech typography. He was an influencer who greatly inspired generations of type designers.

Creator of a rather clumsy typeface in 1923 that exhibits quite a few irregularities (image below from Veronika Burian's thesis). Veronika writes in 2017: In the 1930s, Benda attempted to develop his first, typically Czech, typeface. He sent his drawings to the Monotype Corporation for casting, but the design never made it into production. As Benda believed the drawings had been destroyed, he continued revising his own version until the 1960s. In 1962, at the age of 80, he and his daughter Jarka Tupa published Betu (Benda-Tupa), an evolutionary conclusion of the designs supplied to Monotype. Donald Partyka believes that Betu was designed in 1952, but, as mentioned above, it has its roots in that original typeface from 1923. Revivals and reinterpretations of his work:

  • In 2012, at Type@Cooper in New York, Donald Partyka revived Betu as Benda.
  • In 2017, Tomas Brousil designed a retro script typeface in Benda's honor, simply called Jaroslav. Brousil followed that up in 2020 with Benda.
  • In 2017, Slavka Jevcinova published Avory Latin at Rosetta Type Foundry.

References: In 2014, Petra Docekalova wrote a thesis about Jaroslav Benda. This led to the book Jaroslav Benda 1882-1970 by Lucie Urbankova and Petra Docekalova (2017, in Czech). Kickstarter project in 2020 to extend and translate the text in English. [Google] [More]  ⦿

Jaroslav Novotny

Freelance designer in Prague, who created the blackletter typeface Der Jodler between 2011 and 2013. [Google] [More]  ⦿

Jaroslav Setlik

Czech fine-arts and design theoretician and critic. At ATypI 2004 in Prague, he spoke about The life and work of Josef Týfa. [Google] [More]  ⦿

Jaroslav Zavodny

Czech designer of the sans typeface Latinka (2019). [Google] [More]  ⦿

Jaroslav Zavodny

Czech designer of the clean geometric sans typeface family Latinka (2018). [Google] [MyFonts] [More]  ⦿

Jeffree Benet

[More]  ⦿

Jiři Spa#269;il
[Jiri Spacil]

Czech designer (b. 1998) of the experimental typeface Dmesh (2014). Dafont link. [Google] [More]  ⦿

Jindra Holy

Czech graphic designer based in Hradec Kralove. Creator of the condensed blackletter font Future Combat (2012).

Behance link. FontStruct link, where Jindra is known as fash153. [Google] [More]  ⦿

Jiri Anderle

Jiri Anderle's didactic pages on type history (in Czech). [Google] [More]  ⦿

Jiri Chlebus

Jiri Chlebus (Magenta Design, Brno, Czechia) is a graphic designer. Magiola (2011) is an elliptical condensed sans serif typeface made at the Faculty of Fine Arts VUT Brno. Fun poster for Fujitsu.

Behance link. Another Behance link. Home page. [Google] [More]  ⦿

Jiri Nvk

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. His floral typeface Floriituta won an award in the 2016 Love Competition at Fontstruct. It was extended in the years following this award. In 2017, one of his best typefaces was the graph-theoretic font Mocholata AA55. [Google] [More]  ⦿

Jiri Rathousky

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]  ⦿

Jiri Spacil
[Jiři Spa#269;il]

[More]  ⦿

Jiri Vancura

Czech illustrator who participated in the Linotype International Type design Contest in 2000. Jiri Vancura (b. 1944, Prague) lives and works in Kolin. [Google] [More]  ⦿

Jirka Kalous

Czech art student who made Pixela (2011), a font in which the outlines are dots and dashes. [Google] [More]  ⦿

Jitka Janeckova

Designer in Opava, Czech Republic, b. 1989. Graduate of the University of Ostrava, Czechia, the Academy of Fine Arts and Design in Bratislava, Slovakia, and the Typemedia program at KABK, class of 2016. Jitka created these typefaces:

  • Uhel Sans (2013), Uhel Serif (2013), Uhel Script (2014). This typeface family started out from carved letters seen in a cemetery in Bratislava.
  • Lada (2015). This typeface is a digital interpretation of the comic book style letters drawn by famous Czech illustrator Josef Lada.
  • PojdtePane (2015). A typeface inspired by the Czech animated serial Potkali se u Kolina from 1965.
  • Troppau (2015). This German expressionist typeface is inspired by the historical and cultural heritage of Opava.
  • Janeckova won the Silver Medal in the Latin category for Rododendron, her graduation typeface at KABK, at the Morisawa Type Design Competition 2016.
  • Striper (2017), Telma (2017) and Neco (2017), three free fonts released at Fontshare.

Behance link. Cargo Collective link. [Google] [More]  ⦿

John Galt-Fansy

[MyFonts] [More]  ⦿

Josef Lada

Czech illustrator, painter, newspaper caricaturist and writer, b. Hrusice, 1887, d. Prague, 1957. Lada produced nearly 600 cartoons of the Svejk characters, depicting Austria-Hungarian 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].

In 2015, Jitka Janeckova did a digital interpretation of the comic book style letters drawn by Josef Lada in her typeface Lada. [Google] [More]  ⦿

Josef Týfa

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:

  • The partially didone typeface Týfova antikva (Grafotechna, 1959). See ITC Tyfa (1998) by Fr. Storm. In 2006, ITC Tyfa Pro finally appeared. ITC explains: In 1960, a Czechoslovakian design competition was held to determine the best new Czech typeface for book composition. The winner was designed by Josef Týfa, a respected advertising and exhibit designer who had embarked on a career change to concentrate on the typographic arts. Týfa's winning design was made into fonts for the Linotype typecaster, and was also available as hand-set type by the Czech type foundry Grafotechna. Although the design found immediate and continued popularity in Czechoslovakia, it saw little use elsewhere. Political delays Eighteen years later, another Czech type designer, Jan Solpera, sent ITC a letter suggesting that it should consider releasing Týfa as an ITC typeface, thus giving the rest of the world a chance to use the design. Unfortunately, at the time Solperas letter was sent, the Iron Curtain was still firmly drawn. Cold War politics made communication between the U.S. and people in Communist countries difficult at best, and often impossible. It wasn't until another twelve years had passed, in 1990, that ITC was able to correspond with Týfa. Týfa was willing to license his design to ITC, but all he had to offer were the thirty-year-old original drawings on yellowing paper. At the time, ITC was not producing digital fonts. The design continued to languish. In 1995 another Czech type designer, Frantisek Storm, approached Týfa and proposed digitizing the typeface under the elder designers direction. Týfa agreed. To build Týfa's design into a family of digital fonts, Storm started with scanned images of the original drawings for metal type. Maintaining the personality and basic characteristics of the metal original was a primary objective for the two designers. However, as the new digital typeface family was developed, a number of subtle changes were made. Curves were softened, serifs were modified, and other analog noise was removed without detracting from the distinctive character of the design. Structurally, ITC Tyfa is a neoclassical design, with a vertical axis, pronounced contrast between thick and thin strokes, and thin serifs with no bracketing joining them to the stems. The curves and the variations of thick and thin show exuberance far beyond most neoclassical types. The last sentence is exaggerated: ITC Tyfa has nothing of the modern mathematical exactness of Bodoni or Didot---I find it even inconsistent. It is warmer, yes, but it also betrays the didone spirit.
  • Kolektiv (1952, Grafotechna). A transitional roman face, done with S. Duda and K. Misek.
  • At StormTypeFoundry, his Týfa typeface became Tyfa Text, and his Academia (1968), made for scientific texts, became Academica (2007): its digitization was the result of a cooperation between Týfa and Storm. Storm says: During 2004 Josef Týfa approved certain differences from the original drawings in order to bring more original and timeless feeling to this successful typeface. Vertical stem outlines are no more straight, but softly slendered in the middle, italics were quietened, uppercase proportions brought closer to antique principle. Light and Black designs served (as usual) as starting points for interpolation of remaining weights. In 2021, Frantisek Storm added Academica Sans.
[Google] [MyFonts] [More]  ⦿

Joseph Maria Olbrich

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.

Nick Curtis designed Olbrich display NF based on a 1907 typeface by Joseph Maria Olbrich. [Google] [More]  ⦿

Jozef Ondrik

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).

Designer of RL Lyra (2017; by Jozef Ondrik: after Othman Motter). With Matej Vojtus, at Regular Lines, he designed RL Refusit (2018: a black display typeface), RL RW (2018: a Western font), RL Roman and RL Unno (2017-2018: a tuxedoed sans). [Google] [More]  ⦿


Czech designer of Hjorian Runes (2020). [Google] [More]  ⦿

[Jan Urban]

JUSoft is a Czech outfit where Jan Urban (from Blansko) made the dingbat font OB Piktogramy (1998). It has pictograms for use on maps and in cities. [Google] [More]  ⦿

K Design
[Matej Kaspar Jirásek]

K Design is the company of Czech designer Matej Kaspar Jirásek FontStructor who made the gridded Condensed Milk family in 2010. [Google] [More]  ⦿

Kafka Design

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]  ⦿

Karel Brejcha

[MyFonts] [More]  ⦿

Karel Dyrynk

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 made by him include Dyrynk Lateinschrift (1928, A. Gregr type foundry---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).

Digitizations: Dyrynk Lateinschrift was the basis of P22 Dyrynkova-Latinka (2003), and P22 Dyrynk Roman and Italic (Richard Kegler, P22, 2004).

Klingspor link. [Google] [MyFonts] [More]  ⦿

Karel Misek

Designer at Grafotechna of the 2-weight transitional roman family Kolektiv (1952, with S. Duda and J. Týfa). [Google] [More]  ⦿

Karel Piska

[More]  ⦿

Karel Piska

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]  ⦿

Karel Svolinsky

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]  ⦿

Karolina Petru

Brno, Czechia-based designer of the signage typeface Vinena (2013). [Google] [More]  ⦿

Katerina Milan

Prague, Czechia-based designer of the Cyrillic horror font The Very Black Book (2019). [Google] [More]  ⦿

Katerina Orlikova

Creator of these experimental geometric typefaces in 2010: Tasemnice, Semetrika, Metrika, Kaleidoscope. Katerina lives in Zlin, Czechia. [Google] [More]  ⦿

Katerina Soudkova

Brno, Czechia-based graphic designer who made her first font in 2010. Behance link. [Google] [More]  ⦿

Kenji Kaminski

[More]  ⦿

Klara Barova

Brno, Czechia-based designer of the handcrafted art nouveau typeface Alfontzo (2019). [Google] [More]  ⦿

Klara Kvizova

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]  ⦿

Knihovna Fontu

Small Czech dingbat and font archive. [Google] [More]  ⦿

Kolektiv Studio
[Lukas Kijonka]

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).

Behance link. [Google] [More]  ⦿

[Christian Jansky]

Kometa is Christian Jansky's type foundry located in Brno, Czechia. His typefaces: Attila Sans (a contemporary sans with an attitude, 2019), Labil Grotesk and Stabil Grotesk (2018, based on his Masters thesis), Victor Serif (2019, a transitional typeface famiy named after Victor Lardent who designed Times New Roman; it has a variable option with a weight axis). Home page. [Google] [More]  ⦿

Kristina Jandova

Czech designer based in the UK. Creator of these typefaces:

  • Laborat (2021, Monotype). A 6-style grotesk that struggles with its identity and wants to come out of the closet as a geometric sans.
  • FS Meridian (2019, at Fontsmith). A rhythmic geometric sans family with circular forms.
  • Antique Gothic (2017). A condensed vintage sans with extreme x-height, designed by Jean-Baptiste Levée (Production Type), with the help of Emmanuel Besse, Yoann Minet, Quentin Schmerber, Hugues Gentile, Pauline Fourest, and Kristina Jandova (who was an intern at Production Type in 2017).
  • Co-designer of Ofform (2019) with Marek Suchanek and Martin Vacha at Displaay. Ofform is a modular folded paper font that started out as a custom typeface for the fashion brand Ofform 3D.
  • Other typefaces: Utopian (experimental), OE Display, Pusa Serif, Kryptone (a polygonal experiment).
[Google] [MyFonts] [More]  ⦿

Kristyna Koprivova

Nove Straseci, Czechia-based designer of prismatic and brush typefaces in 2015. Behance link. [Google] [More]  ⦿

Kristyna Krejcova

In 2015, Kristyna Krejcova (Prague, Czechia) created the display typeface Kompromis in 2015. [Google] [More]  ⦿

La Mère Noelle
[Noelle Papay]

Noelle Papay (La Mère Noelle) created the experimental pixel typeface Caracterielle (2010). She is a freelance designer in Prague. [Google] [More]  ⦿

Ladislav Sutnar

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.

