TYPE DESIGN INFORMATION PAGE last updated on Wed Dec 11 12:39:17 EST 2019
FONT RECOGNITION VIA FONT MOOSE
The Polish type scene
066.FONT is Piotr Wozniak's Polish foundry based in Konskie with some commercial fonts (Linotype Kropki (1997), Dr066, Kfontz) and some free fonts (DNA, Zawijasy, Mieszkanie9 (a halftone curly hand), Plaq, Plaq 108). Kfontz and Dr066 are old typewriter fonts, and Kropki is a dot matrix font. The free fonts are for handwriting. Some fonts at MyFonts.com, such as Pokrak (2009, grunge family), Longinus Pro (2008, a 9-style family of medieval roughly outlined alphabets), Old Stefan (2008, five styles of grungy typewriter), Kra Kra (2008, grunge), Poldi (2007, 3d hand-printed), Poldi No 2 (2008), Bloor (2008), Crazy David No 1 and 2 (2006, grunge), Karacan Pro (2005, eroded look), Polish Dirty News (2005, grunge), Nieanana (2005), Jackcake (2005), Mada693, Nonpress (2006, grunge), Plaq (2005, halftone simulation face), Dr066, KfontZ, Zawijasy (1997, a curly hand, now commercial), Punx (2006, grunge), 066 Army (2006, grunge), Kulfonus No. 1 and 2 (2007, grunge), Duck Duck (2006), Finito (2008, grunge script), Wopi Script (2005), Pimpus (2009, grungy script) and Wopi Script No. 2 (2005) and No. 3 (2007).
The designer is Piotr Wozniak in Krakow (b. Konskie, Poland, 1980).
Typefaces at MyFonts: 066 Army (066.FONT), Bloor (066.FONT), Chigliak (066.FONT), Crazy David No 1 (066.FONT), Crazy David No 2 (066.FONT), Dr066 (066.FONT), Duck Duck (066.FONT), Finito (066.FONT), Jackcake (066.FONT), Karacan Pro (066.FONT), KfontZ (066.FONT), Kra Kra (066.FONT), Kulfonus No 1 (066.FONT), Kulfonus No 2 (066.FONT), Linotype Kropki (Linotype), Longinus Pro (066.FONT), Mada693 (066.FONT), Nieanana (066.FONT), Nonpress (066.FONT), Old Stefan (066.FONT), Pimpus (066.FONT), Plaq (066.FONT), Pokrak (066.FONT), Poldi No 2 (066.FONT), Poldi (066.FONT), Polish Dirty News (066.FONT), Punx (066.FONT), Wopi Script No 2 (066.FONT), Wopi Script No 3 (066.FONT), Wopi Script (066.FONT), Zawijasy (066.FONT).
Polish type designer who is based in Szczecin. At the 13th Typeclinic in Slovenia in 2016, Ada Krawczak designed Easy-a (sans typeface). At the 15th Typeclinic, held in 2017, she added Sciaga, a sans that has regular, inktrapped and stencil styles. [Google] [More] ⦿
Aka Iorveth Aen Seidhe. Katowice, Poland-based designer of the display typeface Slowglass (2017), the rune simulation font Pertho (2016) and the penis font Semi (2016). He also made several interesting calligraphic pieces.
In 2019, he designed the condensed Latin / Greek / Cyrillic sans Rywalka, the creamy stencil typefae Aromatron and the leafy Aromatron Ornaments.
Polish graphic artist, printer, illustrator and a type designer (b. 1881, Warszaw, d. 1952, Krakow). He studied at the Art Academies of Krakow, München, Leipzig and Berlin, and became art director from 1912-1927 in Warszaw at the Zaklady Graficzne B. Wierzbicki i S-ka. From 1927 until 1930, he was technical head at a printshop in Warszaw. From 1930 on, he edited the magazine Grafika in Warszaw with F. Siedlecki and T. Gronowski. From 1922 until 1939, he taught graphical and print techniques at the High School for Journalism in Warszaw. He ran his own print shop, Jednosc, in Kielce from 1945-1949. He designed fonts that were widely used by Polish printing houses until the 1960s. His main type family, Poltawskiego (1931) was the first original Polish type family. It was digitally recreated by Bogusaw Jackowski, Janusz M. Nowacki and Piotr Strzelczyk (JNS TEAM) in 2000 under the name Antykwa Półtawskiego starting mainly from MetaPost. It has also been digitized/revived by Felix Steffen. Twardoch's description of his contributions. Klingspor link. [Google] [More] ⦿
Adam Twardoch (b. 1975) was raised in Tychy, Poland, and graduated from the University of Frankfurt/Oder, Germany. He worked at for Agentur GmbH, a Frankfurt/Oder-based design firm. Since 1991, Adam has advised numerous type designers on Central European extensions of their typefaces and has created localized versions of over fifty fonts. He frequently writes on type-related matters, and is the founder of Font.org, a (now defunct) website featuring articles about typography in English and Polish. Adam Twardoch is Director of Products of FontLab (since 2004), and is typographic consultant at Linotype (since 2002) and Tiro Typeworks (since 2001), and general font specialist at MyFonts (2000-2012). Since 2012 he is based in Berlin.
Adam Twardoch is working in the field of font technology, multilingual typography, CSS webfonts, Unicode and OpenType.
Warsaw, Poland-based designer of magnificent experimental typefaces in various vector formats. These include:
Aga Silva is an ex-architect/urban designer, who now lives in Krakow, Poland. Creator of the Glitter family (kaleidoscopic, star-shaped, and possibly of use as snow fonts), Stars Promo (2012), Ivy Tiles (2012), Lillius (2012, floral and froggy dingbats), Maya Tiles (2012), Ballpen (2012, hand-printed), Mickey Script (2012), and Nillie's Love Letters (2012).
In 2011, Aga designed Grand Duchess (script face), Rosette110621 (kaleidoscopic dingbats), Brasserie (connected script), Marker Script, Skarpa LT (an avant-garde hairline face), Skarpa Regular, Skarpa Bold, Auld Magick (blackletter), Two Am, and Fantasy Dingbats.
Typefaces from 2015: Skarpa Round, Nistiver (calligraphic script), Lavenda (calligraphic script).
Typefaces from 2016: Lidaxid (connected script), Hinzatis (calligraphic script), Roicamonta Basic (connected calligraphic script), Monmica Fancy, Bisalir (heavy script), Piambis (thick signage script), Piambis Round, Piambis Sharp.
Agata graduated from the Academy of Fine Arts in Poland, where she studied graphics and paintings. Presently, she is a graphic designer in Graz, Austria. She created colourful arts and crafts style typefaces in 2012. Behance link. [Google] [More] ⦿
Agata Szydlowska (b. 1983, Poland) obtained her PhD in Anthropology from the University of Warsaw. She also holds an MA degree in Art History from the same University. She has completed her studies at the Graduate School for Social Research at the Polish Academy of Sciences. Currently she works as a lecturer at the Department of Design History and Theory in the Design Faculty of the Warsaw Academy of Fine Arts. She also lectures at the Polish-Japanese Institute of Information Technology. In 2015, she co-authored a book on the cultural history of Polish type design with Marian Misiak. Speaker at ATypI 2016 in Warsaw. [Google] [More] ⦿
Polish graphic designer and illustrator. She created the grungy typeface Dead Metal (2012) and the beautiful serifed text typeface Milosc (2012). In 2012, she added the great octagonalized version of Bodoni called Quadratoni. Just brilliant. As a Polish graphic design student, Aleksandra Grünholz created the Puenta transitional text family in 2012.
Foundry in Ypsilanti, MI. Kadmos, Bosporos (both classical Greek), Czasy, Szwajcarski (Polish), and Demotiki (modern Greek). Nice fonts, 85 US dollars per face. Jeffrey Rusten swears that these are the highest quality fonts for polytonic Greek. [Google] [More] ⦿
Polish illustrator and graphic artist, b. 1928, Warsaw. He created the beautiful cursive text typeface Bona. He also did nice lettering on some film posters, and designed bank notes, postage stamps, postcards and book covers.
In 2017, Mateusz Machalski contacted him for advice on the momentous revival and extension project Bona Nova, published by and available from Capitalics and MyFonts. For starters, Machalski had to design a regular upright style to match Heidrich's italics. Bona Nova is supplemented by the extreme contrast typeface family Bona Title and the inline typeface family Bona Sforza. Participants in the project also include Leszek Bielski, Ania Wielunska and Michal Jarocinski. Interview with Andrzej Heidrich, and the story of Bona Nova (PDF format, 2017). [Google] [MyFonts] [More] ⦿
Polish typographer involved in GUST.org fonts for Polish, and son of Roman Tomaszewski, another Polish typographer. Author of Leksykon pism drukarskich Warszawa, Krupski i S-ka, 1996. Antykwa Poltawskiego, one of the few original Polish typefaces, is being digitized in an innovative way as a *parametrized* Type 1 font. The project is being co-sponsored by GUST, the Polish TeX users group. The typographical supervision is being held by Andrzej Tomaszewski (son of Roman Tomaszewski, R.I.P., a famous Polish typographer and a former member of the ATypI board). [Google] [MyFonts] [More] ⦿
Poznan, Poland-based designer of the brushy poster typeface Jarzynka (2015), the beautiful brush script Filipinki (2015, her graduation typeface at Poznan University of Art), and of the counterless display typeface Mark (2015, inspired by the Mark Rothko Warsaw exhibition in 2013). [Google] [More] ⦿
Ania Kruk (b. 1987, Poznan, Poland) is a designer in Barcelona. She has studied towards an MA in design at the University of Aerts in Poznan, 2005-2011 and obtained a Masters in Advanced Typography and Editorial Design in 2010 at Eina (Escola de Disseny i Art, Barcelona).
She created the text typeface Arnie (2011). She writes: Arnie is a text typeface designed for books and poetry. Due to calligraphic origin, rather classical proportions and flat curves, it seems solid and stable. While big counters and varying line weight make it look light and airy in long texts. She also created the signage script face Cookie (2011), which is free at Google Web Fonts. Panna Kotta (2010) is an upright italic. Ladaco (2008) is inspired in Polish folkloric cut-outs.
Designer in Warsaw, Poland, b. 1992, who studied at Warsaw Academy of Fine Arts. She created Musso (2016), a remarkable brushy vernacular script typeface that is loaded with alternates to emulate real handwriting. Since about 2010, there has been an explosion of brushy typefaces, but even in this crowded field, Musso stands out. Later in 2016, Ania Wielunska and Mateusz Machalski co-designed the weathered typeface family Gangrena. Her last typeface from 2016 was the connected school script Koszyki, also co-designed with Mateusz Machalski.
In 2016, as part of Warsaw Types, she designed the (free) elegant artsy typeface Lombard, which is loaded with ball terminals and slightly inclined. She writes: Lombard is a combination of an expressive script inspired by traditional Warsaw neon lettering and block letters typical for local craftsmen signage. The design was influenced by the Jubiler neon sign. This combination resulted in a font that is decorative and yet modular.
In 2017, she designed the 18-style typeface Gelato Sans (Borutta).
In 2017, she participated in the Bona project, which set out to revive and extend Andrzej Heidrich's old typeface Bona. Mateusz Machalski contacted him for advice on the revival project. The resulting typeface families were published by and are available from Capitalics. The centerpiece is the warm and wonderful text typeface Bona Nova. It is supplemented by the extreme contrast typeface family Bona Title and the inline typeface family Bona Sforza. Participants in the project also include Leszek Bielski, Ania Wielunska and Michal Jarocinski.
In 2018, Ania Wielunska designed Lazarus (Regular, Italic, Upright Italic, Fraktur). Dedicated web site. A revival of the New Polish Karakter from 1594 by Jan Januszowski, Jan Kochanowski and Lukasz Gornicki. [Google] [More] ⦿
Art director in Kozy, Poland, who created Shift Type Basic (2014) and Elena (2015, sans).
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.
Polish type designer based in Zabrze. At the 13th Typeclinic in Slovenia in 2016, Anna Kacka designed Triglav (an informal sans typeface). At the 15th Typeclinic, held in 2017, she added the sans typeface Paralele. [Google] [More] ⦿
Polish designer (b. 1989) who created Balls (2006), Ross (2006, handwriting), MPL (2006, handwriting), Dominos (2006, handwriting), Qlfones (2006, handwriting), Melsy (2006, handwriting) and New Age (2007, handwriting). Home page. [Google] [More] ⦿
Antraxja Fonts (or: Atrax)
Antraxja Fonts (or: Atrax) is a (now defunct) Polish foundry which offered these free fonts made by Rafa Brzezinski in 2004: ARTUR, Antraxja Goth 1938 (blackletter), Art (art nouveau), Battlefield (war lettering face), BananaShow-Medium, CrashTest, CrashTestItalic, CrashTestShadow, Cybernetyka (futuristic family), CybernetykaItalic, CybernetykaNormal, CybernetykaOutline, DarkPalladin, History Brush, Kreskwka-Italic, Kreskwka (handwriting), Monster, MonsterShadow, Mortis, Orchidee, Reforma, Returntocastle (gothic), Speed+, Speed+2, Techno, Medusa (blocky lettering), Weronika, Bajareczka, Camilla, Cherif, Top Secret (stencil).
Antykwa Toru\'nska (1952-1958, released by the Polish state foundry in 1960) is a serif font designed by the Polish type designer Zygfryd Gardzielewski (1914-2001) which has been reconstructed and digitized as Type1 by Janusz Nowacki. Three free Polish type 1 fonts called antyktor. Alternate site. Gardzielewski died in October 2001. [Google] [More] ⦿
Aka Baville, Artman Ay is based in Gothenburg, Sweden, and studies dentistry at the Medical University of Lublin, Poland. Creator of the hand-printed typeface Irregularis (2013). Created with Font Creator, it is useful for casual text, or blackboard emulation.
Graphic designer from Warsaw, Poland, now based in Pruszkow, who created the blackboard bold typeface Prushkov in 2017. In 2018, he designed the absolutely wonderful modern bastarda typeface family Mezalia and the related Mezalia Sans. YWFT link. [Google] [MyFonts] [More] ⦿
Artcity is a digital type foundry and lettering studio based in Legionowa, Poland. Artcity specializes in designing fonts for comic books and books for children. The principal, Daniel Bak, is the Warsaw, Poland-based designer of the free monoline signage typeface Sweet Melody (2012). In 2014, Sweet Melody became a commercial typeface. He also designed the comic book typefaces Wormtongue, Fatality, Uzurpator (2014) and Angry Ronin (2014), the hand-printed typeface Danny, the techno typeface Technikolor (2014), the poster typeface Jeffs Garage, the Latin/Cyrillic children's book font family Zira (2014), and the Latin / Cyrillic / Greek children's book typeface Cornelius (2014).
In 2018, he published Baobab.
ATypI 2016 was held at the Academy of Fine Arts in Warsaw, Poland, from 13-17 September. The theme was Convergence. The speakers: Ada Wardi, Adam Twardoch, Agata Szydlowska, Akaki Razmadze, Aleksandra Samulenkova, Alice Savoie, Andrej Kratky, Ann Bessemans, Anna Swiatlowska, Aoife Mooney, Artur Frankowski, Ashley Pigford, Behdad Esfahbod, Benedikt Brambock, Bianca Berning, Bill Davis, Briar Levit, Brody Neuenschwander, Bruno Maag, C.J. Dunn, Carima El Behairy, Catarina Silva, Christopher Slye, Crystian Cruz, Daniel Reynolds, David Jonathan Ross, David Kuettel, David Lemon, David Shields, Dorine Sauzet, Dr. Alessia Nicotra, Eric Kindel, Erik Spiekermann, Filip Zajac, Frederik De Bleser, Georg Seifert, Gerry Leonidas, Gloria Kondrup, Gregor Kaplan, Indra Kupferschmid, Irena Ristevska, Jan Bajtlik, Jan Charvat, Jean-Baptiste Levée, Jesus Barrientos, Jo De Baerdemaeker, John Dowling, Joyce Ketterer, Juan Luis Blanco, Just Van Rossum, Justyna Czerniakowska, Keitaro Sakamoto, Kristyan Sarkis, Lasse Fister, Laura Meseguer, Lech Majewski, Louis-Remi Babe, Marek Jeziorek, Marek Knap, Marian Misiak, Mariko Takagi, Martin Cetkovsky, Martina Flor, Matthew Rechs, Ned Holbrook, Ola Kot, Osamu Torinoumi, Pedro Amado, Petra Cerne Oven, Philipp Acsany, Pierre Pane-Farre, Piotr Rypson, Qiu Yin, Rainer Erich Scheichelbauer, Rathna Ramanathan, Reiko Hirai, Roman Wilhelm, Simon Daniels, Sofie Beier, Sonja Knecht, Sue Walker, Tetsuo Sakomura, Theo Skye, Thomas Phinney, Titus Nemeth, Tom Mullaney, Toshi Omagari, Veronika Burian, Viktoriya Grabowska, Yuri Yarmola, Zofia Osliso. [Google] [More] ⦿
I do not know whether this graphic designer's name is Aubo lessi or Krzysztof Tryk. In any case, he lives in Otwock, Poland. Dafont link. In 2010, he took Bodoni as a model to design Muscle. [Google] [More] ⦿
Type foundry in Opoczno, Poland. Their type designs include the all caps poster typeface WILK (2012: This font was created specially for fairy tale of Little Red Riding Hood and it was inspired by the big bad wolf), STIFF (2012, a squarish typeface), Borba (2012, a minimalist monoline sans typeface), Borba Sans (2012, a rounded monoline sans family), Frykas Regular (2012, a minimalist monoline sans typeface), Pasek (2012, an octagonal paper-fold typeface based on two-sided paper), Vintage Wedding (2012, a set of 355 icons divided in three fonts, Table, Arrows, and Symbols, but there also other icons such as telephones, neckties, hearts, wedding gear, and so forth), and Retro Frames (2012).
Typefaces from 2017: Cacko (a slightly curvy sans family).
Barbara Bigosinska received her master degree in Graphic Design at the Academy of Fine Arts in Katowice, Poland. In 2013, she graduated from the Type & Media program at the KABK in Den Haag. At KABK, Barbara Bigosinska designed the angular text typefaces Barbear and Sambukka in 2013. Since 2014, she runs her own studio in The Hague, offering type design and typography services to international clients.
For her type revival project at KABK, she picked Lutetia (2013) and writes: Lutetia was designed as a commission from Enschedé by Jan van Krimpen. The drawings of the typeface were ready in the middle of 1924 and first cut and cast in 16 point size in the Enschedé Type Foundry. For the first time the typeface was used in the book dedicated to the exhibition that took place in Paris in 1925. Therefore the name Lutetia reffers to the Roman name of Paris.
In 2016 she published Abelard at Indian Type Foundry and wrote: Abelard is a modern (or neoclassical) family with 10 font styles. It is a contemporary take on classic types like Baskerville, Bulmer, and Scotch Roman that has been optimised for text embedding on eReaders. The design features elements ensuring even text color, including case-sensitive forms, prominent punctuation marks, ligatures, and four sets of figures. Each font also contains ornaments resembling pen nibs, bullet points, and arrows.
Typefaces from 2018: Bonny (a decorative serif font family published by Indian Type Foundry).
Barmee.com (was: Czcionki.com, or: Barme Fonts)
Original fonts by Polishman Bartek Nowak (aka Barme, b. 1973) made in 2000-2001: BukwaNormal (Cyrillic), Nokian (pixel font), Passja, Xar, BarmeReczny, Elementarz (orthographic writing for kids) [see also here], Gotyk-Poszarpany (Fraktur, revamped in 2014 as Gotyk Nr 7), Afarat Ibn Blady (Arabic simulation face), Hieroglify, Kobajashi, Kwadryga, Magda (Basque), Maszyna (old typewriter), MaszynaAEG, Nerwus (scribbly, sketchy), Pascal, SecesjaPL (curly font: a revival of Herman Ihlenburg's ultra-Victorian typeface Nymphic, 1889), Zakret, RecycleIt, Sandwich, Keiser Sousa, Manifest.
