TYPE DESIGN INFORMATION PAGE last updated on Sat Nov 1 01:47:40 EDT 2014

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Type design in Czechia



[Illustration by Czech cartoonist Jiri Sliva, 2006]

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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A. Gregr

Czech typefoundry 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]  ⦿

AARGH

Czech design studio. Behance link. Creator of the blackletter / metal band typeface Gothicecream (2012, Ten Dollar Fonts). [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 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. [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 runs Studio Najbrt in Prague. 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). [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 at the University of Hartford, specializes in publication design. Author of the bestseller "How to Spec Type", he lives in New York City. He also wrote "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]  ⦿

Amsoft.cz

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

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.

Fontsquirrel link. Behance link. [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), JGJDrerGothic (Jeffrey Glen Jackson, 1997, based on Albrecht Dürer), OffenbachChancery, Ruritania, Schwabach, WornManuscript (Phillip Andrade, 1999), Suetterlin, MA-Bastarda1 (Will Software), FFraktur1, DSNormalFrakturBold (BfdS, 1997), Old-London, WilhelmKlingsporGotisch-Dfr.
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]  ⦿

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. He has lived in Westfalia and Berlin and now lives in Munich. He studied typesetting and graphic design, and joined the Berthold typefoundry in 1967. In 1968, he became the head of the type design department, and remained head until 1990. Lange was the artistic director there, and when Lange retired in 1990, Möllenstädt became type director.

He designed two strong sans font families for the Berthold Exklusiv Collection, Formata (1984) and Signata (1993). Formata, a popular sans serif face, is the corporate typeface of Postbank, Allianz, VW Skoda and Infratest Burke.

Since 1998, Möllenstädt has worked independently from his own studio in Munich, and continues his association with Berthold as an independent designer. He most recently completed small caps and fractions for Formata, and added the Euro symbol to many faces in the Berthold collection.

At Dalton Maag, he was responsible for SkodaSans (2000-2001), a custom font family that may be downloaded here.

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]  ⦿

Bohdan Heblik

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

Behance link. [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]  ⦿

Ceské fonty
[Lenka Melcakova]