In 2015, Robyn Henry created the modular typeface Ladislav Sutnar. [Google] [More]  ⦿

Lege Artis

Small Czech TrueType archive. Main page. [Google] [More]  ⦿

Lengua Mongola (was: Vocabulario Mongol)
[Ariel Laurencio Tacoronte]

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]  ⦿

Lenka Melcakova
[Ceské fonty]

[More]  ⦿

Lenka Opalkova

Zabreh, Czechia-based designer of the 19th century style display typeface Liebental (2016). [Google] [More]  ⦿

Lenka Vomelova

Czech creator of Lenka Stabilo (2012, OFL: hand-printed).

Dafont link. Home page. [Google] [More]  ⦿

Letterhead Studio VV Fonts
[Vsevolod Vlasenko]

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 these typefaces:

  • Dreamland Roman (2008-2009). Curly letters.
  • Unhooked Roman and Johnny The Hook Roman (2008-2009).
  • Bookvarium (2010). A playful didone.
  • Insomnia (2007). A slightly curly almost upright script.
  • Unhooked Cyrillic (2014).
  • Noodle (2014).
  • Light Dreams (2015). A hyper-curly floriated font.
  • Dictio (2018).
  • Artuso (2021). A tall modulated all caps display typeface that Blake Edwards would have used in the Pink Panther series had it been available back then.

Behance link. His graphic design and photography studio. Live Ocean link (Vilnius, Lithuania). [Google] [MyFonts] [More]  ⦿

Libor Klecek

Czech student of Academy of Arts, Architecture and Design in Prague. He made a character in the September 11 charity font done for FontAid II. [Google] [More]  ⦿

Libor Sztemon

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-the-West, 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). Additional fonts include Avestin e Euransi, Euransi (old standard charset), Eurasian Times, Liborsoft Slavonia, Pravda, and Times of Hebrew. Another directory. [Google] [More]  ⦿

Linda Kudrnovská

[More]  ⦿

Little Type (was: Little Jimi Shop)
[Petr Ondrusz]

Czech designer of the handcrafted typeface Cubicoola (2017) and the pixelish typeface Industral (sic) (2017). [Google] [MyFonts] [More]  ⦿

Lost at Sea Co
[Petr Knoll]

Prague-based creator of the handcrafted spurred vintage typeface Vienna Hotel (2015), the spurred handcrafted El Capitan (2015), and the Victorian typeface Fiero Rough (2015). He also made Apparel Icons (2015). Behance link. Creative Market link. [Google] [More]  ⦿

Lubos Drtina

Czech designer (b. 1963) of the blocky grunge typeface PesDog (1993). This illustrator and graphic designer is based in Prague. [Google] [More]  ⦿

Lucia Kolesarova

Graphic designer in Prague who made the connect-the-dots typeface Bodka (2013). [Google] [More]  ⦿

Lucie Frydl

Student in Prague who created the multiline and stencil fonts Expos, Exops and Sexpo in 2013. Earlier, she designed the modular typeface Oze (2011). Behance link. [Google] [More]  ⦿

Lucie Frydlova

As a graphic design student in Prague in 2009, Lucie Frydlova created a modular typeface called Oze. [Google] [More]  ⦿

Lucie Hulkova

Rokycany, Czechia-based designer of the blocky yet rounded all caps typeface Marble (2016). [Google] [More]  ⦿

Lukas Flekal

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]  ⦿

Lukas Kijonka
[Kolektiv Studio]

[More]  ⦿

Lukas Krakora

[More]  ⦿

Lukas Podhola

Prague-based designer of some nice logotypes. [Google] [More]  ⦿

Lukas Vodicka

Prague-based creator of Spin (2009, rounded and ultra-fat). [Google] [More]  ⦿

Lumir Kajnar

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]  ⦿


Prague-based designer of the display typeface Perfo (2016) and the experimental hacker typeface The Glyph (2016). [Google] [More]  ⦿

[Marek Peca]

Marek Peca's utility for converting (PostScript) font metrics from Macintosh resource forks to .PFM format, usable on Microsoft platforms and convertible to standard AFM. [Google] [More]  ⦿


Sells Central European versions of Adobe fonts in Czechia. [Google] [More]  ⦿

Magdalena Mau

Ostrava, Czechia-based designer of the 3d futuristic typeface Space (2017). Behance link. [Google] [More]  ⦿

[Jan Matousek]

Jan Matousek (b. 1984) is a graphic and type designer based in Prague, Czechia. He studied at the Academy of Arts, Architecture and Design, Prague, graduating there in 2011. From 2011 until 2013, he worked as a graphic designer at Studio Najbrt, Prague. In 2018, he set up his own studio and type foundry, Magio. His typefaces:

  • Squadron (2014-2019). The title Squadron that appears in the 1942 documentary on Czechoslovak airmen in Great Britain, was the initial inspiration for a photographic / typographic project, that resulted in the sturdy sans typeface family Squadron.
  • Option (2015-2019). A typeface inspired by Helvetica, although it is a bit narrower and rounder.
  • Stardust (2008). A scribbly font designed by connecting stars in constellations.
[Google] [More]  ⦿

Makes Type
[Jakub Samek]

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).

In 2019, after having set up makes Type, he released Diagram Display. [Google] [MyFonts] [More]  ⦿

Malek Bulir

Usti nad Labem, Czech Republic-based designer of Untitled (2019) and Jizera (2019: a sans). [Google] [More]  ⦿

Marek Brejcha

Czech designer (b. 1975) who lives in Olomouc. He made the runic font HlaholiceBold (2001). [Google] [More]  ⦿

Marek Peca

[More]  ⦿

Marek Peca

Marek has written an AFM and PFM file generator, starting from a Mac font family resource fork. [Google] [More]  ⦿

Marek Pistora

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.

In 2016, Tomas Brousil and Marek Pistora published BC Novatica at Briefcase Type: Novatica was created based on a commission from the Czech commercial television station Nova in 2007. Marek Pistora worked with Tomas Brousil to create an alternative to a readable, simply designed sans. They naturally called the typeface Novatica. In 2014 TV Nova decided to abandon Novatica for good, and in so doing it released the exclusive licence it had been using. Novatica thus became a new typeface offered by Briefcase Type Foundry.

In 2016, Marek Pistora and Martin Vacha published the technical, almost typewriter, sans typeface BC Sklonar at Briefcase Type: The Sklonar typeface was originally designed exclusively for Zdenek Sklenar's S Gallery's corporate identity, conceived by Studio Najbrt in 2011. Two years later however, the gallery, including several works of art, was destroyed in a gas explosion. During the time of its use, the typeface appeared in promotional materials, in exhibitions, and also in artistic publications. But first and foremost, it excellently complemented the clean gallery space created by architect Josef Pleskot. [Google] [MyFonts] [More]  ⦿

Marek Silpoch

Prague, Czechia-based designer of the experimental typeface Klaviatura (2015), in which all glyphs are based on the lower case n from Helvetica. [Google] [More]  ⦿

Marek Suchanek

Czech co-designer of Ofform (2019) with Kristina Jandova and Martin Vacha at Displaay. Ofform is a modular folded paper font that started out as a custom typeface for the fashion brand Ofform 3D. [Google] [More]  ⦿

Marian Misiak
[Three Dots Type]

[More]  ⦿

Marie Musilova

Czech graphic designer. During Typeclinic 11th International Type Design Workshop, she created the organic typeface Tulsia (2015). [Google] [More]  ⦿

Marie Vesela

Graphic designer and illustrator in Prague, Czechia, who created the typeface Crocs (2016). [Google] [More]  ⦿

Marketa Kontova

Born in Prague, Marketa Kontova is now in Southport, Australia. She created the curly script typeface Dignity (2013). [Google] [More]  ⦿

Marketa Olicova

Prague-based designer of Guinea (2014), a bold typeface characterized by squarish counters. [Google] [More]  ⦿

Marta Mastálková

Czech graphic design student, who, as a stunt, created an alphabet out of molten caramel sauce, called Karamel Sans CE (2009). [Google] [More]  ⦿

Martin Cincar
[Caron Twice]

[MyFonts] [More]  ⦿

Martin Dusek

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]  ⦿

Martin Hrtanek

Prague, Czechia-based designer of the multiline number typeface The Sleepy Eight (2017). [Google] [More]  ⦿

Martin Kadlecik
[ME Typography]

[MyFonts] [More]  ⦿

Martin Kadlecik

Prague, Czechia-based designer of the Hebrew typeface Shapirit (2017). [Google] [More]  ⦿

Martin Pecina

[More]  ⦿

Martin Pysny

Or Mato Pysny. Graphic and type designer with illustration background and passion for animation. His main areas of interest are dyslexia and education. Graduate of the TypeMedia program at the KABK in The Hague in 2017, where his graduation typeface---in the notched style that was so "in" in 2017---was called Henk: Henk is one guy with two faces. Henk Work is a smart, hard-working, sharp-dressed gentleman designed for the writing of the long legal texts. Henk Out can be noisy but relaxed and entertaining. He is a typeface for larger scale texts.

Typefaces by Filip Zajac, Jakub Valach and Martin Pysny in 2019: Skeleton Type One Poster, Skeleton Type One Initial Max (German expressionist). Future Fonts link. [Google] [More]  ⦿

Martin Sutovec

Czechoslovakian designer/typographer. He created the informal blocky fave Pakt. [Google] [More]  ⦿

Martin Vacha

[More]  ⦿

Matěj Hofman

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 Hlavacek

[MyFonts] [More]  ⦿

Matej Kaspar Jirásek
[K Design]

[More]  ⦿

Matej Moravec

Czech creator of the typographic poster I Am For Free Fuck (2012). [Google] [More]  ⦿

Matej Syxra
[Page42 Type Foundry]

[More]  ⦿

Matej Vojtus

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).

With Jozef Ondrik, he set up Regular Lines. Together, they designed RL Refusit (2018: a black display typeface), RL RW (2018: a Western font), RL Roman and RL Unno (2017-2018: a tuxedoed sans). [Google] [More]  ⦿

Matt Frost

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

  • Aegean (2012). A swashy take on roman capitals. The spurred version is Cirque (2012).
  • Antler (2014-2016). A spurred woody letterpress vintage family of typefaces Antler has your back for beer bottles, fantasy novels, taco shops, beekeepers, cattle rustlers, tattoo artists, druids, hair bands, and bounty hunters, is how Matt descrives the typeface family. The Western typefaces Antler East, Antler North, Antler West (spurred; in Regular, Wood and 3d) and Antler South (Tuscan) were published in 2016. In 2017, he added Antler.
  • Baron of Arizona (2011). A Victorian ornamental face.
  • Baboon (2015). A handcrafted poster typeface.
  • Cirque (2012).
  • Cow Boss (2015). A Tuscan Western typeface.
  • Dubliners (2011). A signage script face.
  • Escape From Budapest (2011). Art deco, based on a type specimen in the Communist Sculpture graveyard outside of Budapest.
  • King Of Prussia (2011). An angular Halloween face.
  • Praha Nouveau (2011). Art nouveau. Praha Nouveau is based on a type specimen on the statue of Jan Hus in Prague's Old Town Square. The statue was designed in 1903 by Ladislav Saloun.
  • Quijibo (2011). A quaint handmade slab serif.
  • Street of Crocodiles (2011). Inspired by the main title of the Quay Brothers film Street of Crocodiles (based on the 1934 Bruno Schultz book).

