TYPE DESIGN INFORMATION PAGE last updated on Mon Jun 18 23:12:40 EDT 2018






The Polish type scene

[Poster by Jan Mucharski (1931)]


[Piotr Wozniak]

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

Ada Krawczak

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]  ⦿

Ada Napiorkowski
[Mini Type]

[More]  ⦿

Adam Borowski

During his studies in warsaw, Poland, Adam Borowski created the free display typeface Brekol (2014). Aka Adam Boro. [Google] [More]  ⦿

Adam Gut

Graphic designer in Warsaw, Poland. For a course taught by Lukasz Dziedzic he created the modular typeface Almond (2014) on an almond-inspired curved grid. Behance link. [Google] [More]  ⦿

Adam Jagosz

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. Aka Quadratype. Devian Tart link. Dafont link. [Google] [More]  ⦿

Adam Jerzy Poltawski

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 Karpisz

Wejherowo, Poland-based designer of the heavy modular upper case font Kolubryna (2015). [Google] [More]  ⦿

Adam Klimas

Czestochowa, Poland-based designer of the body text typeface Spacer (2016). [Google] [More]  ⦿

Adam Lipien

Graphic designer in Gdansk, Poland, who made an experimental brush face in 2011. [Google] [More]  ⦿

Adam Miklaszewski

Warsaw, Poland-based designer of the roman typeface Summer Sky Serif (2017). [Google] [More]  ⦿

Adam Smialek

Adam Smialek (Poland) created a set of Palm pilot fonts, ca. 2006. [Google] [More]  ⦿

Adam Twardoch
[Silesian Letters]

[More]  ⦿

Adam Twardoch

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. He works at Fontlab (since 2004, as product and marketing manager), 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.

In 2016, a team of designers at Lettersoup that includes Ani Petrova, Botio Nikoltchev, Adam Twardoch and Andreas Eigendorf designed an 8-style Latin / Greek / Cyrillic stencil typeface, Milka, which is based on an original stencil alphabet from 1979 by Bulgarian artist Milka Peikova.

Speaker at ATypI 2013 in Amsterdam. Speaker at ATypI 2016 in Warsaw. [Google] [MyFonts] [More]  ⦿

Adrian Klosowski

Poznan, Poland-based designer of Skywalker (2017), a typeface that was inspired by Klavika and some gothic scripts. [Google] [More]  ⦿

Adrian Oniszczuk

Polish designer based Warsaw who created the free art deco typeface family Antoine (2015). Behance link. [Google] [More]  ⦿

Adrian Sowinski

Polish type designer. At the 13th Typeclinic in Slovenia in 2016, Adrian Sowinski designed Anna (text typeface). [Google] [More]  ⦿

Adrianna Celmer

During her studies in Poznan, Poland, Adrianna Celmer designed the modular display typeface Bubbles (2017). [Google] [More]  ⦿

Aga Magdziak

Warsaw, Poland-based designer of free vector typefaces Baloon, Brush and Neon in 2017. [Google] [More]  ⦿

Aga Silva

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 2013: Monmica (an upright copperplate script), Skarpa 2.0, Trufla (English round hand, copperplate script), Trufla Words (calligraphic), Calissa (copperplate script), Calissa Words.

Typefaces from 2014: Mavblis, Lavenda (a connected copperplate script), Roicamonta (connected script).

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.

Aka Mme. Ping, her work can also be found at Fontspace, Creative Market, and Dafont. Behance link. Home page. [Google] [MyFonts] [More]  ⦿

Agata Dabkowska

Gdansk, Poland-based designer of a colorful all caps alphabet called Donuts (2017). [Google] [More]  ⦿

Agata Gawor

Polish design student who made a typeface while studying in Krakow from 2003 until 2005. [Google] [More]  ⦿

Agata Jakubowska

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 Knajdek
[Nowa Era]

[More]  ⦿

Agata Komborska

During her studies in Poznan, Poland, Agata Komborska designed the stylish typeface Combo (2017). [Google] [More]  ⦿

Agata Pietraszko

Polish creator of the curly psychedelic didone typeface Hippie (2010). In 2012, she created a text typeface. Behance link. [Google] [More]  ⦿

Agata Szydlowska

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]  ⦿

Agata Wlodarczyk

Krakow, Poland-based designer of some innovative logos in 2012. [Google] [More]  ⦿

Agata Wozniak

Warsaw, Poland-based designer of the modular typeface Zlocona Pigulka (2016). [Google] [More]  ⦿

Agnieszka Barczynska

Warsaw, Poland-based designer of some icons custom-made for the Proctronik company. [Google] [More]  ⦿

Agnieszka Dudek

During her studies at Akademia Sztuk Pieknych w Krakowie in Krakow, Poland, Agnieszka Dudek designed the super-heavy Overweight (2017) and the super-condensed Prolong (2017). [Google] [More]  ⦿

Agnieszka Kaminska

Polish designer and illustrator. Behance link. Creator of a crazy poster typeface called Loft (2012). She also uses a fun hand-printed poster style in most of her illustrations. [Google] [More]  ⦿

Agnieszka Lewandowska

Designer in Lodz, Poland. Creator of the white-on-black typeface Square Line Typo (2015). [Google] [More]  ⦿

Agnieszka Mielczarek-Orzylowski

New York-based designer of the experimental typeface Blue Notes (2011), which was inspired by the jazz of Billie Holiday. [Google] [More]  ⦿

Agnieszka Olszewska

Polish designer of the decorative caps typeface Sweets (2015, Studio Filigran) and of the outlined all caps typeface Typek (2018, Studio Filigran). [Google] [MyFonts] [More]  ⦿

Agnieszka Tchorzewka

During her studies, Agnieszka Tchorzewka (Wroclaw, Poland) designed the LED font New Digital (2016) and the video game typeface Tetris Classic (2016). [Google] [More]  ⦿

Akhil Komath

As a student in Pune, India, Akhil Komath designed the sans typeface Mascurve (2016). [Google] [More]  ⦿


Aleks is the Polish designer of Absenced Streetsoul (2010). [Google] [More]  ⦿

Aleksandra Baran

Polish design student who made a typeface while studying in Krakow from 2003 until 2005. [Google] [More]  ⦿

Aleksandra Debniak
[Cuda Wianki]

[MyFonts] [More]  ⦿

Aleksandra Grünholz

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.

Another URL. [Google] [More]  ⦿

Aleksandra Jakubowska

During her studies in Warsaw in 2015, Aleksandra Jakubowska designed the display typeface Handgloves. [Google] [More]  ⦿

Aleksandra Mizielińscy

[MyFonts] [More]  ⦿

Aleksandra Mrozek

In 2016, at SWPS University in Wroclaw, Poland, Aleksandra Mrozek designed the umbrella and raindrop-themed typeface Lluvia. [Google] [More]  ⦿

Aleksandra Napieralska

Polish designer of the yummy plumpish typeface Skrzat (2017). [Google] [More]  ⦿

Aleksandra Paczkowska

During her studies at Nicolaus Copernicus University in Torun, Poland, Aleksandra Paczkowska designed the Illustrator-format multi-colored font Juice (2014). [Google] [More]  ⦿

Aleksandra Slowinska

Krakow, Poland-based designer of Strefa (2014), a typeface finished during her studies in fine arts. [Google] [More]  ⦿

Aleksandra Tomczak

Polish graphic designer, aka Toolenka. Creator of the hyper-organic Atomowa (2009). [Google] [More]  ⦿

Alex Fox

Poznan, Poland-based designer of the multilined typeface Pardon (2015). Behance link. [Google] [More]  ⦿

Alexandra Kociak

Bydgoszcz, Poland-based graphic designer who created bubbly initials for DIN Neuzeit Grotesk Light in 2014. [Google] [More]  ⦿

Alicja Grabowska

Torun, Poland-based designer of an origami typeface in 2018. [Google] [More]  ⦿

Allotype Typographics

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]  ⦿

Anastazja Sygula

Warsaw, Poland-based designer of the floral caps typeface FlorN (2014). [Google] [More]  ⦿

Andrew Zhukov

During his studies in Warsaw, Poland, Andrew Zhukov designed Pixel Font (2013). [Google] [More]  ⦿

Andrzej Dzieniszweski

Creator of the commercial chess font Akiba Pro available from thr Polish Internet Chess Center. Andrzej lives in Jelenia Gora, Poland. [Google] [More]  ⦿

Andrzej Gdula

Polish designer (b. 1982) of the hand-crafted typefaces Joy For Fun (2015) and Handy Andy (2015). Dafont link. Another URL. [Google] [More]  ⦿

Andrzej Heidrich

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. 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] [More]  ⦿

Andrzej Tomaszewski

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]  ⦿

Andrzej-Ludwik Wloszczynski

Warsaw, Poland-based designer of the layered rounded sans display typeface family Filip (2014). Behance link. [Google] [More]  ⦿

Aneta Swiezak

Krakow, Poland-based designer of the minimalist sans typeface Puro (2016). [Google] [More]  ⦿

Aneta Zdunek

Polish designer of the stencil typeface Cytat Tacyta (2016) and Web Icons (2016). [Google] [More]  ⦿

Angelika Cebula

Krakow, Poland-based designer of the experimental typeface FontStruct (2016). [Google] [More]  ⦿

Ania Kabula

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

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.

Krotta One (2012, Google Web Fonts) is an italic typeface. It was renamed Kotta a few days later.

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

Ania Szerszen

Ania Szerszen (Wroclaw, Poland) created the beautiful ornamental caps typeface Dream Shepherds (2012) and the oblique piano key typeface Lullaby (2012). [Google] [MyFonts] [More]  ⦿

Ania Wielunska

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. [Google] [More]  ⦿

Anika Kinka

Polish designer of Cyber System 2-3 (2011). [Google] [More]  ⦿

Anita Czekaj

Architect in Gdynia, Poland, who designed a black art deco typeface in 2014. [Google] [More]  ⦿

Anna Chrobak

Art director in Kozy, Poland, who created Shift Type Basic (2014) and Elena (2015, sans).

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

Anna Dulska

At the 15th Typeclinic, held in 2017, Anna Dulska (Poland) designed the fashion mag text typeface Glam. [Google] [More]  ⦿

Anna Giedrys

Anna Giedrys, who is based in Lidzbark Warminski, Poland, and in Czechia, works as a graphic designer focusing on visual identities, illustrations, and typeface design. She obtained an MA in graphic design and visual communication from the University of Fine Arts in Poznan (Sign and Typography Studio) and graduated as a Master of Arts. During her exchange studies of graphic and fashion design at Vilnius Fine Arts Academy (Lithuania), she fell in love with calligraphy, lettering, and pattern design. Currently, she runs her own studio Ancymonic and collaborates with Rosetta Type Foundry. Google Plus link.

Her typefaces:

  • Signika (2011) and Signika Negative (2011). A free sans family at Google Web Fonts, it was designed for pedestrian signage.
  • Yrsa and Rasa (2015, open-source type families published by Rosetta with financial support from Google). The fonts support over 92 languages in Latin script and 2 languages in Gujarati script (Gujarati and Kachchi). The design and production are by Anna Giedrys and David Brezina. Yrsa is the name of the Latin-only type family. Rasa is the name of the Gujarati type family. They explain: Both type families are intended for continuous reading on the web (longer articles in online news, magazines, blogs). In Yrsa, a special consideration was given to Central and East European languages and proper shaping of their accents. Rasa supports a wide array of basic and compound syllables used in Gujarati. In terms of glyphs included Rasa is a superset of Yrsa, it includes the complete Latin. What makes Yrsa & Rasa project different is the design approach. It is a deliberate experiment in remixing existing typefaces to produce a new one. The Latin part is based on Merriweather by Eben Sorkin. The Gujarati is based on David Brezina's Skolar Gujarati.

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

Anna Hodel

Polish designer with Tomasz Kaftal of the informal script typeface Stellina (2004). [Google] [More]  ⦿

Anna Kacka

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]  ⦿

Anna Kolsicka

Graphic designer in Warsaw, Poland. Creator of a hexagonal typeface in 2017. Behance link. [Google] [More]  ⦿

Anna Marczak

Gdansk, Poland-based designer of HAFT (2013), a typeface that was inspired by embroidery. Behance link. [Google] [More]  ⦿

Anna Maria Wozniak

Polish designer of the free arrow typeface 4rrows (2014). [Google] [More]  ⦿

Anna Ogonowska

Poznan, Poland-based student designer who created the angular blackletter-inspired typeface Odpustova (2014). Behance link. [Google] [More]  ⦿

Anna Olak

Polish designer of the modular typeface Gothica (2015), which was a school project at PJATK in Warsaw. [Google] [More]  ⦿

Anna Pokropek

Designer in Warsaw. [Google] [More]  ⦿

Anna Skawinska

Warsaw-based creator of the paper-fold typeface Mutsu (2013). [Google] [More]  ⦿

Anna Sokol

Polish design student who made a typeface while studying in Krakow from 2003 until 2005. [Google] [More]  ⦿

Anton Drachuk

[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)
[Rafal Brzezinski]

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).

Alternate URL. Fontspace link. [Google] [More]  ⦿

[Zygfryd Gardzielewski]

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]  ⦿

Ark Dizajn

Polish calligrapher, b. 1984. Creator of the experimental typeface Typo Prooba (2009). [Google] [More]  ⦿

Arman Ay

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.

Wikipedia link. Fontspace link. [Google] [More]  ⦿

Art City
[Daniel Bak]

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).

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

Arthur Krupa

Polish graphic designer who lives in Wroclaw. He has made some inspired posters of typographic value. [Google] [More]  ⦿

Artur Frankowski
[FontArte (was: Magdart Fonts)]

[MyFonts] [More]  ⦿

Artur Kita

Gdansk, Poland-based designer of the modular typeface Kroju (2016). [Google] [More]  ⦿

Aspect Type
[Lukasz Szpatowicz]

Szczecin, Poland-based graphic designer, who designed the monospaced sans typeface Tabela in 2017. Behance link. [Google] [MyFonts] [More]  ⦿

ATypI 2016

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]  ⦿

Aubo Lessi

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]  ⦿

Baobaby Stidio

Typefoundry 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 2014: Bread and Confectionary, Dairy, Vegetables, Meat and Seafood, Fruits.