Font list (with repetitions): 4Mini, BarmeReczny, Elementarz, Fiesta, GotykPoszarpany, GrubaBerta, Hieroglify, KeiserSousa, Kobajashi, Kwadryga, Magda, Manifest-Niski, Manifest, MaszynaAEG, MiniMasa, MiniSet, MiniSter, Nerwus, Nokian, Nokian2, Opeln2001-Prosty, Opeln2001, Opeln2001Szeroki, Pascal, Passja, Premiership, RecycleIt, Sandwich, SecesjaPL, Szablon, Wabene, Xar, Zakret, MiniForma, MiniStrzalki, Miniline, Minitot, Ulisson, Astalamet (2002), Gosford (2002), Volan (2002), Establo, QuatronFat, Infantyl (2002), Quatron (2002), YnduFat (2002), YnduOut (2002).
URL not accessible to my browser (Mac+Firefox).
This site carried these fonts in May 2008: 4Mini, Afarat-ibn-Blady, Astalamet, AstalametPure, BarmeReczny, Cyree, DorBlue, ElementarzDwa, Erton, Establo, EstabloFat, Fiesta, Gosford, GotykPoszarpany, GrubaBerta, Hieroglify, HongKong (oriental simulation), Infantyl, InfantylFat, InfantylItalic, InfantylOut, Jiczyn, KeiserSousa, Kobajashi, Komix, Kwadryga, Lola, Magda, Manifest-Niski, Manifest, MaszynaAEG, MaszynaRoyalDark, MaszynaRoyalLight, MiniBet, MiniForma2, MiniJasc, MiniKongo, MiniLine2, MiniMasa, MiniQuan, MiniQuanMniejszy, MiniSet2, MiniSter, MiniStrzalki, MiniTot, Nerwus, Nokian, Nokian2, Opeln2001-Prosty, Opeln2001, Opeln2001Szeroki-Metro, Opeln2001Szeroki, Pascal, Paskowy, Passja, Quatron, QuatronFat, RecycleIt, Sandwich, SecesjaPL, Sloneczko, Szablon, Tabun, TechnicznaPomoc-Italic, TechnicznaPomoc, TechnicznaPomocRound, Ulisson, Vaderiii, Volan, Wabene, Xar.
In 2011, he established the commercial foundry GRIN3.
Bart Co Design
Or Bartosz Wesolek, b. 1986. Nowa Sol / Poznan, Poland-based graphic designer, who published the vintage typeface Rheiborn, the display typeface Onufry (based on lettering on vintage cycling posters), the poster typeface Molheim, the letterpress typeface Darmond, the squarish Garthram, the vintage typeface Martslock, the free squarish typeface Rheiborn Sans, the vintage Apothecary collection (Asplin, Garriger, Hagerman, Kimmell and Seidlitz), and the slabbed display typeface Kinshel in 2017.
His vintage liqour collection (2017) includes
Typefaces from 2018: the Print Press collection (Blutzen, Fratley, Garnet, Harold, Stilzkin Sans, Stilzkin Slab), Nimitz (a free retro all caps sans), Bosmark (a vintage sketched typeface), Monkstead (a block display family with several textures), Signist, Hartwood, and the Newsstand collection (which includes Presson, Stammark, Brookset, and Darmond).
Typefaces from 2019: Moorland (a fat face didone), Keller (an all caps sans), Mosley (a weathered letterpress emulation font), Madchen Sans (a free retro sans), Maurine (a retro script). [Google] [More] ⦿
Beata Kurek graduated from Poznan Fine Arts University. As LoveLetters Studio, she designs fonts and lettering based on calligraphic writing. She also teaches lettering in workshops. Creator of the connected large x-height script typeface Polacy (2012), a school project at the Typography Studio of the University of Arts in Poznan, Poland. In 2013, she designed Rock, a script typeface.
In 2016, as part of Warsaw Types, she designed the traditional calligraphic typeface Bajaderka and writes: Bajaderka is inspired by lettering of the small signage tablets found in Warsaw shops. The letters feature details typical for traditional calligraphy, with visible brush strokes, referring to the charming style of Warsaw's sign painters. Bajaderka is free. [Google] [More] ⦿
BIZNET Central European (ISO 8859-2) X Window Fonts : 395 fonts that comply with ISO 8859-2 for X Windows. For 10 zlotys, you get the fonts on diskette, and for 70 zlotys on a CD. Downloads over the net are free. [Google] [More] ⦿
Blazej Ostoja Lniski
Polish type designer, b. 1936. Designer at Mecanorma of Glowworm MN, a truly ugly oil slick type family that should be made illegal. He also made Globe 1, 2 and 6 (1979), a shadow font family, and Graph MN, a sans typeface. With Trumpian disregard for ethics, Monotype sells Glowworm without any mention of Zochowski or Mecanorma, and gives a date of 2016.
Polish type designer involved in GUST.org fonts for Polish such as QuasiTimes, QuasiPalladio, QuasiHelvetica, QuasiCourier, QuasiChancery, QuasiBookman, Antykwa Półtawskiego (based on work by Adam Półtawskiego (1923-1928), constructed by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk). He developed the Latin Modern fonts (2003, type 1) based on Knuth's Computer Modern fonts. In 2006, Nowacki and Jackowski published free extensions of the Ghostscript fonts in their TeX Gyre Project: Adventor, Bonum, Cursor, Heros, Pagella, Termes, Schola, Chorus. [Google] [More] ⦿
Borutta (or: Duce Type)
Borutta (or Duce Type) is the creative studio of über-talented Warsaw-based designer Mateusz Machalski (b. 1989), a graduate of Wydziale Grafiki ASP in 2014, and of Warsaw Academy of Fine Arts. His oeuvre is simply irresistible, charming and a worthy representative of the Polish poster style---witness Alergia (2016), Magiel Pro (2017) and Madiso (2017).
He is the creator of the blackletter-inspired typeface Raus (2012), which also could pass for a Cyrillic simulation font. It was possibly made with Pawel Wypych. He also made Kebab (2012, a fat caps face), Duce (2012, art deco: withdrawn from MyFonts after Charles Borges complained that it was a rip-off of his own Gloria), Fikus (2012), Woodie (2012, a condensed rough wood type face), Polon (2012), Aurora (2012, a German expressionist poster face), Musli (monoline connected script), HWDP (2012, poster font), Wieczorek Script (2012, hand-printed), Hamlet (2012, a sword and dagger typeface, renamed to Prince), Caryca (2012, Cyrillic simulation, done with Pawel Wypych), Bezerro (2012, poster face), Bitmach (2012, pixel face), Meat Script (2012, a caps only market signage brush script), Krac (2012, a tall poster font), Hermes (2012: Ten Dollar Fonts), Berg (2012, a roughened blackletter face), Buldog (2012), Dudu (2012, tall condensed face).
In 2012, Polish designer Wojciech Freudenreich and Mateusz Machalski combined forces to design the techno typeface SYN.
Machalski likes old wood types, which inspired him in 2012 to publish a wood type collection of weathered display typefaces: Condom, Hype, Whore, Banger, Buka. Elo (2012) and Duce (2012) are fat weathered wood types.
Typefaces made in 2013: Wood Type Collection 2 (which includes Brie, Kaszti, Mader, Modi, Rena, Roast, Ursus), Zigfrid (headline face), Salute (letterpress style), Benito (a letterpress or geometric wood typeface), Bojo (heavy wood style poster face), Picadilly (heavily inktrapped open counter sans family), GIT (a manly headline sans), Lito (an eroded poster typeface), Haine (vernacular caps), Aneba (an organic sans family, renewed in 2016 as Aneba Neue), Vitali (sans), Korpo Serif (slab serif), Korpo Sans (elliptical family; +Greek, +Cyrillic).
Typefaces from 2014: Adagio Slab, Adagio Serif, Adagio Sans (a superfamily not to be confused with the 2006 typeface Adagio Pro by Profonts), Adagio Sans Script, Adagio Serif Script, Adagio Slab Script, Tupperware Pro. Tupper Pro (42 styles) was designed by Mateus Machalski and the RR Donnelley team.
Typefaces from 2015: Tupper Serif (again with RR Donnelley: a custom superfamily for pairing Latin, Cyrillic, Hebrew an Greek; for Tupperware), Vitali Neue, Legato Serif, Corpo Serif, Corpo Sans, Zigfrid, Picadilly (a great ink-trapped sans typeface family with an erect g).
Typefaces from 2016: Nocturne (just like Magiel, this free typeface was designed as part of the Warsaw Types project: this wedge serif text typeface is inspired by the lettering on stone tablets commemorating the victims of World War II, and prewar Jewish shop signage), Favela (an experimental, geometric sans, for headline and fashion magazine use), Gangrena (a weathered typeface system co-designed with Ania Wielunska), Migrena Grotesque (earlier named Enigma Grotesque but probably in view of a clash with the name Enigma used by Jeremy Tankard cganged to the appropriately named Migrena Grotesque), Alergia Grotesk (a take on the classical geometric grotesque style, in 60 weights, for Latin, Greek and Cyrillic), Alergia Remix (a hipster / hacker / Futura take on Alergia Grotesque).
Typefaces from 2017: Nocturne Serif, Massimo (copperplate semi-serif influenced by New York; originally called Madison, they were frced to change the name to Massimo), Magiel Pro (a geometric display family influenced by Polish banners from the Russian occupatuon era, 1945-1989; it has a charming Black and a hairline, and covers Cyrillic too).
A particularly intriguing project in 2017 was Bona, which set out to revive and extend Andrzej Heidrich's old typeface Bona. Mateusz Machalski contacted him for advice on the revival project. The resulting typeface families were published by and are available from Capitalics. The centerpiece is the warm and wonderful text typeface Bona Nova. It is supplemented by the extreme contrast typeface family Bona Title and the inline typeface family Bona Sforza. Participants in the project also include Leszek Bielski, Ania Wielunska and Michal Jarocinski.
In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms.
Typefaces from 2019: Aioli (a commissioned type system), Promo (a rounded sans family), Sigmund (the main style is inspired by the Polish road signage typeface designed in 1975 by Marek Sigmund: With the increase of weight, Sigmund turns into a geometric display in the spirit of vernacular typography from the signs of Polish streets), Podium Sharp (based on Dudu, this 234-style family is a hybrid between different old Polish modular and geometric woodtypes such as Rex, Blok and Bacarat; note that 234=2x9x13, so fonts are numbered in Univers style from 1,1 (ultra-compressed hairline) to 9,13 (ultra expanded heavy)), Harpagan (an experiment in reverse and unusual stresses).
Freelance graphic and type designer in Lodz, Poland. He cooperates with the Book Art Museum (which stores the legacy of Polish typography) to revive the spirit of letterpress printing and digitize old type. Speaker at ATypI 2017 in Montreal.
In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms.
Graduate of the MATD program at the University of Reading, class of 2019. His graduation typeface, Pactio, is a multi-script typeface family, intended for printing long text passages. It was created with small to medium size printing in mind. The Pactio family consists of six weights each for Latin, Cyrillic, and Arabic. [Google] [More] ⦿
Visual identity and graphic design company in Krakow, Poland. Tomasz Ulman is the designer of the highly creative (free) Babybox font in 2008. In 2012, he made the fat counterless typeface Grubo.
Graphic and web designer in Boston who studied at Hampshire College 2006-2007). He wrote the Fontly app for finding and preserving the typographic culture all around us. In 2014, he founded of Cuseum, a company that powers mobile-first experiences that help museums engage their visitors. His software platform makes it easy for museums, cultural institutions, and public attractions to publish mobile apps, manage their collections, access visitor analytics, and generate new revenue opportunities. Brendan specialized for a couple of years in revivals of classical typefaces but seems to have left the domain of type design permanently:
Polish type and graphic designer, b. 1935. He graduated from the Academy of Fine Arts in Warsaw under Henryk Tomaszewski in 1961. In 1967, he received Tadeusz Trepkowski's WAG Award and from the 1970s on he worked as Hernyk Tomaszewski's assistant at the Academy of Fine Arts. Best known for his film posters, he lived in Vienna, and then moved to Lower Austria, where is is a painter. At Mecanorma in the early 1970s, he made Zelek Black, Zelek Shadline, Zelek Bold, and Zelek Boldline. Zelek Black looks twisted and almost geometrically impossible.
Dan X. Solo in his Dover book "Moderne Alphabets" shows an identical face, renamed Zelda. In 2009, Zelek pops up again in a slightly reworked version by Simon Griffin for Wired UK. Typophile discussion.
Dick Pape made a series of Zelek revivals including Zelel Shadline, Zelek Black, Zelek Bold, Zelek Bold Reflection, and Zelek Bold Line.
The Russians have their own versions, starting with a 1987 semi-clone by G. Klikushin, which in turn inspired the 1993 face---far removed from Zelek's Zelek---, New Zelek about which its publisher Paratype writes: The typeface was developed at TypeMarket in 1993 by Alexey Kustov on the base of artworks of Viktor Kharyk and Lidia Kolesnichenko (1979), that were developed as a Cyrillic adaptation of the typeface of Bronislav Zelek, Mecanorma.
The multicolor layered typeface Bron was published in 2014 by Swiss type designer Jeremia Adatte.
In consultation with Zelek, Three Dots Type (Marian Misiak) in Poland did a revival called New Zelek Pro.
Warsaw-based type foundry set up by Michal Jarocinski (who also founded Dada Studio), with initial participation of Mateusz Machalski (Borutta, Duce Type), Maciej Wloczewski (Picador) and Ludka Niezgoda. They offer revivals and high quality novelty typefaces, often related to or flowing from Polish typographic heritage. As of 2018, their fonts include:
Danish designer from Copenhagen, b. 1975. He studied graphic arts at the San Carlos Academy of Fine Arts in 1997-1998 and at the Jan Matejko Academy of Fine Arts in Krakow, Poland, in 1999. Creator the free grunge typewriter family Traveling Typewriter (2006), the free experimental typeface Finger Type (2015), the triangulated Polygon (2015), and the squared LCD pixel typeface ChessType (2008). Dafont link. Yet another URL. Yet another URL. Newer Dafont link. [Google] [More] ⦿
Polish extensions of the Computer Concrete fonts. Originally done in Metafont by Boguslaw Jackowski and Marek Ryćko, the type 1 versions were done using pktrace by Wlodek Bzyl. [Google] [More] ⦿
Typefaces created in 2012: Crystal (a layered font system), Pisak (hand-printed), Makata (decorative), Lectores (based on 18th century chronicles of Benedictine monastery manuscript), Lalalo (a monoline sans overlay system) and Lalalo Frames.
Dada Studio (Babice Nowe, Poland) is run by Michal Jarocinski (b. 1980, Warsaw). In 2017 or 2018, he founded Capitalics. His typefaces:
Polish designer based in Szczecin. At Typeclinic 12th International Type Design Workshop, he created Toucan (2016), a text typeface characterized by teardrop terminals, large x-height and bracketed round serifs. [Google] [More] ⦿
Graphic designer and fine artist in Cieszyn, Poland. His only connection thus far to type design is the creation of ten circular-grid based numerals, called Numbers (2009). Behance link. [Google] [More] ⦿
Wroclaw, Poland-based type designer, who joined Three Dots Type, Marian Misiak's type foundry, in 2017. Creator of Broken Stamp (2013), an angular typeface developed during Typeclinic 6 in 2013. During Typeclinic 7, he created the calligraphic humanist serif typeface Hazel (2013).
In 2014, he designed the text typeface Tilia. At Typeclinic 2015, he added Tilia Italic, and at Typeclinic 11th International Type Design Workshop, he completed Tilia Heavy (2015). Tilia was further extended at Typeclinic 12th International Type Design Workshop in 2016. At the 13th Typeclinic in Slovenia in 2016, Damian designed Juno, and adjusted Tilia.
At Three Dots Type in 2019, he released the didone typeface family Heneczek Pro, which was co-designed with Dominika Langosz. He wrote: Named after Teodor Heneczek, Silesian printer and publisher who started out the first Polish-language printing house in Upper Silesia (XIX century). Heneczek was ordered by the Municipal Public Library in Piekary Slaskie to commemorate the 200-th birthday of Teodor Heneczek. An extended and upgraded version of Heneczek called Heneczek Pro was designed for display purposes and text-heavy documents. Heneczek features a great set of arrows and pointers.
Aleksandra and Daniel Mizielińscy are from Warsaw, where they set up Hipopotam. Together, they created the hand-drawn 3d outline typeface Bubol (2011), the hand-printed Cartographer (2011), the grungy caps typeface Mr. Black (2011), the upright connected monoline script typeface Mrs White (2011), and the constructivist typeface Olifant (2011).
In 2012, they added Mr. Brown, Mr. Dog Dog (hilarious animal silhouette typeface), Mr. Robot (an octagonal overlay family that can have shadows), Mr. Tiger (eroded woodsy caps), and Mr. Orange (hand-printed).
Typefaces from 2013: Mr. Dodo, Mrs. Lollipop (a hand-drawn layered type system), Mr Lucky (sketched layered family), Mr. Alex, Mr. Happy (hand-drawn), Mr. Cyrk (checkered letters as seen on clowns and in a circus), Mr. Anteater, Mrs. Ant (comic book text typefaces).
Typefaces from 2016: Mr Dum Dum.
Graphic designer in Zabrze, Poland, who has a BFA Degree in Graphic Design from the Academy of Fine Arts in Katowice. He created the Latin / Cyrillic pixacao-style typeface Roak (Street, Classic) in 2013.
The DejaVu fonts form an open source font family based on the Bitstream Vera Fonts. Free download. Its purpose is to provide a wider range of characters (see Current status page for more information) while maintaining the original look and feel through the process of collaborative development. Included are DejaVuSans-Bold, DejaVuSans-BoldOblique, DejaVuSans-Oblique, DejaVuSans, DejaVuSansCondensed-Bold, DejaVuSansCondensed-BoldOblique, DejaVuSansCondensed-Oblique, DejaVuSansCondensed, DejaVuSansMono-Bold, DejaVuSansMono-BoldOb, DejaVuSansMono-Oblique, DejaVuSansMono-Roman, DejaVuSerif-Bold, DejaVuSerif-BoldOblique, DejaVuSerif-Oblique, DejaVuSerif-Roman, DejaVuSerifCondensed-Bold, DejaVuSerifCondensed-BoldOblique, DejaVuSerifCondensed-Oblique, DejaVuSerifCondensed.
Authors and contributors comprise Adrian Schroeter, Ben Laenen, Dafydd Harries, Danilo Segan (Cyrillic), David Jez, David Lawrence Ramsey, Denis Jacquerye, Dwayne Bailey, James Cloos, James Crippen, Keenan Pepper, Mashrab Kuvatov, Misu Moldovan (Romanian), Ognyan Kulev, Ondrej Koala Vacha, Peter Cernák, Sander Vesik, Stepán Roh (project manager; Polish), Tavmjong Bah, Valentin Stoykov, and Vasek Stodulka. The idea is to eventually cover most of unicode. Currently, this is covered: Latin (+supplement, extended A and part of extended B), IPA, Greek, Coptic, Cyrillic, Georgian, Armenian, Hebrew, N'ko, Tifinagh, Lao, Canadian aboriginal syllabics, Ogham, Arabic, math symbols, arrows, Braille, chess, and many dingbats.
Tarnow, Poland-based studio that is working an the revival of a 1930s signage typeface called Tarnow (2012).
Swietokrzyskie and/or Kielce, Poland-based type designer. Creator of the rounded squarish typeface family Aquari (2012).