View Matt Frost's typefaces. [Google] [MyFonts] [More]  ⦿

Matyas Barton

Graduate of the Type Design and Typography program at UMPRUM, Prague, Czechia. Designer of the high-contrast tuxedoed sans typeface Ponzastura (2018). He explains: Ponzastura typeface was inspired by Aldo Novarese's Eurostile, but in this case, monolinear strokes took on contrast and stress. The classical appearance of Ponzastura, whose name is inspired by the Italian city Pontestura where Novarese was born, is more of a reaction and interplay.

In 2019, he published the variable font BC Minim Variable at Brieface Type Foundry. It was designed for extreme small size print, and offers weight and ink trap axes. [Google] [MyFonts] [More]  ⦿

Matyas Machat

Born in Jablonec and Nisou, Czech Republic, 1992, Matyas Machat created Sandokan in 2014. Sandokan is a brush script font with that conjures up oriental calligraphy, art nouveau and psychedelic flower power.

In 2017, he designed BC Brief (Briefcase Type).

In 2018, Vojtech Riha and Matyas Machat co-designed Slavia and Slavia Press + Repress. The former is a socially awkward 1910-era grotesque, and the latter two typefaces are letterpress style cousins.

In 2021, he released the nine-style sans Civil at Superior Type.

At Brieface Type, he published BC Eric Machat (Machat's interpretation of Eric Gill's humanist typeface Gill Sans), BC Eric Machat Headline and BC Eric Machat Script (based on Eric Gill's handwriting). [Google] [MyFonts] [More]  ⦿

Matyas Strelec

Brno, Czechia-based designer of an art deco typeface simply called Art Deco (2018). Earlier he was located in Nachod, czechia as a student. [Google] [More]  ⦿

Maya Lagunova

Perm, Russia and/or Plzen, Czechia-based designer of the script typefaces La Femme (2015) and Annabel (2015), and the handcrafted typeface Winter Time (2015).

In 2016, she designed the brush script typeface Alice Morning and Martha Script.

In 2017, she designed Heartless Script. Behance link. Creative Market link. [Google] [More]  ⦿

ME Typography
[Martin Kadlecik]

Czech designer, b. 1974, of the Latin / Hebrew geometric sans typeface family Shapirit (2018). He specializes in Hebrew and Arabic scripts. [Google] [MyFonts] [More]  ⦿

Method Kalab

Designer at Grafotechna of Kalab, a roman typeface with many hairlines. [Google] [More]  ⦿

M.G. Maresova

Brno, Czechia-based designer of the wiry typeface Abeceda (2018). [Google] [More]  ⦿

Michael Dolejs

Michael Dolejs is a social network aficionado / graphic designer in Prague, who studied at University of West Bohemia, Pilsen, from 2014 until 2017, and is presently at Studio Najbrt. In 2015, he created the display typeface Hijku based on a Gotham skeleton.

In 2018, he published the techno sans typefaces NMB Sans and WWM. Dribble link. [Google] [More]  ⦿

Michaela Koselova

During her studies in 2014, Michaela Koselova (Nachod, Czechia) created the simple experimental Author's Alphabet. [Google] [More]  ⦿

Michal Kostany

[MyFonts] [More]  ⦿

Mikolas Machacek

Czech designer who created a poster with nice stitchy lettering for the Theater Caspar in 2003. The typeface is called Garder0bier. [Google] [More]  ⦿

Milos Kunst

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.

Abstract Fonts link. Fontspace link. [Google] [More]  ⦿

Milos Micatek
[MM Font Factory]

[More]  ⦿


Czech site with several free fonts developed in a mathematically precise manner:

  • A Unicode-compliant serifed typeface Mides (2004), which has well over a thousand glyphs and fills most of the early part of the Unicode table.
  • Tapir (2004; a sans family with simple geometric shapes and lines of constant thickness comes in metafont and type 1).
  • Faldix.
  • Fixka (handprinting style glyphs), FixkaBold, FixkaBoldItalic, FixkaItalic.
  • TriGande (a sans family), TriGandeB lunet, TriGandeBlunetBold, TriGandeBlunetBoldItalic, TriGandeBlunetItalic, TriGandeBold, TriGandeBoldItalic, TriGandeItalic.
  • Zabyris, ZabyrisBold.
  • Bobdel.
  • Boisik (2008) is a 20-font Baskerville-inspired metafont family with math symbols and full Czech accents. It has an Opentype version as well.
Most typefaces come in type 1 and metafont versions. Metafont-only typefaces include Bobdel, Midings and Mishapes. Alternate URL for Tapir. I can't figure out who designed these typefaces. [Google] [More]  ⦿

MM Font Factory
[Milos Micatek]

Czech comic book font designer. His creations include MM Script Evolution Italic, MMFF Kucetom (Tomas Kucerovsky), Mankinoid v2, Vierkas Handwriting MMFF, Nut Tree, DevCageR SFX, DevJed, Testament, MMTelenko, Telenko SFX, Sebastiano, Prophiety, Pan-Opti-Cum, Murena, BumPraskBang, KlasikoidCaps, Klasikoid, Conaniada 2, Bronzaica, MMFF Murderiada, MMFF WiShiWaShi, Noah Van Sciver, Vhrsti, Pavel "PaTa" Talas (MM Pata), Planeta Dinosauru. [Google] [More]  ⦿

moonphase metafont
[Stanislav Brabec]

Moonphases in metafont format, by Stanislav Brabec from Czechia. [Google] [More]  ⦿

MyFonts: Alphonse Mucha

MyFonts pages on typefaces related to the work of the Czech art nouveau master Alphonse Mucha. [Google] [More]  ⦿

MyFonts: Storm Type Foundry

MyFonts lists the top selling fonts of the Storm Type Foundry. [Google] [More]  ⦿

MyFonts: Type Together

MyFonts lists the top selling fonts of the Type Together foundry run by José Scaglione and Vik Burian. [Google] [More]  ⦿

Narrow Type
[Andrej Sevcik]

Narrow Type is a Czech type foundry set up by graphic designer Andrej Sevcik. In 2022, he released the delicate decorative sans typeface Regonia. [Google] [MyFonts] [More]  ⦿

Natalia Ogneva

Freelance graphic designer based in Prague. In June 2010, she graduated from the Prague College with a degree in Graphic Design. Behance link.

Her typeface On Fire (2012) looks like it was drawn with a watercolor brush. [Google] [More]  ⦿

NC Type (or: Netvarec Typefaces)
[Daniel Quisek]

Prague-based type foundry offering typefaces by Daniel Quisek and Lukass Chladek, who gained their experience type during their MA studies in The Netherlands. Their fonts include NC Burrata (2020: a geometric sans; +a variable style), NC Fontina (2020: a grotesk sans that celebrates Mille Miglia, a Thousand Miles open-road race established in 1927 in Italy.) and NC Kobyla (2020: a workhorse text typeface family; +a variable font).

Daniel Quisek is the co-designer with Martin Vacha of the free Google Fonts typeface Github link. [Google] [More]  ⦿


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]  ⦿

Neil Johnston
[Buro 128]

[More]  ⦿

Nikola Giacintova

In 2014, Nikola Giacintova (b. 1989, Sternberk, Czechia) set up a type foundry in Prague, Czechia. In 2014, she created Rukola (2014, a sign-painting brush script) and Yield.

In 2016, she published the great retro signage script Blonde Script at Indian Type Foundry. [Google] [MyFonts] [More]  ⦿

Nikola Klimova

Nikola Klimova (Rajec-Jestrebi, Czechia) set up the Nikola Klimova Type foundry 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]  ⦿

Nini Prower
[Inky Type (or: Inky Otter Design; was: Rokus Media)]

[More]  ⦿

Noah Feldman

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]  ⦿

Noelle Papay
[La Mère Noelle]

[More]  ⦿

Oldrich Hlavsa

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]  ⦿

Oldrich Menhart

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.

Veronika Burian on Menhart. FontShop link. Klingspor PDF. Oldrich Menhart's typefaces include

  • Manuskript Antikva (1944-1950, Grafotechna), Manuskript Kursiva (1951, Grafotechna). An angular and slightly irregular typeface with a handwritten feel. Burian places Manuscript Antikva in 1943 and Kursiva in 1946. Digitizations of Manuskript: the five-weight family by Franko Luin (1991) at Omnibus, Menhart Manuscript by Alex V. White, Manuskript Antiqua (URW++, by Ralph M. Unger), and ITC Oldrichium by George Thompson from No Bodoni Typography.
  • Menhart Antiqua and Menhart Kursiva, 1930. Menhart Antiqua was first published by the Bauersche Giesserei in 1932. We also find versions of this garalde set in 1936-1938 at Monotype. See also Grafotechna. Paul Hunt's Junius (2006) is a revival/adaptation of Menhart Antiqua. See also the beautiful revival Menhart Antiqua (2008, Albert Creus).
  • Menhart Roman (1933) and Menhart Italic (1933), published by Lanston Monotype in 1934-1935, and by Bauersche Giesserei in 1939. Bill Horton recreated Menhart-Italic and Menhart-Regular. Alexander W. White revived Menhart Italika [his revivals of Preissig Antikva, Preissig Italika, Menhart Italika and Menhart Manuscript won him awards at the TDC2 2001 competition].
  • Menhart Latein.
  • Parlament (1950, Czech Government Printing Office). Calligraphic type with lots of individuality and irregularity, first planned to be used for printing the Czech Constitution.
  • Standard Antikva and Kursiva (1959). See also at Grafotechna in 1966.
  • Victory Roman, Medium and Italic, 1942-1943. Published in 1947 at Intertype. An angular text face.
  • Triga Antikva, Kursiva and Medium (1951, published in 1954 at Sluzba Tos, Prague). Calligraphic text type.
  • Ceska Unciala (1944), published in 1949 at Grafotechna. An angular pseudo-Gaelic uncial. Ralph Unger's FontForum Unciala (2005, URW++) is a revival.
  • Figural Romana or Antikva (1940, published in 1949 at Grafotechna), Figural Kursiva or Italika (1948; published in 1949-1950, Grafotechna), Figural Romana (1940). Rather angular lower case letters with several slopes. Michael Gills, under the art direction of Colin Brignall, did Figural (1992) and Prague for Letraset without Grafotechna's permission, and ITC is still selling those fonts now as ITC Figural and ITC Prague. Monotype and Linotype also offer Figural. Figural and Figural Italic were also revived in 2006 by Ari Rafaeli.
  • Grazdanka (1953, Grafotechna), Grazdanka Kursiva (1954, Grafotechna). Manuscript Grazhdanka (cyrillic) was revived in 2006 by Ari Rafaeli.
  • Hollar (1939, at Jaroslav Picku, Prague).
  • Monument (1950-1952, Grafotechna). An almost pen-drawn all-caps outline face. The digital version by Ralph M. Unger is also called Monument (2010, Profonts). Dieter Steffmann has a free revival of Monument in 2002.
  • Vajgar (1961, Tiskarna Straz)

View the typefaces related to Oldrich Menhart. See also here. [Google] [MyFonts] [More]  ⦿

Oliver Moore

Pague, Czechia-based designer of Logbond (2018) and Moontalk (2018). [Google] [More]  ⦿

Ondrej Bachor

Czech visual identity designer working mostly for the fashion industry, who has a Masters in type design at ECAL in Lausanne, Switzerland. Creator of the extended sans typeface Exil 71 (2014). In 2018, he designed the sans typeface Concern at ECAL Typefaces.

Ondrej won the silver medal in the Latin category at the 22nd Morisawa Type Design competition in 2019 for Kolektiv. [Google] [More]  ⦿

Ondrej Chory

Czech designer who created the stencil typeface Buum (2019) and the superchiseled typeface Mongoloid (1993). He writes about Buum: Buum is recommended by nine out of ten old school futurists, favored by steampunk CNC operators and respected by the majority of infantile anarchists. [Google] [MyFonts] [More]  ⦿

Ondrej Kahanek

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 type foundry. In 2014, Ondrej created Zirkel, a geometric sans in 16 weights.