Czech font archive: 3rdMan, 3rdMan, AKVALEIR, AardvarkCafe, AardvarkCafe, Adamfont, Adam's-Font, Aeroportal-Bold, Aeroportal-Medium, Aeroportal, Airmole, AirmoleAntique, AirmoleShaded, AirmoleStripe, AmSans, AmSanslight, AmazonCE, Ambitsek, Amerika, AmerikaAlternates, Antigoni, AntigoniBdBold, AntigoniLight, AntigoniMed, Argor-Brujsh-Scaqh, AstronBoy-Italic, AstronBoy, AstronBoyVideo, AstronBoyWonder, AthenaUnicode, BadaBoomBB, BadaBoomCE, Bahamas-Bold, Bahamas, BahamasHeavy, BahamasLight, BaronKuffner, Baveuse, Baveuse3D, BenguiatFrisky, BlueHighway-Bold, BlueHighway, BlueHighwayCondensed, BlueHighwayLinocut, Bohemian-typewriter, Bosanova, Boulder, Brisk-CE, BrokenGhostCE, Brooklyn-Bold, Brooklyn-BoldItalic, Brooklyn-Italic, Brooklyn, Bullpen-Italic, Bullpen, Bullpen3D, CMUBright-Bold, CMUBright-BoldOblique, CMUBright-Oblique, CMUBright-Roman, CMUBright-SemiBold, CMUBright-SemiBoldOblique, CMUConcrete-Bold, CMUConcrete-BoldItalic, CMUConcrete-Italic, CMUConcrete-Roman, CMUSansSerif-Bold, CMUSansSerif-BoldOblique, CMUSansSerif-Oblique, CMUSansSerif, CMUSerif-Bold, CMUSerif-BoldItalic, CMUSerif-BoldNonextended, CMUSerif-BoldSlanted, CMUSerif-Italic, CMUSerif-Roman, CMUSerif-RomanSlanted, CMUTypewriter-BoldItalic, CMUTypewriter-Italic, CMUTypewriter-Light, CMUTypewriter-LightOblique, CMUTypewriter-Oblique, CMUTypewriter-Regular, CMUTypewriterVariable-Italic, CMUTypewriterVariable, Camilla, Cardo, Champagne&Limousines-Bold, Champagne&Limousines-BoldItalic, Champagne&Limousines-Italic, Champagne&Limousines, Champagne&LimousinesThick-Bold, Champagne&LimousinesThick-BoldItalic, Champagne&LimousinesThick-Italic, Champagne&LimousinesThick, ChroniclesofaHero, ChroniclesofaHeroBold, Chrysanthi-Unicode, CirqueDuFreakCE, CopperPot-Bold, CopperPot, DISTInkingBold, DISTInkingRegular, DeiGratia, Desyrel, Engebrechtre-Bold, Engebrechtre-BoldItalic, Engebrechtre-Italic, Engebrechtre, EngebrechtreExpanded-Bold, EngebrechtreExpanded-BoldItalic, EngebrechtreExpanded-Italic, EngebrechtreExpanded, EtBoemieRex, Eurofurencebold, Eurofurencebolditalic, Eurofurenceitalic, Eurofurencelight, Eurofurencelightitalic, Eurofurenceregular, Existence-Light, Existence-Light, Existence-StencilLight, Existence-UnicaseLight, ExpresswayFree, FAFERS-font, FantasticPete, Flatform-Light, France-Bold, France-Bold, France, FutureMillennium, FutureMillenniumBlack, FutureMillenniumItalic, Galette-Medium, Garogier, Geekabyte, Geekabyte2CE, Gemerald, Gentium-Italic, Gentium, GentiumAlt-Italic, GentiumAlt, Ginko, GnuolaneFree, Goodfish-Bold, Goodfish-BoldItalic, Goodfish-Italic, Goodfish, Gotika, GotikaApvalus, GotikaBrokas, GotikaSerifaiA, GotikaSerifaiB, GoudyBookletter1911, GrixelKyrou7Wide, GrixelKyrou7WideBold, GrixelKyrou7WideBoldXtnd, GrixelKyrou7WideXtnd, GrutchHanded, Guanine, GubbenIL, GunnyHandwriting, Gunplay, Gunplay3D, HappyKiller, HauntAOE, HildaSonnenschein-Dingbats, HildaSonnenschein-ExtraCharacters, HildaSonnenschein, IgnisetGlaciesSharp, IgnisetGlaciesSharpBold, IgnisetGlaciesSharpBoldItalic, IgnisetGlaciesSharpItalic, Ikusuteito, Impacted, InfraRed, InfraRedBlack, InfraRedBold, InfraRedExtraBold, InkiCE, Insula, JaneAusten, Junicode-Bold, Junicode-BoldItalic, Junicode-Italic, Junicode-Regular, KabanaBold, KabanaBook, Koala-Bold, Komikazoom, Legendum-Regular, LiberationMono-Bold, LiberationMono-BoldItalic, LiberationMono-Italic, LiberationMono, LiberationSans-Bold, LiberationSans-BoldItalic, LiberationSans-Italic, LiberationSans, LiberationSerif-Bold, LiberationSerif-BoldItalic, LiberationSerif-Italic, LiberationSerif, Linus, Love'sLabour, MPH2BDamase, MaassslicerItalic, Mager-Fat, Mager-FatItalic, Mager-Italic, Mager, Mastodon-Bold, Mastodon-Bold, Mastodon, 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]  ⦿

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]  ⦿

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 in Informatics at the Masaryk University in Brno in 2005, spent a term at the Denmark's Designskole in Copenhagen in 2004 and graduated with distinction from the MA in Typeface Design at the University of Reading in 2007, where he wrote a thesis on his typefaces called Skolar and Surat. Skolar won an award at Paratype K2009. It was designed with scholarly and multilingual publications in mind. See, e.g., Skolar Devanagari.

From 2004 to 2007, he ran his own design studio DAVI, with projects in graphic, web and interface design. Back in Brno, he worked with Tiro Typeworks (Canada) as an associate designer. At ATypI 2008 in St. Petersburg, he spoke about multi-script typography.

His typefaces include

  • 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.

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

Delarocca

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

Deleatur

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, 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). [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]  ⦿

DTPobchod

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

e-a-t

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]  ⦿

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]  ⦿

Enyon Eugenius

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

EVCOMP

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

Fafik

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]  ⦿

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 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). Behance link. [Google] [More]  ⦿

Fontanasia

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]  ⦿

Font::TFM

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 Skoryna

Also Francysk Skaryna, b. 1486 Polazk (white Russia), d. 1541 Prague. First printer in white Russia (Belarussia). Skaryna was one of the first to publish in the Cyrillic alphabet, but not the very first as Oktoikh was published by Schweipolt Fiol in 1491. [Google] [More]  ⦿

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 typeface 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).