Typefaces from 2017: Cacko (a slightly curvy sans family). [Google] [MyFonts] [More]  ⦿

Barbara Bigosinska

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.

Her KABK graduation typeface family was Mala (2013). Loaded with opentype features and choices of widths, Mala was created for cartographic purposes. It was published by Bold Monday in 2016.

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.

In 2017, she published the didone fashion mag typeface family Rion at Fontstore, and republished it in 2018 at Indian Type Foundry.

Typefaces from 2018: Bonny (Indian Type Foundry).

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

Barbara Galinska

Calligrapher in Warsaw, Poland, who created various calligraphic alphabets in 2015-2016. [Google] [More]  ⦿

Barbara Lukasik
[Typohole Basia Barbarja Lukasik (was: Barbarja)]

[More]  ⦿

Barbara Pospischil

Graduate of the masters program at Academy Of Fine Arts in Katowice. Krakow, Poland-based designer of the text typeface Beskid (2016) and the rounded poster typeface Wigwam (2016). [Google] [More]  ⦿

Barbara Szwedowska

During her studies, Gdansk, Poland-based Barbara Szwedowska created a gorgeous pair of chancery hand typefaces (2015). [Google] [More]  ⦿

Baris Ciftci

Warsaw, Poland-based designer of the vampire or snake tongue script font Dianthus (2017). [Google] [More]  ⦿

Barmee.com (was: Czcionki.com, or: Barme Fonts)
[Bartek Nowak]

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.

Alternate URL.

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.

Dafont link. Klingspor link. Fontspace link. GRIN3 link. Old free font URL.

Showcase of Bartek Nowak's commercial fonts. [Google] [MyFonts] [More]  ⦿

Bart Co Design
[Bart Wesolek]

Or Bartosz Wesolek, b. 1986. 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

  • Arendt: A thin extended serif typeface (clean, rough)
  • Groston: A squared sans font (clean, rough)
  • Kloster: A lower case blackletter typeface (clean, rough)
  • Othon: A bold sans typeface (beveled, clean, rough)
  • Rozalyn: A western decorative typeface (clean, rough & free shadow version)
  • Theobald: A condensed serif font (rough, rounded & free clean version)
  • Wilhelm: A regular sans & slab display font (clean, rough)

Typefaces from 2018: Hartwood, and the Newsstand collection (which includes Presson, Stammark, Brookset, and Darmond). [Google] [More]  ⦿

Bart Wesolek
[Bart Co Design]

[More]  ⦿

Bartek Bojarczuk

Founder of illcatDZN.com in Lodz, Poland, in 2004. Creator of the free geometric sans typeface Paneuropa Neue (2014). Behance link. [Google] [More]  ⦿

Bartek Nowak

[MyFonts] [More]  ⦿

Bartek Nowak
[Barmee.com (was: Czcionki.com, or: Barme Fonts)]

[MyFonts] [More]  ⦿

Bartek Nowak
[Tymex Service]

[More]  ⦿

Bartek Pierzchala

Polish designer of the hand-crafted typeface Pucelier (2017). [Google] [More]  ⦿

Bartek Ryba

Krakow, Poland-based designer of the fat dot matrix typeface Evolv (2016), the caps typeface Hox (2016), and the straight-edged typeface Moshi Moshi (2016). [Google] [More]  ⦿

Bartek Szczepanski

Bartek Szczepanski (Koszalin, Poland) made a simple geometric sans typeface called Culinar (2011) and a basic hand-printed face, Milosz (2011). Behance link. [Google] [More]  ⦿

Bartlomiej Wozniak

Son of Piotr Wozniak, b. Konskie, Poland, 1994. He created the children's handwriting font Bart Script No. 1 (2006, 066.FONT). [Google] [MyFonts] [More]  ⦿

Bartosz Aziewicz

During his studies in Poznan, Poland, Bartosz Aziewicz designed an angular text typeface (2016). [Google] [More]  ⦿

Bartosz Gregorek

Painter and illustrator in Warsaw, Poland. Designer of the very detailed intial caps typeface Adagio Sans Grande (2016). Behance link. [Google] [More]  ⦿

Bartosz Mamak

In 2014, Bartosz Mamak (Poznan, Poland) designed the display typeface Rusvod, which was inspired by the Russian lifestyle. He also created the angular typeface Manson (2014). [Google] [More]  ⦿

Bartosz Panek
[Fontsphere (or: Prestologo)]

[MyFonts] [More]  ⦿

Bartosz Stefaniak

Polish designer of the deconstructed font Easy (2011). Behance link. [Google] [More]  ⦿

Beata Grzeganek

Gliwice, Poland-based designer of Wanda Sans (2013). [Google] [More]  ⦿

Beata Kurek

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 Poland

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]  ⦿

Blaise Adamczyk

Blaise Adamczyk (aka de Seingalt) is the Polish designer (b. 1986) of Rounded (2006), an all caps stencil face. [Google] [More]  ⦿

Blazej Gradziel

Polish designer of the heavy squarish poster typeface Tall Bolder (2015) and the circle-based typeface Minimoon (2016). Dafont link. [Google] [More]  ⦿

Blazej Ostoja Lniski

[MyFonts] [More]  ⦿

Bogdan Żochowski

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.

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

Boguslaw Jackowski
[Latin Modern fonts]

[More]  ⦿

Bogusław Jacko Jackowski

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]  ⦿

Bogusz Bogatko

Poznan, Poland-based designer of the paper fold typeface New Construction (2016). [Google] [More]  ⦿

Borutta (or: Duce Type)
[Mateusz Machalski]

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 font 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.

Typefaces from 2018: Cukier (a logo font family inspired by the vernacular typography from Zanzibar).

Home page. Behance link. Personal Behance link. Behance link for Duce Type. [Google] [MyFonts] [More]  ⦿

[Tomasz Ulman]

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.

Dafont link. [Google] [More]  ⦿

Brendan Ciecko

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:

  • Pani Deco (2013): an art deco typeface based on a poster designed in 1928 by Polish artist Anna Harland-Zajaczkowska.
  • Secesja (2013): a typeface based on Polish "Mloda Polska" (Young Poland) Art Nouveau / Secession styles of the early 20th-century. It is based on a poster printed in 1908 by an unknown artist.
  • Warszawa Deco (2013): an art deco typeface based on a document from 1939. This typeface is based on Polish Art Deco and modernism of the Interwar period.
  • Galicja (2013): a typeface based on Polish "Mloda Polska" (Young Poland) Art Nouveau / Secession styles of the early 20th-century. It is based on a poster printed in 1911 by the Piller-Neumann printshop in Lwow (present day Lviv, Ukraine).
  • Mekicki (2013). A typeface based on a poster designed in 1928 by Polish artist Rudolf Mekicki. It is part of a series inspired by the aesthetics of Poland between 1908 and 1939.
  • Klimt (2013). A Peignotian typeface based on the handwriting of Gustav Klimt.
  • Seebad Grado (2013). A typeface based on the a 1906 art nouveau poster by Austrian artist Josef Maria Auchentaller.
  • Froika (2013). A spurred Victorian typeface based on lettering found on a poster designed in 1922 by Czech artist Antos Frolka.
Creative Market link. Behance link. Linkedin link. Obsolete link from 2013 where his fonts could be downloaded. [Google] [More]  ⦿

Bronislaw Zelek

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 lives in Vienna. 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 Jermia Adatte.

Klingspor link. Biography at Culture.pl. [Google] [MyFonts] [More]  ⦿

Bruna Santos

During her studies at Aveiro University in Portugal, Bruna Santos designed the Couve Roxa typeface (2013), which is based on images of red cabbage. [Google] [More]  ⦿


Polish type designer who created Grotesk 2+9. [Google] [More]  ⦿

Bysiu Pysiu
[Maciej Ostañski]

Maciej Ostañski is the Polish designer of Bip (2006, hand-printed) and Sweeet (2008, ice cream shop script). [Google] [More]  ⦿


Polish graphic designer, b. 1981. Creator of the monowidth techno typeface Slimroundfont (2007). [Google] [More]  ⦿

[Michal Jarocinski]

Warsaw-based typefoundry 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:

  • By Michal Jarocinski: Servus, Sharik Sans, Macho, Clavo.
  • By Maciej Wloczewski: Artigua, Praha Pro, Mato Sans.
  • By Mateusz Michalski: Bona, Bona Nova, Favela, Nocturne Serif, Migrena Grotesque.
  • By Ludka Niezgoda: Atoli.
[Google] [More]  ⦿


Polish graphic designer. Creator of the organic display sans typefaces Opti Font Bold (2007) and SFR Angellero (2007). [Google] [More]  ⦿

Carl Marius Struzik Krull

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 designer (b. 1988) of the Slavonic alphabet font gagolica (2005). [Google] [More]  ⦿


Polish graphic designer, b. 1991. Her first name is Marlena. Creator of Liternictwo (2009, a frilly medieval caps face). [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]  ⦿

Cipe Pineles

Typographer, graphic designer, artistic director, teacher and maquettiste, b. 1910 in Slovita, Poland. [Google] [More]  ⦿


Polish graphic designer in Gdansk. Creator of the futuristic octagonal typeface C82 (2007). [Google] [More]  ⦿

Computer Concrete (Polish)

B. Jackowski's Polish versions of Computer Concrete (metafont, TFM, PL files). [Google] [More]  ⦿

Cuda Wianki
[Aleksandra Debniak]

Cuda Wianki graphic design studio in Warsaw, Poland, was founded by Aleksandra Dabniak and Paulina Rek, two graduates from the Warsaw Academy of Fine Arts.

In 2011, they made the grunge typefaces Paciak, Fs Ornaments, Ony, Printed Claude and Xylograph (grunge). Totem (2011) is an octagonal face. Too Sweet To Eat (2011) is a 3d hand-drawn family.

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.

Typefaces from 2013: Triat (a layered octagonal system), Hola (a lively connected script).

Behance link. Cuda Wianki Studio. [Google] [MyFonts] [More]  ⦿

Czcionki Szachowe

Polish chess font archive. [Google] [More]  ⦿

Dada Studio
[Michal Jarocinski]

Dada Studio (Babice Nowe, Poland) is run by Michal Jarocinski (b. 1980, Warsaw). In 2017 or 2018, he founded Capitalics. His typefaces:

[Google] [MyFonts] [More]  ⦿

Dagmara Uhl

Warsaw-based designer of Summer Wind (2015, a heavy brush typeface) and Ecoveggie Serif (2015, a thin coffee shop script). Creative Market link. Behance link. [Google] [More]  ⦿

Damian Antolak

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]  ⦿

Damian Balinski

[MyFonts] [More]  ⦿

Damian Chomatowski

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]  ⦿

Damian Langosz

Wroclaw, Poland-based designer 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.

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

Damian Szews

Polish graphic designer in Katowice. Behance link. He seems to have designed some geometric typefaces in 2010. [Google] [More]  ⦿

Daniel Bak
[Art City]

[MyFonts] [More]  ⦿

Daniel Kurzak

Bydgoszcz, Poland-based designer of a counterless octagonal and a circle-based typeface in 2016. [Google] [More]  ⦿

Daniel Mizielińscy

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.

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

Dariusz Nowak-Nova

Polish type designer who published two fonts with Linotype: Nove Ateny (a great grunge font made in 1994), and Linotype Fresh Ewka. FontShop link. [Google] [MyFonts] [More]  ⦿

Darmowe polskie fonty przeznaczone do druku

A survey of Polish-enabled fonts. [Google] [More]  ⦿

David Malek

Designer and illustrator in Zabrze, Poland, who created the slab serif typeface Verticana in 2014 for a school project. [Google] [More]  ⦿

Dawid Cmok

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.

Behance link. [Google] [More]  ⦿

DejaVu Fonts
[Stepan Roh]

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.

Alternate download site. Wiki page with download information.

Fontspace link. Open Font Library link. [Google] [More]  ⦿

Denis Tsmbl

Rzeszow, poland-based designer of the display typeface family Matris (2018). [Google] [More]  ⦿

Diana Dobrut

During her studies in Poznan, Poland, Diana Dobrut created Liszka (2014, a calligraphic script typeface), Hot Pepper (2014), and Snow Fat (2014, a creamy script). [Google] [More]  ⦿


Polish site in the style of Devian Tart. [Google] [More]  ⦿


Tarnow, Poland-based studio that is working an the revival of a 1930s signage typeface called Tarnow (2012).

Behance link. [Google] [More]  ⦿


The GR-Soft_TimesPol truetype font (Polish accents in Times). [Google] [More]  ⦿

D.J. Zai

Polish designer of the faded typeface Wydzieranki (2004) and of the handwriting typefaces Bazgroly (2004), Bartlomiej Gil (2004) and Jacek Zieba-Jasinski (2004). Dafont link. [Google] [More]  ⦿

Dominik Chrzastkowski

Polish designer in Gdansk who made some experimental typefaces. [Google] [More]  ⦿

Dominik Cymer

Polish designer of the optical experimentation font Xuczlam (2000) and of Biasel (2000).

Fontspace link. Fontsnthings link. Old home page. [Google] [More]  ⦿

Dominik Korolczuk

Warsaw, Poland-based designer of Kore (2018). [Google] [More]  ⦿

Dominik Kosma Masny

Photographer in Warsaw. He designed the curly Ars Kosmo (2010). [Google] [More]  ⦿

Dominik Kowalik

Swietokrzyskie and/or Kielce, Poland-based type designer. Creator of the rounded squarish typeface family Aquari (2012).