Behance link. [Google] [MyFonts] [More]  ⦿

Orb's Homepage

Czech page with Arabia, Corel's renamed version of Arnold Boecklin. [Google] [More]  ⦿

Otakar Karlas

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]

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 (free in 2003 and P22 Snowflakes (retail) in 2020, finishedd by Richard Kegler and Terry Wüdenbachs), 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 (Flat, 3D; in the style of Il Futurismo), P22 Basel Roman (2020, Richard Kegler: an update of a 2015 typeface, P22 Basel, based on a garalde font used by Johannes Herbst (aka Ioannes Oporinus) in 1543 to publish Andreas Vesalius' On the Fabric of the Human Body (De humani corporis fabrica) in Basel), 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 co-designed 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), P22 FLW Exhibition, P22 FLW 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 co-designed 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 Paul D. Hunt 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), P22 Preissig (and P22 Preissig Calligraphic, 2019), 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 and Miranda Roth), 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).

Bio and photo.

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.

P22 Declaration (Script, Signatures, Blackletter, 2009) is based on the lettering used in the 1776 Declaration of Independence.

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).

Typefaces from 2020: Showcard Script (by Terry Wüdenbachs, based on an original of Beaufont at the Hamilton Wood Type Museum, custom designed by the Morgan Sign Machine Company of Chicago).

Typefaces from 2021: P22 Glaser Houdini (a layerable family, after Glaser's Houdini from 1964), P22 Glaser Babyteeth. Kegler writes: In 2019, P22 Type Foundry met with Milton Glaser (1929-2020) to initiate the official digital series of typefaces designed by Glaser in the 1960s and 70s. P22 Glaser Babyteeth is the first family released in the series. Milton Glaser's inspiration for his Babyteeth typeface came from a hand painted advertisement for a tailor he saw in Mexico City. He was inspired by that E drawn as only someone unfimilar with the alphabet could have concieved. So he set about inventing a completelly ledgible alphabet consistant with this model. P22 Glaser Babyteeth was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official Babyteeth fonts approved by Milton Glaser Studio and the Estate of Milton Glaser. The solid and open versions are designed to overlap for two-color font effects and can even be mixed and matched for multi layer chromatic treatments. In 2021, he published the 3d art deco shadow font P22 Glaser Kitchen which is based on Big Kitchen (1976).

MyFonts interview.

View Richard Kegler's typefaces. View the IHOF / P22 typeface library. [Google] [MyFonts] [More]  ⦿

Page42 Type Foundry
[Matej Syxra]

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]  ⦿

[Karel Brejcha]

Novy Bor, Czechia-based designer of the connect-the-dotstypeface DotLinDot (2022). [Google] [MyFonts] [More]  ⦿

[Jan Schmoeger]

Born in Prague in 1949, Jan Schmoeger emigrated to Australia in 1980/1981, and is a book designer in Mentone, Victoria. For most of his career here he worked as a graphic designer, mainly in book publishing. He was also a sessional lecturer at the School of Art and Design, Monash University, Caulfield, Melbourne (formerly Chisholm Institute of Technology) in 1986-1994 and 2004-2008. His typefaces:

  • Bentwood (2008).
  • Circula (2010). A geometric caps-only sans based on arcs.
  • Diagond (2010). Organic.
  • Galette (2008). Six styles of a screen sans with hint of art nouveau, originally called Alfons but renamed.
  • Mentone (2008). Along the lines of Frutiger/Myriad.
  • Paperclip (2007).
  • ParaCaps (2008). Geometric caps.
  • Paragraph Stretch (2011). A unicase effect Porsche-look family.
  • Paragraph (2007). A rounded octagonal headline sans typeface.
  • Springsteel Serif (2011) and Springsteel Extreme (2011)..
  • Springsteel (2009). A tense sans.
  • Tenby Stencil
  • Tenby Eight, Seven, Six, Five and Four (2008). A squarish geometric display sans series.
  • Tertre (2009). An octagonal typeface based on French signage.

Klingspor link. Dafont page (where three styles of Paperclip, Diagond, and the sans typeface Mentone are free). Home page. Pic.

Showcase of Jan Schmoeger's typefaces at MyFonts. [Google] [MyFonts] [More]  ⦿

Patrik Svoboda

Patrik Svoboda (Visual Perfect, Prague, Czechia) designed the hexagonal typeface Transforma in 2014. Behance link. [Google] [More]  ⦿

Patrona Grotesk

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]  ⦿

Pavel Barchanski

Graphic designer in Plzen, Czechia. Creator of the bilined typeface Retro (2014). [Google] [More]  ⦿

Pavel Fuksa

Prague, Czechia-based designer of a poster called Hipster Typo Bike (2016). [Google] [More]  ⦿

Pavel Jedlicka

Czech designer who created Error, a techno face. [Google] [More]  ⦿

Pavel Kotrly's blog

Czech type blog. [Google] [More]  ⦿

Pavel Lev

Czech designer who created various logotypes for the Reflex magazine in 1993. [Google] [More]  ⦿

Pavel Rozmahel

Jihlava, Czechia-based designer of the thin grotesk all caps typeface Neoteric (2016). [Google] [More]  ⦿

Pavel Teimer

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

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]  ⦿

Pavlina Suhajova

Brno, Czechia-based designer of the hairline avant garde typeface Brite Lites (2015). [Google] [More]  ⦿

Perl modules

Perl font utilities for type 1 and truetype such as Font-AFM (Gisle Aas), Font-Fret (Martin Hosken), Font-TFM (Jan Pazdziora, Font-TTF (Martin Hosken). [Google] [More]  ⦿

Peter Smalec

Czech FontStructor who made Skoro CZ (2011). [Google] [More]  ⦿

Petr Babak

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.

Interview (in Czech). Graphic design and new media web page. [Google] [More]  ⦿

Petr Knoll
[Lost at Sea Co]

[More]  ⦿

Petr Kollarcik

Pilsen, Czechia-based designer of the free slab serif typeface Ulula (2014). Behance link. [Google] [More]  ⦿

Petr Ondrusz
[Little Type (was: Little Jimi Shop)]

[MyFonts] [More]  ⦿

Petr Rubacek

Graphic designer in Ostrava, Czechia. He created a typeface in 2012.

Behance link. [Google] [More]  ⦿

Petr Tomas

Prague, Czechia-based designer of the condensed typeface Decroissant (2017). Behance link. [Google] [More]  ⦿

Petr Uher

Plzen, Czechia-based designer of the stencil typeface Mossa (2017). [Google] [More]  ⦿

Petra Byrtusova

Pilsen, Czechia-based creator of Klintypo (2014), a sharp-edged typeface (2014). [Google] [More]  ⦿

Petra Docekalova

Type foundry in Prague, Czechia, est. 2014 by Petra Docekalova, b. 1991, Ostrava, Czechia. She studied at the UMPRUM 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.

Petra studies at the Type Design and Typography studio of the Academy of Arts, Architecture & Design in Prague and intends to write a PhD thesis about New Script Forms.

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.

She received the TDC Award of excellence 2017 for her diploma project dealing with Czechoslovak calligraphy and new hand lettering forms. Speaker at ATypI 2019 in Tokyo. [Google] [MyFonts] [More]  ⦿

Petra Kalouskova

Prague-based designer of the experimental typeface Autorska (2017), which is based on 80 kilometers worth of running paths as reported by a GPS app. [Google] [More]  ⦿


Czech creator of a typographic dog (2011). [Google] [More]  ⦿

Pisto Casero
[Gilberto Moya Perona]

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 type foundry 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).

Home page. Fontspace link. Dafont link. [Google] [MyFonts] [More]  ⦿


Czech designer of the stencil logo font A New Signature (2006). No downloads. [Google] [More]  ⦿


Vendor of Central European versions of Adobe fonts in Czechia. [Google] [More]  ⦿

Rad Fonts
[Radek Broz]

Czech designer of the handcrafted typefaces Hello Bride (2018), Sad Riff (2018), Hello Glamour (2017), Flowerlly (sic) (2015), and Forestelly (sic) (2015: upright script), the brush fonts Black Star (2017) and Dream Alley (2015), and the calligraphic wedding script typeface Glorifica (2018). [Google] [More]  ⦿

Radana Lencová

Czech designer of Comenia Script (Storm Type), an upright script designed for teaching writing. [Google] [More]  ⦿

Radek Broz
[Rad Fonts]

[More]  ⦿

Radek Sidun

Radek Sidun (b. 1980) wrote a graduation thesis at the Prague Academy of Arts, Architecture and Design (UMPRUM) (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).

Diacritics link. Type design and typography web site.

At ATypI 2018 in Antwerp, he spoke on typefaces for television, in which he gave an overview of Czech television type from the 1960s until 2018, showing original typeface designs, archive materials, current approaches, rare videos, and type in motion. [Google] [More]  ⦿

Radim Pesko
[RP Digital Type Foundry]

[More]  ⦿

Radka Bartosova

Hradec Kralove, Czechia-based designer of the angular expressionist typeface Johana (2015) and of the signage typeface Flaga (2014), which is inspired by railroad warning signs. [Google] [More]  ⦿


Czech foundry located in Prague. [Google] [More]  ⦿

Radko Hromátka

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.

Typefaces from 2013 include Waves (an informal sans). [Google] [MyFonts] [More]  ⦿


Graphic design studio in Prague where Peter Krejzek (b. Brno, 1965) and Klára Kv&iscute;zová work. Both designers are well-known for designing the magazine Zivel. [Google] [More]  ⦿

Renata Hovorokova

Designer in Hradec Kralove, Czech Republic, who studied at the Academy of Arts, Architecture and Design in Prague. Creator of the grungy poster typeface TS135 (2012). [Google] [More]  ⦿

Renegade Fonts
[Jan Charvat]

Jan Charvat (Prague, Czechia) studied electrical engineering and computer graphic programming at Prague University. He set up his own commercial type foundry in Czechia in 2014 and works as a font engineer (with two years of font engineering experience at monotype in Bad Homburg) and type designer. His typefaces:

  • Globe Grotesk Display (2014). 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.
  • The poster typeface Velodrama (2015).
  • The soft sans typeface family Hela (2018).
  • The extended grotesk typeface Burt (2019).
  • The techno typeface family Deus (2020).
  • The free experimental typeface Rack (2020).

Speaker at ATypI 2016 in Warsaw on Capital additions to Georgian typography. Personal home page. [Google] [MyFonts] [More]  ⦿

Ricco Typo
[Richard Svercic]

Type designer in Prague. His typefaces include Protihibice (or Prohibition), a drunk font inspired by the old woodcut types. [Google] [More]  ⦿

Richard Kegler
[P22 Type Foundry]

[MyFonts] [More]  ⦿

Richard Svercic
[Ricco Typo]

[More]  ⦿

Robert V. Novak

Czech designer, b. 1962. He specializes in graphic communication and photography. [Google] [More]  ⦿

Roman Cernohous

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:

  • Aktion. A revival of Akzidenz Grotesque based on Roman Cernohous's dissertation in the Studio of Typography at the Academy.
  • Corridor. Created for use on highway signs.
  • Connector (2012). A rounded techno font.
  • Qbig (2015). Qbig was originally designed as a typeface for an amateur sci-fi movie in 2006. It comes with two types of shadows (Block and Superblock) for 3D effects.
  • Sablon (2021). An all caps arts-and-crafts typeface for Latin and Cyrillic. Followed by Sablon Class (a 5-style distinguished all caps display serif).
[Google] [MyFonts] [More]  ⦿

Rosetta Type Foundry

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.

Interview by MyFonts. [Google] [MyFonts] [More]  ⦿

Rotislav Vanek

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 his ideas translated into digital typefaces at Nedoma's type foundry, 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).