Klingspor link. [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]  ⦿

George Moore

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

GFX

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]  ⦿

Grafotechna

Czech state type foundry (est. 1951) from the communist era at which Josef Týfa, Oldrich Menhart and Rudolf Ruzicka worked for some time. Týfova Antikva (1959, inspired by the work of architect P.L. Nervi) by Josef Týfa later became Tyfa Text (and ITC Tyfa, 1998). Frantisek Storm made a version of it under Týfa's supervision. Menhart published typefaces such as Grazdanka (1953). An unknown designer made Universal Grotesk in 1951. This typeface was used for road signs in Czechoslovakia. [Google] [MyFonts] [More]  ⦿

Hana Dovinova

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

Heavyweight
[Jan Horcik]

Jan Horcik (Heavyweight, Prague, Czechia, est. 2014) created the street art semi-graffiti typface Joe182 in 2014. Joe182 (2014) is a script typeface 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. [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 Std (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 faces LogoBlogo (2010) and Logoblogo2 (2010, lowercase only).

Devian Tart link. Graphicriver link. [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). Some of his work is archived at the Department of Rare Books and Special Collections of the Princeton University Library. [Google] [More]  ⦿

Ilya Gromov

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

Behance link. [Google] [More]  ⦿

IndicType1
[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]  ⦿

Inna Bagaeva

Graphic designer in Magnolia, AR, who created an Alphone 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]  ⦿

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 codesigned 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]  ⦿

IVI

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

JAF34

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).

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

Jakub Caja

Prague-based designer who made his first typeface in 2011, a monoline sans. He also made the multilined connected script faces 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 a with Georg Seifert (creator of Glyphs app) in Usti nad Labem, Czech Republic, Jakub designed Georg. [Google] [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 Typefoundry in 2014. His first commercial typeface, Abnormal (2014), is a slightly quirky almost-monoline sans. It is instantly recognizable by its daring reverse contrast. [Google] [MyFonts] [More]  ⦿

Jan Buchtela
[Design Komando]

[MyFonts] [More]  ⦿

Jan Charvat

Jan Charvat set up his own commercial typefoundry in Czechia in 2014. In 2014, he published Globe Grotesk Display, a sans typeface family inspired by Universal Grotesk (1951, Grafotechna). It is contemporary in some design elements (an organic b and a handicapped g spring to mind), yet it has inktraps and other features that harken back to the era of print. [Google] [MyFonts] [More]  ⦿

Jan Horcik
[Heavyweight]

[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. [Google] [More]  ⦿

Jan Koehler
[Deniart Systems]

[MyFonts] [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 Novysediak

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

Jan Rambousek

Designer of the didone family Brno Z (Grafotechna, 1959). [Google] [More]  ⦿

Jan Safarik
[Color Works]

[More]  ⦿

Jan Schmoeger

Born in Prague in 1949, Jan Schmoeger emigrated to Australia in 1980, and is a book designer in Mentone, Victoria. Creator of the rounded octagonal headline sans faces Paragraph (2007, Paragraph), Paragraph Stretch (2011, Paragraph; a unicase effect Porsche-look family), Bentwood (2008, Paragraph), Circula (2010, a geometric caps-only sans based on arcs), Diagond (2010, organic), Mentone (2008, Paragraph, along the lines of Frutiger/Myriad), ParaCaps (2008, Paragraph, geometric caps), Galette (2008, 6 styles of a screen sans with hint of art nouveau, originally called Alfons but renamed), Tertre (2009, octagonal, based on French signage; Tertre Extra Bold is free), Tenby Eight, Seven, Six, Five and Four (2008, Paragraph, squarish geometric display sans series), Tenby Stencil (2011), Springsteel (2009, Paragraph, a tense sans serif), Springsteel Extreme (2011), Springsteel Serif (2011) and Paperclip (2007, Paragraph).

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]  ⦿

Jan Sindler

Karlovy Vary, Czechia-based designer of Rodak (2014, a rounded sans typeface) and Maturia (2014, an ink-trapped school project typeface family that was influenced by Rathousky's Metron). [Google] [More]  ⦿

Jan Solpera

Czech designer (b. 1939, Jindrichove Hradci) who designed Insignia (1979) which was renamed (since Neville Brody has a font by that name), and then digitized by Frantisek Storm as Solpera (2000, Storm Type Foundry). See also here for this sans-serif family. He heads the Font Studio at the School of Applied Arts in Prague and is the author of the fonts on the banknotes of the Czech National Bank. Frantisek Storm was one of his students.