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

Dominika Glowacka

Warsaw, Poland-based designer of Clock Town (2014, modular, techno and squarish). [Google] [More]  ⦿

Dominika Kaczmarek

Polish designer of Zapatito (2018). [Google] [More]  ⦿

Druga Strona

Polish page on the use of fonts on various operating systems. [Google] [More]  ⦿

Druga Strona-Fonty-Windows
[Kuba Tatarkiewicz]

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]  ⦿

[Piotr Klarowski]

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]  ⦿

e-foundry (was: GUST)

The Polish TEX users group evolved into GUST and then e-foundry. Here you can find goodies in truetype and type 1 such as

  • QuasiHelvetica: based on NimbusSans, modified by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk.
  • QuasiCourier: based on Nimbus Mono, modified by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk.
  • QuasiChancery: based on URW Chancery L, modified by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk.
  • QuasiBookman: based on URW Bookman L, modified by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk.
  • QuasiTimes: based on Nimbus Roman No9, modified by Bogusław Jackowski.
  • QuasiPalladio: based on URW Palladio, modified by Bogusław Jackowski.
  • Antykwa Półtawskiego: based on work by Adam Półtawski (1923-1928), constructed by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk.
  • Antykwa Toruńska: based on work by Zygfryd Gardzielewski, electronic version by Janusz M. Nowacki.
  • The Latin Modern (LM) family of fonts is expected to eventually replace Computer Modern, the first family of fonts designed by Donald E. Knuth for TeX. By Jackowski and Nowacki, this is a major undertaking.
  • The TeX Gyre (TG) collection aims at remaking of the freely available fonts distributed with Ghostscript. Included in this set is the Courier and URW Nimbus Mono revival TeX Gyre Cursor (2008): Cyrillic glyphs were added by Valek Filippov, Vietnamese characters were added by Han The Thanh, and the general work was done by B. Jackowski and J.M. Nowacki. Other styles include TeX Gyre Adventor, TeX Gyre Heros, TeX Gyre Chorus, TeX Gyre Bonum, TeX Gyre Schola, TeX Gyre Termes, TeX Gyre Pagella.
  • Kurier and Iwona. Kurier was designed in pre-computing times by Malgorzata Budyta, digitized and extended by Janusz M. Nowacki. He went on to design Iwona, which is based on Kurier. Iwona is named after Janusz's daughter.
  • Cyklop (2008), a two-style sans headline typeface by Nowacki based on a 1920s type by the "Odlewnia Czcionek J. Idzkowski i S-ka" type foundry in Warsaw.

Fontspace link. [Google] [More]  ⦿

Emil Wojtacki

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. [Google] [More]  ⦿

Emilia Dzitko

Poznan, Poland-based designer of the thin avant-garde typeface Splot (2017) and the connected retro script PRL (2017). [Google] [More]  ⦿

Emilia Fiedorowicz

Polish graphic designer who created the octagonal experimental font Waniliowa. She also did the circular arc font Papaya (2009). [Google] [More]  ⦿

Emilia Maj

Graphic designer in Krakow, Poland. Creator of the display typefaces Casa (2013) and Penguin (2013) and of the ornamental intials Inicjaly (2013). [Google] [More]  ⦿

Emilia Wesolowska

At the 15th Typeclinic, held in 2017, Emilia Wesolowska (Wroclaw, Poland) designed the monoline sans typeface Lubatka. [Google] [More]  ⦿

Empty Page Studio
[Lukasz Kulakowski]

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.

Emptypage Studio is presently located in New York City. [Google] [More]  ⦿

[Michal Lewkowicz]

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).

Older URL. Fontspace link. Dafont link. [Google] [More]  ⦿


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]  ⦿

Eurofonts 2001

Commercial truetype fonts for Western and Eastern European languages, Turkish, and Baltic. Based in Poland. [Google] [More]  ⦿

Evgeniy Evdokimow

Warsaw, Poland-based designer of the free hand-crafted typeface Drimi (2017). Behance link. [Google] [More]  ⦿

Ewa Glowacka

Polish designer. At Typeclinic 12th International Type Design Workshop, she created Canterel (2016), a didone typeface. [Google] [More]  ⦿

Ewa Kucharska

Polish designer of the sans typeface Brootal (2014), a typeface created for small print applications. At Typeclinic 2015, she continued the development of Brootal. [Google] [More]  ⦿

Ewa Lubiarz

[MyFonts] [More]  ⦿

Ewa Satalecka
[Silesiana 2006]

[More]  ⦿

Ewelina Gaska

Warsaw-based graphic designer, who created the free dry brush typeface Mazak and the experimental decorative caps typeface New Color Font in 2015. Behance link. Behance link. [Google] [More]  ⦿

Ewelina Kotra

At the Art Institute in Tarnow, Poland, Ewelina Kotra designed the smooth art deco poster typeface Amy (2016). [Google] [More]  ⦿

Ewelina Kowal

Polish design student who made a typeface while studying in Krakow from 2003 until 2005. [Google] [More]  ⦿

Ewelina Tamkun

Lodz, Poland-based designer (b. 1987) of the rune emulation font Runny (2016) and the experimental typefaces 1987 Nukmat (2016) and Bez Rail (2016). [Google] [More]  ⦿

Fabio 2k
[Krzysztof Fabiniak]

Polish graphic and poster artist. His fonts (no downloads) include Fabio (cropped circle font). Alternate URL. [Google] [More]  ⦿

Felix Steffen

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
[Fernando Forero Foundry]

[MyFonts] [More]  ⦿

Fernando Forero Foundry
[Fernando Forero]

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.

Devian tart link. Behance link. Another Behance link. Klingspor link. Old URL. [Google] [MyFonts] [More]  ⦿

Filip deSign

Central European font links at Filip Blazek's Czech site. Great jump site for typography in general. Some links are taken from my own pages. Jump page for Polish typography. List of the special Polish characters: A, a, E and e ogonek; C, c, N, n, O, o, S, s, Z, and z acute; Lslash, lslash, Zdotaccent and zdotaccent. [Google] [More]  ⦿

Filip Piasecki

Designer in Sopot, Poland, who created a monospaced octagonal typeface, Mono (2012). [Google] [More]  ⦿

Filip Łysyszyn

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]  ⦿

Firat Kocaman

Katowice, Poland-based designer of the art deco / arts and crafts typeface atlantis (2016). [Google] [More]  ⦿

Florence (or: Bombastudio)
[Marta Podkowińska]

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.

In 2012, she published Lucrezia, an overzealous decorative caps typeface, and Henry (a free retro script all caps family named after Henry Ford).

Cargo Collective page with interesting posters such as Archer (2011) and Einstein. [Google] [MyFonts] [More]  ⦿

Font Boutique (was: Typografski Font Boutique)
[Heinrich Lischka]

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:

  • Commercial, at Font Boutique: Noga (sans serif, 2002). Discussed by the typophiles, Nastepna (2002, unicase sans serif).
  • Commercial, at Volcano Type: the organic family Shuttle, which includes Shuttle 3D, done in 2006.
  • Free fonts: Samba (2002), Neo Retro (2004), Copystruct (1997), Destroy (1997), Groteski (1997), TimesNoRoman (1997), Disco, Dinova. Lischka also runs Typografski.de, a free font place where one can download most of these fonts.
  • Designers Cut (2003).
  • Working on Bossa Nova (2003, sans serif).
  • Exclusive typefaces: Kuert Weill Fest Dessau (2004, display face), Herma Sans (2005, house type for a label manufacturer), Intersport Headline (2007, display typeface for a sports chain).

Dafont link. Old link. Klingspor link. Fontspace link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

Font Smoothing
[Krzysztof Szafranek]

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?

  • Accept the reality. Right now there's no way to tell what settings your users have. Most likely, they have subpixel rendering on Mac OS X, no antialiasing at all on Windows XP with IE6 or Firefox, and ClearType in IE7, IE8 or Vista, but you can't be 100% sure. Needless to say, a website will look very different across all these environments.
  • Assume the worst. When designing the page in Photoshop, check how does it looks without any text smoothing at all and with Smooth setting applied. Bear in mind that Smooth setting is not equal to standard antialiasing and there's no Photoshop equivalent whatsoever to subpixel rendering. As for 2008, no smoothing at all is a very prevalent option out there, as it's used by IE6 and Firefox on Windows XP with default settings.
  • Use fonts designed for a screen. So called web fonts were designed with the screen in mind and its low-resolution pixel grid. The list includes Arial, Courier New, Georgia, Times New Roman and Verdana. While these fonts may look like over-exploited cliché and you may prefer Helvetica over Arial (like me), they're also the simplest way to achieve legibility for the widest audience. The old rule still holds: when in doubt, use Verdana.
  • Beware of big type. Big font sizes are especially harmed by pixelation when font smoothing is disabled. If your audience is likely to use this setting, avoid big type.
  • Test. Make sure the page is legible with font smoothing turned off, standard antialiasing (Windows) and subpixel rendering (ClearType on Windows, Quartz on Mac OS X). Change the typeface or its size when legibility is a problem. If you use Windows, you can check Mac rendering with Safari. On Mac, you will need to install Windows XP or Vista. If you're a web developer, you probably already did so.
  • Beware of ClearType fonts. Windows Vista and MS Office 2007 features a collection of fonts designed especially for use with ClearType: Constantia, Corbel, Calibri, Cambria, Candara and Consolas. Apart from sharing unfortunate naming, they can be barely readable when font smoothing is disabled (figure 6). While they may become a long-awaited refreshment to web fonts, one should avoid them if subpixel rendering is not ensured (e.g., on Firefox on Windows XP).
  • Wait for a future. CSS3 includes font-smooth property, which will allow designers to control text smoothing. Unfortunately, as for 2008, no browser supports this property. Keep in mind that the whole issue may become irrelevant before this CSS property will be implemented. Computer displays are being constantly improved and one day they should have enough DPI's to display type in a perfectly legible way without smart tricks.
[Google] [More]  ⦿

[Magdalena Frankowska]

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:

  • FA Cindy (2002): shoe dingbats.
  • FA Desiconz (2005): dingbats.
  • FA Domestic Godess (2005): domestic dingbats.
  • Saturator FA (2007): hand-made lettering and signs from the Polish communist republic period. See also Saturator Serif FA (2016).
  • Mobie FA (2008). A decorative fat face.
MyFonts link. [Google] [MyFonts] [More]  ⦿

FontArte (was: Magdart Fonts)
[Artur Frankowski]

FontArte (est. 2004; ex: Magdart Fonts) is Artur Frankowski's foundry in Warsaw, launched in cooperation with Magdalena Frankowska. Frankowski is a Polish type designer, 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. 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. Co-creator with Henryk Sakwerda in 2006 of Silesiana 2006 (see also here), a great calligraphic font whose development was supported by the Silesian Government. Speaker at ATypI 2016 in Warsaw on From Typespotting to Warsaw letters. MyFonts link. Author of several typefaces:

  • From the Magdart era: MF Ala i As, MF Norma 1 i 2, MF Trond, MF Multi Putli, MF Plazma, MF Towarowy, MF FCR, MF Proteza, MF Strzeminski.
  • FA Berlewi (2006): a stencil typeface based on poster lettering from 1924 by Henryk Berlewi. Together with Magdalena Frankowska, he wrote a book called Berlewi (2010). Henryk Berlewi was a Polish pioneer of typography and design.
  • FA Cindy (2002): shoe dingbats by Magdalena Frankowska.
  • FA Desiconz (2005): dingbats by Magdalena Frankowska.
  • FA Dropsy (2000)
  • Grotesk Polski FA (1996-2006): inspired by the first Polish typeface design - Antykwa Poltawskiego. Has sans weights, and one stencil style.
  • FA Domestic Godess (2005): domestic dingbats by Magdalena Frankowska.
  • FA Julian (2003): avant garde ransom face, based on Wladyslaw Strzeminski's lettering in the 1930 publication "Z Ponad".
  • FA Karaker: medieval script based on a scan.
  • FA Komunikat (2004): almost unreadable, an experiment in minimalism, inspired by Wladyslaw Strzeminski (1932).
  • FA Modernista (2004): grungy sans based on Baccarat, an early 20th century typeface by the Polish foundry Jan Id'zkowski.
  • FA Norma (2000): destructionist.
  • Ozdoby Gardowskiego (2004): ornaments based designs by Ludwik Gardowski (1923).
  • FA Praesens (2004): great avant garde display face.
  • FA Prototyp (2007): minimalist unicase.
  • FA Relief (2006): pixelish.
  • FA Supersam (2003): dot matrix style.
  • FA Szczuka (2000): avant garde poster display typeface based on pixel type.
  • FA Zero One (2007): experimental pixel style type family.
  • Designer of a character in the September 11 charity font done for FontAid II.
[Google] [MyFonts] [More]  ⦿

[Kamil Szydło]

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]  ⦿


Advertised as the center of Polish type. It has an active archive with many new postings. [Google] [More]  ⦿

[Janusz M. Nowacki]

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)
[Bartosz Panek]

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.

Typefaces from 2017: Cylinder (rounded, yet squarish), Sushi, Sushi Stroke.

Typefaces from 2018: Cufel (futuristic all caps).

Home page. Old link. [Google] [MyFonts] [More]  ⦿

Fonty PL
[Grzegorz Klimczewski]

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). 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).

In 2012, he placed the brush typeface Akronim on Google Web Fonts.

Google Plus link. [Google] [More]  ⦿

Fonty PL: Eurofonty

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]  ⦿

Franceska Baruch

Polish type designer. [Google] [MyFonts] [More]  ⦿

Franciszek Otto

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.

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

Free Polish fonts

15 MB of free Polish fonts. [Google] [More]  ⦿


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]  ⦿

Frisk Web
[Lukasz and Wojciech Bachur]

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), 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).

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

Gabriela Bindis

Sosnowiec, Poland-based graphic designer who created the experimental geometric typeface Openspace (2013). [Google] [More]  ⦿

Gabriela Golinska

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]  ⦿

Gabriela Hukalowicz

Katowice, Poland-based designer of the text typeface Olimpia (2018). [Google] [More]  ⦿

Gabriela Prokop

During her studies in Przemysl, Poland, Gabriela Prokop (b. 1994) designed the text typeface Constantia (2015). Behance link. [Google] [More]  ⦿

Galeria Communication
[Szymon Dabrowski]

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.

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

Gavin Helf

[More]  ⦿

Gentoo's Fast TrueType Font Guide

Gentoo's Fast TrueType Font Guide is Artur Brodowski's guide for the use of truetype fonts in the Gentoo Linux distribution. [Google] [More]  ⦿

Gluk Fonts
[Grzegorz Luk]

Grzegorz Luk, aka Gluk, is a Polish type designer (b. 1973). Type catalog in 2010.

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).

Creations from 2012: Charakterny, Garineldo, Mikodacs (an Impact-like black display sans), Yokawerad (a didone headline face), Resagokr, Nikodecs, Garineldo SC.