Fenomen Slab (2017) is a useful slab serif family by Tomas Nedoma and Rotislav Vanek. The set contains four width proportions (Normal, SemiCondensed, Condensed and ExtraCondensed) in eight weights ranging from Hairline to Black. [Google] [MyFonts] [More]  ⦿

RP Digital Type Foundry
[Radim Pesko]

RP is a small scale digital type-foundry established in 2009 by Czech designer Radim Pesko, who currently lives in London, and before that, 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:

  • Agipo (2011-2014) and Agipo Mono. A sans workhorse family.
  • A-Gothic (2020).
  • Boymans was originally designed in 2003 as part of the identity developed by Mevis & Van Deursen for Museum Boijmans van Beuningen in Rotterdam. Its primary inspiration was the typeface designed by Lance Wyman for the Olympic Games in Mexico City in 1968. Boymans responded to the identity's need for a flexible as well as playful design. Designed in ten weights, each font has three versions: single line, double line, and triple line. By combining, layering, or coloring these versions, Boymans can generate an endless number of variations.
  • Correspondance: a reconstruction from memory of the typeface created by Adrian Frutiger for the Parisian Metro signage system. Its shapes might resemble those of Frutiger's famous typeface Univers.
  • Dear Sir / Madam. Based on Eric Gill's signs and lettering for W.H.Smith (1903-1907).
  • F Grotesk, in 3 weights.
  • Fugue (2010, 2 weights): Fugue was originally designed for Wonder Years, a book published in late 2008 by Roma Publications to mark the tenth anniversary of the Werkplaats Typografie in Arnhem. It contains genetic material of Paul Renner.
  • Girott (2011-2016). A condensed sans.
  • Larish Alte (2006) was originally designed for the identity of the contemporary art space Secession in Vienna. Its primary inspiration was a series of prints designed by Rudolf von Larisch and published at the turn of 20th century. Larish Alte is not available for licensing.Larish Neue is a by-product of Larish Alte. This version resulted from an attempt to create a contemporary looking typeface with the DNA of the original. Larish Neue is available in a single weight. Its cursive is in process and is expected in 2010.
  • Lyno (2009-2012, Karl Nawrot and Radim Pesko). A straight-edged experimental typeface available in four styles, Ulys(ses 31), Stan(ley Kubrick), Jean (Arp) and Walt (Disney).
  • Merkury: Conceived in 2001, this is an easy-going rounded monoline family.
  • Mitim: a family of fonts characterized by its triangular serifs, developed in collaboration with Louis Lüthi and Stuart Bailey. Mitim is a work in progress exclusively designed for Dot Dot Dot magazine and is not available for licensing. It has many dingbats.
  • Paabo (2021). Squarish with bullet holes.
  • Septima, a typewriter or monoline face, has asymmetrical letter forms that are individually adjusted---according to the space they occupy in a glyph window---in order to achieve equal tone of letter as well as to create highly recognizable forms for each character. Septima is a monospaced font available in a single weight supporting twenty-three Latin and five Cyrillic languages. Septima Cyrillic was developed in collaboration with Roman Gornitsky.
  • Sol (2004). This 3d typeface was created as a continuation of Sol LeWitt's 1974 project entitled "122 variations on incomplete open cubes" which consisted of 122 views of unfinished cubes constructed from wooden planks.
  • Specta (2011-2013). Custom font for the Eastside Projects of Birmingham. Used in BBC headlines. Not for sale.
  • Union is a synthesis of Arial and Helvetica. Union SMA was developed for visual identity of Stedelijk Museum Amsterdam in 2012.
  • Friderick (2015). For the identity of the Fridericianum Museum in Kassel, Germany.

Klingspor link. [Google] [More]  ⦿

Rudolf Ruzicka

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:

  • Fairfield (1940-1947). Fairfield was revived as Transitional 551 at Bitstream (Alex Kaczun, 1991) and by Linotype as Fairfield LT Std. A free version was done by Barry Schwartz, and is called Fanwood Text (2011, roman and italic). Mac McGrew: Fairfield is a contemporary, modernized style of type which retains oldstyle characteristics, moderately compact, with long ascenders. It was designed for Linotype by Rudolph Ruzicka and released in 1940, with Fairfield Medium following in 1949. Italics are especially well designed to conform to the slug machine's mechanical limitations. Compare Electra. The Fairfield Medium swash characters, shown here in 12-point, have not been found in any Mergenthaler literature, but the mats are marked like the rest of the font.
  • Lake Informal.
  • Primer (1949, for Mergentaler Linotype). In 1984, Mergenthaler launched Primer54. Primer was copied/emulated by Bitstream as Century 751 in the early eighties. Mac McGrew: Primer was designed by Rudolph Ruzicka for Linotype and introduced in 1953. A half-dozen years earlier Linotype had commissioned this noted artist and engraver to design a typeface to replace Century Schoolbook. Legibility was the primary consideration, along with more contemporary styling. It is designed for a crisper feeling, and offers a choice of either long or short descenders, as well as lining or oldstyle figures. The italic is specifically drawn within the mechanical restrictions of slug-machine matrices. Although a great many typefaces increase their proportionate width in small sizes, Primer carries this reproportioning a little further than most, resulting in an unusually legible and stylish face, even in 6-point. It is popular for advertising and general book work as well as for educational materials. In the specimen shown here, the characters shown immediately above the small caps are those normally combined with these letters. These figures and other characters are also made in combination with their italic counterparts for insertion of matrices by hand, or can be cut to replace small caps on the keyboard.
  • Ruzicka Freehand (1939; FontShop states 1936 though). The Linotype version is by Alex Kaczun. The Adobe version in 1991 (Linotype states 1993) is by Mark Altman and Ann Chaisson.
  • Ruzicka showed several alphabets in Studies in Type Design (1968). In 2018, Jesse Ragan digitized a few of these and expanded them into a sturdy 12-style typeface family, Study (XYX Type). License Study from Type Network.

Ruzicka was also known for his engravings: see this wood engraving example.

Bio. FontShop link. An alphabet drawn in 1950 on his farm in Vermont (taken from PAGA, vol. 1, no. 1, page 12, 1953).

Klingspor PDF. FontShop link. Klingspor link.

View digital versions of Rudolf Ruzicka's typefaces. View Rudolph Ruzicka's typefaces. [Google] [MyFonts] [More]  ⦿

Sabina Aghova
[Tabita's Shop]

[More]  ⦿

Sabina Berkova

Jicin, Czechia-based codesigner with Veronika Hanzlikova of Butterick (2017), an angular typeface that revives a 1928 design by Vojtech Preissig. Earlier in 2017, she designed the rounded sans typeface Kavalir. [Google] [More]  ⦿

Sabina Eiblova

During her studies in Czechia, Sabina Eiblova designed the monoline typeface Lucky (2019) and the display typeface Claustrophobia (2019). [Google] [More]  ⦿

[Vit Zyka]

Semaphor metafont by Vit Zyka from Czechia (1998). [Google] [More]  ⦿


Czech font links. [Google] [More]  ⦿

Signature Type Foundry
[Tomas Nedoma]

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:

  • Quodlibet Sans and Serif (2008). Nedoma's graduation typeface at Tomas Bata University in Zlí.
  • Aktion. A revival of Akzidenz Grotesque based on Roman Cernohous's dissertation in the Studio of Typography at the Academy.
  • Giovanni.
  • Corridor (Roman Cernohous). Created for use on highway signs.
  • Clara Sans and Clara Serif (2012, a teardrop serif by Frantisek Storm).
  • Fenomen Sans. This typeface has Bauhaus roots.
  • Galaxy. Hints of art deco and Bauhaus.
  • Haven. An octagonal typeface family.
  • Meridianus Sans and Meridianus Serif (Marek Pistora).
  • Quodlibet Serif (2015) and Quodlibet Sans (2015). A transitional typeface system by Tomas Nedoma and Rotislav Vanek.
  • Haven (2016). A basic sans typeface family by Tomas Nedoma and Rotislav Vanek.
  • Fenomen Slab (2017). A useful slab serif family by Tomas Nedoma and Rotislav Vanek. The set contains four width proportions (Normal, SemiCondensed, Condensed and ExtraCondensed) in eight weights ranging from Hairline to Black.
[Google] [MyFonts] [More]  ⦿

Silvia Mondello

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]  ⦿

Simon Matejka

Graduate of the UMPRUM Academy in Prague. In 2017, he designed the variable width font baseliner, which was publically released in 2019 by Briefcase Type as BC Baseliner. [Google] [More]  ⦿

Simona Vaskovicova

Brno, Czechia-based designer of the basic sans typeface Uppest (2017), a wayfinding icon set for KOMA (2017), the handwriting font Karel Jaromir Erben Script (2017, based on the Czech poet's handwriting), and the icons and poster Enabled For Disabled (2017). [Google] [More]  ⦿

Simona Vaskovicova

Zlin, Czechia-based designer of diacritics for Fette Gotisch (2016). She also created a set of icons for the disabled. [Google] [More]  ⦿

Slávka Pauliková

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.

In 2013, FontFont published FF Dora (the angular text family extended from her thesis work in 2010) and FF Dora Display (which is a bit in the style of Rudolf Koch's German expressionist style).

Behance link. Fontfont link. [Google] [MyFonts] [More]  ⦿

Slavoboj Tusar

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 (or Tusarova antikva, 1924-1925) was originally cast by Prumyslova Tiskaran in Prague. The Monotype version, a year later, was slightly different. Tusarova antikva was made for Wiener's Boulevard rare book, which was exhibited in Paris at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, along with Preissig's and Svolinsky's books. Tusar's metal alphabet was deliberately destroyed after the book was printed.

Klingspor link. [Google] [More]  ⦿


Czech design and typography magazine. [Google] [More]  ⦿

Sonja Jurikova

Graphic designer in Prague who created the display typeface Sonovina (2013). [Google] [More]  ⦿

Spalek's metapost tutorial

Robert Spalek's Czech tutorial on metapost. [Google] [More]  ⦿

Spurnej Type Foundry
[Jakub Spurny]

Spurnej Type Foundry was founded in 2014 in Prague, Czechia, by Jakub Spurny. In 2014, Jakub designed 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.

In 2020, he released Ghitta Bodoni Cancellaresca, which revives a chancery typeface from Bodoni's Manuale Tipografico (1818). The typeface family is named after Bodoni's widow, widow Margherita (Ghitta) Dall'Aglio who published that 1818 edition of Manuale Tipografico. [Google] [MyFonts] [More]  ⦿

Stanislav Brabec
[moonphase metafont]

[More]  ⦿

Stanislav Duda

Designer at Grafotechna of the 2-weight transitional roman family Kolektiv (1952, with K. Misek and J. Týfa). [Google] [More]  ⦿

Stanislav Marso

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.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Stanislav Tomsej

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]  ⦿

Stepan Prokop

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
[Frantisek Storm]

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:

  • Aaahoj: a ransom note font.
  • Abald (2005): Abald adds to the number of "bad-taste" alphabets as seen on faded commercial inscriptions painted on neglected old houses.
  • Academica: Josef Týfa first published Academia in 1967-68. It was the winning design in a competition for scientific typefaces, announced by Grafotechna. It was cut and cast in metal in 1968 in 8 and 10 point sizes in plain, italic and semi-bold designs. In 2003 Josef Týfa and Frantisek Storm began to work on its digital version. The new name Academica distinguishes the digital execution (and modifications) from the original Academia. In 2021, Frantisek Storm added Academica Sans.
  • Aichel: originally designed for use in architecture (in this particular case for a UNESCO memorial plaque for a church built by Jan Santini-Aichel on Zelenà Hora). It has a stone-chiseled look.
  • Alcoholica
  • Alebrije (2015). A 42-cut exaggerated cocaine-driven typeface family with instantly recognizable v and w that have slabs on their baselines.
  • Amor Sans and Amor Serif (2005).
  • Amphibia (2016). A lapidary typeface family.
  • Andulka (2004): 24 weights for use in books, mags and newspapers. Extended in 2011 to Andulka Sans.
  • Antique Ancienne, Moderne&Regent (2000): Baroque typefaces.
  • Anselm Sans and Serif (2007): 20 styles about which Storm writes The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. It won an award for superfamily at TDC2 2008. It covers Greek as well.
  • Areplos (2005): Based on Jan Solpera's 1982 typeface with serifs on top and serifless at the bottom.
  • Bahnhof: poster typeface from the 1930s.
  • Baskerville Original Pro (2010) comprising Baskerville 10 Pro, Baskerville 10 Cyr, JBaskerville, and JBaskerville Text. This is an important and thoroughly studied execution starting from photographs of prints from Baskerville's printing office, ca. 1760.
  • Beletrio and Beletria (2018). Beletria (26 styles) is intended as a modern book type. Beletrio is a peaceful accompanying sans.
  • Bhang (2011) is a flat brush signage family of exceptional balance.
  • Biblon (2000; note: ITC Biblon is a watered down version of Biblon, so please go for the original, not the ITC version). Biblon Pro (2006) is even better; 6 weights.
  • Briefmarken (2008): letters that look dented like postage stamps.
  • The 64-style Carot type system (2020), which consists of Carot Sans, Carot Display, Carot Slab and Carot Text.
  • Clara Sans and Clara Serif (2014). Based on sketches by Rotislav Vanek, and published at Signature Type Foundry.
  • Clichee
  • Cobra (2001)
  • Comenia Script (Radana Lencov&acaute;), an upright script with a handwritten look for teaching writing.
  • Comenia Text (2006): a serif family for school books. Also called Comenia Pro Serif.
  • Compur (2000).
  • Coroner (2018). A blackletter first sketched in 1988.
  • Defender (2008): a heavy slab family.
  • Digita (2004)
  • Dracula (2017). A great blackletter family.
  • Dynamo Grotesk (1995): Storm's 60-weight sans family going back to the early sans traditions. In 2009, this was updated to Dyna Grotesk Pro.
  • Enamelplate (2011).
  • Etelka (2005, 42 styles): a corporate identity sans family, which became commercial in 2006. Four Etelka Monospace styles were added in 2008. Etelka Sans and Etelka Slab were released in 2019.
  • Evil
  • Excelsior Script (1995-1996), perhaps renamed Excelsor Script around 2000.
  • Farao (a great Egyptienne font in 3 weights)
  • Friedhof (2011). A family based on tombstone lettering from ca. 1900. It contains handtooled and shaded (Geist + Deko) variations.
  • Gallus Konzept (2007, in many weights):
  • Carolingian-Roman-Gaelic-Uncial script, or an exploration into how the Latin alphabet could look were the evolution of the Carolingian Minuscule to stop in the 8th century AD in Sankt Gallen.
  • Genre: a modern face.
  • Fenix 21 through 23 (2010): An elliptical sans family that includes a hairline (21).
  • Header (2009): a magazine headline family.
  • Hercules (2001). A didone family originally influenced by Monotype's fat face Falstaff (1935).
  • Hexenrunen (2006, + Reverb): a runic simulation face.
  • Ideal Gothic
  • Inicia (2018). A sans originally drawn in the 1980s.
  • Jannon (this is a formidable Garalde family). Jannon Pro appeared on MyFonts in 2010.
  • Jannon Sans (2011).
  • Jannon Text Moderne (2001): thicker hairlines and smaller x-height than Jannon Text, thus more generally useful
  • Jasan (2017). A 36-strong sans family with lots of wide styles.
  • JohnBaskerville (2000)
  • JohnSans (2001, a 72-weight sans version of Baskerville)
  • Josef Sans (2013, with Jan Solpera). A humanist sans family related to Josef Tyfa's Tyfa Roman (Tyfa Antikva).
  • Juvenis (2003)
  • Kompressor: techno typeface
  • Lexicon Gothic: newspaper and magazine type family, created in 2000. Renamed Lexon Gothic.
  • Libcziowes: based on the oldest lettering found in Bohemia, on a gravestone in Libceves dating from 1591
  • LidoSTF (2001, free): a redrawn Times with lots of individuality, yet still a newspaper typeface
  • Lokal Script (2009): a large hand-printed letter family.
  • ITC Malstock (1996-1997), a condensed film poster face.
  • Mediaeval
  • Metron (2004, a digital version by F. Storm and Marek Pistora after a huge sans design from 1973 by Jiri Rathousky, which 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. In 1986, the metro started using Helvetica): this typeface is eminently readable!
  • Modell: techno
  • Monarchia [The Monarchia family, consisting of three designs, is a transcription of "Frühling" of the German type designer Rudolf Koch, enriched by a bold and text design]
  • Moyenage (2008): a 25-style blackletter family for Latin and Cyrillic, almost an experiment in blackletter design and flexibility. Winning entry at Paratype K2009.
  • Mramor (1988-2013). A roman caps typeface with lower case added. Storm: The text designs are discontinued since they were replaced by the related Amor Serif family (along with its -sans version). Even so, ten display styles are left.
  • Negro
  • Ohrada: condensed upper case
  • Ornaments 1+2
  • Ozdoby 1+2 (great dingbats): The set includes heraldic figures, leaves, decorative endings, various skull forms, weather signs, borders and many more.
  • Patzcuaro
  • Pentagramme
  • Pentagraf: a slab serif
  • Pepone and Pepone Stencil. Designed for setting belles-lettres, this serifed family defies classification.
  • Pivo (2006), a connected diner script inspired by Bohemian beer labels.
  • Plagwitz (2000, blackletter). Plagwitz poster by Lissa Simon (2012).
  • Politic (2004): a clunky fat octagonal family made for billboards, flyers, posters, teabags, and matches for the green Party in the 2004 Czech elections. Caps only.
  • Preissig Antikva + Ornaments: a 1998 digitization and interpretation of Preisig's polygonal type from 1925. The Pro version is from 2012.
  • Preissig 1918: a typeface by Vojtech Preissig cut in linoleum
  • Preissig Ozdoby
  • Regent Pro (2015): a rustic Baroque typeface that oozes energy out of its semi-transitional semi-didone orifices.
  • Quercus Whiteline, Quercus 10, Quercus Serif, and Quercus Sans (2015). Four large families, created for informational and magazine design, corporate identity and branding. The sans has a Gill flavor.
  • Regula Text and Regula Old Face. Regula is named after the secular monastic order Regula Pragensis. Initially, the digitized font (regular old Face, which is now free) had jagged edges and a rather narrow range of applications until the summer of 2009, when Storm added text cuts. Regula was a baroque alphabet faithfully taken over from a historical model including its inaccuracies and uneven letter edges.
  • Rondka (2001)
  • Sebastian (2003, a sans with a funky italic), about which he writes: Sans-serif typefaces compensate for their basic handicap---an absence of serifs---with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs. More# Why do we love old Garamonds? Beside beautifully modeled details, they possess aspect-ratios of parts within characters that timelessly and beauteously parallel the anatomy of the human body. Proportions of thighs, arms or legs have their universal rules, but cannot be measured by pixels and millimeters. These sometimes produce almost unnoticeable inner tensions, perceptible only very slowly, after a period of living with the type. Serifed typefaces are open to many possibilities in this regard; when a character is mounted on its edges with serifs, what is happening in between is more freely up to the designer. In the case of grotesques, everything is visible; the shape of the letter must exist in absolute nakedness and total simplicity, and must somehow also be spirited and original.
  • Serapion (a Renaissance-Baroque Roman typeface with more contrast than Jannon)
  • SerapionII (2002-2003): early Baroque
  • Solpera (digitization of a type of Jan Solpera, 2000)
  • SplendidOrnamenty (1998, a formal script font)
  • Splendid Quartett: an Antiqua, a sans, a bold and a script. Stor writes: The script was freely transcribed from the pattern-book of the New York Type Foundry from 1882, paying regard to numerous other sources of that period.
  • St Croce (2014). Based on worn-out lettering on tombstones in the St. Croce Basilica in Florence, this is a flared lightly stenciled typeface family.
  • Technomat (2006): this typeface takes inspiration from matrix or thermal dot printers.
  • Tenebra: a combination of the Baroque inscriptional majuscule with decorative calligraphic elements and alchemistic symbols
  • Teuton (2001): a severe sans family inspired by an inscription on one German tomb in the Sudetenland
  • Traktoretka
  • Trivia Sans (2012), Trivia Serif (2012, a didone), Trivia Serif 10 (2012), Trivia Grotesk (2012, 48 cuts), Trivia Gothic (2013), Trivia Slab (2012), and Trivia Humanist (2013, a strong wedge serif family: I wanted a clear and majestic typeface for book jackets, LP cover designs, posters, exhibition catalogues and shorter texts).
  • Tusar (2004): a digitization of a type family by Slavoboj Tusar from 1926
  • Tyfa ITC + Tyfa Text: Designed by Josef Týfa in 1959, digitized by F. Storm in 1996.
  • Vida Pro (2005), a big sans family designed for TV screens. Vida Stencil Demo is free.
  • Walbaum Text (2002). Walbaum 10 Pro (2010) and Walbaum 120 Pro (2010) are extensive (and gorgeous!) didone families, the latter obtained from the former by optical thinning. Storm quips: I only hope that mister Justus Erich won't pull me by the ear when we'll meet on the other side. Advertised as a poster sans family, he offers Walbaum Grotesk Pro (2011).
  • Wittingau (2016). A wonderful decorative blackletter typeface family, with a great set of Wittingau Symbols.
  • Zeppelin (2000): a display grotesk
This foundry cooperates in its revivals with experienced Czech designers Ottokar Karlas, Jan Solpera and Josef Týfa.

Alternate URL. Myfonts write-up.

At ATypI 2004 in Prague, he spoke about his own Czech typefaces, on his Czech Typeface Project, and on the life of Josef Týfa.

Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Studio Marvil

This Prague-based outfit converted 1600+ fonts of the URW collection to OpenType. One free complete font, Barbedor. [Google] [More]  ⦿

Suitcase Type Foundry
[Tomás Brousil]

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 started with Tabac Sans in 2010. It 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, and Tabac Micro in 2018. In 2019, he published Tabac Big Glam, Tabac Big Sans, Tabac Big Slab and Tabac Big.

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).

Typefaces from 2016: BC Novatica (by Tomas Brousil and Marek Pistora (Briefcase Type): Novatica was created based on a commission from the Czech commercial television station Nova in 2007. Marek Pistora worked with Tomas Brousil to create an alternative to a readable, simply designed sans. They naturally called the typeface Novatica. In 2014 TV Nova decided to abandon Novatica for good, and in so doing it released the exclusive licence it had been using. Novatica thus became a new typeface offered by Briefcase Type Foundry.

Typefaces from 2017: Jaroslav (monolinear sans, named after Jaroslav Benda, followed in 2020 by Benda), Pepi and Rudi (a sans and slab pair based on basic shapes such as circles, rectangles and triangles).

Typefaces from 2020: Atyp BL (+variable), Atyp (+variable). A 25-style sans family remotely influenced by Bauhaus.

Typefaces from 2021: Crabath (a 72-style transitional typeface family based on the 1761 specimen book of Czech typefounder Vaclav Jan Krabat; this family covers several optical ranges, from Subhead to Display to Text, and features wonderful initial caps).

Typefaces from 2022: Atyp Kido (a 6-weight and variable rounded sans family for Latin, Greek and Cyrillic).

Brousil made many corporate or identity 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).

MyFonts page. Behance link. Klingspor link. MyFonts interview.

View Tomas Brousil's typefaces. [Google] [MyFonts] [More]  ⦿

Superior Type
[Vojtech Riha]

Type foundry 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:

  • 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.
  • Kunda Book (2015). This text won a bronze medal at the European Design awards.
  • The sans typeface family Hrot (2016). He writes: Grown organically from the soft aesthetics of Swiss and German airline posters, Hrot is a versatile sans-serif family with eighteen distinctive cuts. Works perfectly in elegant headlines and gives perfect impact to any logotype.
  • At Briefcase Type, he published BC Dres (partly octagonal), 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. Dres reappeared in 2019 at Superior Type.
  • In 2018, Vojtech Riha and Matyas Machat co-designed Slavia and Slavia Press + Repress. The former is a socially awkward 1910-era grotesque, and the latter two typefaces are letterpress style cousins.
  • In 2020, Riha released the geometric sans typeface family Raptor.
  • Lenora (2021). A fashion mag didone that flirts with the fatface in its heavier weights. Covering Latin, Greek and Cyrillic. John Boardley opines: A kind of RuPaul meets Bodoni in this self-assured, sassy and supremely sumptuous new family.
[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]  ⦿

Tabita's Shop
[Sabina Aghova]

Prague, Czechia-based designer of the brush scripts Lemonfish (2016), Cupcakia (2016) and Karlita (2016), the handcrafted typeface Funisima (2016) and the calligraphic script typefaces Lavandia (2016) and Hanelka (2016).