With Frantisek Storm, he designed Josef Sans in 2013, in the hope of adding a new sans family to Tyfa's Roman (Tyfa Antikva). [Google] [More]  ⦿

Jan Urban
[JUSoft]

[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

Czech designer of the uncial/blackletter typeface Rebeka, which is based on 13th century Italian bastarda scripts. Read its review by Dan Reynolds. [Google] [More]  ⦿

Janna

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
[typografie.dero.name]

[More]  ⦿

Jaroslav Benda

Czech type designer. Creator of a rather clumsy typeface in 1923 that exhibits quite a few irregularities. Image from Veronika Burian's thesis. In 2014, Petra Docekalova wrote a thesis about Jaroslav Benda. [Google] [More]  ⦿

Jaroslav Novotny

Freelance designer in Prgaue, 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]  ⦿

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). [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]  ⦿

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.
[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). [Google] [More]  ⦿

JUSoft
[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 Prgaue, 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 Dyrynk

Czech designer and book artist (1876-1949). Director of the state press Statni Tiskarna. Author of these books: Typograf o Knihach (1925, Prague), Rules of Typesetting (Pravidla sazby), The Book Beautiful (Krasna Kniha).

Typefaces include Dyrynk Lateinschrift (1928, A. Gregr typefoundry---Dyrynkova Latinka in Czech; Burian mentions that it is from 1930), Malostranska Antiqua (1927), Malostranska Italic (1928), Gregr Roman (1930), Gregr Italic (1931), Otakar Brezina (1946, Statni Tiskarna), Biblicke pismo (1933, unpublished), Konupek Italic (1946, unpublished), and a set of pictograms (1933, Statni Tiskarna).

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
[IndicType1]

[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 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]  ⦿

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. [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 Meetfactory (2012) and Width (2012).

Behance link. [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 and died in 1976: 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. [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 Vomelova

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

Dafont link. Home page. [Google] [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, Casy-EA, Darseni-e-Afshenasi, Dee-Sathairn, Euransi-e-Nauromane, FZDHTJW--GB1-0, FZHLJW--GB1-0, GaramondWLHalbfett, Havirov, Johaansi-ye-Peyravi, Khorshide_Iran, LiborsoftInternational, LinguaLatina, Masnavi-e-Nauromane, OldMoravianGlagolitic, Ostrava, PrydEuro-Cymraeg, Shahanshah-e-Xatt, TNRLiboriusVII, TempsEuro-Catalan, Times-NR-Czech, Times-NR-Greenlandic, Times-of-EuransiLS, Times-of-SlaviskPSMT, Times-of-Slavs, Times-of-Tajiki, Times-of-the-West, TimesNREuskaraEuransiEsperanto, TimesNewRomanHungarian, Velehrad, VelehradBold, Zemanho-ye-Darseni, Ardashir-e-Urofarsi, Daftar-e-Urofarsi, Gam-e-Urofarsi, Jahan-e-Urofarsi, BohemiaLS, BohemiaPS-BoldLS, BohemiaPS-BoldItalicLS, BohemiaPS-ItalicLS, LiborsoftCzechia, MoraviaLS, Moravia-BoldLS, Moravia-BoldItalicLS, Moravia-ItalicLS, SilesiaLS, SilesiaPS-BoldLS, SilesiaPS-BoldItalicLS, LiborsoftSilesiaPS-ItalicLS, Miyane-ye-Urofarsi (Liborsoft), Name-ye-Urofarsi, Parvane-ye-Urofarsi, Peyk-e-Urofarsi, Sadsale-ye-Urofarsi, ahpur-e-Urofarsi, Setare-ye-Urofarsi, Siyah-e-Urofarsi, Times of Tajiki, Tarik-e-Urofarsi, Zeman-e-Darseni, Zaman-e-Urofarsi, TimesNREuskaraEuransiEsperanto. Direct access. Another directory. Friulan Nazzi-Faggin (2001, a didone) is here. [Google] [More]  ⦿

Linda Kudrnovská
[TYPO]

[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]  ⦿

Lukas Kijonka
[Kolektiv Studio]

[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 Susanne Nouveau, Modern Typewriter and Elegant Typewriter.

Home page. Another link. Fontspace link. [Google] [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]  ⦿

mac2pfm
[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]  ⦿

Macron

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

Marek Brejcha

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

Marek Peca
[mac2pfm]

[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. 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 faces: 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. [Google] [MyFonts] [More]  ⦿

Marian Misiak

Graduate from the type design program at the University of Reading in 2010. Marian designed Timeline for his thesis. Timeline is a full family with serif, sans and Arabic subfamilies. It is intended for information design---the serif is kept uncomplicated while the sans and Arabic are basically monoline styles. Marian has both a Polish and a Czech background. With Tomek Bersz, he runs a studio in Warsaw. [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 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 Pecina
[Typomil]

[More]  ⦿

Martin Sutovec

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

Matej Hlavacek
[Vesturbaer]

[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 Prague. This graphic designer created the fat rounded typeface Rusalka (2011). [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 faces include