Polish codesigner, with Damian Langosz, of Heneczek Pro (2018), a didone family that was published by Wroclaw-based Three Dots Type. They wrote: Named after Teodor Heneczek, Silesian printer and publisher who started out the first Polish-language printing house in Upper Silesia (XIX century). Heneczek was ordered by the Municipal Public Library in Piekary Slaskie to commemorate the 200-th birthday of Teodor Heneczek. An extended and upgraded version of Heneczek called Heneczek Pro was designed for display purposes and text-heavy documents. Heneczek features a great set of arrows and pointers. [Google] [More] ⦿
Kuba Tatarkiewicz's font pages. Kuba also made a bunch of Polish modifications of Monotype's Dante (1992) in 2005 entitled Dante-BoldItalicPL, Dante-BoldPL, Dante-ExpertBoldItalicPL, Dante-ExpertMediumItalicPL, Dante-ExpertPL, Dante-ItalicPL, Dante-MediumItalicPL, Dante-MediumPL, Dante-PL, Dante-TitlingPL. [Google] [More] ⦿
Polish designer at FontStruct in 2008 of Le Chat Sans (inspired by a 1930s poster), Tetromino, Diamond, Alpha Spot, Ossicles (like ECG output), Cubistic1, Peter's Chess Pieces. In 2009, he added the artistic BO86. [Google] [More] ⦿
The Polish TEX users group evolved into GUST and then e-foundry. Here you can find goodies in truetype and type 1 such as
Polish designer of some free fonts: Drogowskaz (2006: this mimics the type on Polish traffic signs), BN-67.9010-03 (2003: sans). See also here for the images below, and a discussion. Download Drogowskaz here. [Google] [More] ⦿
Empty Page Studio
Lukasz Kulakowski, a Polish graphic designer in Dublin and Baile Atha Cliath, Ireland, created the free typeface Mosaic Leaf (2011), which was inspired by Akzidenz Grotesk typeface. In 2012, he published Orbits (a prismatic multiline face, done with Zbyszek Czapnik).
Typefaces from 2013 include the free display typeface Rhubarb Display Font (a condensed art deco sans caps family for Latin and Cyrillic done with Zbyszek Czapnik). In 2014, he created the tweetware font Christmas Time.
Endie (Michal Lewkowicz) is the Polish designer of Bojivojova-12 (1999---this blackboard bold typeface is his best), Dafxter, Drapu Drap (1999, white on black), Dziewaty Final, Endiesonix, Inna, Jeff-Kovalsky, Kszywometrja, Lifeline (1999), Mike Brychkowsky, Nowa Arial Style, Lenka Krajniak, Subway-Sign, Tahalm-pl, Teknik-14, in or before 2001.
In 2002, he designed Ich Bin Endie, Milan Krajniak, Io, Joke Prod, Lomax, Marika Anna Tarnofsky, Splywaj (dripping paint face), Mike Brychovsky, Throniser, JoseAndreas, StreetSoul (graffiti face).
Polish foundry, located in Wroclaw. They sell barcode fonts (click on kody kreskowe), multi-language fonts, and many regular fonts, especially designed for East-European languages. The font "EFN PolskieStrony 2000 10pt" is a Polish bitmap truetype font that can be found here in the file pols2.zip. The free formal script font EFNDecoratorPS (type 1) can be found by clicking on Wypróbuj under eurofonty. EFN JuglansC (2000) is here. [Google] [More] ⦿
Polish designer. At Typeclinic 12th International Type Design Workshop, she created Canterel (2016), a didone typeface. [Google] [More] ⦿
Warsaw-based graphic designer, who created the free dry brush typeface Mazak and the experimental decorative caps typeface New Color Font in 2015. In 2018, she designed a gorgeous abstract multiline poster alphabet. [Google] [More] ⦿
Felix Steffen is a German designer who moved in 1991 from Munchen to Warsaw, fascinated by the exotic life and lettering of post-communist Poland. He lives and works in Poland. He designed the Blanke family for use in Polish telephone directories. Felix claims that he got his ideas for that font from some writings in the train station of Kattowitz, from which he first developed the font Krakowa. He is currently working on the digitization/revival of Poltawskiego, a classic Polish text face, and the first typically Polish face, designed in the late 1940s by Polish type designer Adam Jerzy Poltawski (1881-1952). Felix's company in Warsaw is OM-Grafika. Someone reported to me that Felix Steffen is now Felix Tymcik. [Google] [More] ⦿
Fernando Forero Foundry
Fernando Forero (b. 1978, Tunja) ran EisartGraphic.com together with Weronika Kwiatkowska, and moved from Bogota to Kalisz, Wielkopolska, Poland, where he started Fernando Forero Foundry. He is now located in Warsaw, where he works as a graphic and type designer and illustrator.
Designer of Ishia Antiqua (2013, a cursive hand), Urbania (2013, a dusty face), Ilex (2012, hand-printed), Baltan (2012, a calligraphic script), Old Stamps (2011, scanbats), Boys and Girls (2011, dingbats), Aliovha (2011, a monoline elliptical sans), Old Nyleshina or Old Nyleshna (2010, roughened calligraphy), Vexa (2010, grunge), Ornamentus (2010, an interesting modular ornamental face), Melonella (2010, a medieval script), Cioran (2010, aged letters), Ornalia (2010), Selbst (2010, hand-printed caps), Nugg (2010, grungy), Feeda (2010, a curly face), Intuitiva (2010, grungy), Czarnulka (2010, script), Khamus (an earthy calligraphic face) and Últimos Ritos (a hybridization between the forms of the Cyrillic and Roman characters), two typefaces that won awards at Tipos Latinos 2008. He also made the grungy Refaxed (2008) and Efficient Fax Font (2010), and the experimental Aleah (2010) and Ovhol (2010).
In 2014, Forero published the grungy letterpress emulation font family Asfalto.
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] ⦿
Polish graphic designer, b. 1989, based in Warsaw. Creator of WIP July (2009), a text serif typeface modeled after some 19th century designs, with full support for East-European languages. In 2010, he made the heavy geometric sans typeface Sonatic, the octagonal techno typeface Speeds, and the ronde squarish typeface Agrotos. Digart link. Behance link. [Google] [More] ⦿
Florence (or: Bombastudio)
Marta Podkowińska is the Polish designer of a few great type logos such as Bomba (2009). She also made the exquisite candy typeface Roisin (2011). Her studio / foundry called Florence operates in Krakow and Berlin.
Font Boutique (was: Typografski Font Boutique)
The Font Boutique is a commercial foundry started in 2002 by Heinrich Lischka from Köthen, Germany, who was born in 1968 in Groß Strehliz, Poland. An autodidact and freelancer, he taught some courses in 2005 at FH Magdeburg-Stendal.
Lischka designed these fonts:
Krzysztof Szafranek explains font smoothing on computer screens. Things like antialiasing and subpixel rendering get a thorough treatment. Subpixel rendering seems to be the method of choice as of 2009, with Windows Vista's version called ClearType and the Masc OS X version called Quartz. I quote some of his conclusions.
Unfortunately, a designer cannot ensure that users will see HTML text exactly as designed. Rendering the whole page as an image or Flash file is not a sensible alternative due to performance, usability and accessibility concerns. What, then, can a designer do to ensure maximum legibility and a good look of a type?
Magdalena Frankowska is the cofounder, with Artur Frankowski, of Fontarte in Warsaw, Poland, in 2004. Fontarte developed several typefaces including contemporary new designs as well as Polish avant-garde revivals. Graphic designer and type designer. Her M.A. from Warsaw University dealt with women artists in the surrealist movement (1997). Creator of these typefaces:
FontArte (was: Magdart Fonts)
FontArte (est. 2004; ex: Magdart Fonts) is Artur Frankowski's foundry in Warsaw, launched in cooperation with Magdalena Frankowska. Frankowski is a Polish graphic designer, typographer, type designer and lecturer, b. 1965, Zamosciu. He taught typography at the Technical University of Warsaw and is professor of typography and design at the Faculty of Design of the Academy of Fine Arts in Warsaw. In 2004 he finished his PhD thesis on legibility of type on cartographic maps at the Warsaw University of Technology. In 2013 he presented a habilitation thesis on street lettering as an inspiration for a graphic designer. In 2015 Artur graduated from the Expert Class Type Design (EcTd) at the Plantin Institute in Antwerp. He has published type and visual communication-related articles in design&print magazines. Through FontArte he wants to preserve Polish typographic heritage, specially Polish Avantgarde and introduce new directions in Polish type design culture. Author of Typespotting Warszawa and co-author (with Magdalena Frankowska) of a book about Henryk Berlewi, a pioneer of functional typography.
He spoke at ATypI 2005 in Helsinki on Type on maps and at ATypI 2007 in Brighton on Designing a regional typeface. Speaker at ATypI 2016 in Warsaw on From Typespotting to Warsaw letters. Designer of several typefaces:
Fontika is run by Polish graphic designer Kamil Szydło. In 2009, he created the modern typefaces Antika, Fontika, BadFace and Limak, and the techno typeface Horporacyjny. Digart link. Born i 1974, he lives in adresJastrz&ecedil;bie Zdrój [Google] [More] ⦿
Polish outfit which in 1998 published a collection of truetype fonts that included FLDrzewiasty, FLFiftyFifty, FLGoracaLawa, FLGotycki1, FLGotycki2, FLGotycki3, FLGotycki4, FLGotycki5, FLGotycki6, FLGotycki7, FLJazzowy1, FLJazzowy2, FLJazzowy3D, FLJazzowyCien1, FLJazzowyCien2, FLJazzowyDziurawy, FLJazzowyGruby, FLJazzowyOzdobny, FLJazzowyPasiasty, FLJazzowyPopekany, FLKonstrukcyjny1, FLKonstrukcyjny2, FLKonstrukcyjny3, FLKonstrukcyjny4, FLKonstrukcyjny5, FLKonstrukcyjny6, FLKonstrukcyjny7, FLKonstrukcyjny8, FLKonstrukcyjnyKolczasty, FLKonstrukcyjnyPofalowany, FLKreskowka1, FLKreskowka2, FLKreskowka3, FLKreskowka4, FLKreskowka5, FLKrzywy1, FLKrzywy2, FLKrzywy3, FLKrzywyReczny1, FLKrzywyReczny2, FLNowy1, FLNowy2, FLNowy3, FLNowy4, FLNowy5, FLObramowanyKarciany, FLObramowanyOzdobny, FLOzdobny1, FLOzdobny10, FLOzdobny2, FLOzdobny3, FLOzdobny4, FLOzdobny5, FLOzdobny6, FLOzdobny7, FLOzdobny8, FLOzdobny9, FLPismoReczne1, FLPismoReczne10, FLPismoReczne11, FLPismoReczne12, FLPismoReczne13, FLPismoReczne2, FLPismoReczne3, FLPismoReczne4, FLPismoReczne5, FLPismoReczne6, FLPismoReczne7, FLPismoReczne8, FLPismoReczne9, FLProsty1, FLProsty2, FLProsty3, FLProsty4, FLProsty5, FLProsty6, FLProsty7, FLProsty8, FLProstyKolczasty, FLProstyObramowany1, FLProstyObramowany2, FLProstyOzdobny, FLProstyWojskowy, FLRomanski1, FLRomanski10, FLRomanski11, FLRomanski12, FLRomanski13, FLRomanski14, FLRomanski2, FLRomanski3, FLRomanski4, FLRomanski5, FLRomanski6, FLRomanski7, FLRomanski8, FLRomanski9, FLRomanskiFalisty, FLRomanskiObramowany, FLRomanskiPasiasty, FLRomanskiPlamisty, FLRomanskiSpeed, FLRozwiany, FLStarogrecki1, FLStarogrecki2, FLStarogrecki3, FLStarogrecki4, FLStarogrecki5, FLStarogrecki6, FLStarogrecki7, FLStarogrecki8, FLStaropolski1, FLStaropolski2, FLStaropolski3, FLStaropolski4, FLStaropolski5, FLStaropolski6, FLStaropolski7, FLStaropolski8, FLSymbole1, FLSymbole2, FLSymbole3, FLSymbole4, FLSymbole5, FLSymbole6, FLSymboleFale, FLSymboleFigury1, FLSymboleFigury2, FLSymboleFigury3, FLSymboleFlagi1, FLSymboleFlagi2, FLSymboleFlagi3, FLSymboleGwiazdy1, FLSymboleGwiazdy2, FLSymboleKlawiatura1, FLSymboleKlawiatura2, FLSymboleKlawiatura3, FLSymboleKlawiatura4, FLSymboleMatematyczne1, FLSymboleMatematyczne2, FLSymboleMatematyczne3, FLSymboleMiny, FLSymbolePaski1, FLSymbolePaski2, FLSymboleStanyUSA, FLUnikatowyCartoon, FLUnikatowyCiern, FLUnikatowyGrecki, FLUnikatowyKolczasty, FLUnikatowyKwiatowy, FLUnikatowyLawa, FLUnikatowyLodowy, FLUnikatowyObramowany, FLUnikatowySpeed, FLUnikatowyZoom. The fonts can be downloaded here. Their fonts FL Pismo Techniczne (1999) and FL Pismo Techniczne Pochyle (1999) are both downloadable here. Here we find these fonts made in 1999: FLKrzywy2, FLModny3, FLPismoReczne10, FLPismoReczne11, FLPismoReczne13, FLPismoReczne4, FLPismoReczne8, FLProstyOzdobny, FLStarogrecki8, FLStaropolski3, FLStaropolski4, FLStaropolski7, FLStaropolski8. [Google] [More] ⦿
Several free Polish fonts at this great page by Adam Twardoch. Included are STF Andromeda (free, truetype by Adam Twardoch), Antykwa Torunska (freeware; designed by Zygfryd Gardzielewski and digitized by Janusz M. Nowacki). There is also a nice archive of free fonts from major foundries, including URW's DTC fun fonts, DTC PlazaM22, DTC Funky M01, DTC Brody M20. The latter three fonts are by Digital Type Hamburg. [Google] [More] ⦿
Fontsphere (or: Prestologo)
Zimna Wodka / Lublin, Poland-based designer of the free circle-based typefaces Invectors (2015) and Invectors Band (2015). In 2016, he made the squarish pixelish typeface Bajt, which was followed in 2019 by BAJT Rounded.
Typefaces from 2017: Cylinder (rounded, yet squarish), Sushi, Sushi Stroke.
Grzegorz Klimczewski, who runs Fonty PL, a commercial Polish foundry etablished in 1994 in Wroclaw, is the Polish designer of a commercial font that mimics the letters found on Polish traffic signs, called Tablica Drogowa (free: based on Marek Sigmund's 1975 font, Drogowskaz). He also made the commercial typefaces Tablica Samochodowa (2002: Polish license plate font), Naomi Sans (2004-2011), Rashel Serif (2012), Grawer (monoline with many hairline weights called SL Gingko, SL Helena, SL Switzer and SL Watch), Pismo Szkolne (upright script), OCR-A, OCR-B, eTerminal, and the monospaced/typewriter family EFN AgeMono (10 styles). Pixel fonts by him include include EFN Cena, EFN Elegants, EFN Screen Banners, EFN Impressive, EFN Machines.
His Multifonty package contains these Cyrillic typefaces: Ailanthus, Eliza, Eukalyptus, Bravus, Bureau, Classic, Fagus (Victorian), Gilead, Gilead Condensed, Gingko Biloba, Flores, Olivea, Ritmo, Switzer, Switzer Condensed, Orient, tamar Alba, Tamar Nigra, Switzer Beveled.
His Eurofonty package has Aerton (+Shaded, +Caps), Alphabet (blackletter), AlphaBook, Absolut, Bravus, Abigail, Ailanthus, Edelmann (art nouveau), Dorothy (various brush typefaces), Cornelius (grunge), Bureau, Credo Chalk, Eunice, EuroGaramond, Gilead, German, Gutenberg, Gaya, Gingko Biloba, Koenig, McGregor (art nouveau), Goldy, Greenfield, Grand Antique, Irbis, Morus, Olivea, Penny Lane (script), Straight, Platea, Pinus, Symeon Old, Random, Schrift, Orient, Switzer (+Condensed, +Round, +Scribbled), Watch, Watch The Line, Tabasco, Techniczne, Rutica, Troya, Flowers, Jasmin, Handy, Fagus, Black Puzzle, Binokle, Breeze, Decorator, Kredki, Daglesia (blackletter), Tablica (chalk font), Detlef, Blackout, Ketling, Etiopia, Eukalyptus, Xtras (fleurons), Rubber, Garage, Machine One (old typewriter face), Wymalowany (brush).