Typefaces from 2013: Etharnig, Namskin, Namskout (a layered heavy display face), Prida 65 (spurred antique face), Ketosag, Prida 61, Gatometrix, Glametrix, Gallberik.

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 2017: 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] [More]  ⦿

Graphic Goods

Graphic designer in 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). [Google] [More]  ⦿

[Bartek Nowak]

A group of independent designers from Poland, heade by Bartek Nowak, and located in Staromiejska. Nowak has been designing typefaces since ca. 2000. Typefaces:

  • Inkaust (2011). A grungy face.
  • Uniwerek (2011). A sketched hand-drawn family inspired by college and university sportswear.
  • Galicya (2011).A hand-printed poster family.
  • Tygodnik (2011, Bartek Nowak) is a poster font inspired by logo of Polish magazine Tygodnik Powszechny.
  • Tentacle Szrift (2011, Bartek Nowak) is a blackletter family.
  • Stencimilla (2011) is an army stencil face.
  • Goniec (2011) is inspired by graffiti.
  • Pascal (2011).A brush script.
  • Machina G and Machina R (2011). A pair of grunge typewriter typefaces.
  • Nokian11 (2011). A gridded face.
  • Quattro Tempi (2012). A sketched typewriter face.
  • Centura Round (2012). A hand-drawn monoline sans family.
  • Kidorama (2012) is a hand-drawn script inspired by the calligraphic models used in Polish primary schools.
  • Revers (2012). A roughened slab serif.
  • Eight Zeta (2012). A casual hand-drawn typeface family.
  • Skurier (2012) is a hand-drawn font inspired by Courier.
  • Monosketch (2012) is a hand-drawn font inspired by monospaced fonts like Andale Mono. This sketch typeface can be layered.
  • Holy Roller (2012). A lively hand-drawn outline typeface.
  • Larsson (2012). A tall poster font.
  • Antidotum (2012). A stamp or eroded wood typeface in the style of Veneer or Anodyne.
  • Sahan (2012). An elaborate Arabic simulation typeface.
  • Martita (2012). A festive connected script.
  • Secesja Pro (2013) is a redesign of his earlier Secesja PL font. It is a revival of Hermann Ihlenburg's über-Victorian typeface Nymphic Caps (1889).
  • Astalamet Pro (2013) is a dot matrix typeface that evolved from Astalamet Pure (2001).
  • Engineer and Engineer Stencil (2013) is a rounded techno sans family based on Bartek's own TechnicznaPomoc (2001).
  • Collegium (2013) is an athletic lettering font.

    Barme Reczny (2013) is a hand-printed typeface.

  • Splasher (2013) consists of nothing but ink, coffee and paint splashes.
  • Gwidon (2013) is a connected script typeface.
  • Athletico (2013) is a layered university sports lettering typeface family. See also Athletico Clean (2013).
  • Polina (2013) is a hand-drawn 3d shaded layered typeface system. Its original name, Dobra, had to be discarded because that name was already taken by Dino dos Santos.
  • Leitmotiv (2013) is a heavy calligraphic typeface.
  • Misterall (2013). An all caps brush typeface for posters.
  • Delegat (2014). A comic book lettering font inspired by handwritting of Frank Ching.
  • Procent (2014). Bold and hand-printed.

    Gotyk Nr 7: a grungy blackletter typeface that evolved from Nowak's 2001 typeface Gotyk Poszarpany.

  • Suarez (2014). A vintage upright connected script. The dingbats are called Suarez Extra.
  • Kowalski (2014) and Kowalski2 (2014). A swashy typeface family.
  • Revers (2014) is a grungy slab serif typeface.
  • Pascal (2014, handwriting), Inkaust (2014, fat finger font).
  • Jasminum (2014). A connected script together with a flower dingbat font, Jasminium Extra.
  • Quattro Tempi (2014).
  • Athletico Clean (2014). Athletic lettering font.
  • Procent (2014). A shop signage typeface.
  • Charlize Script (2015). A connected curly script family.
  • Rossellina (2015). A connected calligraphic script font.
  • Giulietta (2015). A calligraphic script family.
  • Bellfort. A letterpress font family.
  • Elementarz Pro (2016). A monoline school font.
  • Dramaturg (2016). A brush script.
  • Ripley (2016). A connected monoline script.
  • Baltasar (2016). A brush script.
  • Jeremy (2017). A brush script.
  • Bridgewater (2018). A brush font.

Aka Leitmotif. Dafont link. Klingspor link. Fontspace link. GRIN3 link. Old free font URL. Creative Market link. Home page.

Showcase of Bartek Nowak's commercial fonts. [Google] [MyFonts] [More]  ⦿

GRIN3 Marcinowicz
[Piotr Marinowicz]

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 commercial typefaces at GRIN3 Macinowicz include the grungy typeface Nageka (2013).

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.

Fontspace link. Dafont link. Old URL. Another old URL. And another one. [Google] [MyFonts] [More]  ⦿

Grzegorz Hadala

Graphic designer, artist, musician and photographer in Poland. In 2012, he created an organic sans typeface called Halogen.

Devian tart link. [Google] [More]  ⦿

Grzegorz Kaczmarek

Wroclaw, Polans-based designer of the art cafe font Cocofli (2018). [Google] [More]  ⦿

Grzegorz Klimczewski
[Fonty PL]

[More]  ⦿

Grzegorz Luk
[Gluk Fonts]

[More]  ⦿

Grzegorz Matyszewski

Warsaw, Poland-based creator of the fat brush ink typeface Grubylis (2010-2012). Behance link. [Google] [More]  ⦿

Grzegorz Teszbir

Polish graphic designer in Wroclaw, b. 1982. Home page. He created the futuristic typeface Entrophic (2007). [Google] [More]  ⦿

[Damian Balinski]

Polish designer of the hand-crafted typeface Erqif (2017). [Google] [MyFonts] [More]  ⦿


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]  ⦿

H. Hanemann

Foundry in Helsingfors, ca. 1870. It was founded in 1842. [Google] [More]  ⦿

Halyna Holubova

Wroclaw, Poland-based designer of Amerikana (2016, a Cyrillic version of Richard Isbell's Americana) and Bell Cyrillic (2016, a Cyrillic version of Richard Austin's Bell). [Google] [More]  ⦿

Hans Lijklema

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]  ⦿

Heinrich Lischka
[Font Boutique (was: Typografski Font Boutique)]

[MyFonts] [More]  ⦿

Helena Nowak-Mroczek

Polish type designer who created the serifed Hel family, wich comes with a stencil style, Helikon (+Outline). [Google] [More]  ⦿

Helena Nowicka

During her studies in Warsaw, Helena Nowicka designed an inline typeface (2018) and a hand-crafted typeface (2018). [Google] [More]  ⦿

Hellobrand Design

Warsaw, Poland-based designer of the octagonal typeface Aleda (2016, in Bold and Light). Behance link. [Google] [More]  ⦿

Henryk Sakwerda

Polish post-WWII type designer and calligrapher, b. 1942, Katowice, d. 2017, Katowice. He graduated in 1965 from Technikum Poligraficz. His typefaces include:

  • Typos (1970).
  • Akant (1975-1980).
  • Monitor (1986).
  • Codesigner with Artur Frankowski in 2006 of Silesiana 2006, a great calligraphic font whose development was supported by the Silesian Government.
[Google] [More]  ⦿

Henryk Tomaszewski

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: 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.

Dafont link. [Google] [More]  ⦿

[Aleksandra Mizielińscy]

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).

In 2015, they published the layered typeface family Mrs. Onion and the 825-icon set of fonts Mr Foodie.

Typefaces from 2016: Mrs Berry (layered hand-crafted type).

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

Hubert Adamek

Polish designer of the hand-printed typeface Szarpany (2004). [Google] [More]  ⦿

Hubert Sieminski

Aka Lomit. Polish creator of the free grungy typeface Sarinda (2014), which is based on Monotype's Arial. [Google] [More]  ⦿

[Szymon Celej]

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:

  • Macchiato (2012). A beautiful and very legible serif text typeface with lots of inherent asymmetries.
  • Taran (2011). A sans face.
  • Doppio One (2012), a free font at Google Web Fonts. It is a robust low contrast sans serif type with a contemporary feeling.

Google Plus link. [Google] [More]  ⦿

[Wlodek Bzyl]

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]  ⦿

Idzikowski Foundry

Defunct Polish typefoundry. In 1931, it published a slight modification of Futura called Paneuropa. The latter typeface was revived in 2017 by Roch Modrzejewski as Paneuropa Nova. [Google] [More]  ⦿

Ingram Font Library 1000

Ingram Publishing put 1000 fonts (mostly from URW) on a CD and sells it for 139 Euros. Polish vendor of the same CD which has many PDF files with samples. Font list (PDF). [Google] [More]  ⦿


Polish FontStructor who made the chalky caps typeface Pierd Marianny (2011). [Google] [More]  ⦿

Irina Serbina

Poznan, Poland-based designer of an untitled modular typeface in 2014. [Google] [More]  ⦿

Irku Kwiatku

Polish street and graffiti artist. Designer of the interesting squarish-looking connected monoline typeface Iqq (2006). Dafont link. [Google] [More]  ⦿


Polish graphic designer, b. 1988. Creator of the geometric typeface Circle (2007-2009). [Google] [More]  ⦿

Iwo Reszcznski

Krakow, Poland-based designer of the typeface Kurt (2015) which is named after Kurt Vonnegut. [Google] [More]  ⦿

Iwona Przybyla

Polish print, graphic and type designer who lives in Poznan. She was inspired by Polish embroidery in her design of several typefaces in 2010.

In 2013, she designed a typeface (Helka) and a dingbat set for the wayfinding system of the Silesian Hospital in Cieszyn, Poland. [Google] [More]  ⦿

Iza Kaczmarek

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 Dziubinski

[MyFonts] [More]  ⦿

Jacek Jan Judkiewicz

[MyFonts] [More]  ⦿

Jacek Janiczak

Poznan,Poland-based designer of Rock Font (2014, a spurred Victorian set of caps), and a free set of icons (2014, vector format). Behance link. [Google] [More]  ⦿

Jacek Kuziemski

Gdansk, Poland-based designer of the modular typeface Metropolis (2017), which is named after Fritz Lang;s movie. [Google] [More]  ⦿

Jacek Mrowczyk

Polish designer of Danova (2011). He wrote Niewielkiego slownika typograficznego, and edits the 2plus3d magazine. [Google] [More]  ⦿

Jakob Kanior

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]  ⦿

Jakub Degörski

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).

Dafont link. Another Dafont link. [Google] [More]  ⦿

Jakub Horna

Lodz, Poland-based designer of Apia (2014, pixel typeface). [Google] [More]  ⦿

Jakub Poterski

Polish designer of Poterski-HND-CE-Bold (2006). Home page. [Google] [More]  ⦿

Jakub Wojcik

Graphic designer in Wroclaw, Poland, who created a Polish type anatomy poster in 2016. [Google] [More]  ⦿

Jan Duda

During his studies in Warsaw in 2013, Jan Duda designed the script typeface Szczud and the experimental caps typeface Tarot. [Google] [More]  ⦿

Jan Estrada-Osmycki

Warsaw-based creator of the high-contrast bespoke typeface Edit2010 (2010). [Google] [More]  ⦿

Jan Id'zkowski
[Jan Id'zkowski Giesserei]

[More]  ⦿

Jan Id'zkowski Giesserei
[Jan Id'zkowski]

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]  ⦿

Jan LeWit

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.

Digital versions of Haim include Haim MF (1997-1998, Masterfont), which was designed by Eventov Elizov, Zvika Rosenberg and Pini Hemo. [Google] [More]  ⦿

Jan LeWitt

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]  ⦿

Jan Tonellato

[MyFonts] [More]  ⦿

Jan Wachowski

Freelance designer in Warsaw who created the dot matrix typeface Bubbles in 2011. [Google] [More]  ⦿

Janusz M. Nowacki

[More]  ⦿

Janusz Marian Nowacki
[Odlewnia Czcionek J. Idzkowski i S-ka]

[More]  ⦿

Janusz Marian Nowacki
[PL fonts]

[More]  ⦿

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.

  • Boguslaw Jackowski and Janusz Marian Nowacki created Latin Modern using Metatype1 based on Computer Modern, but extended with many diacritics. The list: lmb10, lmbo10, lmbx10, lmbx12, lmbx5, lmbx6, lmbx7, lmbx8, lmbx9, lmbxi10, lmbxo10, lmcsc10, lmcsco10, lmr10, lmr12, lmr17, lmr5, lmr6, lmr7, lmr8, lmr9, lmri10, lmri12, lmri7, lmri8, lmri9, lmro10, lmro12, lmro8, lmro9, lmss10, lmss12, lmss17, lmss8, lmss9, lmssbo10, lmssbx10, lmssdc10, lmssdo10, lmsso10, lmsso12, lmsso17, lmsso8, lmsso9, lmssq8, lmssqbo8, lmssqbx8, lmssqo8, lmtcsc10, lmtt10, lmtt12, lmtt8, lmtt9, lmtti10, lmtto10, lmvtt10, lmvtto10. [Google] [More]  ⦿

  • Jared Hamryszczak

    During his industrial design studies in Warsaw, Poland, Jared Hamryszczak created the experimental minimalist typeface Zipp (2014). Behance link. [Google] [More]  ⦿

    Jared Hamryszczak

    During his studies in Warsaw, Poland, Jared Hamryszczak created an untitled minimalist experimental typeface (2014). Behance link. [Google] [More]  ⦿

    [Jacek Dziubinski]

    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]  ⦿

    Jerz Stach

    [MyFonts] [More]  ⦿

    Jerzy Desselberger

    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 Poltawski’s 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]  ⦿

    [Anton Drachuk]

    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.

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

    Joana Patrasc
    [Zdzislaw Beksinski]

    [More]  ⦿

    Joanna Angulska

    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.