  • Escape From Budapest (2011). Art deco, based on a type specimen in the Communist Sculpture graveyard outside of Budapest.
  • Baron of Arizona (2011). A Victorian ornamental 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.
  • King of Prussia (2011) is an angular Halloween face.
  • Dubliners (2011) is a signage script face.
  • Quijibo (2011) is a quaint handmade slab serif.
  • Street of Crocodiles (2011) is inspired by the main title of the Quay Brothers film Street of Crocodiles (based on the 1934 Bruno Schultz book).
  • Aegean (2012). A swashy take on roman capitals. The spurred version is Cirque (2012).
  • Antler (2014). A spurred woody vintage family of typefaces.
[Google] [MyFonts] [More]  ⦿

Method Kalab

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

Michaela Koselova

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

Mitek

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 faces 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]  ⦿

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]  ⦿

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]  ⦿

Necrocock

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 typefoundry in Prague, Czechia. In 2014, she created Rukola (2014, a sign-painting brush script) and Yield. [Google] [MyFonts] [More]  ⦿

Nikola Klimova

Nikola Klimova (Rajec-Jestrebi, Czechia) set up the Nikola Klimova Typefoundry in Prague in 2014. Slurm (2014) is a set of hand-printed typefaces: Slurm is a hand-drawn fun font that is ideal for use in headlines, descriptions and logotypes used in product design and similar applications. [Google] [MyFonts] [More]  ⦿

Nini Prower

Creator of the free handwriting typeface Nini Font (2008). [Google] [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, Prgaue). 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. Digital version by Ralph M. Unger 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]  ⦿

Ondrej Chory

Czech designer who created the superchiseled typeface Mongoloid (1993). [Google] [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 typefoundry. 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

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 teacher. 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 (2003, free), Acropolis Now (1995, a Greek simulation typeface done with Michael Want), P22 Albers (1995; based on alphabets of Josef Albers made between 1920 and 1933 in the Bauhaus mold), Arts and Crafts (based on lettering of Dard Hunter, early 1900s, as it appeared in Roycroft books), Ambient, Aries (2004, based on Goudy's Aries), Arts and Crafts ornaments, Atomica, Bagaglio, Bauhaus (Bauhaus fonts based on the lettering of Herbert Bayer), Bifur (2004, Richard Kegler, after the 1929 original by Cassandre), Blackout, Cage (based on handwriting and sketches of the American experimental composer John Cage), P22 Casual Script (2011, Richard Kegler, a digitization of letters by sign painter B. Boley, shown in Sign of the Times Magazine), Cezanne (Paul Cezanne's handwriting, and some imagery; made for the Philadelphia Museum of Art), Child's Play, Child's Play Animals, Child's Play Blocks, Constructivist (Soviet style lettering emulating the work of Rodchenko and Popova), Constructivist extras, Czech Modernist (based on the design work of Czech artist Vojtech Preissig in the 20s and 30s), Daddy-o (Daddy-o Beatsville was done in 1998 with Peter Reiling), Daddy-o junkie, Da Vinci, Destijl (1995, after the Dutch DeStijl movement, 1917-1931, with Piet Mondrian inspired dingbats; weights include Extras, P22 Monet Impressionist (1999), Regular and Tall), Dinosaur, Eaglefeather, Escher (based on the lettering and artwork of M.C. Escher), FLLWExhibition, FLLW Terracotta, Folk Art (based on the work of German settlers in Pennsylvania), Il futurismo (after Italian Futurism, 1908-1943), Woodtype (two Tuscan fonts and two dingbats, 2004), P22 Woodcut (1996, Richard Kegler: based on the lettering carved out in wood by German expressionists such as Heckel and Kirchner), , Garamouche (2004, +P22 Garamouche Ornaments; all codesigned with James Grieshaber), GD&T, Hieroglyphic, P22 Infestia (1995), Insectile, Kane, Kells (1996, a totally Celtic family, based on the Book of Kells, 9th century; the P22 Kells Round was designed with David Setlik), Koch Signs (astrological, Christian, medieval and runic iconography from Rudolf Koch's The Book of Signs), P22 Koch Nueland (2000), Larkin (2005, Richard Kegler, 1900-style semi-blackletter), London Underground (Edward Johnston's 1916 typeface, produced in an exclusive arrangement with the London Transport Museum; digitized by Kegler in 1997, and extended to 21 styles in 2007 by him as P22 Underground Pro, which includes Cyrillic and Greek and hairline weights), Pan-Am, Parrish, Platten (Richard Kegler; revised in 2008 by Colin Kahn as P22 Platten Neu; based on lettering found in German fountain pen practice books from the 1920s), Preissig, Prehistoric Pals, Petroglyphs, Rodin / Michelangelo, Stanyan Eros (2003, Richard Kegler), Stanyan Autumn (2004, based on a casual hand lettering text created by Anthony Goldschmidt for the deluxe 1969 edition of the book "...and autumn came" by Rod McKuen; typeface by Richard Kegler), Vienna, Vienna Round, Vincent (based on the work of Vincent Van Gogh), Way out West. Now also Art Nouveau Bistro, Art Nouveau Cafe and the beautiful ornamental font Art Nouveau Extras (all three by Christina Torre, 2001), the handwriting family Hopper (Edward, Josephine, Sketches, based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art), Basala (by Hajime Kawakami), Cusp (by James Grieshaber), P22 Dearest (calligraphic, by Christina Torre), Dwiggins (by Richard Kegler), Dyrynk Roman and Italic (2004, Richard Kegler, after work by Czech book artist Karel Dyrynk), Gothic Gothic (by James Grieshaber), La Danse (by Gábor Kóthay;), Mucha (by Christina Torre), Preissig Lino (by Richard Kegler), P22Typewriter (2001, Richard Kegler, a free 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).