The names of the fonts in the EuroFont collection by Fonty PL (Grzegorz Klimczewski): EFNAbigail, EFNAbsolut-Bold, EFNAbsolut, EFNAdalbert, EFNAdalbertBold, EFNAdalbertCnt, EFNAdamas, EFNAdamasBold, EFNAgabus-Italic, EFNAgabus, EFNAgabusBlack, EFNAgabusBlackCnd, EFNAgabusBold, EFNAgabusBoldItalic, EFNAgabusEngraved, EFNAgapes, EFNAlegoria, EFNAntyk, EFNArletta, EFNArlettaCzarna, EFNArlettaJasna, EFNArras, EFNArystone, EFNBarka, EFNBass, EFNBeate, EFNBelki, EFNBelkiII, EFNBenita, EFNBinokle, EFNBlackout, EFNBlacky, EFNBookOut, EFNBrawo, EFNBukoff, EFNBulgars, EFNButik, EFNCeline, EFNCeltyk, EFNChapter, EFNChicagoCube, EFNCienki, EFNCyrkiel, EFNCzarnyDiament, EFNDamian, EFNDance, EFNDaniel, EFNDebraCzarna, EFNDebraJasna, EFNDekorator, EFNDelfin, EFNDelfinBold, EFNDeseczki, EFNDetlef, EFNDingsy, EFNDokument, EFNDolores, EFNDustin, EFNDustinBold, EFNDustinBoldItalic, EFNDustinItalic, EFNDziurki, EFNEfekt, EFNElisheva, EFNEliza, EFNEnergia, EFNErazmus, EFNEtiopia, EFNEtiopiaCnt, EFNEukalipte, EFNFarba, EFNFarmer, EFNFelix, EFNFelixOpen, EFNFerrus, EFNFlorian, EFNGaled, EFNGaramo-BoldItalic, EFNGaramo, EFNGaramoBold, EFNGaramoCnd-Bold, EFNGaramoCnd-Italic, EFNGaramoCnd, EFNGaramoCndBoldItalic, EFNGaramoItalic, EFNGaucho, EFNGedeon, EFNGeorgia, EFNGermanik, EFNGilead, EFNGileadBlack, EFNGileadBlackCnd, EFNGileadBold, EFNGileadCnd, EFNGileadCndBold, EFNGileadHvSh, EFNGileadHvy, EFNGileadHvyCnd, EFNGoldenBlack, EFNGoldyOlds-Bold, EFNGoldyOlds-BoldItalic, EFNGoldyOlds-Italic, EFNGoldyOlds, EFNGoldyOpen, EFNGondola, EFNGothic, EFNGradientLogo, EFNGramatyk, EFNGramatykBold, EFNGraphos, EFNGrasses, EFNGrawer, EFNGregorio, EFNGustowny, EFNGutenberg, EFNHandy, EFNHandyBold, EFNHannait, EFNHarfa, EFNHarlem, EFNHasspis, EFNHebanus, EFNHebanusJasny, EFNHebel, EFNHebron, EFNHundred, EFNIberia, EFNImpresja, EFNIndiana, EFNJasmin, EFNJessica, EFNJoannes, EFNJonatan, EFNJonatanII, EFNKameleon, EFNKangoo, EFNKangooShinny, EFNKaret, EFNKarolus, EFNKastlers, EFNKetling, EFNKlasyk, EFNKlasykBold, EFNKlasykItalic, EFNKlawiatura, EFNKoenig, EFNKogelMogel, EFNKokos, EFNKorzenie, EFNKredki, EFNKreska, EFNKropelki, EFNKropleWody, EFNKunszt, EFNKursywa, EFNKuteLiterki, EFNKwiatki, EFNLaciaty, EFNLaten, EFNLatenCShad, EFNLatenCnd, EFNLatenLtSh, EFNLegenda, EFNLemon, EFNLeonis, EFNLiberus, EFNLinneus, EFNLiterki, EFNLiterkiEmi, EFNLitografia, EFNLitografiaBold, EFNLitografiaCnd, EFNLitografiaCndBold, EFNLubellus, EFNMalarz, EFNMalowany, EFNManuel, EFNMaretta, EFNMaszyna, EFNMcGregor, EFNMechanik, EFNMeduse, EFNMeduseWhite, EFNMeksyk, EFNMellotron, EFNMemphisSans, EFNMessage, EFNMetaloweLiterki, EFNMetropolia, EFNMiddayLights, EFNMiddayOutl, EFNMobil, EFNModernista, EFNMokreLiterki, EFNMonitor, EFNMost, EFNMotek, EFNMotyl, EFNNissan, EFNNissanBold, EFNNissanBoldItalic, EFNNissanHeavy, EFNNissanItalic, EFNNocneNiebo, EFNNocny, EFNNoemi, EFNNunete, EFNOdAnonima, EFNOknoFont, EFNOliwier, EFNOliwier3D, EFNOliwka, EFNOrient, EFNPalace, EFNPalaceBold, EFNPalaceBoldItalic, EFNPalaceItalic, EFNPalce, EFNPapirus, EFNPapirusCnd, EFNPastele, EFNPisak, EFNPisakBold, EFNPisakCienki, EFNPodartaKartka, EFNPoster, EFNPosterGradient, EFNPosterShadow, EFNPoszarpaneLiterki, EFNPrague, EFNPragueBold, EFNQuadrus, EFNRachel, EFNReDigit, EFNRebook, EFNRexFont, EFNRexFontKonturowany, EFNRobin, EFNRobinBold, EFNRobinHeavy, EFNRondo, EFNRut, EFNRytm, EFNRytmII, EFNSafari, EFNSalem, EFNSamuels, EFNSecess, EFNSerenade, EFNSerenadeWhite, EFNSerpentine, EFNSerpentineBold, EFNShadows, EFNShanghai, EFNSkrypt, EFNSpokojny, EFNStars, EFNStart, EFNStraightNew, EFNStraightNewBold, EFNStudio, EFNStudioBold, EFNStudioItalic, EFNSymeon, EFNSymeonBold, EFNSymeonCnd, EFNSymeonCndBold, EFNSzafir, EFNSzarfa, EFNSzeroki, EFNSzerokiFun, EFNSzklany, EFNSzkolnyZeszyt, EFNTablica, EFNTamiza, EFNTamizaBold, EFNTapes, EFNTatra, EFNTeheran, EFNTess, EFNTextury, EFNThailand, EFNTower, EFNTriangle, EFNTusz, EFNUncjalis, EFNWaranus, EFNWatch, EFNWatchBold, EFNWeiss, EFNWeissBold, EFNWeissBoldItalic, EFNWeissItalic, EFNWenecja, EFNWenezuel, EFNWerset, EFNWestEast, EFNWidok, EFNZawijany, EFNZecer, EFNZefir-Bold, EFNZefir, EFNZepsutaMaszyna, EFNZnak. [Google] [More] ⦿
Polish type designer who teaches graphic design at the Secondary Art School in Bydgoszcz. Second prize at the 3rd International Digital Type Design Contest by Linotype Library for the handwriting fonts Linotype Notec (1998) and JP2 (2008, based on the (shaky) handwriting of Pope John Paul II). Brda (2003, Linotype) is a fat display typeface that won an award at Linotype's Fourth International Type Design Contest---it was originally designed for the Powiat weekly. Waza (2008, Linotype) is a copperplate script revived from an etching by Wilhelm Hondius (Hondt), the Dutch court engraver for the Polish king, Ladislaus IV.
Spanish language site for various non-Latin language fonts. A sampling: Afus Deg Wfus 2 (for Berber), AlKatib1 (2001, an Arabic typeface by Naseem Amjad), Albanian, Alice_0 (Lao typeface by by Ngakham Southichack), LAOMAY_5 CHAREUNSILP (Lao typeface by by Soupasith Bouahom), Arial AMU (1999, Armenian typeface by Ruben Tarumian), BaltFrutigerLight, BaltHelveticaMedium, BaltNewCenturySchoolbookMedium, BaltOptimaMedium, BaltTiffanyMedium, BaltUniversityMedium, CarloAtor (1997, Arabic family by Timm Erickson, Summer Institute of Linguistics), Caligraf-W, Ciula (1996, a Romanian typeface by Paul Hodor), Cursiv (Romanian), AnlongvillKhek, GabrialAtor (another Arab family by Timm Erickson), Gin, Greek (1993, by Peter J. Gentry&Andrew M. Fountain), HandSign (1993, Sam Wang), HFMassisShantNUnicode (1990-1994, an Armenian unicode typeface by BYTEC Computers and Massis Graphics), HONGKAD (1994, a family by Dr. Hongkad Souvannavong), IsmarBold, IsmarLight, Lakshmi, X000000A (1994, a lao typeface by Sith Bouahom), LAOMAY_2-CHAREUNSILP, Alice3Medium, Alice0Medium, Langagedessignes (1998, by Philippe and François Blondel), NorKirk (1997, a great Armenian typeface by Ruben Tarumian), NovaTempo (for Esperanto), Pazmaveb (for Armenian), ILPRumanianB100 (1996, by Charles J. Coker), Saysettha-Lao, Saysettha-LaoBold, SenzorgaAnhok, Timok, Tribuno, Turn-W, TimesUnicode, ArialAMU, PoliceTypeAPI (for Armenian), Cieszyn-Regular, PoojaNormal, Shibolet (1995, Hebrew), Shree-Ass-0552 (2000, by Modular InfoTech), Tudor-Semi-Lite, Webdunia, TimesNRCzech, TNRLiboriusVII (2001, a fully accented Times typeface by Libor Sztemon), GreatMoravia (2001 Libor Sztemon, Czechia), Johaansi-ye-Peyravi (2001, a full accent blackletter typeface by Libor Sztemon, Czechia), TimesNREuskaraEuransiEsperanto (2001, Libor Sztemon). [Google] [More] ⦿
Lukasz and Wojciech Bachur are the Szczecin, Poland-based designers of Mister Poster (2013, ornamental caps), Mrs. Doodle (2013), Up To Date (2013), Handyman (2013), Ship's painter (2014: brush), Herbarium (2014: plant dingbats), Rama (2013), Shaken (2014), Hooray (2014), Linesman (2014, a sketched typeface), Tile Tale (2014, a system for layering and coloring fonts), Mitty (2014, a poster font), Tinta Negro (2015), Unpoco Loco (2016, hand-crafted), Ships Painter (2017, by Lukasz Bachur), sansevieria (2018). [Google] [More] ⦿
Warsaw, Poland-based designer of the cursive script typeface Delikatesy (2016). This school project was inspired by the neon signs from the 1960s and 1970s. In 2017, while studying at the Academy of Fine Arts in Warsaw, she created a great custom lettering poster entitled Longing For Beauty. [Google] [More] ⦿
Galeria Communication is a studio in Wroclaw, Poland. For his diploma thesis, Szymon Dabrowski developed a typeface called Szydab (2012), a circle-based typeface that comes in two styles, Szydab Optimal and Szydab Design.
Creator of the free artsy font Wanta (2008), of Resagnicto (2010), of Rawengulk (2010), of Rawengulk Sans (2011), of Reswysokr (2011), of the bold slab serif typeface Zantroke (2011), and of the free calligraphic typefaces Odstemplik (2009), promocyja (2008) and Konstytucyja (2008).
He published the elegant serif family Foglihten (2010), which includes the inline typefaces Foglihten No. 1 (2011), Foglihten Fr02 (2011), Foglihten No. 3 (2011) and Foglihten No. 4 (2012). The latter is inspired by the Polish Constitution of May 3, 1791. Foglihten Petite Caps Black (2012) and Foglihten Black PCS (2012) are high-contrast fat didone typefaces, minus the ball terminals. The series continues with Foglihten No. 6 (2012) and Foglihten No. 7 (2013).
Qumpellka No 12 (2011) is a flowing italic. Opattfram01 (2011) is a dingbat typeface with onamental patterns. The Okolaks family (2008) has a bit of an art deco feel. It covers East-European languages as well as Cyrillic. Sportrop (2008) is a neat multiline face. Gputeks (2008) is a delicate decorative face. Szlichta07 (2008) on the other hand is an experimental typeface based on tilting the horizontal edges about ten degrees up. Kawoszeh (2008) is a curly Victorian pre-art nouveau face. Spinwerad (2009) and Itsadzoke S01 (2010) and Itsadzoke S02 are display didones. Znikomit (2011) is an impressive lachrymal hairline slab face. See also Znikomit No. 25 (2012) and Znikomit No. 24 (2012; image by Benjamin Frazzetto).
Typefaces from 2014: VECfont FogV4, EtharnigV (a bi-colored font), Risaltyp, Wabroye, Kleymissky, Sortefax (an outline font with engraved versions as on dollar bills), Dragerotypos (blackboard bold), Resamitz.
Typefaces from 2015: Prida 36, Sudegnak No. 3 (script), Vecfont Sudegnak (cartoonish), PridaEn (a vector font for color), Prida S4, Prida01, Prida02 Calt.
Typefaces from 2016: BroshN, Tofimpelik (+Candy), Prosh3, Digitalt, Agreloy (a lovely curly Victorian typeface), Gluk Mixer (ransom note font), Fogtwo No 5.
Typefaces from 2017: Prosh 4B (a variable color font), BroshK2 (an origami style color font, in OpenType SVG format), Fuetargio (a multiline bejeweled typeface).
Typefaces from 2018: BroshK, Rostef (all caps titling typeface), Fogthree.
Dafont link. Digart link. Fontspace link. Dafont link. Open Font Library link. Scribus Stuff link. Fontspace link. Kernest link. Abstract Fonts link. Behance link. Font Squirrel link. Klingspor link. Creative Market link. [Google] [MyFonts] [More] ⦿
Graphic designer in Krakow (was: Warsaw), Poland, who specializes in vintage design elements. Their typefaces include the tweetware weathered / rustic font Black Willow (2016) and the free rough rounded sans Quickens (2018). In 2019, they released the great free vintage engraved money (or old map) font Vaderlands which is based on an original in a Dutch book dated 1781. [Google] [More] ⦿
Piotr Marcinowicz (Opole, Poland) is a type designer who co-founded the GRIN3 group. In the beginning of 2000 he started designing fonts which he published on the internet as freeware under the aliases PitDGulash and later just Gulash. In 2010 he tightened collaboration with Bartek Nowak (aka Barmee in the early days). As GRIN3 they design commercial fonts. In his daytime job, Piotr provides image management in areas of web presence and promotion.
His early free typefaces, designed as Gulash, include 270-Fudge, 700-Fudge, Antibiotech, Antibiotic, Ariendesse, Ariendezze, Brrritty, Celofan, Dirty-Dung-Solid, Dirty-Dung, Ekoclean, Floup, Lick'-em, Mich, Momentum, Mumendoom, Stuk-Puk, Trix, Wymaz, Ginger-Snake.
Graphic designer, artist, musician and photographer in Poland. In 2012, he created an organic sans typeface called Halogen.
GUST is the Polish TEX Users Group. This document describes, in Polish, the many directories and files here. Notable are the type 1 fonts Antykwa Torunska and seria PL by J.M. Nowacki, Quasi-Palladio IV'98 and QuasiTimes IV'98 by B. Jackowski. There are also many metafonts. Maintained by Staszek Wawrykiewicz. [Google] [More] ⦿
Graphic design graduate of the Academy of Fine Arts Minerva, Groningen, The Netherlands. With Karolina Lijklema, he runs the studio Lijklema Design in Warsaw, Poland. Author of Free Font Index (2008, The Pepin Press, Amsterdam). It contains comprehensive letterproofs of more than 500 fonts from 35 type foundries in 17 countries and interviews with 6 font designers. All fonts contained in the book are included on the accompanying CD and are licensed for personal and commercial use. The following have contributed fonts to this CD: Astigmatic One Eye Typographic Institute, Brain Eaters Font Co, Brode Vosloo, Bumbayo Font Fabrik, Dieter Steffmann, Fenotype, Flat-it type foundry, Fonthead Design Inc., GUST e-foundry, Grixel, Igino Marini, Janusz Marian Nowacki, La Tipomatika, Larabie Fonts, Manfred Klein Fonteria, MartinPlus, Misprinted Type, Nick's Fonts, Objets Dart, Reading Type, Rob Meek, SMeltery, Shamfonts, Sonntag Fonts, Typedifferent, Typodermic Fonts, VTKS DESIGN, Vic Fieger, WC Fonts, Yanone, boodas.de, defaulterror, eightface, exljbris, pizzadude.dk. As far as I can tell, all these fonts can be downloaded for free from the usual web archives. [Google] [More] ⦿
Polish post-WWII type designer and calligrapher, b. 1942, Katowice, d. 2017, Katowice. He graduated in 1965 from Technikum Poligraficz. His typefaces include:
Poster, set and graphic designer, illustrator, and cartoonist, b. Warszawa, Poland, 1914. He graduated from the Warsaw Academy of Fine Arts (ASP) in 1939, where he was Professor from 1952-1985. Honorary Royal Designer, Royal Society of Arts in London. Fabrizio Schiavi's grunge font Moore003 was inspired by Henryk Tomaszewski's poster lettering for the Moore Exibition (Warsaw, Poland 1959). MyFonts states: "The headline Moore is composed of paper collage. The lettering, in Tomaszewski's vision, contrasts in ways that recall the contrast of Moore's sculptures." [Google] [MyFonts] [More] ⦿
Polish designer of the script typeface Nopra (2013), the fat marker typeface Kmurka (2013), the dot matrix font Lilas (2013), Lalek (2013), the rope font Robalek (2013), the composed typeface Pikia (2013), Bianca (2013, hand-drawn) and Domik (2013, domino tiles). Ditica (2013) is another domino tile font.
Typefaces from 2014: Lift Me Up, Skygge, Lalex Hex (textured and hexagonal), Bistort, Szionka (pixelish), Karora (textured triangulated all caps typeface), 4K&A, Unek, Afterglow, Linka (textured), With The Waves.
Typeface from 2015: Skontt.
Typefaces from 2018: Plegusq, Qlka (textured), Cuksa (textured), Lalek Hex Q (textured).
Children's book illustrators Aleksandra and Daniel Mizielińscy are from Warsaw, where they set up Hipopotam. Together, they created the hand-drawn 3d outline typeface Bubol (2011) and the constructivist typeface Olifant (2011).
In 2012, they added Mr. Robot (an octagonal overlay family that can have shadows), Mr. Dog Dog (a hilarious animal silhouette typeface), Mr. Brown (a poster font), Mrs Grey, and Mrs Green (a 20-style family of quaint typefaces).
Typefaces from 2013: Mrs. Summer (a wild West typeface), Mr. Alex, Mr. Anteater, Mrs. Ant (comic book text typefaces).
Typefaces from 2016: Mrs Berry (layered hand-crafted type).
Polish foundry of Szymon Celej, located in Warsaw. Celej is a graduate of the Polish-Japanese Institute of Information Technology (New Media Art Department). Typefaces:
The i-ching package by Wlodek Bzyl contains I-Ching-Regular in type 1 format and various macros and TEX files. Author of The Tao of Fonts (TUGBoat, vol. 23, pp. 27-40, 2002, in which he explains about font design using Metafont and MetaPost. [Google] [More] ⦿
Polish print, graphic and type designer who lives in Poznan. She was inspired by Polish embroidery in her design of several typefaces in 2010.
Poznan, Poland-based graphic and type designer, b. Sulechow, 1983. Behance link. Izabela created these typefaces in 2008: Roksana, Wool, Eisac, Bamboo Shoots. In 2009, she added the sensationally details ornamental caps typeface Isaura. No downloads. [Google] [More] ⦿
Jacek Jan Judkiewicz
Berlin-based designer (b. 1974, Bydgoszcz, Poland) of the great avant garde font Droelma (or: Skylounge, 2000), and the dingbat font Seppuku, both free at Typotek. Jakob calls hiimself "Droelma, da King". [Google] [More] ⦿
Polish designer (b. 1975) of the handwriting typeface Kuba Reczny (2000 and 2013), the hand-printed typeface Kuba Reczny 2005 (2005, followed by Kuba Reczny Neue in 2016), Pepsi (2000-2007) and Jamiroquai (2007).
Polish typographer, b. 1976. In 2001, he set up the Hakobo studio. At present, he is professor of graphic arts. He coined the term TypoPolo for the vernacular style of Polish signage. [Google] [More] ⦿
Warsaw-based creator of the high-contrast bespoke typeface Edit2010 (2010). At Three Dots Type, he designed Sudety (2018). In 2019, he published Telecom, a fiercefully avant garde experimental space age typeface.
Jan Id'zkowski Giesserei
Jan Id'zkowski Giesserei was located in Warsaw. The most important type family in its collection was Antykwa Poltawskiego (+Italic, Bold, BoldItalic) designed in 1931 by Adam Jerzy Poltwaski. Other typefaces included Nil (1934ff, a copy of Wolf's Memphis) and Baccarat (sans). [Google] [More] ⦿
Polish designer of the Hebrew typeface Haim (1930s). Adi Stern writes about Haim and another Polish-designed Hebrew font, Sapir: Both typefaces are clearly influenced by the Bauhaus and early modernism and involve simplified, constructed and more geometrical forms. The Haim typeface holds seven symmetrical letterforms while the Sapir has eight of them. The Sapir brings on stage several additional important features. First, as a monolinear sans-serif, it is far more constructed than the Miryam. The Sapir is basically made of simple geometrical shapes, similarly to many Latin faces of the time (e.g. Futura). Second, it uses identical forms, rotated, to make different letters. Third, it introduces---probably for the first time---convex curves instead of flat x-height horizontal strokes. The design of those curves might have been inspired by Hebrew semi-cursive or cursive handwriting, but it is more likely an attempt to simulate the Latin script's x-height curved nature.
Polish graphic and type designer, b. 1907 (or 1908?), Czestochowa. He noticed how bad Hebrew type looked compared to Latin. So, in 1929 he designed the Hebrew alphabet Chaim. This alphabet became very popular in Israel since it departs from its Latin nemesis. [Google] [More] ⦿
Janusz M. Nowacki
Janusz Marian Nowacki
Janusz Marian Nowacki
Polish type designer in Grudziadz (Stycznia) involved in the restauration of historical Polish type designs. At GUST.org, he created fonts for Polish such as QuasiHelvetica, QuasiCourier, QuasiChancery, QuasiBookman, Antykwa Półtawskiego (based on work by Adam Półtawskiego (1923-1928), constructed by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk), Antykwa Toruńska (1995, based on work by Zygfryd Gardzielewski, electronic version by Janusz M. Nowacki). Alternate URL for the latter face.
He runs FOTO ALFA. At the latter page, you can find these fonts in which Nowacki participated: Antykwa Torunska, Antykwa Pótawskiego, Rodzina krojów PL, Rodzina fontów LM (Latin Modern), Quasi Palatino, Quasi Times, Quasi Bookman, Quasi Courier, Quasi Swiss, Quasi Chancery. The Quasi series are Polish versions of standard URW and Ghostscript fonts. The Rodzina series are Polish versions of the Computer Modern families.