    In 2017, she designed the pointed brush font Jubiler Script. [Google] [More]  ⦿

    Joanna Baumgartner

    Polish graphic designer in Krakow, b. 1979. Creator of the great Koch Antiqua style typeface Baumgartner (2007). [Google] [More]  ⦿

    Joanna Czaplewska

    During her studies at the Academy of Fine Arts in Gdansk, Poland, Joanna Czaplewska (Gdynia, Poland) created the experimental Alphabet For El Lissitzky (2014). [Google] [More]  ⦿

    Joanna Godlewska

    Warsaw, Poland-based designer of an untitled squarish typeface in 2014. [Google] [More]  ⦿

    Joanna Kot

    Tarnowskie Góry, Poland-based designer of the octagonal typeface Hasiok (2017). [Google] [More]  ⦿

    Joanna Musial

    As a student at the Academy of Fine Arts in Cracow, Poland, Joanna Musial designed the poster typeface golonka (2017). [Google] [More]  ⦿

    Joanna Ruchala

    Polish design student who made several typefaces while studying in Krakow from 2003 until 2005. [Google] [More]  ⦿

    Joanna Rzezak

    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.

    Behance link. Old URL for Kapitan Studio. [Google] [MyFonts] [More]  ⦿

    Julia Kawczynska

    Poznan, Poland-based designer of an old typewriter poster, Ksenofobia (2016). [Google] [More]  ⦿

    Julia Lewandowska

    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]  ⦿

    Julia Pertek

    Graphic designer in Poznan, Poland, who created the sans typeface Tramwajarz during his studies in 2016. [Google] [More]  ⦿

    Julia Shvets

    Szczecin, Poland-based designer of the brush script typeface Nordic Space (2017). [Google] [More]  ⦿

    Julia Wrobel

    Wroclaw, Poland-based designer of Blok (2018). [Google] [More]  ⦿

    Justyna Brzowstowska

    Photographer and typographer in Poznan, Poland. She created the experimental typeface Heelless (2010). [Google] [More]  ⦿

    Justyna Cychowska

    Designer in Gdansk, Poland, who created a colorful typographic poster called Calendar (2013). [Google] [More]  ⦿

    Justyna Frackiewicz

    Warsaw, Poland, and now Paris, France-based designer of the hand-drawn typeface Delirium (2014) and of the vinatge handlettered typeface Franek Type (2015). Creative Market link. [Google] [More]  ⦿

    Justyna Gostkiewicz

    During her studies in warsaw, Justyna Gostkiewicz created an elegant outlined fashion mag typeface possibly called High End (2013). [Google] [More]  ⦿

    Justyna Lauer

    Polish graphic designer who may have made some typefaces. [Google] [More]  ⦿

    Justyna Litwinska

    Warsaw-based designer of the prismatic typeface MyFont (2013). This was a school project for Andrzej Nowaczyk. [Google] [More]  ⦿

    Justyna Pszczolka

    Bielsko-Biala, Poland-based designer of an untitled artsy poster typeface in 2013. [Google] [More]  ⦿

    Justyna Ruchala

    Polish design student who made a typeface while studying in Krakow from 2003 until 2005. [Google] [More]  ⦿

    Justyna Sikora

    As a student in Wroclaw, Poland, Justyna Sikora created the experimental shadow typeface Itsgreatfont (2015). Behance link. [Google] [More]  ⦿

    Justyna Sokolowska

    Polish graphic and type designer who started her own typefoundry in 2014. Typefaces:

    • The squarish typeface Erazm (2014), which is inspired by Polish books from the 1930s.
    • Arbuz (2014) is a grungy typeface that emulates letterpress.
    • Avocado (2015) is a brush script.
    • Banana and Sun. A handwriting font.
    • Woodout (2016). A wooden block font.

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

    Justyna Zabielska

    During her studies in Gdansk, Poland, Justyna Zabielska designed a minimalist hipster typeface (2017). [Google] [More]  ⦿

    Ka Wa

    Ka Wa (Tilda Studio, Krakow, Poland) created the squarish typeface Game Mono in 2015. Behance link. [Google] [More]  ⦿

    Kacper Rawluk

    Gdansk, Poland-based designer of the hipster typefaces Aquarius (2016) and Metamorph (2016). Behance link. [Google] [More]  ⦿

    Kacper Seredyn

    Polish designer of the free sans typeface Requiem (2016). Dafont link. [Google] [More]  ⦿

    Kaja Piaskowska

    Krakow, Poland-based designer of the experimental typeface Gap (2016). [Google] [More]  ⦿

    Kaja Slojewska

    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).

    Graduate of the type design program at the University of Reading, class of 2017. Her graduation typeface there was the Latin / Greek / Cyrillic text typeface Alkes (2017). [Google] [More]  ⦿

    Kajetan Andrzejak

    Szczecin, Poland-based student-designer of the blackletter pixel typeface Pixel Gothic (2018). [Google] [More]  ⦿


    Polish designer of the scribbly typeface Bazgrak Kaktus (2004). [Google] [More]  ⦿

    Kalina Mozdzynska

    Warsaw, Poland-based designer of the 3d typeface Labirynt (sic) (2016). Behance link. [Google] [More]  ⦿

    Kamil Damian Iri

    Designer of the nice octagonal logotype Cremezzina (2010). Kamil lives in Krakow, Poland. [Google] [More]  ⦿

    Kamil Jakub Dudek

    Polish creator of Guten Tag Engraved Beta Regular (2015, Open Font Library). [Google] [More]  ⦿

    Kamil Kamysz

    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

    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).

    Behance link. [Google] [More]  ⦿

    Kamil Kwapinski

    Gdansk, Poland-based designer of the semi-stencil compass-and-ruler typeface White Graphic (2016). Behance link. [Google] [More]  ⦿

    Kamil Piatkowski

    Poznan, Poland-based designer of the free display typeface Bubu (2016). [Google] [More]  ⦿

    Kamil Szydło

    [More]  ⦿

    Kamila Staniszewska

    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]  ⦿

    Kamila Ziecina

    Warsaw-based designer of the display typeface Dont Tell Papa (2014). [Google] [More]  ⦿

    Kapitan Studio
    [Piotr Karski]

    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).

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

    Karina Jancewicz

    Polish design student who made a typeface while studying in Krakow from 2003 until 2005. [Google] [More]  ⦿

    Karlos Design
    [Karlos Mizdrak]

    Polish designer who lives in Krakow. Creator of the sans font Kroj and the accompanying dingbats typeface Piktogramy (2007). No downloads. [Google] [More]  ⦿

    Karlos Mizdrak
    [Karlos Design]

    [More]  ⦿

    Karol Chylinski

    Polish dark artist. Designer of Detalitum (2007). No downloads. Born in 1988, he lives in Ceglow. [Google] [More]  ⦿

    Karol Gadzala

    Krakow, Poland-based creator of the oblique techno typeface The League (2011) and the liquid ink typeface The Very Black (2011). Behance link.

    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.

    Perhaps not a full font, but the ornamental caps in her Just Do It series of banners for Nike in 2010 are also interesting. [Google] [More]  ⦿

    Karol Maciej Siwek

    Krakow, Poland-based designer of Fou Fou Garçon (2012), which is a typeface created on the basis of a grid. [Google] [More]  ⦿

    Karolina Kamoda

    Warsaw-based creator of the knife-edged display typeface Polinoke (2013). [Google] [More]  ⦿

    Karolina Kardas

    Szczecin, Poland-based illustrator whose characteristic neurrotic scribbly lettering is optimally used in her illustrations. [Google] [More]  ⦿

    Karolina Klat

    Wroclaw, Poland-based student-designer of the bilined all-caps typeface Kikmuw (2014-2015). [Google] [More]  ⦿

    Karolina Lach

    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.

    In 2012, she designed Amarante (art nouveau, Google Font Directory) and Courgette (signage script, Google Font Directory and Sorkin Type).

    Behance link. Home page in New York City. Behance link. Klingspor link. Google Plus link. [Google] [More]  ⦿

    Karolina Lutkiewicz

    Gdynia, Poland-based designer of the experimental Spatial Alphabet (2015). [Google] [More]  ⦿

    Karolina Weglarzy

    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]  ⦿

    Karolina Wisniewska

    At the 15th Typeclinic, held in 2017, Karolina Wisniewska (Poland) designed the Latin text typeface Bangla. [Google] [More]  ⦿

    Kasia Doszla

    Polish designer of some hand-crafted typefaces in 2017 including Zelmyk. [Google] [More]  ⦿

    Kasia Fryza Ksiezopolska

    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).

    Dafont link. [Google] [More]  ⦿

    Kasia Kantarowska

    Graphic designer in Poznan, Poland, who created the hand-drawn typefaces Eco (2014) and Kantagraf (2014). [Google] [More]  ⦿

    Kasia Niedzielska

    Warsaw, Poland-based designer of an untitled modular typeface in 2014. [Google] [More]  ⦿

    Kasia Niedzielska

    In 2014, Kasia Niedzielska (Warsaw, Poland) created the modular typeface Own Font (2014). [Google] [More]  ⦿

    Kasia Noske

    Wroclaw, Poland-based designer of the stylish thin sans typeface Nose (2016). [Google] [More]  ⦿

    Kasia Pereta

    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]  ⦿

    Katarzyna Geborek

    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]  ⦿

    Katarzyna Iwinska

    Poznan, Poland-based designer of the bilined decorative typeface Absztyfikant. [Google] [More]  ⦿

    Katarzyna Kokot

    Graphic designer in Poznan, Poland. Her typefaces in 2013 include Invisible Line (pixel face), Myriad Pro Redesigned and Gill Sans Redesigned. [Google] [More]  ⦿

    Katarzyna Krakowian

    Wroclaw, Poland-based designer of the piano key stencil typeface Chojrak (2014). [Google] [More]  ⦿

    Katarzyna Kubiak

    Poznan, Poland-based graphic designer. Creator of the artsy typeface Charlie Chaplin (2014). Behance link. [Google] [More]  ⦿

    Katarzyna Nastaszyc
    [Mulberry Creations]

    [More]  ⦿

    Katarzyna Olga Jarecka

    Warsaw Poland-based designer of Etykieta (2014), a thin didone typeface. [Google] [MyFonts] [More]  ⦿

    Katarzyna Wolny

    At Typeclinic 2015, Polish designer Katarzyna Wolny created the simple sans typeface Nonsens (2015). [Google] [More]  ⦿


    Graphic designer and illustrator in Poznan, Poland, who created the Cerna Hora and Shakira (Arab look glyphs) typefaces in 2009. In 2010, he did the sans typeface Katika. [Google] [More]  ⦿

    Kateryna Pomorova

    Graphic designer in Lodz, Poland, who created Vander (2017) using FontStruct. [Google] [More]  ⦿

    Kaya Bigos

    St Louis, MO-based designer who was born in Poland and has an MFA from Lindenwold University, St. Charles, MO. Creator of KY Deco (2015). [Google] [More]  ⦿


    Polish vendor in Warsaw for Linotype, Agfa, Fontshop, Tilde, Elsner&Flake and Berthold fonts. [Google] [More]  ⦿


    Designer (b. 1989, Poland) of the rune simulation typeface Latin Runes (2011, FontStruct) and Runelike (2014). [Google] [More]  ⦿

    Kinga Gazda

    During his studies at the Academy of Fine Arts in Katowice, Poland, in 2016, Krakow-based Kinga Gazda designed the text typeface Meander. [Google] [More]  ⦿

    Kiosk Studio

    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.

    Behance link. [Google] [More]  ⦿

    Klaudia Krynicka

    During her studies at Academy of Fine Arts in Warsaw and Universität der Künste in Berlin in 2014, Klaudia Krynicka set up her own typefoundry. She graduated in 2015 and is working now in Berlin.

    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.

    In 2015, she made the ribbed textured typeface Leafy. In 2016, she designed the brush typeface Prince for the Berlin-based company Outfittery. Behance link. [Google] [MyFonts] [More]  ⦿

    Klaudiusz Kedziora

    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]  ⦿

    Klaudyna Joczyn

    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]  ⦿

    KNC Graphics

    KNC Graphics (by "Konrad" in Poland) created the simple geometric sans typeface Simple Is Best (2010). [Google] [More]  ⦿

    Konrad Bednarski
    [No More Faith Fonts]

    [More]  ⦿

    Konrad Demkowicz

    Graphic designer in Cracow who created Rumor Type (2013). [Google] [More]  ⦿

    Konrad Koxu Lukasiak

    Warsaw, Poland-based designer of the hand-printed typeface Gringo Board (2017). Behance link. [Google] [More]  ⦿

    Konrad Moszynski

    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]  ⦿

    Konrad Roche

    Gdansk, Poland-based designer of the calligraphic semi-blackletter typeface Grabia (2016). Behance link. [Google] [More]  ⦿

    Konrad Trzeszczkowski

    Type designer in Warsaw (b. 1985, Warsaw). He created the broad nib calligraphic typeface Trsc (2011). [Google] [MyFonts] [More]  ⦿

    Konrad Wielgoszewski

    Polish typographer and graphic designer. [Google] [More]  ⦿

    Koraliki Fonts

    Polish designer (p. 1976) of the pixel typeface PIXOriental9 (2012). Home page. [Google] [More]  ⦿

    Kordian Szust

    Graphic designer in Lodz, Poland. Creator of the connect-the-dots typeface Dot Line (2014). [Google] [More]  ⦿

    Kot Lasu

    Warsaw, Poland-based designer of the hand-crafted typeface Majkun (2016). Behance link. [Google] [More]  ⦿

    [Studio Filigran]

    [MyFonts] [More]  ⦿

    Krystian Berlak

    Krystian Berlak (Akkurat Studio, Lodz, Poland) designed the free experimental geometric 122 IOC font in 2016. Behance link. [Google] [More]  ⦿

    Krzysiek Bak

    Przysietnica, Poland-based designer of the free light sans typeface Kabe (2017). [Google] [More]  ⦿

    Krzysztof Belzowski

    Polish designer of the faux Hebrew typeface Izrael (2004). [Google] [More]  ⦿

    Krzysztof Blachnicki

    Polish designer of the free comic book font Addex (2017). Open Font Library link. [Google] [More]  ⦿

    Krzysztof Fabiniak
    [Fabio 2k]

    [More]  ⦿

    Krzysztof Iwanski

    Lodz, Poland-based poster artist, b. 1985. Many of his remarkable posters have a strong typographic component. [Google] [More]  ⦿