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]  ⦿

Pavel Barchanski

Graphic designer in Plzen, Czechia. Creator of the bilined typeface Retro (2014). [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 Teimer

Czech typographer 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. [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]  ⦿

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) of the experimental typeface Prkno (1992-1993, wooden plank-shaped letters). He works at Studio Machek & Babak, founded by them in 1967. Interview (in Czech). [Google] [More]  ⦿

Petr Kollarcik

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

Petr Rubacek

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

Behance link. [Google] [More]  ⦿

Petra Byrtusova

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

Petra Docekalova

Typefoundry in Prague, Czechia, est. 2014 by Petra Docekalova, b. 1991, Ostrava, Czechia. During her studies at the Academy of Arts, Architecture and Design in Prague. She is a member of editorial team of the TYPO9010, a book about Czech digital typefaces created between 1990 and 2010. Her graduation project consisted of a book about Jaroslav Benda and his typefaces. In 2014, she was working as a type design intern at Suitcase and Briefcase Type Foundry.

Her first commercial typeface, Monolina (2014), is a contemporary monolinear script that is based on the contrast between classical (beautiful) calligraphy and quickly jotted manuscript (sketches). As all styles are based on the single stroke of a round nib pen, the letter is rounded. [Google] [MyFonts] [More]  ⦿

Pikolita

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 typefoundry in 2013, after a period of free font production. He worked at DO2 Magazine. Gilberto Moya Perona is the designer of most fonts at Pisto Casero, which in 2014 was based in Brno, Czechia.

Typefaces from 2011: Paper Cube (3d, outlined), the ink spill typeface Sopa de Letras, the fat counterless typeface Minimal, the outline typeface I Am Online With U, the 3d hand-printed outline typeface Indietronica, the stencil pixel typeface Stencil 8Bit, Wet Arial (a beautifully executed type treatment face), and the 3d pixel typeface Chip Tunes.

Typefaces from 2012: Awakened, Corrupted Democrazy (grungy), Czech Tales (a beautiful curly typeface inspired by traditional Czech fairytales), Neon Serif (multilined, prismatic), Democrazy (sans and serif with very tall ascenders).

Typefaces from 2014: I Am Online With You (a connected outline font family).

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

Pitrisa

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

Quentin.cz

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

Radana Lencová

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

Radek Sidun

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). [Google] [More]  ⦿

Radim Pesko
[RP]

[More]  ⦿

Radko

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]  ⦿

Redesign

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]  ⦿

Richard Kegler
[P22 Type Foundry]

[MyFonts] [More]  ⦿

Robert V. Novak

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

Roman Cenohous

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 Cenohous's dissertation in the Studio of Typography at the Academy.
  • Corridor. Created for use on highway signs.
[Google] [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 Nedona, he got gis ideas translated into digital typefaces at Nedona's typefoundry, Signature Type. His typefaces there include some made with Roman Cenohous (Aktion, Corridor), Marek Pistora (Meridianus Sans+Serif), and Tomas Nedona (Fenomen Sans, Galaxy, Haven, Quodlibet Sans+Serif). [Google] [More]  ⦿

RP
[Radim Pesko]

RP is a small scale digital type-foundry established in 2009 by Czech designer Radim Pesko, who currently lives in Amsterdam. He is a regular contributor to various publications including Dot Dot Dot magazine. He currently teaches at Rietveld Akademie in Amsterdam and co-guides a project for ECAL/University of Art and Design in Lausanne. His creations:

  • 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.
  • 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.
  • 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 (2012). A straight-edged experimental typeface.
  • Mercury: 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.
  • 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), an octagonal face.
  • Specta. Custom font for the Eastside Projects of Birmingham. Used in BBC headlines. Not for sale.
  • Union is a synthesis of Arial and Helvetica.
[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 is now called Transitional 551 at Bitstream (Alex Kaczun, 1991). 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 (1953). This 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.