In 2005, he placed these fonts on CTAN: Kurier and Iwona. Kurier is a two-element sans-serif typeface. It was designed for a diploma in typeface design by Malgorzata Budyta (1975) at the Warsaw Academy of Fine Arts under the supervision of Roman Tomaszewski. The result was presented with other Polish typefaces at the ATypI conference in Warsaw in 1975. Kurier was intended for Linotype typesetting of newspapers and similar periodicals. The design goals included resistance to technological processes destructive to the letter shapes. As a result, amongst others, the typeface distinguishes itself through intra- and extra-letter white spaces as well as ink traps at cross-sections of some elements constituting the characters. The PostScript and OpenType family covers Latin, East-European languages, Cyrillic and Vietnamese. Iwona covers all of these too and is Nowacki's alternative to Kurier. Both sans font families have many useful mathematical symbols as well.
In 2006, Nowacki and Jackowski published free extensions of the Ghostscript fonts in their TeX Gyre Project: Adventor, Bonum, Cursor, Heros, Pagella, Termes, Schola, Chorus.
In 2008, two styles of Cyklop were published. This was a generalization and extension of a historical type.
He writes: The Cyclop typeface was designed in the 1920s at the workshop of Warsaw type foundry "Odlewnia Czcionek J. Idzkowski i S-ka". This sans serif typeface has a highly modulated stroke so it has high typographic contrast. The vertical stems are much heavier then horizontal ones. Most characters have thin rectangles as additional counters giving the unique shape of the characters. The lead types of Cyclop typeface were produced in slanted variant at sizes 8-48 pt. It was heavily used for heads in newspapers and accidents prints. Typesetters used Cyclop in the inter-war period, during the occupation in the w underground press. The typeface was used until the beginnings of the offset print and computer typesetting era. Nowadays it is hard to find the metal types of this typeface.
j.dsky is a Polish foundry located in Sobotka, and run by Jacek Dziubinski. Jacek designed the experimental modular graffiti typefaces Tagged One and Tagged Two (2010) as well as the silhouette dingbat typeface Just Boys (2010). [Google] [MyFonts] [More] ⦿
Creator at OPD in Poland of Alauda (1970). Adam Twardoch writes: This intricately drawn, beautifully clear typeface bears a strikingly modern appearance which remains fresh after 30 years. Although slightly slanted, Alauda retains its balance by using half-serifs. In essence, Desselberger follows Poltawskis design postulates, but does so far better and more consistently than Poltawski himself has ever done. Initially, Alauda was meant for release on photosetting, with Desselberger having prepared three styles (roman, italic and bold), with over 350 characters each. Unfortunately, the typeface has never been released, and OPD has ceased to function in 1976 due to a financial crisis. Twardoch is working on a digital version with Desselberger. He also made the art deco typeface Akantis. [Google] [More] ⦿
The "exe" files, when unzipped, have a bunch of truetype fonts for East-European languages such as Polish, and for Cyrillic. Included are ArialMT, TimesNewRomanMT, CourierNewMT, Cyrillic-1, and Eastern-EuropeRoman. [Google] [More] ⦿
Jimi-neko is a collaboration of Anton Drachuk and Jadwiga Krym offering expertise in various disciplines, such as graphic design, film-making, typography, lettering, print design, street-wear design, advertisement as well as corporate identity design and user experience design. It is located in Poznan, Poland.
In 2012, Anton Drachuk was a calligraphy and graphic design student in Poznan. He designed Crimée (2012, a fresh blackletter typeface), and Sankakkel (2012, a geometric typeface for Latin and Cyrillic).
Anton's graduation typeface in 2013 was Bertau.
Aka Asia Ang. During her graphic design studies at Poznan Fine Arts University in Poznan, Poland, Joanna Angulska created the free condensed sans display typeface Komoda (2013), which has interlocking ligatures.
In 2016, as part of Warsaw Types, she designed the connected monoline marker script typeface Havana, which is inspired by Warsaw's neon signs from before 1989. This free typeface is named after a former cafe in Warsaw.
Kapitan Studio was Joanna Rzezak and Piotr Karski. Based in Warsaw, they design books, typefaces and magazines. Their typefaces included Captian Blackbeard (2012, a heavy angular condensed caps typeface based on a 19th century wooden type Grecian made by William Page). In 2014, Joanna Rzezak went alone. In 2019, she released the tall octagonal Western wood type font Captain Blackbeard at her own type foundry.
Graphic design student at University of Arts in Poznan, Poland. Creator of the angular gothic arch-shaped Maastricht typeface in 2012. Bydgoszcz (2012) is a readable angular typeface. Figiel (2012) is a fancy display font. [Google] [More] ⦿
During her graphic design studies at PJWSTK in Warsaw, Poland, Kaja Slojewska created Bubble Alphabet (2014) and Tilton (2014, a headline all caps sans typeface).
Polish graphic designer and assistant professor at the Academy of Fine Arts in Krakow, Poland. Behance link.
Creator of Hoptype (2012) about which he says: Hoptype is a screen font I designed during Ala ma font(a) workshop in Katowice. The workshop was led by Martin Majoor, Filip Blazek, Marian Misiak, Eben Sorkin and Ann Bessemans and curated by Ewa Satalecka. The typeface is designed especially for iPad applications for children who are not yet fluent readers. [Google] [More] ⦿
Kamil Kurzajewski is an independent Art Director. In 2008 he obtained an MA in typography from the Academy of Fine Arts in Poznan. He lives in Poznan (Poland) and specializes in visual communication, typeface and graphic design. He created the slabby typewriter typeface Struqtura (2012) and the rounded typeface family Carbon, and the 12-style corporate sans typeface family Kolo (designed specially for Kolo Sanitec, Polish nationwide company that manufactures and sells bathroom systems).
Other typefaces: Spectra (2008), Razor (2011), Coctail (sic: 2010), BR#8 (2008: for BR Magazine).
Polish graphic and type designer. His typefaces include Coctail (2010: a display serif), Carbon (2010: a brutalist typeface for the Katowicka Shopping Center), Struqtura (2009: a corporate monospaced typeface), Razor (2011), and Kolo (2010: a 12-style corporate typeface for Kolo Sanitec) [Google] [More] ⦿
During an internship at Playtype in Copenhagen, Denmark, Kamila Staniszewska (Warsaw, Poland) designed the display sans typeface Warszawa (2017). Later, she created the party font Freaky Styley (2017). [Google] [More] ⦿
Kapitan Studio is Joanna Rzezak and Piotr Karski. Based in Warsaw, they design books, typefaces and magazines. Their typefaces include Captian Blackbeard (2012, a heavy angular condensed caps typeface based on a 19th century wooden type Grecian made by William Page).
Together, Tom Nowak (Nowak Studios) and Karol Gadzala created the Lean Serif type family in 2012. They explain: Lean is Cologne based digital agency specialized in CGI, Photomanipulations, 3D Modelling and Sound Engineering. Lean is working with an international clients, especially with automotive companies like Lamborghini, Seat and some more.
Polish / American designer who writes: Karolina Lach is a graphic designer, web designer and typographer residing in New York. She currently works as the Senior Designer for Kiwibox Media, a social network and online magazine for teens. A graduate of The Cooper Union for the Advancement of Science and Art, she has studied under Mike Essl, Emily Oberman, James Craig, Maxim Zhukov and Hannes Famira. Graduate from the type design program at the University of Reading in 2010.
She used FontStruct to create Coney Island Baby (2008: Victorian circus font), Temptation (2008, a crispy serifed face), this Tuscan wood type (2008, done outside FontStruct) and Innocent When You Dream (2008, a dotted lines face).
She She created Sora there in 4 styles, Regular, Italic, Black and Arabic. Karolina tried to give Sora a distinctive Oz Cooper / Frederic Goudy American look. Pompiere (2011, a free font at Google Font Directory, is a low contrast condensed sans serif font with tall ascenders and small x-height, which is based on lettering outside a New York firehouse. Arbutus (2011, a free spiky slab typeface at Google Web Fonts; see also Arbutus Slab made in 2012) is a sturdy medium contrast slab serif cactus skin font.
Krakow, Poland-based designer of the minimalist sans typeface Modern Joseph (2014). It was named after Jozef Raszka, who designed a hose in Cieszyn in 1932-1933 that served as an inspiration for the font. [Google] [More] ⦿
At the 15th Typeclinic, held in 2017, Karolina Wisniewska (Gliwice, Poland) designed the Latin text typeface Bangla.
Polish designer [with PAISM] of the free poster lettering font Rany Julek (2013). Paism writes: Designed by Kasia Fryza Ksiezopolska and PAISM, Rany Julek is a font originally inspired by the letters created by Wladyslaw Strzemiñski (Julian Przybos, "Z Ponad", 1930) and its development into a complete font [FA Julian, 2003] designed by Artur Frankowski (fontarte.com).
Graduate of Maria Curie-Sklodowska University, Faculty of Arts, Lublin, Poland, who works as graphic designer in Warsaw. In 2017, Kasia Pereta designed the free display sans typeface Pan (+Ornaments and Pictograms) for the Pan Bistro. [Google] [More] ⦿
Zabrze, Poland-based designer of the ballet-themed text typeface Pointa (2016) and the Aztec-themed typeface Zanoir (2016). Both were developed during her studies at Katowice Academy of Fine Arts. [Google] [More] ⦿
Kiosk is a group of students from various departments of the Academy of Gorgeous Arts in Warsaw and Poznan, Poland. In 2013, Kiosk published the stylish display typeface Rufina Regular.
Klaudia created the stencil poster typeface Crackle (2014). It was inspired by an advertisement in the polish weekly Tygodnik Powszechny from 1938. The 1937 edition inspired Mauer (2014), a proportional blocky geometric poster typeface.
Wroclaw, Poland-based designer of the straight-edges typeface Joker 33 (2015), which was completed as a school project and inspired by 52nd street in New York city---the heart of jazz from 1930 until 1950. [Google] [More] ⦿
During her studies at Huddersfield University, Dewsbury, UK-based Klaudyna Joczyn designed the connect-the-dots typeface Slavia (2016), which is based on Slavic mythology and culture. Behance link. [Google] [More] ⦿
Konrad Moszynski (MuchaDSGN, Ostrow Wielkopolski, Poland) created the Greek simulation typeface family Antique Greek in 2013. In 2014, he designed the tattoo font Yarson Tattoo. Behance link. [Google] [More] ⦿
Graphic designer in Gdansk, Poland. Creator of a structured blackletter typeface family called Circa (2012), Rincewind (2013, a school project typeface), Tablespoon Sans (2013), Obsidian (2012, blackletter), and Alfabet Picassa (2011, inspired by Picasso's work). [Google] [More] ⦿
Laic is the type foundry founded in 2018 by Warsaw, Poland-based type designer Maciej Polczynski. His typefaces:
Blogger, web/graphic Designer, and new media art student in Warsaw, Poland. She created the beautiful blackboard bold typeface Cinema Paradiso (2012).
Polish design studio which created a nice logo for Restaurant Zurowina in Warsaw in 2012.
Latin Modern fonts
Boguslaw Jackowski, aka Jacko, writes about this large typeface family, developed from 2003-2009 by himself and J.M. Nowacki: The Latin Modern fonts are based on the Computer Modern fonts released into public domain by AMS (copyright (C) 1997 AMS). They contain a lot of additional characters, mainly accented ones, but not only. This family is free and in type 1 format. Developed by B. Jackowski&J. M. Nowacki thanks to Metatype. See also here. Font names: LMCaps10-Italic, LMCaps10-Regular, LMRoman10-Bold, LMRoman10-BoldItalic, LMRoman10-Italic, LMRoman10-Regular, LMRoman12-Bold, LMRoman12-Italic, LMRoman12-Regular, LMRoman17-Regular, LMRoman5-Bold, LMRoman5-Regular, LMRoman6-Bold, LMRoman6-Regular, LMRoman7-Bold, LMRoman7-Italic, LMRoman7-Regular, LMRoman8-Bold, LMRoman8-Italic, LMRoman8-Regular, LMRoman9-Bold, LMRoman9-Italic, LMRoman9-Regular, LMRomanDemi10-Italic, LMRomanDemi10-Regular, LMSans10-Bold, LMSans10-BoldItalic, LMSans10-Italic, LMSans10-Regular, LMSans12-Italic, LMSans12-Regular, LMSans17-Italic, LMSans17-Regular, LMSans8-Italic, LMSans8-Regular, LMSans9-Italic, LMSans9-Regular, LMSansDemiCond10-Italic, LMSansDemiCond10-Regular, LMSansQuotation8-Bold, LMSansQuotation8-BoldItalic, LMSansQuotation8-Italic, LMSansQuotation8-Regular, LMSlanted10-BoldItalic, LMSlanted10-Italic, LMSlanted12-Italic, LMSlanted8-Italic, LMSlanted9-Italic, LMTypewriter10-Italic, LMTypewriter10-Regular, LMTypewriter12-Regular, LMTypewriter8-Regular, LMTypewriter9-Regular, LMTypewriterCaps10-Regular, LMTypewriterSlanted10-Italic, LMTypewriterVarWd10-Italic, LMTypewriterVarWd10-Regular.
These 72 fonts were renamed lmb10, lmbo10, lmbx5, lmbx6, lmbx7, lmbx8, lmbx9, lmbx10, lmbx12, lmbxi10, lmbxo10, lmcsc10, lmcsco10, lmdunh10, lmduno10, lmr5, lmr6, lmr7, lmr8, lmr9, lmr10, lmr12, lmr17, lmri7, lmri8, lmri9, lmri10, lmri12, lmro8, lmro9, lmro10, lmro12, lmro17, lmss8, lmss9, lmss10, lmss12, lmss17, lmssbo10, lmssbx10, lmssdc10, lmssdo10, lmsso8, lmsso9, lmsso10, lmsso12, lmsso17, lmssq8, lmssqbo8, lmssqbx8, lmssqo8, lmtcsc10, lmtcso10, lmtk10, lmtko10, lmtl10, lmtlc10, lmtlco10, lmtlo10, lmtt8, lmtt9, lmtt10, lmtt12, lmtti10, lmtto10, lmu10, lmvtk10, lmvtko10, lmvtl10, lmvtlo10, lmvtt10, lmvtto10. In addition, there now 20 math fonts: lmbsy5, lmbsy7, lmbsy10, lmex10, lmmi5, lmmi6, lmmi7, lmmi8, lmmi9, lmmi10, lmmi12, lmmib5, lmmib7, lmmib10, lmsy5, lmsy6, lmsy7, lmsy8, lmsy9, lmsy10.
In 2013, they published one large opentype font, Latin Modern Math, which has as authors B. Jackowski, P. Strzelczyk and P. Pianowski.
Articles about the Latin Modern Fonts:
Graduate of the Warsaw Academy of Fine Arts, where he studied under Henryk Tomaszewski. One of his posters, designed for 16th International Meeting of Jazz Vocalists was selected as one of 100 most important posters from Europe and United States from the postwar period 1945-1990. Lech Majewski runs his own graphic studio and is professor at The Department of Graphics Academy of Fine Arts in Warsaw. Speaker at ATypI 2016 in Warsaw on Welcome to ASP [Google] [More] ⦿
Font page for people from the Carpathian mountains created by Walter Maksimovich. Several Ukrainian Cyrillic TrueType fonts (ER Kurier, ER Univers, ER Bukinist, ER Architect Proportional) designed by Gavin Helf. Also a Polish New Times font (free). Gavin Helf's ERUniversIF2 and ERUniversIV2 (1994; modified by Curt Ford for "Digital Russian" project, 1998; subsequently remodified for Internet use by Ken Petersen, 1998) are also here. [Google] [More] ⦿
Lesek Bielski (b. 1960) specializes in the design of visual identification systems, posters, graphic signs and graphics. In 2017, he participated in the Bona project, which set out to revive and extend Andrzej Heidrich's old typeface Bona. Mateusz Machalski contacted him for advice on the revival project. The resulting typeface families were published by and are available from Capitalics. The centerpiece is the warm and wonderful text typeface Bona Nova. It is supplemented by the extreme contrast typeface family Bona Title and the inline typeface family Bona Sforza. Participants in the project also include Leszek Bielski, Ania Wielunska and Michal Jarocinski. [Google] [More] ⦿
The free package lmmath, or Latin Modern Math, is a math companion for the Latin Modern family of fonts (see gust.org) in the OpenType format. The authors are the Polish TeXperts Boguslaw Jackowski, Piotr Strzelczyk and Piotr Pianowski. [Google] [More] ⦿
Sebastien Sanfilippo founded Love Letters in Brussels, Belgium, under the motto Single-handedly drawing letters for world peace. He designed these open source typefaces:
Letter and type designer in Warsaw. In 2016, during her studies at Warsaw Academy of Fine Arts, and as part of Warsaw Types, she designed the free display typeface Olympic. For this typeface, she was inspired by Warsaw's signage and typography from the 70s. At Capitalics, she published the wonderful text typeface family Atoli. Another graduation project at the Warsaw Academy of Fine Arts was the editorial typeface Geller (2018), which can be bought at Capitalics. [Google] [MyFonts] [More] ⦿
Lukasz and Wojciech Bachur
Polish designer of the multiline typeface PK Designers (2012).
Polish designer of the fun cat dingbat typeface KocieSymbole (2000-2001).
Wroclaw, Poland-based designer of these typefaces in or just before 2016:
Polish graphic designer, b. 1986, based in Nisza and Gliwice, Poland, aka Rym do\0Swierczek. Creator of the free fonts Technical Forest (2009, techno), Sergeant TechnicFont 2 (2007), Triballaka (2009) and the handwriting fonts Sergeant Porfolio (2006) and Triballaka (2004).
In 2013, he made Brandiegames Icons.
In 2014, he started his own commercial type foundry. Primiterus (2014) is a hipster typeface. Teutura (2015) is an expressionist blackletter typeface.
Graduate of the Academy of Fine Arts in Warsaw, class of 2008. During a summer course called Type@Paris (2015), Maciek Sobczak (Warsaw, Poland) designed the sturdy and rhythmic text typeface Bobos. The rhythm is obtained by tilted directions of cuts and stresses, a principle also applied in, e.g., ITC Napoleone (Silvio Napoleone, 2001). [Google] [More] ⦿
During her studies in Poznan, Poland, Magda Brankiewicz designed these typefaces: Oedo (2015, octagonal typeface), Blumen (2014, brush script). Now located in Barcelona, she designed a decorative caps typeface in 2016. [Google] [More] ⦿
Berlin-based graphic and type designer and painter, who is originally from Krakow, Poland. Creator of a 19-th century style serifed typeface in 2013. In 2017, she designed the sans typeface Bania Luka. With Anton Razvan, she designed Cabluri. [Google] [More] ⦿
Born in 1987 in Wroclaw, Poland, Magdalena Wisniewska studied first at the Academy of Fine Arts in Wroclaw. Graduate of the TypeMedia program at the KABK in The Hague in 2017.
Designer of the display typeface Bihma (2013). At Typeclinic 2015, she developed the text typeface Opera (2015). Typeclinic 12th International Type Design Workshop in 2016, she designed the sans typeface Boban. Her graduation typeface at KABK in 2017 was Essie, which was created for editorial use. [Google] [More] ⦿
Polish type designer who, for her diploma thesis in typeface design at the Warsaw Academy of Fine Arts under the supervision of Roman Tomaszewski, created Kurier (1975). In 2005, Janusz Marian Nowacki digitized the Kurier family, and added an alternative family, Iwona. Kurier was intended for Linotype typesetting of newspapers and similar periodicals. The design goals included resistance to technological processes destructive to the letter shapes. As a result, amongst others, the typeface distinguishes itself through intra- and extra-letter white spaces as well as ink traps at cross-sections of some elements constituting the characters. The PostScript and OpenType family covers Latin, East-European languages, Cyrillic and Vietnamese. Also, both sans families cover the most frequently used mathematical symbols. All type families are freely available from the CTAN archive. Alternate URL.