Typefaces from 2017: Cedrika (calligraphic script), Florisa (signature script).

Typefaces from 2018: Magic Winter, Snowy Christmas Script, Bright Side, Elderflower. [Google] [More]  ⦿

Tarkan Begzadi

Animator and designer in Prague. He created the squarish script typeface Dyktaat (2009). [Google] [More]  ⦿

Tasuki's blog
[Vit Brunner]

Vit "Tasuki" Brunner (Czechia) recommends the 14 best free fonts. Summarizing his recommendations:

  • Antykwa Torunska is an original typeface created by Polish type designer Zygfried Gardzielewski in 1960. It was digitized by Janusz Marian Nowacki. The font contains many diacritical marks, math symbols, and comes in many weights.
  • Typo Latin Serif is a slab serif (Egyptian) typeface with an extremely large x-height. It was created by Manfred Klein.
  • The DejaVu fonts are extensions of the free Bitstream Vera typefaces.
  • Palatino (Hermann Zapf) is gorgeous, period. Palladio L is a free Palatino clone created by URW in cooperation with Hermann Zapf. Download it in URW fonts pack (together with 79 other fonts).
  • Gentium, a typeface for many languages by Victor Gaultney. Extensive unicode support.
  • Optima by Hermann Zapf. A free version: MgOpen Cosmetica.
  • Bembo is a nostalgic antiqua created by Francesco Griffo in 1496. Cardo (David Perry) is based on Bembo.
  • Vollkorn is an old style numerals typeface created by Friedrich Althausen.
  • Computer Modern is a didone typeface created by Don Knuth.
  • Avant Garde (Herb Lubalin) can be downloaded in the URW font pack where it is known as URW Gothic L.
  • Goudy Bookletter 1911 is a revival of Frederic Goudy's Kennerley Old Style by Barry Schwartz.
  • Helvetica by Max Miedinger. Magenta Ltd has a free version in its MgOpen pack: MgOpen Moderna.
  • Geo Sans Light (Manfred Klein) is based on Futura, a geometric typeface created by Paul Renner in 1926.
[Google] [More]  ⦿

Tereza Drabkova

Brno, Czechia-based designer of Title Font (2014). [Google] [More]  ⦿

Tereza Smidova

Czech type designer, b. 1990, Karlovy Vary. In 2014, Tereza Smidova created the commercial layered all-caps typeface family Clown in 18 styles. There are two free styles. [Google] [MyFonts] [More]  ⦿

Tereza Smidova

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]  ⦿

Tereza Vlachova

Tereza Vlachova (Prague, Czechia) created the custom script typeface Wave in 2013. [Google] [More]  ⦿

The European Computer Modern Fonts

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]  ⦿

Three Dots Type
[Marian Misiak]

Founded in 2017 by Marian Misiak, Three Dots Type is a small type foundry based in Wroclaw, Poland. The main font designer is Marian Misiak, and the second in line is Dominika "Nika" Langosz. Their fonts as of 2019:

  • Heneczek Pro (2018, by Langosz). A didone family.
  • Di Grotesk.
  • Janus (by Marian Misiak, 2010-2017). This typeface family as originally designed for the National Museum in Wroclaw.
  • Maria Connected & Unconnected. An experimental typeface: The shapes of letters in Maria Connected and Unconnected are determined by FIDU technology---an experimental method of creating metal objects formed with air, patented by designer Oskar Zieta.
  • New Zelek Pro (by Bronislaw Zelek). Originally conceived as a dry transfer for the French company Mecanorma in 1974, the font was digitally revived by Three Dots Type after consultations with Zelek himself.
  • Sudety (2018, by Jan Estrada-Osmycki).

Marian Misiak is a graduate of 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, Bersz Misiak. 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]  ⦿

Tobias Grolich

Brno, Czechia-based designer of the free avant garde font Select Regular (2013) and of Vertical Bold (2016) and Autorske (2016).

In 2018, he designed the hipster typeface Rosamunde. [Google] [More]  ⦿

Tomás Brousil
[Suitcase Type Foundry]

[MyFonts] [More]  ⦿

Tomas Erlich

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]  ⦿

Tomas Machek

Czech designer who created Bluepix, and Type Egoist (1993, logotype). [Google] [More]  ⦿

Tomas Mairych

Graphic designer and illustrator in Prague, Czechia, who created the octagonal typeface Sharp in 2015. [Google] [More]  ⦿

Tomas Nedoma
[Signature Type Foundry]

[MyFonts] [More]  ⦿

Tomas Pikna

Ceske Budejovice, Czechia-based designer of the free heavy monoline sans typeface Karel (2018) and the free handcrafted typeface Slimak (2018). [Google] [More]  ⦿

Tungus Studio
[Adam Josefus]

Adam Josefus (Tungus Studio) is a Czech designer who lives in Prague. Creator of the seriously angular Happy Killer (2008) and the hand-printed Gramofon (2013).

Old URL. Dafont link. [Google] [More]  ⦿

Type Task Force (was: Movement Graphics)

Prague, Czechia-based designer of the display typefaces Lunare (2018, for posters), Karloff (2018: horror font), Molanga (2018: brush), Lastica (2018: monoline sans), Alcova (2017), Horizon (2018: sans) and Cejo (2017: pixelish). [Google] [More]  ⦿

Type Together
[Veronika Burian]

Foundry est. in 2005 by Veronika Burian (Czechia) and José Scaglione (Argentina). TypeTogether's library of retail fonts includes

  • Karmina (Veronika Burian / José Scaglione, a text typeface for newspapers, winner of the ED Awards) and Karmina Sans (12 styles). Award winner at Tipos Latinos 2010. Karmina, Bree and Ronnia were selected as part of the travelling exhibition Tipos Latinos 2008.
  • Athelas (José Scaglione / Veronika Burian, 2008, a calm and balanced 4-style book type family, winner of the first prize at the Granshan 2008 competetion).
  • Ronnia (Veronika Burian / José Scaglione, a flexible sans serif for editorial use with 28 styles).
  • Maiola (an award-winning calligraphic serif family by Burian).
  • Crete (Veronika Burian, 2007, inspired by lettering in a chapel in Crete, winner of the Gransham 2008 competition; ideal for posters). Followed by Crete Round (2011).
  • Bree (Veronika Burian / José Scaglione, 2008). A 10-style upright italic with a matchting oblique for display usage. In the years that followed, Bree was substantially expanded: Bree is available in Greek (by Irene Vlachou), Cyrillic (by by Veronika Burian, with expert support by Vera Evstafieva), Arabic (by Azza Alameddine) and Thai (by Cadson Demak's Panuwat Usakulwattana). Bree Latin now supports Pinyin and features improved Vietnamese diacritics (with the help of Donny Truong). Bree Devanagari (by Pooja Saxena) is in the works.
  • Adelle Sans. A 12-style slab serif family made in 2009. Award winner at Tipos Latinos 2010. Adelle Condensed followed in 2013. With the help of Erin McLaughlin and Vaibhav Singh, Adelle Sans Devanagari was finished in 2017. Adelle Mono was added in 2020.
  • Abril (2010) is a didone font family engineered mainly for newspapers and magazines that features friendly and elegant styles for headlines and robust and economic styles for text. It won an award at Tipos Latinos 2012. Abril Fatface is free at Google Font Directory. Abril Titling was published in 2013-2014.
  • Jockey One (2011) is a free sans typeface at Google Font Directory.
  • Birdy (2011). A free angular inline typeface by Veronika Burian.
  • Fonts by third party designers: Cora (by Bart Blubaugh), Alizé (2009, by Tom Grace) and Givry (by Tom Grace: a bastarda typeface), Iskra (2012, by Tom Grace; not to be confused with Iskra by Edgar Reyes, 2009), Gitter (a modular type with letters built up of triangles).
  • Tablet Gothic (2012). A joint design of Veronika Burian and José Scaglione, it is a grotesque meant for titling. Tablet Gothic won an award at Tipos Latinos 2014.
  • Alverata (2013). A lapidary flared typeface with a huge x-height influenced by roman ("romanesque") lettering from the XIth and XIIth centuries. Alverata consists of three different fonts: Alverata, Alverata Irregular and Alverata Informal. For the development of the Greek letterforms, Unger collaborated with Gerry Leonidas (University of Reading) and Irene Vlachou (Athens). He cooperated with Tom Grace for the Cyrillic letterforms. Alverata was published by Type Together in 2014 and 2015. It appears to have Vesta's skeleton and dimensions. PDF file.
  • In 2015, Veronika Burian and José Scaglione finally published the 18-style editorial sans typeface family Ebony, which won an award at Tipos Latinos 2016.
  • TypeTogether and Design Sessions Studio collaborated in the development of a logotype and an associated type family for the government-owned TV channel and Radio station of Puerto Rico, WIPR Unicase.
  • Protipo (2018) is a 52-font information design sans family designed by Veronika Burian and José Scaglione. This was a major team effort. Irene Vlachou will soon finish the variable font production. The information icons were designed by Luciana Sottini. Kerning by Radek Sidun and engineering by Joancarles Casasin.
  • In 2019, Type Together released Catalpa (Veronkia Burian, Jose Scaglione, Azza Alameddine) and wrote: Primed for headlines, Catalpa is designed to give words bulk and width and gravity itself. The Catalpa font family is José Scaglione and Veronika Burian's wood type inspired design for an overwhelming headline presence.
  • Postea (2021). A geometric sans with some eccentric details and variable font support. Noemi Stauffer writes: Postea comes with a collection of Bauhaus-inspired geometric patterns and ornaments and a suite of icons that can be called up simply by enclosing their names between a pair of colons, and choosing the correct stylistic set. Now that is typographic magic!
  • Type Together made many custom typefaces. These include Abril Almeria(for Spanish newspaper La Voz de Almeria), Athelas Apple Books (for Apple iBooks), Bodoni Stencil (for Levi's---based on ParaType Bodoni), Clarín Titulos(for Argentine newspaper Clarin), Karmina Cyrillic (for Bible Society in Russia), Spore (for Electronic Arts), Twinkl Cursive (for Twinkl educational materials), Twinkl Sans, WIPR (for Puerto Rican broadcaster WIPR), NRK Etica Super and Slab, Bree Peru, Literata Book, Qlikview Sans.
  • In 2021, Veronika Burian and José Scaglione designed Belarius, a three-axis variable family that shifts from sans to slab serif, from condensed to expanded widths, and includes every possibility in between. Published by Type Together in 2021, it was developed under the guidance of Veronika Burian and José Scaglione, with type design by Azza Alameddine and Pooja Saxena, and additional kerning and engineering help from Radek Sidun, Joancarles Casasin and Irene Vlachou.

Speaker at ATypI 2017 Montreal.

MyFonts link. Klingspor link.

Type Together occasionally published educational books as well. In 2022, they released Building Ligatures The Power of Type.

MyFonts interview.

Catalog of the Type Together typeface library. Adobe link. [Google] [MyFonts] [More]  ⦿

Typetalks 2013

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]  ⦿

[Lukas Krakora]

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.

His typewriter typefaces of 2013 include Lucky Typewriter, Hollywood Starfire and Vera Type.

In 2014, he made Hermes 1943 (old typewriter font), Susanne Nouveau, Modern Typewriter and Elegant Typewriter.

Typefaces from 2017: Earth 2073 (rounded retro-futuristic), Dearborn Type, Oceanside Typewriter, Dresden Elektronik, 1938 Stempel, 1952 Rheinmetall (another old typewriter font).