Jesse Ragan is working on Ruzicka Collection. This comprises digital versions of the alphabets shown in Rudolf Ruzicka's 1968 portfolio Studies in Type Design.

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

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]  ⦿

Semaphor
[Vit Zyka]

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

Seznam

Czech font links. [Google] [More]  ⦿

Signature Type Foundry
[Tomas Nedona]

Tomas Nedona 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 Nedona. The typefaces:

  • Quodlibet Sans and Serif (2008). Nedona's graduation typeface at Tomas Bata University in Zlí.
  • Aktion. A revival of Akzidenz Grotesque based on Roman Cenohous's dissertation in the Studio of Typography at the Academy.
  • Giovanni.
  • Corridor (Roman Cenohous). Created for use on highway signs.
  • Clara Sans and Clara Serif (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).
[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 was originally cast by Prumyslova Tiskaran in Prgaue. The Monotype version, a year later, was slightly different.

Klingspor link. [Google] [More]  ⦿

Soap

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 Prgaue, Czechia, by Jakub Spurny. In 2014, Jakub created Senohraby, an uppercase display typeface inspired by an old sign at the Senohraby train station that is now slowly chipping away. Senohraby Paint emulates a flat brush and features a few scratches and irregulartities. [Google] [MyFonts] [More]  ⦿

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), the 2-weight sans serif family Kamene (1956, revived by Patrick Griffin at Canada Type in 2005 as Trump Gothic East), Prazke Kamene (1958, an elongated condensed sans), Orion (1960, a sans), and Marso Grotesque (or Marsova Grotesque, or Marsuv Grotesk, 1958-1960).

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. [Google] [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.
  • 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
  • Amor Sans and Serif (2005).
  • Andulka (2004): 24 weights for use in books, mags and newspapers
  • 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.
  • 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.
  • 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)
  • Defender (2008): a heavy slab family.
  • Digita (2004)
  • 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): a corporate identity sans family, which became commercial in 2006. Four Etelka Monospace styles were added in 2008.
  • Evil
  • Excelsior Script (1995-1996)
  • Farao (a great Egyptienne font in 3 weights)
  • Friedhof (2011). A family based on tombstone lettering from ca. 1900. It contains handtooled and shadowed (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.
  • Hexenrunen (2006, + Reverb): a runic simulation face.
  • Ideal Gothic
  • 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
  • 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 II: a rustic Baroque typeface
  • 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).
  • 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. 2004 by Tomas Brousil, who lives in Prague. Fonts include the interesting Tabac type system (2010; includes the humanist Tabac Sans (+Hair); sure to win awards in the near future!!!). The Tabac family was augmented in 2012 with Tabac Slab and Tabac Mono, which have a full range of weights from Hairline to Black.

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).

Tomas lives in Prague. MyFonts page. Behance link. Klingspor link. MyFonts interview.

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

Superior Type
[Vojtech Riha]

Typefoundry in Prague, Czechia, est. 2014 by Vojtech Riha. Vegan (2014) is 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. [Google] [MyFonts] [More]  ⦿

SuSE

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]  ⦿

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

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]  ⦿

Tobias Grolich

Brno, Czechia-based designer of the free avant garde font Select Regular (2013).

Behance link. [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 Nedona
[Signature Type Foundry]

[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 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.
  • Adelle Sans. A 12-style slab serif family made in 2009. Award winner at Tipos Latinos 2010. Adelle Condensed followed in 2013.
  • 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), 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 ("romaneque") 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), and with Tom Grace on the Cyrillic letterforms. It was published by Type Together in 2014. PDF file.

MyFonts link. Klingspor link.

MyFonts interview.

Catalog of the Type Together typeface library. [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]  ⦿

TYPO
[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]  ⦿

TypoDesignClub

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]  ⦿

typografie.dero.name
[Jaroslav „Dero“ Polakovic]

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

Typomil
[Martin Pecina]

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

Typoplus
[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]  ⦿

Universal Grotesk

This typeface became famous for its use on traffic signs in Czechoslovakia. It was designed in 1951 by an unknown type designer at the Czech typefoundry Grafotechna.

Free download of two fonts made in 2010 and 2012 respectively, also by an unknown designer. One of these fonts claims in its metadata that the original is due to Vladimir Balthasar in 1934. Globe Grotesk Display (2014, Jan Charvat) is based on Universal Grotesk. [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: dingabts for awards and badges), Clocko (2014: clock dingbats).

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.

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

Václav Kucera
[Typoplus]

[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]  ⦿

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.