Marek Z. Jeziorek was born and grew up in Poland, and studied mathematics, informatics and mechanics of the University of Warsaw. In 1976, he relocated to the United States, where he obtained an MSc in Computer Science in 1980 from UW (University of Wisconsin, Madison). He worked as compiler engineer at Intel and joined Google in 2003. Marek joined Google's font team in July 2015 as a Technical Program Manager.
Speaker (with Behdad Esfahbod) at ATypI 2016 in Warsaw on the topic of The Open Source Python Font Production Pipeline: The Open Source Python Font Production Pipeline is a set of tools build by the open source community, including Google developers. It has been used by Google to produce Google's Noto font families. It can be used by anybody to automate their font production as well. The pipeline takes various inputs (e.g., *.glyphs files) and compiles them into multiple binaries (*.TTF and *.OTF files among others). This presentation is about why Google wanted to have an open source font toolchain, how the toolchain [aka pipeline] was architected, engineered and debugged and how Google uses it to produce and validate Noto fonts. [Google] [More] ⦿
Polish designer of Drogowskaz (1975) for the Ministry of Transportation of Poland. This geometric sans-serif typeface is used in public signage in Poland since 1975. Its capital letters exhibit a strong influence from Johnston, while its lowercase letters are closer to Spartan. See also here for a discussion of Polish traffic signs.
Digital versions and/or extensions of Drogowskaz:
In 2013, Maria Regucka (Krakow, Poland) published a typeface called Animal Typography.
Polish designer. At Typeclinic 12th International Type Design Workshop and the 13th Typeclinic in Slovenia in 2016, she created the crisp garalde children's book text typeface Round Trip. [Google] [More] ⦿
Speaker at ATypI 2016 in Warsaw on How skeleton based type design could shake up digital type design workflows. He writes: We have developed new tool inspired by the Stroke theory by Gerrit Noordzij. The tool translates a stroke and width and rotation of a nib into a shape. At ATyPI we let people try our software and conduct discussion about what might designing with skeleton based approach brings to the industry. [Google] [More] ⦿
Polish graphic designer. Dafont link. He also uses the name Marcin Leśków. Fonts made in 2009 and 2010: ABitEmpty, Atlantis, Atticghost, Bigboots, Brokentypewriter, Crazyman, Doodleman (sketch font), Eternaldream, ExcellentWriter (curly script), Fightingdogs, FirstRound, Florentine Amber (2010), Forgottennight (grunge), FutureIsBack (curly script), HungryAlligator, Jigsawpuzzle, Lastbreath, Lighthouse, Likeonmydisplay (LED simulation), LittleAlien, LostShoe, MisterFlourish, Mosaiconthefloor (tiling face), NaughtyGirl, NewYorkCity, NiceWritten, Northernprairies, Olddungeon, Outside, PlanetOfDots (dot matrix), Pressedinframe, Privateautopsy (grunge), Quadratic, QuickFingers, Rottedboard, Skyscraper, Spacewarrior, Steelmagnolias, Stonewall, SunStreet, TellMeYourSecret, Tempusfugit, ThereWasACircle, Thirstyhorse (nice Western Italian style face), Timeless, Waterfall, WildScript, Windyday (grunge).
As a student in Poznan, Poland, Martyna Talaga designed the paper cutout typeface Gaga (2016), the counterless typeface Chomik (2016), and the Arabic simulation typeface Arabica (2016). [Google] [More] ⦿
Polish-Spanish designer, 1907-1980, who fled Spain in 1939 to Chile on board of the Winnipeg, and who revolutionized editorial design in Chile. He worked on the mag Zig-Zag. Examples of his sublime lettering: calligraphy, Cancellaresca, Gotica Bastarda, Romana Antigua, Romantica Humanistica, Rotunda. Photo. Joaquin Contreras wrote a thesis at the Faculty of Architecture of the University in Chile in 2007 entitled Diseño de fuentes tipográficas, basadas en los libros integramente caligrafiados por Mauricio Amster en Chile. [Google] [More] ⦿
Painter and graphic designer born in 1881 in Bunzlau (today Boleslawiec, Poland), he died in 1975. Read about him in Albrecht A. Gribl's book Max Hertwig (1881--1975): Zeichner Grafiker Maler in Düsseldorf, Hannover, Berlin und Dorfen.
Graphic and type designer in Warsaw, Poland. During his studies at the Polish Japanese Institute of Information Technology and the Helsinki at School of Arts, Design and Architecture of Aalto University, Max created Skunky Sans (2014). [Google] [More] ⦿
Magdalena Boffito (Mezzo Mezzo) studied at the Graphic Arts Department at the Warsaw Academy of Fine Arts, class of 2003. In 2006 she studied at the Turin Academy of Fine Arts.
At You Work For Them, Magdalena Boffito published the sans typeface Aquilone (2015), and the hand-crafted typefaces Favo (2014: grungy), Fungo (2014), Fungo Extras (2015), Grano (2014) and Nevica (2014, Christmas season dingbats). Other typefaces include De Bouffet (2015, hand-crafted).
Polish designer of the free typeface 26 Alco (2010, alcohol-related dingbats).
Michal Adamiec (b. 1987) is studying at the Pedagogical University in Krakow, Poland. He made Murena (2012, a bouncy sans family), Cello Sans typeface (2010, organic), and the techno-inspired Penumbrum (2010).
Graphic designer in Warsaw, Poland, who studied at the Academy of Fine Arts in Katowice, Poland. In 2016, he designed the free rounded counterless display typeface Falafel. Behance link. [Google] [More] ⦿
Designer of Dark Garden, a free thorn-like font with Polish and German characters, 1999-2004. It The typeface is based on author's original hand drawings. The letterform is complex, with all characters decorated with spikes resembling thorns or flames. Access via NONAGS. Polish fonts at this site include Arial CE, Times New Roman CE, Courier New CE, Strony US.
During his studies in Leszno, Poland, Michal Kubalczyk designed the logotype Arkadius for Arkadiusz Paszkowski (2013).
Art student in Poland. During his studies, he created the free organic sans typeface Sobe (2012). Later, as a graphic designer based in Szczecin, Poland, he designed the free minimalist display typeface Simpla (2016).
Polish American illustrator in Chicago. Creator at FontStruct in 2009 of Prof. Downer's Iowa Tonic (inspired by Brothers and Council, by Downer), Fleet (alomost octagonal), Bankowy Gotycki (outline typeface patterned after Ban Gothic), Bolt Plate, Garibaldi (+Bold, +Black), Nocturnis, Lastustruct (kitchen tile) and Macrogular. In 1999, he created the very original Aborigine (1999). Additional URL. Home page. Klingspor link. [Google] [More] ⦿
During his studies in Warsaw, Poland, Mikolaj Grabowski designed the interesting stackable typeface family Epilepsja (2015) and Epilepsja Round (2015). There is a hint of Escher-style 3d effects hidden in this beauty.
In 2015, he set up his own commercial type foundry.
Typefaces from 2018: URLOP (a 14-layer color font, with some SVG styles, and covering many multiline and stencil styles).
Typefaces from 2019: Antifa (for anti-fascist---an ironic use of the blackletter style used by neonazi / fascist groups in Poland), Fushar and Fushar Arabic (a Latin / Arabic colorable and layerable comic book font family). [Google] [MyFonts] [More] ⦿
Polish designer of the futuristic typefaces Deltafonte (2004), Ryszard (2004). He also made the handwriting typefaces Gleitpfad (2004) and Glidepath (2004), the informal printing typeface Mikolajf (2004), and the kitchen tile typeface Hopscotch (2004). [Google] [More] ⦿
A Polish type design competition for all university students world-wide. Named after Czeslaw Milosz, the winner receives about 2500 Euros. The jury of Milosz 2011 consisted of Veronika Burian, Pilar Cano, Barbara Kesek-Bardel, Robert Oles, and Kuba Sowinski. The results:
Or Adrianna Napiorkowski. Graduate of the University of Lodz, Poland, in 2011 and Robert Gordon University in the UK, class of 2015. She is currently based in Mannheim, Germany. Her typefaces:
Polish designer of the hand-drawn blackboard bold typeface PFS Pastel Feather (2013). Her company is called Pastel Feather Studio.
Born in 1983 in Kujawy (Poland), and a 2008 graduate from the University of Fine Arts in Poznan, Natalia Seczkowska's first font, showcased at Behance, is called David (2011). It has a bit of a Victorian look. [Google] [More] ⦿
Barcelona-based designer (b. Poland) of the hand-printed typefaces Quote (2015) and Aloha (2014). Between 2004 and 2010, she studied at the Nikolaus Kopernikus University (Torun, Poland), the University Of Ljubljana, and the Academy Of Fine Arts In Krakow, Poland. Behance link. [Google] [More] ⦿
Michal Nowak (b. 1994, aka Neoqueto) is the Koszalin, Poland-based designer who used FontStruct in 2009 to make the horizontal stripe typeface Mastercore (+Laddered), Cut The Paper (arched face), Vision Division (techno), Axis (condensed pixel face), PixelIconix (emoticons), Mionta (2010, futuristic; FontStruct), Stencil 4000 (2010, FontStruct), Auricom (futuristic), Vision Of Division, the broken marble typeface Sector 017 (grunge---followed in 2011 by Sector 034), Tetraminos, Sinclair Logo, the beveled Mekotek, Pictograms Audio, and the extended square typeface Mechion.
In 2010, he created the computer game fonts ET Pixel Mark 1, 2 and 3, as well as the techno fonts Sinclair Logo, 4KSTNCL (techno stencil), LDR Dream (futuristic), LDR HAET (counterless), LDR#2, LDR#3, LDR#6, LDR Manufacture (circle-based geometric face), DOT/LED Scope and DOT/LED Illumination. Monolithic is modular to the extreme. Safe Plastelina (2010) is a soft experimental face.
In 2011, he added LDR Hexatron, LDR #8, Sector 034, Microfuture (octagonal sci-fi face) and Hexample LDR (hexagonal).
Typefaces from 2013: Walker Bot LDR, Synthek LDR, Kleen Blades LDR, Scary Glyphs & Nice Characters, LDR#1, nakki LDR, Tegma, Segment Rush LDR, LDR Hextaron, LDR Kaet, Spray Me (stencil), Terminal LDR, Proto LDR, Sampa LDR, Kasual Bloks LDR, Drum and Bass LDR, Pink Has Gone Extinct, Darktech LDR (stencil face), Affection LDR, Hextremum LDR, Hexotic LDR.
Typefaces from 2014: Mapper Kit, Charmest (horizontally striped), Corruptor Clean LDR, Corruptor LDR, Critical Mass LDR, 2589 LDR, LDR2, Eurosteal (+big Caps: modeled after Eurostile), Mapper Kit (dingbats), She Stole The Night (multilined art deco font), Track Mania (based on an online racing game by Nadeo).
Most of his typefaces are modular and can be categorized as techno or sci-fi.
Polish graphic designer who is based in Krakow. Nina is exploring geometric concepts such as in her Alfabetczi White (2012), My Republic, Teleport (2011, monoline hexagonal), in her Stripes typeface (2010), in Do Not Cut (2011), in CLN 3000 ID (2011), in the multiline typeface Pink Twist Alphabet (2011), in the hand-printed poster typeface Bambi Letters (2011), and in Garaz (2011). Ksavery (2011) is an architectural typeface designed for the logo of the Krakow School of Art and Fashion Design's blog.
In 2012, she created the alchemic typeface Keep Going.
In 2014, she created the geometric display typeface Baltazar, the multilined typeface Wake Up, and the avant-garde Proste Wnetrze (for the interior design studio by that name).
In 2015, Nina designed the free EPS format polygonal typeface Kendrick.
No More Faith Fonts
Graduate of the London College of Communication who works in Paris, where he set up No More Faith Fonts. He is presently based in Dubai. His list of typefaces:
Odlewnia Czcionek J. Idzkowski i S-ka
Polish foundry in Warsaw active in the early part of the 20th century. At e-foundry, Janusz M. Nowacki extended and digitized one of their high-contrast typefaces, and called it Cyklop (2008). Free downloads here. Nowacki explains: The Cyclop typeface was designed in the 1920s at the workshop of Warsaw type foundry "Odlewnia Czcionek J. Idzkowski i S-ka". This sans serif typeface has a highly modulated stroke so it has high typographic contrast. The vertical stems are much heavier then horizontal ones. Most characters have thin rectangles as additional counters giving the unique shape of the characters. The lead types of Cyclop typeface were produced in slanted variant at sizes 8-48 pt. It was heavily used for heads in newspapers and accidents prints. Typesetters used Cyclop in the inter-war period, during the occupation in the underground press. The typeface was used until the beginnings of the offset print and computer typesetting era. Nowadays it is hard to find the metal types of this typeface. The font was generated using the Metatype1 package. Then the original set of characters was completed by adding the full set of accented letters and characters of the modern Latin alphabets (including Vietnamese). [Google] [More] ⦿
Graphic designer in Krakow, Poland. Her typefaces:
Polish foundry, which existed from 1969-1976. Its history was told by Adam Twardoch: OPD was founded in Warsaw in 1969 under the direction of the Polish type designer and long-term Association Typographique Internationale (ATypI) board member Roman Tomaszewski. Until 1976, it existed as a research center of the state printing industry, gathering a group of Polish designers involved in lettering with a goal of creating a series of new typefaces for use in printing. Before OPD, very few original typefaces were designed in Poland. A major moment in the existence of this typeface development center was a font design contest held in March 1971 in Dresden, East Germany, where several Polish fonts designed at OPD specifically for that event received awards. One of the most interesting typefaces developed under the auspices of OPD is Alauda, designed by Jerzy Desselberger, who is a world-renowned specialist for Middle European birds. As a member of international ornithological associations, Desselberger writes about birds, supplementing the texts with beautiful illustrations. He occasionally deals with type, and Alauda (Latin for lark) is one of his typographic creations. This intricately drawn, beautifully clear typeface bears a strikingly modern appearance which remains fresh after 30 years. Although slightly slanted, Alauda retains its balance by using half-serifs. In essence, Desselberger follows Poltawski's design postulates, but does so far better and more consistently than Poltawski himself has ever done. Initially, Alauda has been meant for release on photosetting, with Desselberger having prepared three styles (roman, italic and bold), with over 350 characters each. Unfortunately, the typeface has never been released, and OPD has ceased to function in 1976 due to a financial crisis. [Google] [More] ⦿
Portugal-born Mauro Santos (Oruam Graphiks, Zielona Gora, Poland) designed an unnamed blackletter typeface in 2013 during his studies in Poland. His home base is in Sines (and/or Santo André), Portugal. Squeezer (2013) is a graffiti face. [Google] [More] ⦿
Pawel Osial graduated from the Academy of Fine Arts in Warsaw. Based in Warsaw, Poland, he works as a graphic and type designer, specializing in book design, lettering and calligraphy. He set up his own type foundry, Osialus, in 2014. In 2014, he designed the condensed minimalist sans typefaces Blop11 and Blop77. [Google] [MyFonts] [More] ⦿
Polish type development center from the communist era. OPD was founded in Warsaw in 1969 under the direction of the Polish type designer and long-term Association Typographique Internationale (ATypI) board member Roman Tomaszewski. Until 1976, it existed as a research center of the state printing industry, gathering a group of Polish designers involved in lettering with a goal of creating a series of new typefaces for use in printing. Before OPD, very few original typefaces were designed in Poland. A major moment in the existence of this typeface development center was a font design contest held in March 1971 in Dresden, East Germany, where several Polish fonts designed at OPD specifically for that event received awards. One of the most interesting typefaces developed under the auspices of OPD is Alauda, designed by Jerzy Desselberger, who is a world-renowned specialist for Middle European birds. As a member of international ornithological associations, Desselberger writes about birds, supplementing the texts with beautiful illustrations. He occasionally deals with type, and Alauda [Latin for lark] is one of his typographic creations. Adam Twardch: This intricately drawn, beautifully clear typeface bears a strikingly modern appearance which remains fresh after 30 years. Although slightly slanted, Alauda retains its balance by using half-serifs. In essence, Desselberger follows Poltawskis design postulates, but does so far better and more consistently than Poltawski himself has ever done. Initially, Alauda has been meant for release on photosetting, with Desselberger having prepared three styles (roman, italic and bold), with over 350 characters each. Unfortunately, the typeface has never been released, and OPD has ceased to function in 1976 due to a financial crisis. Currently, Desselberger is working with Adam Twardoch on a digital version. Other typefaces by ODP include Hel, Helikon (by Helena Nowak-Mroczek), and Bona. [Google] [More] ⦿
Przemek Kopczyk (aka Paism) is a graffiti writer and typography enthusiast, and a member of Typoets and Truest, and is located in Warsaw. The Brazilian pixacao graffiti style inspired him to design the typeface Pixacaism (2013).
Rany Julek was published in 2013. Paism writes: Designed by Kasia Fryza Ksiezopolska and PAISM, Rany Julek is a font originally inspired by the letters created by Wladyslaw Strzemiñski (Julian Przybos, "Z Ponad", 1930) and its development into a complete font [FA Julian, 2003] designed by Artur Frankowski (fontarte.com). Rany Julek was free (dead link). Rany Julek was upgraded to Grubal in 2015.
Student in Poznan, Poland. Designer of the curly typeface Rooko (2012) and the cool display typeface Pear (2012). In 2013, she created the grotesque typeface Roma. In 2014, she made the informal children's book font Linda. [Google] [More] ⦿
Katowice, Poland-based designer (b. 1982) of MediaWorks Drivec Font (2006), a smooth pixel face, and of Pebe Pixelblack (2006). As Enebene, he sells these fonts: Vayle (2014, rounded sans). Creative Market link. [Google] [More] ⦿
During his studies at Academy of Fine Arts in Gdansk, Poland, Pawel Schulz (based in Rumia, Poland) designed the display typeface Wooden Pallet (2016). At the 15th Typeclinic, held in 2017, Pawel Schulz (Poland) designed the text typeface Capillary. He also designed the stencilish Wooden Panel Alphabet (2017).
In 2018, he designed the stick typeface Gdansk. His main effort that year went into Janek, a mini-wedge serifed display and text typeface family that was implemented as a variable font with width and optical size axes. It is based on Jan Wojenski's lettering technique. [Google] [More] ⦿
Born in Stargard, Pomerania, in 1940, he was the technical director and their cofounder of URW Software&Type GmbH in Hamburg (URW stands for Unternehmensberatung Rubow Weber, after the first two of the founders, Rubow and Weber [Karow being the third one], and was succeeded by URW++), and developed the Ikarus program for font design. Since 1988, Karow and Zapf cooperated on the hz program for micro-typography of texts. Karow published Digitale Schriften. Darstellung und Formate (1992, Springer, Berlin), Digital Typefaces (Springer, 1994), Typeface Statistics (URW Verlag, Hamburg, 1993), and Font Technology (Springer, 1994), and is an expert in font technology. In 2013, DTL published Karow's booklet Digital Typography & Artificial Intelligence. In 2003, he was the first recipient of the Dr. Peter Karow Award established by DTL to honor people with extraordinary and innovative achievements in the field of font-related technology. [Google] [MyFonts] [More] ⦿
Great little piece of PostScript code requiring ghostscript to generate AFM files from the pfb/pfa files and an optional pfm file. By B.Jackowski (Gdansk, Poland), based on James Clark's printafm.ps (with alterations by email@example.com and L. Peter Deutsch). To be used as "gs [-dNODISPLAY] -- pf2afm.ps disk_font_name". I found this program to be more robust than the well-known pfm2afm of Ken Borgendale. [Google] [More] ⦿
Warsaw, Poland-based type designer who studied at Warsaw Academy of Fine Arts. His company is called Picador Studio. Some of his typefaces are also available from the new Polish type foundry Capitalics. Creator of the sans typeface Fela (2014). Fela was designed for books and posters for young children by employing simple hand-crafted glyphs. Graphen (2014) is a hand-crafted typeface family that seems destined for posters. Mato Sans is a large sans family for Latin and Cyrillic.
Kaboom (2015) is an animal dingbat font.