Typefaces from 2018: Prager Headlines.

Typefaces from 2019: Speedwriter (an old typewriter font).

Typefaces from 2020: Dogtown Typewriter, Victoria Typewriter, Orange Typewriter, Volkszeitung 21 (letterpress emulation).

Typefaces from 2021: Mechonat Ktiva font (primarily a Hebrew typewriter font but it also contains basic Latin character set).

Home page. Another link. Fontspace link. Abstract Fonts link. Dafont link. 1001 Fonts link. [Google] [More]  ⦿

[Linda Kudrnovská]

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]  ⦿

[Jaroslav „Dero“ Polakovic]

Screen typography advice by Jaroslav „Dero“ Polakovic. In Czech. [Google] [More]  ⦿

[Martin Pecina]

Martin Pecina's type blog. Subpage on typography. [Google] [More]  ⦿

[Václav Kucera]

Graphic design studio in Prague, with art director Pavel Hrach and creative director Václav Kucera. [Google] [More]  ⦿

Typo.z (was: Designiq)
[Filip Blazek]

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]  ⦿


Czech design school, located in Prague. [Google] [More]  ⦿

UMPRUM Academy 2017: Variable Fonts

Many variable fonts were designed by the students in the Type Design and Typography studio at the UMPRUM Academy in Prague during the Winter term of 2017. These include:

  • Jan Buble: Softhard.
  • Josefina Karlikova: Krabat.
  • Matej Vojtus: Kultivar.
  • Stefan Osciatka: Hares.
  • Simon Matejka: Baseliner, published in 2019 by Briefacse Type.
  • Premysl Zajicek: Reda.
  • Viktor Janousek: Retroduktor.
  • Jakub Hojgr: In the Pines.
  • David Rericha: Flextura.
  • Matyas Machat: Heroica.
  • Matyas Barto: Minim.
  • Zuzana Uhlova: Divotvor.
[Google] [More]  ⦿

Universal Grotesk
[Vladimir Balthasar]

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 type foundry 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 (1937, Wagner & Schmidt in Leipzig). As Wagner & Schmidt morphed into the East-German type foundry TypoArt some time after 1945, Bilak conjectures that Grafotechna got its matrices from Wagner & Schmidt.

Digital descendants:

  • The free typefaces Universal Grotesk and Universal Grotesk Tucny (2010 and 2012). Unknown designer. These fonts have irregular stroke widths and awful spacing.
  • Globe Grotesk Display (2014, Jan Charvat).
  • Uni Grotesk (2016, Peter Bilak, Nikola Djurek and Hrvoje Zivcic) is another outgrowth.
[Google] [More]  ⦿

[Yurii von Chitzki]

Prague, Czechia-based designer of the brush font White Lantern (2017). Creative Market link. [Google] [More]  ⦿

Upir Typo
[Vaclav Krejci]

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: dingbats for awards and badges), Clocko (2014: clock dingbats), Upirjump (2019), Upirjuli4 (doodles for kids).

Dafont link. MyFonts page. Yet another URL. Klingspor link. [Google] [MyFonts] [More]  ⦿

V Design
[Vit Smejkal]

Foundry established in Prague in 2006 by Vit Smejkal. He created the monoline OCR-A-like family Orca Pro (2011).

Typefaces from 2013: Fragment Pro (+Inline: a great typeface family for layering), Consul Typewriter Pro (renamed Typer Pro in 2019). [Google] [MyFonts] [More]  ⦿

V. Kansky

Czech type designer who created the modular stencil typeface Patrona Grotesk (1931). [Google] [More]  ⦿

Václav Kucera

[More]  ⦿

Vaclav Becvar

Prague-based creator of Angus (2014), a squarish typeface. [Google] [More]  ⦿

Vaclav Krejci
[Upir Typo]

[MyFonts] [More]  ⦿

Ven Klement

Graphic design graduate from Shillington College, Sydney, Australia, who works in Prague. In 2012, she created Lububblin, which is connect-the-dots typeface based on Lubalin Graph.

Home page. Behance link. [Google] [More]  ⦿

Vendula Buresova

During her studies in Brno, Czechia, Vendula Buresova created the thin abstract sans typeface Absinth (2015). [Google] [More]  ⦿

Veronika Burian
[Type Together]

[MyFonts] [More]  ⦿

Veronika Burian

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 co-designed Portada, a sturdy serif typeface family for use on screen and small devices. It comes with an extensive free set of icons. Winner at Tipos Latinos 2018 of a type design award for Portada.

At ATypI 2004 in Prague, she spoke about Oldrich Menhart (see also this PDF file).

FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Veronika Chasová

Prague-based designer of the grungy texture typeface Akcident (2014). [Google] [More]  ⦿

Veronika Horackova

Chrudim, Czechia-based designer of the bilined display typeface Verona (2015). [Google] [More]  ⦿

Veronika Kalivodova

For a school project, Veronika Kalivodova (Prague, Czechia) designed Koka (2016) and Ball (2016, dot matrix style). [Google] [More]  ⦿

Veronika Kapralova

Czech designer in Prague who operates as Whynot. In 2015, she created the handcrafted 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]  ⦿

Veronika Svatkova

During her studies in Prague, Czechia, Veronika Svatkova designed the soft monoline sans typeface Galier (2017) and the handcrafted typeface Verua (2017). [Google] [More]  ⦿

[Matej Hlavacek]

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:

  • Patron (2009). A simple sans.
  • Ferkanta (2010). An art deco geometric stencil poster font.
[Google] [MyFonts] [More]  ⦿

V.H. Brunner

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]  ⦿

Vít Zýka

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]  ⦿

Victoria Kulieva

Czech designer of a modular counterless typeface in 2018. [Google] [More]  ⦿

Visual Art Trends

The East-European typographic scene of the past 50 years reviewed by Adam Twardoch. Site temporarily in limbo. [Google] [More]  ⦿

Vit Brunner
[Tasuki's blog]

[More]  ⦿

Vit Condak

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).

Typefaces froom 2017: Vitkova Pisanka (handwriting type loosely based on what was taught in Czech elementary schools in the 1980s), Ruffiano & Loseri, Eighties Monster (outlined and textured sans).

Typefaces from 2018: Bublina The Mongrel (comic book script), Whatacolor (a watercolor brush font), Indiana Jones (his take on the font from the Indiana Jones logo), Pixlashed, Krasomila (hand-drawn letters used in credits of the movie Pysna princezna (The Proud Princess) (1952)). [Google] [More]  ⦿

Vit Smejkal
[V Design]

[MyFonts] [More]  ⦿

Vit Zyka

[More]  ⦿

Vitek Prchal

Brno (was: Jihlava), Czechia-based designer of the hand-printed typeface families Hugo (2015, outlined and handcrafted), Snacker (2015, sans), Claire (2015, with Halloweenish Extras), Radka (2015) and Handy (2015) and of Personal Abstract Font (2015).

Typefaces from 2016 include Ice Cream Font, Stack Up (handcrafted), Organic (handcrafted), Hippo In The Woods, Paoul (handcrafted), Cheesecake (brush font), George and Francis.

Typefaces from 2017: Aloha from Deer (handcrafted and counterless). Behance link. Another Creative Market link. [Google] [More]  ⦿

Vitek Tomas

Vitel Tomas (Usti nad Labem, Czechia) created a fun logotype in 2013 for Kresanek Taxo Sluzby. [Google] [More]  ⦿

Vladimir Balthasar
[Universal Grotesk]

[More]  ⦿

Vojta Cizmar

Brno, Czechia-based designer of the jagged display typeface Bitter (2017). [Google] [More]  ⦿

Vojtech Cizmar

Brno, Czechia-based designer, b. 1996, of Peyote Handwrite (2018). [Google] [More]  ⦿

Vojtech Preissig

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:

  • At P22, we find P22 Preissig (Preissig Roman, Preissig Scrape, Preissig Lino, and Preissig Extras), done in 1997 [P22 Preissig Scrape was digitized in 1997 from samples of an alphabet designed and hand cut by Vojtech Preissig in 1914 for a book project that was never completed]. In 2019, Richard Kegler added P22 Preissig Calligraphic and writes: Preissig developed this type design in 1928 and has remained unpublished until recently. His original designs feature an accompanying italic as well as small caps. Preissig had originally named the typeface design after his former employer in New York, Butterick Publishing Co. The Butterick typeface retains the angularity of his previous typeface, Preissig Antiqua (aka P22 Preissig Roman), but displays a more fluid calligraphic influence.
  • At Storm Type Foundry, we have Preissig Antikva Pro (1998-2012, +Ornaments), and Preissig 1918 by Frantisek Storm and Ottokar Karlas.
  • Alexander White created the revivals Preissig Antikva and Preissig Italika in 2000.
  • While not directly linked to a particular typeface, David Kerkhoff's Irena (2016) is a wonderful tribute to Preissig. Irena is named after Preissig's daughter, Irena Bernaskova.

Klingspor link.

View Vojtech Preissig's typefaces. View typefaces influenced by or based on those of Pressig. [Google] [MyFonts] [More]  ⦿

Vojtech Riha
[Superior Type]

[MyFonts] [More]  ⦿

Vsevolod Vlasenko
[Letterhead Studio VV Fonts]

[MyFonts] [More]  ⦿

Wenceslaus Joannes Crabat

Typefounder Vaclav Jan Krabat (1719-1805) set up his shop in the center of Prague in 1751. His first specimen book was Specimen characterum latinorum existentium in Pragensi typorum fusura (1761). This work showcases 41 Latin typefaces in roman and italic styles, 33 Fraktur and Schwabacher typefaces, and 21 Greek and Hebrew typefaces, as well as ornaments, headers, border elements, and decorative lines. Other specimen books follwowed between 1767 and 1772, and a script type was created in 1775. The foundry started declining in 1782. Crabat died in Prague in 1805. Local download of Krabat's 1761 specimen book.

Tomas Brousil's 72-style family Crabath (2021), which contains subfamilies for Text, Display, Subhead and Intials, is based on samples seen in Crabat's 1761 text. [Google] [More]  ⦿

Winnie Tan

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).

Quandary (2010), her second typeface, is angular.

In 2010, she published Rue Display at Type Together: Rue is an organic, casually ornamental, narrow-faced sans serif, and the gridded information design and wayfinding typeface Simple.

Fun portrait by Lim Cheng Mei.

Typefaces from 2013: Twilight (a monoline font that silumates synapses on the surface of neurons).

Home page. MyFonts link. MyFonts foundry link. Klingspor link. Behance link. [Google] [MyFonts] [More]  ⦿

Yana Gurskaya

During her studies, Prague-based Yana Gurskaya created the brush typeface Sonntag (2015) and the all caps sans typeface Black Tag (2017). [Google] [More]  ⦿

Yurii von Chitzki

[More]  ⦿

Zaneta Drgová

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.

At Volcano Type, she published the art deco era stencil typeface Reklame Stencil (2010, developed jointly with Erwin K. Bauer).

Volcano Type link. [Google] [MyFonts] [More]  ⦿

Zdenek Gromnica
[Future Millennium]

[MyFonts] [More]  ⦿

Zdenek Kvasnica

Brno, Czechia-based graphic designer. Check out his Meat Typo work (2009). [Google] [More]  ⦿

Zdenek Patak

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]  ⦿

Zdenek Wagner

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]  ⦿

Zdenka Giacintova

Czech designer of the didone typeface Johana (2014). [Google] [More]  ⦿

Zuzana Burgrova

Prague-based graphic designer, who created the constructivist typeface Kozel (2011). [Google] [More]  ⦿

Zuzana Lednicka

Czech art director and graphic designer. With Pavel Lev and Ales Najbrt, she is involved in Studio Najbrt. Author of Typo 9010 Czech digitized typefaces 1990--2010 (2015). [Google] [More]  ⦿

Zuzana Licko

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 typefaces:

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).

FontShop link. Klingspor link.

View Zuzana Licko's typefaces. [Google] [MyFonts] [More]  ⦿