    Krzysztof Janakiewicz

    Graphic designer in Katowice, Poland, who created Attach (2013, a free italic sans typeface) and Hopa (2013, a free rund sans typeface). [Google] [More]  ⦿

    Krzysztof Kochnowicz

    [MyFonts] [More]  ⦿

    Krzysztof Kujawski

    Warsaw-based designer of the the thin display sans typeface Patyki (2018). [Google] [More]  ⦿

    Krzysztof Palinski

    Polish designer (b. 1973) of the grunge typewriter family Lucznik 1303 (2010). Dafont link. [Google] [More]  ⦿

    Krzysztof Stryjewski

    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]  ⦿

    Krzysztof Stryjewski

    Polish creator of the experimental almost cubist typeface Alfabet Picassa (2011). [Google] [More]  ⦿

    Krzysztof Szafranek
    [Font Smoothing]

    [More]  ⦿

    Kuba Rutkowski

    Polish graphic designer in Poznan, b. 1985. Creator of the organic display typefaces Arcaner (2007) and Rothica (2007). Digart link. [Google] [More]  ⦿

    Kuba Tatarkiewicz
    [Druga Strona-Fonty-Windows]

    [More]  ⦿

    Kuna Libre

    Warsaw, Poland-based designer of Long Thorn (2017). [Google] [More]  ⦿

    [Maciej Polczynski]

    Laic is the typefoundry founded in 2018 by warsaw, Poland-based type designer Maciej Polczynski. His typefaces:

    • As part of his Bachelor's project at the Polish-Japanese Academy of Information Technologies in 2016, Maciej Polczynski (Warsaw, Poland) designed the sans typeface Ayka.
    • In 2016, as part of Warsaw Types, he designed the vintage technical typeface Cyrulik and writes: Cyrulik is inspired by technical stencil lettering found on electrical and mechanical devices in Warsaw, and a prewar headline display font---Cyklop---used in a newspaper called Cyrulik Warszawski. The font design combines a strong and sturdy form with delicate and modern details, reflecting the contemporary character of Warsaw. Cyrulik comies in Rounded, Sharp and Stencil styles and is free.
    • In 2017, at The Designers Foundry, he published the display typeface Solenizant, which covers Latin, Greek and Cyrillic.
    • Obibok (2018): Obibok (2018). Obibok is a Polish word describing a lazy person. It is a modern sans serif typeface family consisting of five styles (Light, Regular, Bold, Black and Inversed).
    • Maruder. A reverse contrast typeface.
    • Prostak. A plain geometric sans.
    • Ozzy.
    • Nieuk. An experimental modular typeface.
    • Krayewski: Krayewski is a display typeface based on sketch lettering of Andre de Krayewski from his book cover "Moje Okladki" (2014). Andrzej Krajewski (b. Poland) was an outstanding illustrator and designer who developed his own style mixing art-deco and pop art, and was trained at the Academy of Fine Arts in Warsaw under the supervision of Wojciech Fangor and Henryk Tomaszewski. Krayewski is unicased. It consists of Latin, Cyrillic and Greek scripts.
    [Google] [More]  ⦿

    Lan Pham

    Blogger, web/graphic Designer, and new media art student in Warsaw, Poland. She created the beautiful blackboard bold typeface Cinema Paradiso (2012).

    Behance link. [Google] [More]  ⦿

    Lange & Lange

    Polish design studio which created a nice logo for Restaurant Zurowina in Warsaw in 2012.

    Behance link. [Google] [More]  ⦿

    Latin Modern fonts
    [Boguslaw Jackowski]

    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:

    • Boguslaw Jackowski and Janusz M. Nowacki. Latin Modern: Enhancing Computer Modern with accents, accents, accents. TUGboat, 24(1):64-74, 2003. See here.
    • Boguslaw Jackowski, Janusz M. Nowacki, and Piotr Strzelczyk. MetaType1: a METAP OST-based engine for generating Type 1 fonts. MAPS, 26:111-119, 2001. See here.
    • Boguslaw Jackowski, Janusz M. Nowacki, and Piotr Strzelczyk. Programming PS Type 1 fonts using MetaType1: Auditing, enhancing, creating. TUGboat, 24(3):575-581, 2003. See here.
    [Google] [More]  ⦿

    Laura King

    Gdansk, Poland-based designer of Three Dimensional Alphabet (2015). [Google] [More]  ⦿

    Lech Majewski

    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]  ⦿

    [Gavin Helf]

    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]  ⦿


    Typographic poster based on the work of Annie Leibovitz. [Google] [More]  ⦿

    Leszek Bielski

    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]  ⦿

    Lina Jarczyk

    During her studies in Poznan, Poland, Lina Jarczyk created the rune emulation typeface Svalbard (2015). [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]  ⦿

    Love Letters
    [Sebastien Sanfilippo]

    Sebastien Sanfilippo (Love Letters, Belgium) is the Brussels-based creator of these open source typefaces:

    • Polsku Regula (2010).
    • Reglo (2009). Free at OSP and at Open Font Library).
    • Bagnard (2016). A wedge serif typeface inspired by the graffiti of an anonymous prisoner of the Napoleonic wars. The sans serif version, Bagnard Sans (2016), was developed jointly by Sebastien Sanfilippo, Doug Thomas, Chris Fodge and May Kim. Github link.
    • Cotham Sans (2016). A grotesque typeface. Github link.

    Behance link. Personal home page. Git repository. [Google] [More]  ⦿

    Loveletters Studio

    Calligraphy, lettering and illustration studio in Poznan, Poland. Specialized in connected scripts, they designed Polacy (2015) and Rock (2015). [Google] [More]  ⦿

    Lu Caulfield

    During his studies in Gdansk, Poland, Lu Caulfield created the experimental display typeface El Fabet (2014). [Google] [More]  ⦿

    [Ewa Lubiarz]

    Typefoundry set up in Sieradz, Poland in 2013 by Ewa Lubiarz. Creator of a potato stamp typeface family simply called Potato (2013). [Google] [MyFonts] [More]  ⦿

    Ludka Niezgoda

    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] [More]  ⦿

    Ludwika Hawryszuk

    Poznan, Poland-based designer of the free text typeface family Fontomir (2016). [Google] [More]  ⦿

    Lukasz and Wojciech Bachur
    [Frisk Web]

    [More]  ⦿

    Lukasz Czarnota

    Lukasz Czarnota (aka Luke Black) is the Polish creator of Prophet (2008, futuristic). [Google] [More]  ⦿

    Lukasz Danieluk

    Jastrzebie Zdroj, Poland-based designer of the typographic Porsche poster in 2012. [Google] [More]  ⦿

    Lukasz Dziedzic

    [MyFonts] [More]  ⦿

    Lukasz Kulakowski
    [Empty Page Studio]

    [More]  ⦿

    Lukasz Kulikowski

    Poznan, Poland-based designer of a modular display typeface in 2013. [Google] [More]  ⦿

    Lukasz Kundzicz

    Warsaw, Poland-based designer of Archaic Graffiti (2015). [Google] [More]  ⦿

    Lukasz Makowiecki

    Radom, Poland-based designer of the geometric organic sans typeface Typographica (2016). [Google] [More]  ⦿

    Lukasz Redel

    Polish graphic designer, b. 1981. Creator of the experimental typeface Typo Prooba (2009). [Google] [More]  ⦿

    Lukasz Ruszel

    Polish designer of the multiline typeface PK Designers (2012).

    Behance link. [Google] [More]  ⦿

    Lukasz Szpatowicz
    [Aspect Type]

    [MyFonts] [More]  ⦿

    Lukasz Szubski

    Lukasz Szubski (Lodz, Poland) was born in 1980, and is associated with the studio Graphic Background (or GB Studio). He created Stitch (2011). Klingspor link. [Google] [More]  ⦿

    Lukasz Ziemba

    Industrial designer Lukasz Ziemba (Poznan, Poland) used Futura as a model for the development of his art deco typeface CNC (2016). [Google] [More]  ⦿

    Lukasz Zyskowski

    Designer for broadcast and motion, located in Warsaw. Behance link. He created Music Font (2011). [Google] [More]  ⦿

    Luta Olszewski

    [More]  ⦿

    Luta Olszewski

    Polish architect and designer. Creator of the rounded typefaces Teode (2016) and Teode Basic (2016: free demo). You Work For Them link. [Google] [More]  ⦿

    [Luta Olszewski]

    Luta Olszewski (aka Jozef Lukasz on Typedrawers) is an architect and graphic designer based in Warsaw, Poland designer of the display typeface Teode (2016). [Google] [More]  ⦿

    Maciej Cecot

    Kielce, Poland-based designer of the trainline-inspired display typeface Trainline (2016) and the grid-based stencil typeface Milano (2016). [Google] [More]  ⦿

    Maciej Chodakowski

    Polish creator of the free display typefaces Swordlings (2013), Inklings (2013), Binary Soldiers (2013, +II), Magic Sticks (2013), and Maya Culpa (2013).

    Fontspace link. Dafont link. [Google] [More]  ⦿

    Maciej Jezierski

    Polish designer of the fun cat dingbat typeface KocieSymbole (2000-2001).

    See also here. Fontspace link. Dafont link. [Google] [More]  ⦿

    Maciej Maciej

    Designer of the penis symbol font Chujowy (2018), Polish for shitty. [Google] [More]  ⦿

    Maciej Majchrzak

    Wroclaw, Poland-based designer of these typefaces in or just before 2016:

    • Rainbow. A rounded sans typeface commissioned by PBD (pbd.pl) for their client Rainbow Tours S.A. (r.pl), the leading tour operator in Poland.
    • Slownik. MA diploma project text typeface done at the University of Arts in Poznan.
    • Sigma. BA project text typeface done at the University of Arts in Poznan.
    [Google] [More]  ⦿

    Maciej Ostañski
    [Bysiu Pysiu]

    [More]  ⦿

    Maciej Polczynski

    [More]  ⦿

    Maciej Robak

    Art director in Warsaw, who created the minimalist Passion Font in 2013. Behance link. [Google] [More]  ⦿

    Maciej Swierczek

    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 typefoundry. Primiterus (2014) is a hipster typeface. Teutura (2015) is an expressionist blackletter typeface.

    Devian tart link. Fontspace link. Behance link. Aka Sergeant Swierq. Old URL. Old link. [Google] [MyFonts] [More]  ⦿

    Maciej Wloczewski

    [MyFonts] [More]  ⦿

    Maciek Blazniak
    [Studio Ladne Halo]

    [More]  ⦿

    Maciek Sobczak

    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]  ⦿

    Magda Brankiewicz

    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]  ⦿

    Magda Dubiel

    Warszaw, Poland-based designer of the calligraphic typeface Tracery (2016) and the display typeface Circa (2016). Behance link. [Google] [More]  ⦿

    Magda Dzielinska

    At the Academy of Fine Arts in Warsaw, Magda Dzielinska designed the blackletter typeface Breslau Black (2018). [Google] [More]  ⦿

    Magda Kalman

    Poznan, Poland-based designer of Arcadio (2017, a calligraphic alphabt), Miseli (2017, high contrast roman caps) and some weather icons (2017). [Google] [More]  ⦿

    Magda Kalman

    Poznan, Poland-based designer of the very high contrast typeface Miseli (2017). [Google] [More]  ⦿

    Magda Kielbasa

    Myslowice, Poland-based designer of a pixel typeface in 2016. [Google] [More]  ⦿

    Magda Tokar

    Polish graphic designer in Opole, b. 1988. Creator of Alfabet dla mechanika (2009). [Google] [More]  ⦿

    Magdalena Boffito
    [Mezzo Mezzo]

    [More]  ⦿

    Magdalena Boleslawska

    Katowice, Poland-based designer, who created the octagonal typeface Electro (2012). [Google] [More]  ⦿

    Magdalena Frankowska

    [MyFonts] [More]  ⦿

    Magdalena Gardela

    Designer in Krakow, Poland, who made the anthroposophic typeface Gardela (2013). [Google] [More]  ⦿

    Magdalena Golda

    Wroclaw, Poland-based designer of the display typeface Ale Faza (2015). [Google] [More]  ⦿

    Magdalena Gramm

    Graphic designer and illustrator in Krakow, Poland, who created these fonts in 2017: Branta Serif, Antoni (informal sans style). [Google] [More]  ⦿

    Magdalena Kozina

    During her studies in Warsaw, Poland, Magdalena Kozina designed the deco typeface Kozina (2016). [Google] [More]  ⦿

    Magdalena Naja

    Graphic designer in Poznan, Poland, who created the deco typeface Najazd in 2017. [Google] [More]  ⦿

    Magdalena Olczak

    Gdansk, Poland-based designer of a textured caps typeface in 2015. [Google] [More]  ⦿

    Magdalena Szestakow

    Rzeszow, Poland-based designer of a brush alphabet and a few new geometric display typefaces in 2017. [Google] [More]  ⦿

    Magdalena Wielopolska

    Graphic designer in London, who has created some typefaces in 2011. [Google] [More]  ⦿

    Magdalena Wilk

    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]  ⦿

    Magdalena Wisniewska

    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 garduation typeface at KABK in 2017 was Essie, which was created for editorial use. [Google] [More]  ⦿

    Mahmoud Yacoub

    Lodz, Poland-based designer of the De Stijl / Mondrian-inspired typeface Mondriano (2017). [Google] [More]  ⦿

    Maja Karolina Baranska

    Wroclaw, Poland-based designer of the grungy typeface Typo Stempel (2015). [Google] [More]  ⦿

    Malgorzata Budyta

    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.