In 2016, he designed the high-contrast poster typeface family Artigua (with Wiktoria Galecka).
Praho Pro (2017) is a high-contrast didone-inspired typeface family for headlines that mixes wedge serifs with traditional rectangular didone terminals. Covering both Latin and Cyrillic, it is part of Warsaw Types---a project based on Warsaw's local typographic heritage. The project, presented at the Museum of Praga, is a collaboration of 12 young Polish type designers.
Wroclaw, Poland-based design group consisting of Maciej Kodzis, Grzegorz Owczarek, Ewa (Dominika) Sadowska, Marta Moskwa, and Michal Pawlowski. Together, they designed the free typeface family Pischinger (2016), which consists of PischingerFraktur-Basic, PischingerFraktur-InlineGlow, PischingerFraktur-NeonInline, PischingerFraktur-NeonOutline, PischingerFraktur-OutlineNeon, PischingerGrotesk-Basic, PischingerGrotesk-Fontex, PischingerGrotesk-Fontpol, PischingerGrotesk-InlineGlow, PischingerGrotesk-NeonInline, PischingerGrotesk-NeonOutline, PischingerGrotesk-OutlineGlow, and PischingerGrotesk-Shadow. Designed for Katowice City, the project was supervised by Verena Gerlach.
Piotr Rypson is Deputy Director of the National Museum, Warsaw. He holds a PhD in literary studies. Author of books and articles on art, information architecture, visual communication and literature, including Against all Odds. Polish Graphic Design 1919-1949 (2011). Speaker at ATypI 2016 in Warsaw on Polish letters. [Google] [More] ⦿
Polish typographer involved in GUST.org fonts for Polish such as QuasiHelvetica, QuasiCourier, QuasiChancery, QuasiBookman, Antykwa Półtawskiego (based on work by Adam Półtawskiego (1923-1928), constructed by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk). Read about that last project here in their 1999 EuroTeX article Antykwa Półtawskiego: a parameterized outline font. [Google] [More] ⦿
The PL fonts are a set of Polish extensions of the Computer Modern fonts. The type 1 and metafont code is in the public domain. Created by Janusz M. Nowacki, the 77 fonts are PLCaps10-Regular, PLDunhill10-Regular, PLFibonacci8-Regular, PLFunny10-Italic, PLFunny10-Regular, PLInch-Regular, PLMathExtension10-Regular, PLMathExtension9-Regular, PLMathItalic10-BoldItalic, PLMathItalic10-Italic, PLMathItalic12-Italic, PLMathItalic5-Italic, PLMathItalic6-Italic, PLMathItalic7-Italic, PLMathItalic8-Italic, PLMathItalic9-Italic, PLMathSymbols10-BoldItalic, PLMathSymbols10-Italic, PLMathSymbols5-Italic, PLMathSymbols6-Italic, PLMathSymbols7-Italic, PLMathSymbols8-Italic, PLMathSymbols9-Italic, PLRoman10-Bold, PLRoman10-BoldItalic, PLRoman10-Italic, PLRoman10-Regular, PLRoman12-Bold, PLRoman12-Italic, PLRoman12-Regular, PLRoman17-Regular, PLRoman5-Bold, PLRoman5-Regular, PLRoman6-Bold, PLRoman6-Regular, PLRoman7-Bold, PLRoman7-Italic, PLRoman7-Regular, PLRoman8-Bold, PLRoman8-Italic, PLRoman8-Regular, PLRoman9-Bold, PLRoman9-Italic, PLRoman9-Regular, PLRomanDemi10-Regular, PLSans10-Bold, PLSans10-BoldItalic, PLSans10-Italic, PLSans10-Regular, PLSans12-Italic, PLSans12-Regular, PLSans17-Italic, PLSans17-Regular, PLSans8-Italic, PLSans8-Regular, PLSans9-Italic, PLSans9-Regular, PLSansDemiCond10-Regular, PLSansQuotation8-Italic, PLSansQuotation8-Regular, PLSlanted10-BoldItalic, PLSlanted10-Italic, PLSlanted12-Italic, PLSlanted8-Italic, PLSlanted9-Italic, PLTeXExtended10-Regular, PLTeXExtended8-Regular, PLTeXExtended9-Regular, PLTypewriter10-Italic, PLTypewriter10-Regular, PLTypewriter12-Regular, PLTypewriter8-Regular, PLTypewriter9-Regular, PLTypewriterCaps10-Regular, PLTypewriterSlanted10-Italic, PLTypewriterVarWd10-Regular, PLUnslanted10-Regular. The fonts were originally created by Janusz M. Nowacki in 1997 and released during the meeting of the Polish TeX Users Group (GUST) in Bachotek. Several minor bugs were removed during a few years of using the fonts. Total re-arrangement of the collection and adaptation to the Windows environment took place out in 2000 and was carried out by the JNS TEAM (Boguslaw Jackowski, Janusz M. Nowacki and Piotr Strzelczyk). [Google] [More] ⦿
Polish Your Art (was: Marta Van Eck Designs)
Marta Waniek (Marta Van Eck Designs, Poland and Germany) made the free old typewriter typeface SENTA Schreibmaschine (2011), the curly script Midnight Reverie (2012), the spindly script Vintage Marta Van Eck (2012), and Burned Letters (2012, recovered from burnt newspapers).
Typefaces from 2014: Steampunk (grungy), Mischief Circus, Comic Block (3d, shaded).
Typefaces from 2015: Clasica Striped (an etched money font).
Typefaces from 2016: Sketched 3D.
Pracownia Liternictwa i Typografii
In 2014, he made the octagonal typeface Mechanik. In 2016, he started work on Laktoza.
In 2018, Mateusz Machalski, Borys Kosmynka and Przemek Hoffer co-designed the six-style antiqua typeface family Brygada 1918, which is based on a font designed by Adam Poltawski in 1918. Free download from the Polish president's site. The digitization was made possible after Janusz Tryzno acquired the fonts from Poltawski's estate. The official presentation of the font took place in the Polish Presidential Palace, in presence of the (right wing, ultra-conservative, nationalist, law and order) President of Poland, Andrzej Duda. Calling it a national typeface, the president assured the designers that he would use Brygada 1918 in his office. It will be used for diplomas and various other official forms. [Google] [More] ⦿
Graduate of Warsaw Academy of Fine Arts. Type designer for Tygodnik Powszechny weekly magazine, History Meeting House and others. In 2016, as part of Warsaw Types, he designed the thick poster typeface Aprobal and writes: In the old Warsaw urban slang, Apropal means a small time crook. This font is inspired by the Czytelnik bookstore, the information signs from Warsaw's Zoo, and designs found in the Lettering Techniques book manual, by Jan Wojenski.
In 2018, he graduated from the TypeMedia program at KABK in Den Haag. His graduation typeface is called Gamer. He writes: Gamer is a typeface which originates from nostalgia for the games, films, and technology I grew up with. The main aim of the project is to make letterforms that work well both on low and high-resolution screens. To accomplish this, the core shapes of the typeface are drawn on top of pixelated letters. The wider-than-usual proportions are informed by the logos of technology companies. The squarish letterforms are inspired by fonts that commonly appear in sci-fi movies. [Google] [More] ⦿
Web designer and illustrator in Sandomierz, Poland. In 2009, he created the wonderful hand-printed typefaces Akvilon and Vanishing Point. He is working on the sans typeface OffDaHook (2009). [Google] [More] ⦿
Renata Pokrywińska is at the Uniwersytet Artystyczny in Poznań, Poland. She created the Milosz text typeface in 2011 in honor of Czeslaw Milosz (1911-2004), a Lithuanian-born poet who was part of the catastrophist school of poets in the 1930s. Renata Pokrywinska's graduation project was the large x-height informal screen font Arlekin (2013). It includes a cursive. The typeface has been used in children's books. [Google] [More] ⦿
Polish pixel typeface outfit, which gives away its creations here: RittswoodProfile6 (2004), RittswoodImpresive6 (2004), RittswoodOffice_lg (2004), RittswoodYoungEx7 (2004), RittswoodYoung08 (2004), RittswoodPlaza8 (2004), RittswoodClassic08 (2004), RittswoodProfile_6-Bold, RittswoodProfile_6-Regular, RittswoodTechnical-Regular, RittswoodThreeOranges-regular, RittswoodYoung-Extended, RittswoodYoung-Regular (2005). Others are commercial. We have (with the prefix Rittswood omitted) ThreeOranges7, Mataxa8, Office2, Profile5, Profile9, Fagot, WoodAloha, ImpresiveNew, Rozania, Makro, Friday, Metric, Lui, Profile, Place3_10, Place2_10, Place1_10, Avchai, OfficeLong, Office, Organic, Woodcode, Argentina, WoodRulez, Tronic, Tower, Atomic, Fix, Plaza, Cube, News, Impresive, Magnum, Classic, Young, Technical, Prestige, Hand, Pix Gothic 7 (2006), PIXleft_5 (2006), PIXroma_8 (2006), Rittswood Impressive (2006), RedStar (2006). Dafont link. Yet another URL. [Google] [More] ⦿
Polish type design pages by Robert Chwalowski. On-line type book on good and bad typography by Robert Chwalowski, in Polish. He is the author of Typografia typowej ksiazki (2001) (Typography of a typical book). [Google] [More] ⦿
Type, lettering, information architecture and user experience designer, who studied at Poznan Fine Arts University and Adam Mickiewicz University. He is currently teaching at Poznan Fine Arts University.
Robert Jarzec created the bracketed serif typeface Metrum in 2013. For his MA diploma at the Type Design Studio, University of Arts in Poznan, under Krzysztof Kochnowicz and Viktoriya Grabowska, he designed the wonderful text typeface for Latin and Cyrillic, Talia (2016).
Roch Modrzejewski (ROHH, Krakow, Poland) established ROHH in 2015. That same year, he published the organic script typeface Rumi, the 22-font sans workhorse typeface Xyngia, the squarish typeface Bietka and the creamy italic titling typeface Aloe, which was inspired by headlines from 1930s newspapers.
In 2016, he published the 27-style vintage condensed sans typeface family Ganges (sans), the 27-style Ganges Slab, the script typeface Rumi (based on handwriting discovered at Jagiellonian University Library in Krakow), the curvy sans serif family Kasia, Pusia (a rounded organic sans family) and the clean geometrc sans typeface family Tosia.
Typefaces from 2017: Akwe Pro (a 164-style grotesk typeface characterized by a tapered italic f, large x-height and stroke endings cut at a 10 degree angle), Paneuropa Nova (a minimalist geometric sans that revives Paneuropa (1931, Idzikowski Foundry), itself a take on Futura), Paneuropa Retro (closer to the original than Nova).
Typefaces from 2019: Montreux Grotesk (132 fonts: advertized as a universal sans, it is a slightly more geometric approach to Helvetica and Swiss design in general), Amfibia, Eckhart (a 74-font family of modernized didones in Poster, Text, Display, Headline and Color subfamilies). [Google] [MyFonts] [More] ⦿
Polish type designer, typographer, writer and printer (b. Poznan, 1921, d. Warszaw, 1992). From 1968 until 1981, he was the leading type expert at the Polish Printing Industry Union. From 1966 until 1978, he edited Litera, a type magazine in Poland. From 1965 until 1975, he lectured on typography at the University of Arts (ASP) in Warsaw and College of Arts (WSSP) in Lodz. In 1968, he founded Osrodek Pism Drukarskich (the Centre of Typefaces) in Warszaw. [Google] [MyFonts] [More] ⦿
Jacek Jan Judkiewicz is a Polish type designer who runs Rotograf in Warsaw. Creator of Roto Script (2010), Kalchynsky Script (2007, Rotograf), Roto Extra Large (2007, white on black), and Kalchynsky Simple Heavy (2007, a 4-style funky sans family). [Google] [MyFonts] [More] ⦿
This list is extracted from the (German) text of Die Industrie Russlands in ihrer bisherigen Entwicklung und in ihrem gegenwärtigem Zustande mit besonderer Berücksichtigung der allgemeinen russischen Manufactur-Ausstellung im Jahre 1870 Industrielles Handbuch für das Gesammtgebiet des russischen Reiches, Band 1-2 (1872-1873, Friedrich Matthaï, Gera: Griesbach). The Finance Ministry reports ten foundries in 1870. A lot of type was imported from foundries like F. Flinsch (Frankfurt). The leading foundry in Russia was Osip Lehmann (founded in St. Petersburg in 1854). Also in St. Petersburg, one of the main printers there, Moritz Wolf, has started a foundry as well. There are other small foundries associated with the Academy of Sciences, with the Senate, with the Ministry of War, with the Office of the Emperor, and with the Interior Ministry, for example. Other small foundries include W. Besobrasow&Cie in St. Petersburg, and Iwan Glasunow (I presume also in that city). In Moscow can one find the oldest foundry in Russia (for Slavonic scripts), which is associated with the Sinodal printing company. Smaller foundries in Moscow include those of Ries and of Tschuksin. Mr. Steffenhagen runs a small foundry in Mietau. As Russia also comprised Poland then, we learn that Warsaw had three foundries, of which that of S. Orgelbrand (founded in 1836) was the largest and most impoortant. The other two were run by W. Schreiber and P. Swichotzki, respectively. Finally, the Alexander University in Helsingfors also had its own foundry, founded in 1842 and run by H. Hanemann. [Google] [More] ⦿
Lodz, Poland-based designer of FT (2014), Geometry (2014), Abc (2014, hipster font), Ukrainian Alphabet (2014), Medicine Icons (2014), and Imopossible Figures (2014, Escher-style dingbats).
Sebastian Cabaj (or: Pan Cabaj) studied graphic design at the Academy of Fine Arts in Warsaw, where he now works as a graphic and type designer, and runs Kometa Studio. In 2012, he set up the Sebastian Cabaj Foundry via MyFonts.
Creator of the octagonal modular Castania (2012), the squarish display typeface DLG Monospace (2012), the dadaist cut-out typeface Mad Cut (2012), the hand-printed poster typeface Morning Coffee (2012), the Polish antiqua typeface Modena (2012, +Modena Printed), and the blackletter typeface Luft (2012).
Typefaces from 2013: USKOK, Bosman (a sketched or tattoo font family), Marina (a tattoo font), Grot, Olech (a layered poster or letterpress simulation face based on Martin Jacoby-Boy's Bravour, 1912), Garda (a layered system with a great inline), Pancake (a signage script), Zapora, Sailors Dream (layered font family).
Typefaces from 2014: USKOK, Old Craftsman.
Typefaces from 2018: Epsum (a squarish poster or logo typeface family).
Born in Breslau (Poland) in 1978, Sebastian Onufszak is a German-Polish illustrator, designer and director. He is located in Augsburg, Germany. Creator of the experimental geometric typeface Black and White (2012).
Adam Twardoch is a Polish type expert (b. 1975) who lived in Frankfurt (Oder), after graduating in cultural studies in the same city. Since the summer of 2000, he is type consultant of MyFonts, and in the summer of 2002, he became type consultant at Linotype. He also ran Font.org, which closed around 2005. In January 2004, he joined Fontlab as "Scripting Products and Marketing Manager". Currently he is Product and Marketing Manager at FontLab and MyFonts. Designer of TTG Andromeda (2001, now Andromeda SL), inspired by a 1970's-like logo design for the "Andromeda" cinema in Tychy, Poland. Fontspace link. At ATypI 2004 in Prague, he spoke about East-European diacritics, and Cenrral European type support. In 2007, he designed Nadyezhda SL One, based on Jim Lyles' Bitstream Vera Mono. SL stands for Silesian Letters. Speaker in the TypeTech Forum at ATypI 2008 in St. Petersburg, at ATypI 2009 in Mexico City, and at numerous other type design and type tech meetings. Subpage with samples of Polish type, 1918-1990. [Google] [More] ⦿
Silesiana 2006 is a project that involves a typeface designed in Poland after World War II. Supported by the government of Silesia (Poland), the (re)creators are Artur Frankowski (Warsaw), a type designer from the digital era, and Henryk Sakwerda (Katowice), a pre-digital typographer and calligrapher. The result is a gorgeous calligraphic typeface. To celebrate this, a free (!) conference was held on November 15, 2006, at The Castle of Enterprise and Art in Cieszyn and The Silesian Library in Katowice. Speakers include Artur Frankowski, Gerry Leonidas, Verena Gerlach and Filip Blazek. See also Ewa Satalecka's announcement. See also here. [Google] [More] ⦿
Spinefonts is the type foundry in Warsaw of Polish designer Jerz Stach.
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] ⦿
STR: Studio Typografii Realnej
Type foundry in Warsaw, Poland, run by Krużyńska. It published the caps typeface Filigran, and the playful textured typeface Ping-Pong. In 2012, Filigran published the fat hand-drawn poster typeface families Kruszynka and Serwus.
In 2013, it published the hand-printed typeface Janusz, the unconventional slab serif Kurws, the angry angular Gang, the upright script Hashtag, and the dingbat typeface OJ. [Google] [MyFonts] [More] ⦿
Studio Ladne Halo
Maciej Blazniak (Studio Ladne Halo, Lodz, Poland) is a graphic designer and illustrator. In 2015, he designed the fat art deco typeface Miasto.
Szczecin, Poland-based designer of attention-grabbing poster typefaces such as the fat elliptical Pillow (2019) and the experimental stencil typeface Mountains (2019), which was inspired by the Tatra mountains. [Google] [More] ⦿
Jan Tonellato is an independent Polish web and graphic designer (b. 1979, Poznan), currently living in Paris. He attended the 2010 type design master class at Poli-Design (Politecnico) in Milan. Since 2019, Synthview's fonts are available from Adobe Fonts.
He created Novecento (2011), a useful 32-style uppercase-only sans family that covers every European language, and is loaded with plenty of opentype features. Six weights of it were free. It became a hugely successful commercial typeface in the two years after its publication. In 2013, Novecento Slab was published. In 2016, he added the layered typeface Novecento Carved.
Szymon Sznajder runs Typolis in Warsaw, Poland. He studied at the Fine Arts University in Poznaan, where he presently teaches. His typefaces include Shelf (a wayfinding sans for Latin, Cyrillic and Hebrew), Grind (angular expressionist style), Oneweek, Simonella (2009), and Zaklad (2016: a free brutalist typeface done as part of the Warsaw Types project). [Google] [More] ⦿
One can study typography in the Department of Design here. AT TDC47 in 2001, a group of five students (Jure Engelsberger, Martina Gobec, Tomato Kosir, Ziva Moskric and Mina Zabnikar) received a Certificate of Typographic Excellence. [Google] [More] ⦿
British font service house: can sell you most of the commercial fonts. Sells also fonts for Albanian, Arabic, Bengali, Bulgarian, Croatian, Czech, Estonian, Farsi, Greek, Gujurati, Hindi, Hungarian, Japanese (Katakana, Hiragana, Kanji), Latvian, Lithuanian, Polish, Punjabi, Russian, Serbian, Slovak, Slovene, Thai, Turkish, Ukrainian, Vietnamese, Welsh. Has barcode fonts, and is a special distributor of the Royal Mail Barcode font. [Google] [More] ⦿
The TeX Gyre Project was started in 2006 as the brainchild of Hans Hagen (NTG). It is described in The New Font Project (Hans Hagen (NTG), Jerzy Ludwichowski (GUST) and Volker RW Schaa (DANTE e.V.), presented at BachoTeX2, 2006). From the project, which is being implemented by GUST's e-foundry guys, Boguslaw Jacko Jackowski and Janusz M. Nowacki aka Ulan: All of the Ghostscript font families will eventually become gyrefied as the result of the project. Gyrefication, also called LM-ization, was first applied to the Computer Modern Fonts and their various generalizations with the result known as the Latin Modern (LM) Fonts. The Gyre fonts each have 1200 glyphs that cover basically all European scripts (including Latin, Cyrillic and Greek), and have Vietnamese characters added by Han The Thanh, and Cyrillic glyphs by Valek Filippov. Available in Type 1 and OpenType, they come under a very liberal license (free, modifiable, unlimited use, and a request to rename altered fonts). The TeX Gyre fonts are
Thaddeus Ted Szumilas
Thaddeus Typographic Center
Thaddeus "Ted" Szumilas was born in Poland in 1951. In 1966 he emigrated to the United States where he attended Haaren H.S. and Parsons School of Design, majoring in Graphic Design. Practical experiences at Lubalin, Smith&Carnase Design Studio and with John Pistilli at Sudler&Hennessey ad agency prepared him for the real world of typographic design. He did book jackets, packaging, corporate identity, entertainment and TV. Here is one of his early typefaces. Thaddeus has been teaching the curriculum of basic and advanced typography at Pratt Institute in Brooklyn, New York, from 1998-2008. Designer of the swashbuckler / medieval script family Ovidius Script (2001, FontHaus; in Light, Demi and Bold weights; also known as TS Ovidius), Sans Original, On The Line (2008, great calligraphic grunge), Singles Bar (2008, display sans), Wind Factor (more calligraphic grunge), Agitas Gallery (2008, blackletter), Big New Sign (2008), Breslau City (2008), Daily Fix (2008), Deltona (2008), Nigerian King (2008, avant garde face), Stigmal (2008, African theme), Amerigraf (2009), Election (2009, medieval with a rough outline), Gillateg (2009, grungy outline), Wackoface (grungy like Treefrog), Taliography (2009, another script with a rough outline).