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]  ⦿

Vesturbaer
[Matej Hlavacek]

Czech graphic design, photography and type design studio run by Matej Hlavacek (b. 1977, Prague). Fonts include Patron (2009, simple sans) and Ferkanta (2010, an art deco geometric stencil poster font). Matej studied Graphic Design at AAAD in Reykjavik/Iceland. Later he moved to Prague and attended the master program in Studio of Typography of Frantisek Storm at AAAD. n 2009 he founded Vesturbaer Studio together with photographer Jiri Hronik. MyFonts link. [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]  ⦿

Vistawide

Archive of free foreign language fonts covering Arabic, Armenian, Bengali, Bulgarian, Burmese, Cambodian, Celtic, Chinese, Croatian, Czech, Estonian, Old English, Farsi, Georgian, German, Greek, Hawaiian, Hebrew, Hindi, Hmong, Hungarian, Icelandic, Japanese, Khmer, Korean, Latvian, Myanmar, Nepali, Persian, Polish, Punjabi, Romanian, Russian, Serbian, Slovenian, Tagalog, Tamil, Thai, Turkish, Ukranian, Urdu, Vietnamese and Welsh. [Google] [More]  ⦿

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

Czech designer in Ostrava of these free fonts: Gunny Handwriting (2003), Tincushion (2003-2014), Hieroglyphic (2002, paperclip font), Fashionism, Milanotica (2012), Gunny Rewritten (2014), Blrrpix Strict (2014).

Dafont link. [Google] [More]  ⦿

Vit Smejkal
[V Design]

[MyFonts] [More]  ⦿

Vit Zyka
[Semaphor]

[More]  ⦿

Vitek Tomas

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

Vojtech Preissig

Czech expressionist type designer from Svetec u Biliny, Bohemia, b. 1873. He died in Dachau in 1944. 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:

Klingspor link.

View Vojtech Preissig's typefaces. [Google] [MyFonts] [More]  ⦿

Vojtech Riha
[Superior Type]

[MyFonts] [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]  ⦿

Zaneta Drgová

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

Klingspor 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 designer. With Pavel Lev and Ales Najbrt, she is involved in Studio Najbrt. [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 fonts: Lo-Res "Coarse Resolution" (1985), Modula (1985), Citizen (1986), Matrix (1986), Matrix II (2007, a reworking of Matrix in 18 styles), Matrix II Display (2007, a further 31 styles), Lunatix (1988), Oblong (1988, with Rudy VanderLans), Senator (1988), Variex (1988) with Rudy VanderLans), Elektrix (1989), Triplex Roman (1989), Totally Gothic (1990), Journal (1990), Tall Pack (1990), Quartet (1992), Narly (1993), Dogma (1994), Whirligig (1994), Base 9&12 (1995), Soda Script (1995: this may have some uses, but I can't think of any), Mrs Eaves (1996, her best font, a Baskerville), Mrs Eaves XL (2009, an extension and improvement of Mrs Eaves), Mister Eaves Sans and Mister Eaves Modern (2009, +XL Modern) [from their blurb: Mr Eaves was based on the proportions of Mrs Eaves, but Licko took some liberty with its design. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique characteristics---for me, it's an experiment that went partially wrong in the overly curly "z"'s and "r"'s, but as an experiment, it's fine], Filosofia (1996, which has a unicase version), Base Monospace (1997), Hypnopaedia (1997, nice dingbats), Tarzana (1998, an ordinary sans serif), Solex (2000; looks a lot like Scala or Nimbus), Fairplex (2002), and Puzzler (2005, a geometric pattern and decoration font). Many of her fonts are of mediocre quality (Dogma, Senator, Narly and Variex come to mind). Triplex and Filosofia are/were incorrectly kerned. The name Solex infringes on the trademark of the motorbike "Solex" (sold to Yamaha, and now produced by the Hungarian company "Impex"). The name Journal is the same as that of Phil Martin's Journal, which was made in 1987 (see here). At some point, she made a pixel font, PixelsDream, but I do not know if it was ever published. In 2013, she designed the rounded sans family Program OT.

Interview by Rhonda Rubinstein. Rudy VanderLans, Zuzana Licko and Mary E. Gray wrote Emigre (The Book): Graphic Design into the Digital Realm (1993, Van Nostrand Reinhold, New York). Her work is discussed by William H. Powes (in More from Eastern Europe: Czechoslovakia. Art Direction, vol. 45, pp. 62-63, 1994), Laurie Haycock Makela (in Three New Faces. Design Quarterly, vol. 158, pp. 22-25, 1993), Mike Jones (in Two Colors, one vision. Design, vol. 500, pp. 64-66, 1999) and Patrick Coyne (in Communication Arts, vol. 34, pp. 64-73, 1992).

FontShop link. Klingspor link.

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