    Klingspor link. [Google] [More]  ⦿

    Malgorzata Frackiewicz
    [Powazne Studio]

    [MyFonts] [More]  ⦿

    Malgorzata Ruminska

    Warsaw, Poland-based designer of the retro connected typeface Neon (2017). This typeface was published during her studies at the Academy of Fine Arts in Warsaw. [Google] [More]  ⦿

    Malgorzata Sobocinska-Kiss

    Malgorzata Sobocinska-Kiss (Twin Studio, Warsaw, Poland) designed the clean techno typeface Unikiss (2017) and Xmas and Newyear Icons (2016). [Google] [More]  ⦿

    Malgorzata Spiewak

    Olsztyn, Poland-based designer of the brush typeface The Street (2016). [Google] [More]  ⦿

    Malgorzata Wodczak

    Gdynia, Poland-based designer of the avant garde typeface Trakoja (2017). [Google] [More]  ⦿

    Malgosia Piernik

    Poznan, Poland-based designer of Polifan (2014), a partially completed typeface. [Google] [More]  ⦿


    Polish graphic designer in Wroclaw, b. 1980. Creator of the experimental minimalist typeface Taki Prosti (2009) and the techno typeface Font na własne potrzeby (2009). [Google] [More]  ⦿

    Marcelina Krzeminska

    Freelance graphic designer in Torun, Poland, who designed the bilined poster typeface Apollo in 2013. [Google] [More]  ⦿

    Marcin Dabrowski

    Polish graphic designer in Krakow, b. 1976. Creator of the funky typeface Cooksy (2009). [Google] [More]  ⦿

    Marcin Gorski

    Polish design student who made a thinly serifed text face (2011). [Google] [More]  ⦿

    Marcin Leskow
    [Martin Leśków]

    [More]  ⦿

    Marcin Liedtke

    Polish designer of a hexagonal typeface in 2017. [Google] [More]  ⦿

    Marcin Marciniak

    Poznan-based designer of Spokko (2012), an artsy typeface inspired by Picasso. In 2015, he designed the angular text typeface Paradox. [Google] [More]  ⦿

    Marcin Mokierow-Czolowsky

    During his studies in Poznan, Poland, Zolowsky designed the alchemic typeface Drama (2013) and the avant garde hipster typeface sewer (2014). [Google] [More]  ⦿

    Marcin Przybys

    Graphic designer and architect in Wroclaw, Poland, who runs Camfora Design Studio. He seems to have created two typefaces in the family Tengwar New (2009). [Google] [More]  ⦿

    Marcin Wasilewski

    Polish designer and photographer, who created the squarish typeface Coca Power in 2002. Behance link. [Google] [More]  ⦿

    Marcin Zdrojewski

    Born in Poland in 1994, and now in Vienna, Marcin Zdrojewski created the free display typeface Szewederewo in 2015. Dafont link. [Google] [More]  ⦿

    Marek Jeziorek

    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]  ⦿

    Marek Rycko

    Codesigner with Boguslaw Jackowski from 1992 until 2009 of the TeX-PCR package, which contains the Polish (properly diacriticized) fonts for Knuth's Concrete. [Google] [More]  ⦿

    Marek Waszczuk

    Laski, Izabelin-based Polish designer of Olivia (2005). Dafont link. [Google] [More]  ⦿

    Maria Bieniek

    Warsaw, Poland-based designer of the organic typeface Boa (2016) for a school project. [Google] [More]  ⦿

    Maria Eska

    Polish type designer who created the art deco typeface Eska. [Google] [More]  ⦿

    Maria Kuziola

    Poznan, Poland-based designer of the script typeface Goplanka (2018). [Google] [More]  ⦿

    Maria Magdalena Rybak

    Prismatique (2011) is a noncommercial font inspired by the art deco vase Nanking from 1925---a bit in the Futurismo style. Home page at Verine Design in Lodz, Poland. [Google] [More]  ⦿

    Maria Michalska

    Graphic designer in Warsaw, Poland, who created the school project font Furia (2013) in which she wanted to achieve Scandinavian minimalism and metal band gothicism. [Google] [More]  ⦿

    Maria Nowak

    Polish type designer who created Maryna (Roman, outline). [Google] [More]  ⦿

    Maria Regucka

    In 2013, Maria Regucka (Krakow, Poland) published a typeface called Animal Typography.

    Behance link. [Google] [More]  ⦿

    Maria Wieczorek

    Graphic design student in Warsaw, Poland, who created a geometric solid alphabet in 2017. [Google] [More]  ⦿

    Marian Misiak

    Graduate from the type design program at the University of Reading in 2010. Marian designed Timeline for his thesis. Timeline is a full family with serif, sans and Arabic subfamilies. It is intended for information design---the serif is kept uncomplicated while the sans and Arabic are basically monoline styles.

    Marian has both a Polish and a Czech background. With Tomek Bersz, he runs a studio in Warsaw. 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]  ⦿

    Marianna Urbanska

    During her studies in Poznan, Poland, Marianna Urbanska designed the blackletter typeface Brittle (2017). [Google] [More]  ⦿

    Mariusz Flisinski

    Polish graphic designer in Ostrowiec Swietokrzyski. Creator of the rounded minimalist organic monoline sans family PLEJ (2011). Behance link. [Google] [More]  ⦿

    Marta Balcer

    During her studies in Poznan, Poland, Marta Balcer designed the old slavonic emulation typeface Baba Jaga (2017) for a board game. [Google] [More]  ⦿

    Marta Podkowińska
    [Florence (or: Bombastudio)]

    [MyFonts] [More]  ⦿

    Marta Sieczkowska

    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]  ⦿

    Marta Szmyd

    Polish graphic and txtile designer. Creator of M Typeface (2009, sans). [Google] [More]  ⦿

    Marta Waniek
    [Polish Your Art (was: Marta Van Eck Designs)]

    [More]  ⦿

    Marta Zawieja

    Lodz, Poland-based designer of a nice lettering poster called Piosenki (2013). [Google] [More]  ⦿

    Martin Cetkovsky

    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]  ⦿

    Martin Leśków
    [Marcin Leskow]

    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).

    Klingspor link. [Google] [More]  ⦿

    Martyna Talaga

    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 designer of the free fat finger font Martyy (2013). [Google] [More]  ⦿

    Mateusz Buczek

    Graphic designer in Rzeszow, Poland, who created the thin sans typeface Phantom in 2016. [Google] [More]  ⦿

    Mateusz Glodek

    Born in Canada but now located in Komorow, Poland, Mateusz Glodek designed a set of gridded numbers simply called Pixel (2012). [Google] [More]  ⦿

    Mateusz Machalski
    [Borutta (or: Duce Type)]

    [MyFonts] [More]  ⦿

    Mateusz Piekos

    Dobrzechow, Poland-based student-designer of a thin typeface in 2017. [Google] [More]  ⦿

    Mateusz Siudak

    Krakow, Poland-based designer of the techno / logo font Stamina (2012). [Google] [More]  ⦿

    Mateusz Wojcicki

    Warsaw-based designer of Joanne (2012), an elliptical monoline sans typeface. [Google] [More]  ⦿

    Mateusz Zieleniewski

    Wroclaw, Poland-based designer of the rioman typeface MSC (2017). [Google] [More]  ⦿

    Matt Gluszek

    Warsaw, Poland-based graphic and type designer. Designer of the circle-based experimental typeface Gluszcenko (2008). [Google] [More]  ⦿

    Mauricio Amster

    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]  ⦿

    Max Hertwig

    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.

    Typefaces designed by him at H. Berthold AG include Alt Mediaäval (1914, +Halbfett) and Alt Mediaäval Kursiv (1923). [Google] [More]  ⦿

    Max Lasocki

    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]  ⦿

    Mazab IZW

    Polish designer of the pixelish typeface Elevenki2Czcionk (2017) that is used in the FNaF Fan-game Eleveki. [Google] [More]  ⦿


    Polish designer of the irregular and scary Spider Bite (2009). [Google] [More]  ⦿


    Warsaw, Poland-based designer of a multilined typeface (2014). [Google] [More]  ⦿


    Polish designer of the grunge typeface Masturbator (2004) and the bone typeface Bone Daddy (2004). [Google] [More]  ⦿

    Mezzo Mezzo
    [Magdalena Boffito]

    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).

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

    Michał Buczyński

    Polish designer of the free typeface 26 Alco (2010, alcohol-related dingbats).

    Dafont link. Alternate URL. Poster (2010). [Google] [More]  ⦿

    Michal Adamiec

    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).

    Behance link. [Google] [More]  ⦿

    Michal Czyz

    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]  ⦿

    Michal Jarocinski
    [Dada Studio]

    [MyFonts] [More]  ⦿

    Michal Jarocinski

    [More]  ⦿

    Michal Kluch

    During his studies, Szczecin, Poland-based Michal Kluch designed the text typeface Chimarrao (2016). [Google] [More]  ⦿

    Michal Kosmulski

    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.

    OFL link. Dafont link. Abstract Fonts link. Sourceforge link. Alternate site. [Google] [More]  ⦿

    Michal Kryg

    Polish designer of the free font PKP (2003), after the lettering used by the Polish railways. [Google] [More]  ⦿

    Michal Kubalczyk

    During his studies in Leszno, Poland, Michal Kubalczyk designed the logotype Arkadius for Arkadiusz Paszkowski (2013).

    Behance link. [Google] [More]  ⦿

    Michal Lewkowicz

    [More]  ⦿

    Michal Nowak

    [More]  ⦿

    Michal Nowakowski

    Polish designer of the Tolkien-inspired font TengwarFormal11 (2004). [Google] [More]  ⦿

    Michal Pawlak

    Radom, Poland-based student-designer of the hexagonal typeface Square94 (2017). [Google] [More]  ⦿

    Michal Pieczynski

    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).

    In 2018, he designed the sans typeface Prosta and the free techno typeface Hero. [Google] [More]  ⦿

    Michal Sulik

    Polish digital photographer (b. 1981) who lives in Torun. Creator of the dot matrix font Bus Led Display Small (2008). [Google] [More]  ⦿

    Michalina Suminska

    During her studies at Academy of fine Arts Wladyslawa Strzemiskiego in Lodz, Poland, Michalina Suminska designed the very fat geometric poster typeface Phyllody (2017). [Google] [More]  ⦿

    Mike D. Kowalczyk

    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]  ⦿

    Mikolaj Grabowski

    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 typefoundry. Creative Market link. [Google] [MyFonts] [More]  ⦿

    Mikolaj Pasinski

    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]  ⦿


    Polish designer of the hand-printed typeface Milczar22 (2004). [Google] [More]  ⦿

    Mill Studio

    Graphic design studio in Krakow, Poland. They made some typefaces in 2009. Behance link. [Google] [More]  ⦿

    Milosz Type Design International Student Competition

    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:

    • First Prize: Damien Collot, France, for his Milosz famiily, developed while studying under Titus Nemeth at the &Eacutre;cole supéerieure d'art et de design in Amiens, France.
    • Honorable mention: Nikola Djurek's students at the School of Design in Zagreb, Croatia: Marko Hrastovec, Andrija Mudnic and Luka Reicher. For the design of an italic typeface.
    • Short list of other finalists: Renata Pokrywińska of Uniwersytet Artystyczny in Poznań, Poland (supervisor: Krzysztof Kochnowicz) and Daniel Sabino de Souza of Eina-Escuela Superior de Disseny in Spain (supervisor: Laura Meseguer).
    [Google] [More]  ⦿

    Mini Type
    [Ada Napiorkowski]

    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:

    • Warsaw 59 (2015), a geometrical font inspired by mid-century Polish architecture and typography. Ada managed to capture the spirit of the era just perfectly. It can be bought at Hellofont.
    • Roses (2015). A serifless didone, which I started calling Peignotian on my pages.
    • Marilou Script (2017).
    Creative Market link. Carbonmade link. [Google] [More]  ⦿

    Miroslaw Bobrowski

    Polish designer of the organic sans typeface Monika (2007). [Google] [More]  ⦿


    Polish graphic designer in Torú, b. 1984. Creator of the organic typeface Circle (2007-2009). [Google] [More]  ⦿

    MJ Graphics

    Slupsk, Poland-based group that designed a dot matrix connect-the-dots typefaces in 2014. [Google] [More]  ⦿

    Monika Dudikeni

    Polish designer of the hand-drawn blackboard bold typeface PFS Pastel Feather (2013). Her company is called Pastel Feather Studio.

    Dafont link. [Google] [More]  ⦿

    Monika Kall

    Poznan, Poland-based designer of a modular display typeface in 2017. [Google] [More]  ⦿

    Monika Marek

    Polish designer of Trenta (2013), a typeface developed during Typeclinic 6 in 2013. [Google] [More]  ⦿

    Monika Skiba

    Graduate of the University of A. Mickiewicz in Poland ond of the Escuela Superior de Diseno in Spain. Sadki, Poland-based designer of the bubblegum typeface Be Happy (2013). [Google] [More]  ⦿

    Monika Sochanska

    Wroclaw, Poland-based designer of the soft-edged text typeface Herbal (2016). [Google] [More]  ⦿

    Mulberry Creations
    [Katarzyna Nastaszyc]

    Bielsko-Biala, Poland-based designer of the weathered poster typeface family Lacroix (2017). [Google] [More]  ⦿


    Typefoundry in Biata, Poland. [Google] [MyFonts] [More]  ⦿

    Natalia Jaworska

    Warsaw, Poland-based designer of the figurine font Keith Haring (2017). [Google] [More]  ⦿

    Natalia Seczkowska

    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]  ⦿

    Natalia Trochowska

    Poznan, Poland-based desiugner of the blackletter typeface Kaligraf (2017). [Google] [More]  ⦿

    Natasza Salanska

    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]

    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.

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

    Nikodem Kupczynski

    Krakow, Poland-based student-designer of a modul;ar typeface made with FontStruct in 2017. [Google] [More]  ⦿

    Nikodem Kupczynski

    Krakow, Poland-based designer of the experimental typeface Smbls (2016) and some FontStruct typefaces. He also made Logotype Font (2016). [Google] [More]  ⦿

    Nikodem Kupczynski

    Cracow, Poland-based designer of the experimental stencil typeface Smbls (2017). [Google] [More]  ⦿

    Nina Gregier

    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.

    Fruits of the Forest (2013) is an alchemic typeface family. Classic Geometry (2013) also uses geometric patterns.

    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.