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] ⦿
Type conference on 7 and 8 December 2018 in Wroclaw, Poland. The speakers: Riccardo Olocco, Victoria and Vitalina Lopukhina, Viktoriya Grabowska, Peter Bence Simon, Maciej Majchrzak, Katarzyna Roj, Tomasz Bierkowski, Nikola Djurek, Dan Reynolds, Adam Twardoch. [Google] [More] ⦿
Polish designer of Adler Clean (2009, Open Font Library), a "clean" derivative of the typewriter typeface Adler Monospace. Type 3 version only. I generated the truetype, opentype and type 1 versions. [Google] [More] ⦿
Three Dots Type
Founded in 2017 by Marian Misiak, Three Dots Type is a small type foundry based in Wroclaw, Poland. The main font designer is Marian Misiak, and the second in line is Damian Langosz. Their fonts as of 2019:
Marian Misiak is a graduate of the type design program at the University of Reading in 2010. Marian designed Timeline for his thesis. Timeline is a full family with serif, sans and Arabic subfamilies. It is intended for information design---the serif is kept uncomplicated while the sans and Arabic are basically monoline styles.
Marian has both a Polish and a Czech background. With Tomek Bersz, he runs a studio in Warsaw, Bersz Misiak. In 2015, she co-authored a book on the cultural history of Polish type design with Agata Szydloska. Speaker at ATypI 2016 in Warsaw. [Google] [More] ⦿
Polish illustrator, who created an ornamental caps alphabet called Malchov (2012).
Together, Tom Nowak (Nowak Studios) and Karol Gadzala (YLLV, Krakow, Poland) created the Lean Serif type family in 2012. They explain: Lean is Cologne based digital agency specialized in CGI, Photomanipulations, 3D Modelling and Sound Engineering. Lean is working with an international clients, especially with automotive companies like Lamborghini, Seat and some more. [Google] [More] ⦿
Polish graphic designer (b. 1943). In 1991, he drew a naked woman alphabet for the title page of "Szpilli". Other humoristic drawings are here, under the theme "How to make love today", based on a poster sold by the German monthly journal Das Magazin. A specimen is in "Menschenalphabete" (Joseph Kiermeier-Debre and Fritz Franz Vogel, 2001). See also here, here and here. [Google] [More] ⦿
Zakopane, Poland-based designer (b. 1975) who created these typefaces:
Polish designer of the free text family Apolonia (2011), which was based on SIL Sophia. This typeface is a result of Welna's doctoral dissertation at the Academy of Fine Arts in Krakow. [Google] [More] ⦿
Traffic Sign Typefaces: Poland
Ralf Herrmann discusses Polish traffic typefaces. Quoting some passages: The typeface has a very simple geometric design almost without any typographic corrections. Only one style is in use. There is no condensed style available and no variations for positive/negative contrasts. There are two digital versions: Tablica drogowa (commercial) by Grzegorz Klimczewski and Drogowskaz (free) by Emil Wojtacki. [Google] [More] ⦿
Barmee (Bartek Nowak) and PitDGulash, both from Poland, used Tymex Service to publish their free fonts in 2004: 270-Fudge, Ariendesse, Brrritty, Dirty-Dung, Ekoclean, Elementarz, Fiesta, Ginger-Snake, GotykPoszarpany, KeiserSousa, Lola, Magda, MaszynaAEG (old typewriter type), Momentum, Nerwus, Nokian, Nokian2, Pascal, SecesjaPL, Stuk-Puk, Trix. They used to be at Barmee.com, Czcionki.com and Barme Fonts. [Google] [More] ⦿
TypeTalks2---the second edition of the symposium---took place at the University of Arts in Poznan, Poland, from 18-19 June 2011, and was organized by David Brezina and Anna Giedrys in collaboration with the University of Arts in Poznan and the Foundation of the Academy of Fine Arts. [Google] [More] ⦿
TYPO, or Sign and Typography Studio in English, was founded by Krzysztof Kochnowicz, b. 1955. Kochnowicz started teaching in 1989 at the State College of Fine Arts (now Academy of Fine Arts) in Poznan, Poland. His typefaces include Sylwia (a modern serif), Corner (pixelish), Jeweler (3d face), and Pricker. He created Anatol MN (1965, Mecanorma), a futuristic-looking stencil face. MyFonts link. [Google] [MyFonts] [More] ⦿
Typographic posters from the collection of the National Museum in Poznan, at the Miejska Galeria Sztuki in Lodz, Poland. Featuring type-based posters of five designers, Philippe Apeloig, Takenobu Igarashi, Tadeusz Piechura, Taku Satoh, and Ruedi Wyss. Especially the work of Taku Satoh from the early nineties (neo-ornamentalism) is quite impressive. Letters are constructively worked into futuristic designs and ads. [Google] [More] ⦿
Blazej Ostoja Lniski (b. 1974, Czersk, Poland) specializes in painting and lithography. From 1994 until 1999, he studied at the Warsaw Academy of Fine Arts. Currently, he is the Dean of the Faculty of Graphic Arts at he Warsaw Academy of Fine Arts. He founded the type foundry Typoforge.
Creator of Merlo (2014, inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa; followed in 2015 by Merlo Round and in 2016 by Merlo Grotesque and Merlo Neue), Cervo (2014, a simple almost heartless sans that was inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa that appeared from 1960 until 1973 in Poland), Cervo Neue (2016), Toppo (2014, a letterpress emulation family inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa), Pekora and Pekora Slab (2014: inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa (Poland) between May 1960 and December 1973), Rospi Clean (2014: inspired by the weekly Tygodnik Ilustrowany from 1933), Rospo Wood (2014: a worn letterpress typeface inspired by the weekly Tygodnik Ilustrowany (1933)), Lupo (2014), Kapra (2014) and Bobbin and Bobbin Cyrillic (2014, letterpress style), which were inspired by You And Me Monthly published by the (Polish) National Magazines Publisher RSW Prasa which was active from 1960 until 1973. Kapra is beautiful---it has some of the masculinity of Impact and the naïveté of wood type. Other typefaces by him in 2014 include Skuul (a desperate cold war font inspired by a Letraset font from 1981), Blezja (inspired by a metal tin dated 1907, Potsdam), Greta (a roman typeface based on a prayer book from 1888), and Kleks (grunge typeface inspired by vernacular typography in Potsdam).
Typefaces from 2016: Cozza (a grungy typeface family based on the dry transfer architect set Unitras Letraset from the 1980s).
Typohole Basia Barbarja Lukasik (was: Barbarja)
Polish graphic designer based in Lodz. Her studio was called Barbarja, and then Typohole Basia Barbarja Lukasik, or Studio Baklazan, or Basia Barbarja. She made the artsy fonts Barbarjowe-Krzywki (2001) and Geometyczna (2002), as well as the handwriting fonts Barbarjowe-Pisanki (2001), Barbarjowe-Pisanki (2001) and "not-included" (2000).
In 2014, as Typohole, Barbara Lukasik created the 3d typeface Axonometry Font No1.
Typoland is the Warsaw-based foundry of Lukasz Dziedzic (b. 1967, Warsaw), est. 2014. Before that commercial venture, he was mostly creating free typefaces or commercial typefaces through FontShop / FontFont. Quoting Adam Twardoch: Rather than to finish high school, he worked as a sound technician and occasionally actor at a children's theatre group, spent a year working as a carpenter helper rebuilding 13th-century churches, he lent his voice and bass guitar skills to the band Dunski Jazz, and worked as a software developer at the Polish patent office. During the first free Polish elections of 1989, he briefly worked as a newsboy for Gazeta Wyborcza, the newly-launched, first independent daily newspaper in the country. A year later, he joined the design department of Gazeta Wyborcza and spent seven years there, co-creating the layouts of the main newspaper and its weekly companion magazine, for which he drew his first typeface. He later worked for several other publishing houses in Warsaw (since 2003 at Axel Springer Polska), designing newspapers and magazines. In the same time, Lukasz drew over a dozen typeface families ranging from large Latin and Cyrillic text families to single display styles. Many of these fonts were originally created for a particular newspaper or magazine layout. Some of them went into regular use or were used occasionally (in Poland: Gazeta Wyborcza, Vita, Przyjacióka, Fakt, Lub Czasopismo, Go Niedzielny, Telewiat, Komputer wiat, in Russia: OK!, in Germany: OK! and PAGE), others were never utilized.
In 2007, Lukasz created a three-style Latin and Cyrillic corporate family for empik, one of Poland's largest press and music retail store networks. At the same time, FontShop International released two of Lukasz Dziedzic's families (FF Clan and FF Good). Work on FF Clan had started in 2006.
In 2008, FontFont released FF Clan Italic and FF Pitu. FF Clan is a sans family in seven weights and six widths. FF Good (60 styles in all) is used in the Polish-language tech magazine Komputer Swiat. FF Good Headline followed in 2010. In 2014, FF Good and FF Good Headline were extended for a total of 196 styles. FF Clan Web has 168 styles. But most praise went to the elegant FF Pitu, about which Adam Twardoch writes FF Pitu started off in 2002 as a set of swashy capitals accompanied by lowercase that sits somewhere between a didone italic and a Copperplate script. Its most characteristic features are probably the pronounced stroke modulation and blade-shaped sharp stroke endings, which are slightly softened by generous calligraphic loops with foxtail terminals. Tiffany Wardle drools This is gorgeous. Provocative even. The stems which mimick a sharp nib pen ... well it certainly doesnt shy away from anything. This is what people should think of when they want something that looks opulent, lavish and exclusive. This is a font for a private club with high bench seat and private alcoves with velvet curtains.
Lato is a sanserif typeface family designed in the summer of 2010 by Lukasz Dziedzic In December 2010 the Lato family was published under the open source Open Font License by his foundry tyPoland, with support from Google. In 2013-2014, the family was greatly extended to cover 3000+ glyphs per style with the help of Adam Twardoch and Botio Nikoltchev. The Lato 2.010 family now supports 100+ Latin-based languages, 50+ Cyrillic-based languages as well as Greek and IPA phonetics. In the process, the metrics and kerning of the family have been revised and four additional weights were created. A further update in 2019 is renamed Verano Sans. Microsite. Open Font Library link. At OFL, the help of Adam Twardoch and Botio Nikoltchev is acknowledged. CTAN link. In 2013, Lato TR (for Turkish) was published by Fatih Günes: free download.
In 2014, he published the sans family Ringo (Typoland) and the free typeface family Carlito (a sans family adopted by Google for ChromeOS as a font-metric compatible replacement for Calibri---it would be interesting to understand the motivation for Google's decision to do that). Download Carlito here.
In 2015, he published the perky script typeface family FF Eggo (FontFont).
Unka Odya (b. 1986, Poland) studied at the Fine Arts Academy in Gdansk (class of 2011). Based in Warsaw, he created the techno typeface Luke (2015) and the modular hipster typeface Darren (2015). [Google] [More] ⦿
Canadian designer (b. Poland) of ITC TotSpots (1997, dingbats for children).
Freelance graphic and type designer in Poznan, Poland. Shee came from Crimea (Ukraine) but currently lives in Poznan, Poland. She obtained an MA in Graphic Design (Type Design) from the Academy of Fine Arts in Poznan in 2010. Since 2010 she teaches at the Sign and Typography Studio of the University of Arts in Poznan.
Creator of some interesting typefaces in 2008: Argon, Jackson (hand-printed, inspired by Michael Jackson).
In 2012, she made the rounded sans family Capriola (Google Font Directory). Kavoon, a fat signage script, and Fruktur, an angular German expressionist typeface, can be found at Sorkin Type and Google Web Fonts.
Codesigner with John Hudson, Joshua Darden, Maxim Zhukov and Eben Sorkin of Omnes Cyrillic.
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] ⦿
Polish type designer who released Sydonia Atramentiqua in 2019. The inspiration came from the first releases of "Malleus Maleficarum" and the Caslon typeface. The first version of Sydonia Atramentiqua was created in 2018 for the purposes of the exhibition at the National Museum in Szczecin. The project's supervisors were Waldemar Wojciechowski and Patrycja Makarewicz. Named after a local witch, Sydonia von Borck, the typeface spills ink around its outlines. [Google] [MyFonts] [More] ⦿
Warsaw Types (Warszawskie Kroje in Polish) is a collection of free fonts that are based on Warsaw's heritage. The fonts were designed by a coperative of young Polish type designers, and started in 2016. Some of the fonts were expanded in 2017 to large commercial typeface families. Warsaw Types is coordinated by Jan Franciszek Cieslak and Rene Wawrzkiewicz. The list of fonts:
Polish designer of the thin upright script typeface Mila (2016) and the sans typefaces Friday (2016), N78 Thin (2016) and Exmila (2016).
Typefaces from 2017: The Youngest (textured), Harold (fashionable), Philemon (hand-crafted), Tamarind (hand-crafted blackboard bold typeface duo), June Morning, Cardamine (marker caps), Cedrus, Tarant (sans), Gramin (a great inky brush font), Moricandia, Thyme (curly letters), Parsley, Lovage (all caps sans poster type), Camomile, Chervil (sketched), Hornimet (watercolor brush), Asure (rounded all caps geometric sans), Savory (hand-crafted), Anise (thick watercolor brush script), Hagna (sans), Marjoram (curly script), Caraway, Fonto.
Whangarei Heads, New Zealand-based graphic desigmner and illustrator. In 2012, Wera created the monoline sans typeface Gdynia. Wera has an MA in graphic design from the University of Arts in Poznan, Poland (2012).
Polish designer (b. 1980) of the pixel font Mutter LVS, of the hookish font Rammstein (1999, named after the rock group), which can be found here, and of the scribbly handwriting font Sehnsucht (1999). See also here. See also here. [Google] [More] ⦿
Wojciech Kalinowski was born in Wroclaw, Poland in 1969. Since 1990, he has designed and carved inscriptions and reliefs in stone, commemorative plaques, and gravestones. He also deals with computer graphics, digital typeface and logo design, and wallpapers. His typefaces are free and are available from the Open Font Library (or OFL).
He created New Shape (2012, organic sans), Medieval Sharp (2011, blackletter), which originated 15 years earlier from a stone inscription alphabet. Consola Mono (2011, OFL) is a monoline monospaced sans for Latin, Greek and Cyrillic. Classica (2011) is a classical roman family. SquareAntiqua (2011, OFL) is a wavy informal face. Cursive Sans and Cursive Serif (ca. 1997, OFL) and Modern Antiqua (1997, OFL) are also based on stone inscriptions. Klaudia and Berenika (2011) is a Celtic style family. Roundstyle (2011) is a sans display family. Modern Antiqua (2011) has a strange name for a font that is neither modern (i.e., didone) nor Antiqua---it is an organic, or liquid, typeface with the gothic flavor of Jonathan Barnbrook's types.
Kalinowski started the NovaCut typeface ca. 1986.
He created the free monospaced "programming" fonts NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare, and NovaMono (2011, OFL): NovaMono is the monospace font especially created for programming, text editors and for terminal-use. NovaMono contains a large number of symbols, operators and other miscellaneous signs. NovaMono is a missing part of NovaFont Family. Nova Font is the family of six fonts. There are: NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim and NovaSquare. Now, the seventh part of the family - NovaMono. The following Unicode ranges are supported:
Warsaw, Poland-based designer of the vintage monoline typeface Briik (2017) and the rounded sans typeface Obly Grotesk (2017).
In 2018, he published Newgate Sans and Newgate Slab.
Polish type design professor who is active in TYPO, a Polish design studio, also called Sign and Typography Studio. Wojcieh (Wojtek) Janicki's page in Poland is called Genetyka Litery. Creator in 2010 of the Genetika family, which includes a Sans, a Serif and a Slab-Serif. He also made Nilaya and Recognita. [Google] [More] ⦿
Wroclaw, Poland-based designer of the slab serif typeface Bastard (2014; a school project together with Rui Pinto and Mauro Pedrosa at IPCA; based on Dino dos Santos's Leitura Sans Grot 2), and Wroclaw Public Transport Pictograms (2015). [Google] [More] ⦿
Polish type designer, b. 1976, Gliwice, Poland. He studied graphic design at the Fachbereich Gestaltung of the Fachhochschule Bielefeld. After some training with LeonardiWollein in Berlin, he moved to Hamburg where he works today. At URW, he published Komisz (2004, outlined hand-printed face), Buchstaby (2004), Friederike (2004), Szablon (2004), Sztiefel (2004), Sztempel (2004), Sztark (2004, handwriting). [Google] [More] ⦿
Polish fonts: links, explanations, code tables, maintained by Zbigniew Koziol. Read about the following codings of the special Polish characters: Mazovia, Dom Handlowy Nauki, Cyfromat, Microvex, LOGIC, IEA = Instytut Energii Atomowej w Swierku, IBM Latin-2 (DOS - Latin-2, CP852), ISO Latin-2 (ISO-8859-2), CP1250 = Microsoft Windows Code Page 1250, also called a Latin-2. [Google] [More] ⦿
Or Zuzanna Waligorska. Polish designer based in Szczecin. At Typeclinic 12th International Type Design Workshop, she created Czytanka (2016). At the 13th Typeclinic in Slovenia in 2016 and the 15th Typeclinic in 2017, she continued the development of Czytanka. [Google] [More] ⦿
Graphic designer in Warsaw, Poland. During her graphic design studies at Poznan Fine Arts University, she created the brush script typeface Mascarpone (2013) for the Kuchenne Czary Mary iPad app. In 2014, she designed the informal script Language Garden and the rounded black art deco typeface Rudolf, named after her sculptor grandfather, Rudolf Rogatty. Her MA diploma project at the University of Arts in Poznan is Rialto (2016), a monoline neon script typeface, which was promply published at The Designers Foundry.
Zuzanna graduated from Ecole Boulle (Paris) in 2008, with a degree in industrial design. She is currently studying media arts at the Polish-Japanese IT Institute in Warsaw.
Polish type designer, b. Torun, 1914, d. 2001. He worked as graphic designer and production manager at Thorner Grafikwerken, Creator of Antykwa Torunska (1952-1958, released by the Polish state foundry [the Grafmasz type foundry in Warsaw] in 1960). He was also known for woodcuts, postage stamps and illustrations.
Bogusaw Jackowski, Janusz M. Nowacki and Piotr Strzelczyk created a series of digital fonts under the same name, Torunska. Gardzielewski's biography, told by Andrzej Tomaszewski.