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

    No More Faith Fonts
    [Konrad Bednarski]

    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:

    Nora Polyak

    Designer in Budapest. Behance link. In 2010, she created an art deco alphabet simply called ABC. [Google] [More]  ⦿

    Nowa Era
    [Agata Knajdek]

    Gdansk, Poland-based designer of the informal typeface Illustra NE (2017). [Google] [More]  ⦿

    Odlewnia Czcionek J. Idzkowski i S-ka
    [Janusz Marian Nowacki]

    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]  ⦿

    Olena Kuts

    Wroclaw, Poland-based designer of a geometric color font in 2018. [Google] [More]  ⦿

    Olga Rafalska

    During her studies in Poznan, Poland, Olga Rafalska created the free icon set Elementarz (2014, AI format) and the circle-based typeface Etnofont (2014). [Google] [More]  ⦿


    Polish designer of a fat counterless typeface in 2009. [Google] [More]  ⦿


    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]  ⦿

    Oruam Graphiks

    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]

    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 typefoundry, Osialus, in 2014. In 2014, he designed the condensed minimalist sans typefaces Blop11 and Blop77. [Google] [MyFonts] [More]  ⦿

    Oskar Sobolewski

    Torun, Poland-based designer of a modular display typeface in 2017. [Google] [More]  ⦿

    Osrodek Pism Drukarskich (ODP)

    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 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. 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]  ⦿

    P. Swichotzki

    Foundry in Warsaw, ca. 1870. [Google] [More]  ⦿

    [Przemek Kopczyk]

    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.

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

    Patrick H

    Poznan, Poland-based designer of the asian-themed typeface Sarang (2016). He also created a (partially free) Cloudy Weather Icon Set (2016). Behance link. [Google] [More]  ⦿

    Patrycja Filipowicz

    Gdansk, Poland-based designer of a modular squarish typeface in 2016. [Google] [More]  ⦿

    Patrycja Piotrowska

    Creator of the fat finger font PatiPe (2015). [Google] [More]  ⦿

    Patrycja Zygon

    Polish designer of the balanced text typeface Zygoma (2014), which was developed at Typeclinic in 2014. [Google] [More]  ⦿

    Patryk Liss

    Gdansk, Poland-based designer of the modular typeface Salceson (2016). [Google] [More]  ⦿

    Paulina Bialkowska

    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]  ⦿

    Paulina Buzniak

    Ozarow Mazowiecki, Poland-based creator of Blocky (2015, a Lego dingbat face). [Google] [More]  ⦿

    Paulina Koziel

    Krakow, Poland-based designer of the monoline monospace typeface Monoways (2016). [Google] [More]  ⦿

    Paulina Strojniak

    During her studies in Krakw, Poland, Paulina Strojniak designed the art deco typeface Goniec (2018), which is inspired by the defunct World War II newspaper Goniec Warszawski. [Google] [More]  ⦿

    Pawel Borowiec

    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]  ⦿

    Pawel Burgiel

    Kielce, Poland-based type designer who was born in 1971 in Kielce. Since 2010 he has been working as a freelance graphic and type designer. He created these typefaces:

    • Peppo (2012). A feisty informal script family.
    • Arsinoe (2012). A condensed geometric typeface noted for its unorthodox long ascenders and low x-height.
    • Althea (2015). Free.
    • Ethlinn. A Gaelic uncial typeface.
    • Carbonium (2015) and Carbonium OSF (2015). Cursive text typefaces.
    • Longa Iberica (2015). A tall-ascendered mediaeval typeface.
    • Uranos (2016). A geometric display typeface.
    • Fusione (2016). A scribbly multiline typeface.
    • Rufus Script (2016). A connected penmanship font inspired by Palmer method of business writing.
    • Hamerslag (2017). A very condensed serif typeface.
    • PB Roman Uncial IIc (2018).
    • PB Capitalis Rustica IVc (2018). A fourth century roman calligraphic script.
    • PB Carolingian Xc (2018). A Carolingian miniscule typeface that imitates manuscripts from the 10th century.
    Dafont link. [Google] [MyFonts] [More]  ⦿

    Pawel Klasa

    Polish creator of the free fat finger font Pavfont (2013). [Google] [More]  ⦿

    Pawel Konkol

    Pawel Konkol is the Polish designer of the handwriting fonts Smolna and Rybnik. [Google] [More]  ⦿

    Pawel Kontek

    Designer in Krakow, Poland, who created the all caps display typeface Hefner (2016), which was inspired by Luxury Diamond (Christian Schwartz and Dino Sanchez). [Google] [More]  ⦿

    Pawel Lachowicz

    Graphic designer in Szczecin, Poland, who created a multilined 3d alphabet in 2015. [Google] [More]  ⦿

    Pawel Osial

    [MyFonts] [More]  ⦿

    Pawel Schulz

    During his studies at Academy of Fine Arts in Gdansk, Poland, Pawel Schulz designed the display typeface Wooden Pallet (2016). [Google] [More]  ⦿

    Pawel Schulz

    At the 15th Typeclinic, held in 2017, Pawel Schulz (Poland) designed the text typeface Capillary. He also designed the stencilish Wooden Panel Alphabet (2017). Behance link. [Google] [More]  ⦿


    Polish type designer who created the calligraphic typeface Lubol. [Google] [More]  ⦿

    Peter Karow

    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]  ⦿

    Peter Mazoch

    Polish design student who made the rhombic typeface Pixador (2011). [Google] [More]  ⦿


    Type coop in Poland. In 2017, they published the techno typeface Center Screen. [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 d.love@dl.ac.uk 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]  ⦿

    [Maciej Wloczewski]

    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.

    In 2018, he published the flared terminal typeface Picador Sans.

    Behance link. Newer Behance link. Home page. Behance link for Picador Studio. [Google] [MyFonts] [More]  ⦿


    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.

    They also made the vintage factory signage typeface Nadodrze (2016). Behance link. [Google] [More]  ⦿

    Piotr Buczkowski

    Designer from Poznan, Poland, wo works at Heroes Design. Creator with Anastazja Borowska of the hairline typeface Les Memories (sic) (2011). [Google] [More]  ⦿

    Piotr Dembinski

    Polish designer of Lucek (2012, a clean hand-printed typeface). [Google] [More]  ⦿

    Piotr Fedorczyk

    Information and user interface designer at Designr.it in Florence. His diary on the web is exquisitely typeset. He has tens of useful tips for web typography. [Google] [More]  ⦿

    Piotr Karetko

    Polish designer, who may have some fonts, but his page causes navigation problems. [Google] [More]  ⦿

    Piotr Karski
    [Kapitan Studio]

    [MyFonts] [More]  ⦿

    Piotr Klarowski

    [More]  ⦿

    Piotr Klyszejko

    During his architecture studies, Warsaw, Poland-based Piotr Klyszejko designed the monoline geometric sans typeface Fontanna (2018). [Google] [More]  ⦿

    Piotr Lukaszkiewicz

    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. YWFT link. [Google] [More]  ⦿

    Piotr Marinowicz
    [GRIN3 Marcinowicz]

    [MyFonts] [More]  ⦿

    Piotr Michonski

    Polish designer of the hand-printed typeface PieterReczny (2004). [Google] [More]  ⦿

    Piotr Monsiorski

    Gdansk, Poland-based designer of the free hipster sans typeface family Cima (2017), which has substyles called Cima Grande, Cima Piccolo and Cima Ovest. [Google] [More]  ⦿

    Piotr Podwojewski

    Gdansk, Poland-based designer of the modular typeface Broszka (2017). [Google] [More]  ⦿

    Piotr Rypson

    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]  ⦿

    Piotr Strzelczyk

    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]  ⦿

    Piotr Szymański

    Polish web designer (b. 1989) who lives in Warsaw. Creator of Minimal Pixel Font (2006). Alternate URL. [Google] [More]  ⦿

    Piotr Wozniak

    [MyFonts] [More]  ⦿

    Piotro Slaby

    Graphic designer and illustrator from Wroclaw, Poland, who made the original angular typeface Totalica (2010), and Paperbend (2010). He also has an active type blog. [Google] [More]  ⦿

    PL fonts
    [Janusz Marian Nowacki]

    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 Diacritics

    Essays and information by Adam Twardoch on the kropka (dot accent), kreska, ogonek, kreska ukosna, and Polish diacritics in general. [Google] [More]  ⦿

    Polish fonts

    Polish fonts at Adam Twardoch's site. [Google] [More]  ⦿

    Polish fonts archive

    About 20 megs of Polish fonts. [Google] [More]  ⦿

    Polish Your Art (was: Marta Van Eck Designs)
    [Marta Waniek]

    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).

    In 2013, she published the grungy typeface Rubber Stamp, the children's hand font Melchior, and the scratchy chalky Chalkboard.

    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.

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

    Polska Strona Ogonkowa

    Free Polish fonts at Stanislaw Staszic University of Mining and Metallurgy in Cracow. [Google] [More]  ⦿

    Polskie Literki

    Commercial Polish truetype font set. [Google] [More]  ⦿

    Powazne Studio
    [Malgorzata Frackiewicz]

    Powazne is a Polish typefoundry, est. 2014, by Malgorzata Frackiewicz. Malgorzata created the dingbat fonts Oh Icons Baby, Oh Icons Winter and Oh Icons Pets (2014). [Google] [MyFonts] [More]  ⦿

    Pracownia Liternictwa i Typografii
    [Wojciech Regulski]

    Type and type design center in Krakow, Poland, aka the Lettering and Typography Studio Jan Matejko Academy of Fine Arts, headed by Wojciech Regulski. Behance link. [Google] [More]  ⦿

    Prince of Luksemburk

    Polish Fontstructor who made the broken typeface Gilotyna (2011). [Google] [More]  ⦿

    Przemek Kopczyk

    [More]  ⦿

    Przemyslaw Chojnacki

    Polish programmer. Creator (b. 1988) of the runic artificial language font Vojnic Rounded (2009, FontStruct) and of Vojnic (2010). [Google] [More]  ⦿

    Przemyslaw Hoffer

    Przemec Hoffer is the Lodz, Poland-based creator of the hairline titling sans typeface Basicl (2012) and of Basic Title Font (2012, hairline caps).

    In 2013, he designed Madame Klara, Madame Deloblat and Madame Mary, a trio of thin slab serif typefaces for glamour magazines.

    In 2014, he made the octagonal typeface Mechanik. In 2016, he started work on Laktoza. [Google] [More]  ⦿

    Przemyslaw Zieba

    Poznan, Poland-based creator (b. 1990) of the free display sans typeface Gadaj P. Finch (2015) and the free blackletter typeface Ordnung (2015). Dafont link. [Google] [More]  ⦿

    Radoslaw Gabrys

    As a student in Wroclaw, Poland, Radoslaw Gabrys designed Brailetica (2017). [Google] [More]  ⦿

    Rafal Brzezinski
    [Antraxja Fonts (or: Atrax)]

    [More]  ⦿

    Rafal Buchner

    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 2017, he started the TypeMedia program at KABK in Den Haag. [Google] [More]  ⦿

    Rafal Drozdzik

    During his studies in Wroclaw, Poland, Rafal Drozdzik designed the slab serif typeface Foptera (2018). [Google] [More]  ⦿

    Rafal Grzywacz

    Web and graphic designer from Poznan, Poland. Creator of the typeface Around The World (2010), which was made using only straight lines and arcs of circles. [Google] [More]  ⦿

    Rafal Urbanski

    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]  ⦿


    Polish designer of the grunge typeface Pismak. [Google] [More]  ⦿

    Rain Dear

    Designer in Warsaw who made the tall condensed hand-printed typeface called Children's Alphabet (2012). [Google] [More]  ⦿

    Ralf Herrmann
    [Traffic Sign Typefaces: Poland]

    [More]  ⦿

    Rav Janicki

    Szczecin, Poland-based designer of the minimalist cosmic display typeface Iota Persei (2015). [Google] [More]  ⦿

    Renata Maj

    For a school project on 3d design, Renata Maj (Poland) drew Spatial Alphabet (2015). [Google] [More]  ⦿

    Renata Pokrywińska

    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]  ⦿

    Rene Kovalchuk

    During her studies in Wroclaw, Poland, Iryna (Rene) Kovalchuk designed the stencil typeface Laika (2016). [Google] [More]  ⦿

    Rittswood Fonts

    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]  ⦿

    Robert Bigos

    Krakow, Poland-based created of a hand-drawn alphabet, Usterka (2013), which was done for a TV program. Behance link. [Google] [More]  ⦿

    Robert Chwalowski

    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]  ⦿

    Robert Jarzec

    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).

    As part of the Warsaw Types project, he designed the partially free wayfinding typeface Rewir (2016). [Google] [More]  ⦿

    Robert Kubas

    Robert Kubas (aka Graffiz) is a Polish graphic designer who made the sans typeface Elevation (2009). [Google] [More]  ⦿

    Robert Miszka

    Polish designer of the hand-printed typeface Galileo (2004). [Google] [More]  ⦿

    Robert Pienkowski

    Designer of the thick paint font RP Mola (2006). [Google] [More]  ⦿

    Robi D.J. Gienek

    Polish designer of the scribbly typefaces N.A.S., Writers---DJ-Gienek, DJ Gienek&Franca2r (2001-2004). See also here. [Google] [More]  ⦿

    Roch Modrzejewski

    [MyFonts] [More]  ⦿

    [Roch Modrzejewski]

    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 2018: Bozon (a minimalist geometric grotesk), Qualion (a 30-style modern geometric grotesk). [Google] [MyFonts] [More]  ⦿

    Roman Cieslewicz

    Polish graphic artist and photographer, 1930-1996. He designed a decorative alphabet in 1964 for Guide de la France Mystérieuse. [Google] [More]  ⦿

    Roman Tomaszewski

    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]  ⦿

    Romuald Kowalczyk

    Based in Krakow, Poland, and born in 1970, Romuald designed the condensed ouline font Armin (2007). Dafont link. Yet another URL. [Google] [More]  ⦿

    [Jacek Jan Judkiewicz]

    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]  ⦿


    Polish creator of the hand-printed font Cute (2010). [Google] [More]  ⦿

    Russian foundries, ca. 1870

    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]  ⦿

    S. Orgelbrand

    The largest and most important foundry in Warsaw in 1870. It was founded in 1836. [Google] [More]  ⦿

    Sabine Schmidtpeter

    Polish design student who made Milosz (2011). [Google] [More]  ⦿

    Sahara Knoblauch

    Wroclaw, Poland-based designer (b. 1991) who created Sahara Handwriting (2008) and Mouse Handwriting (2012). Dafont link. [Google] [More]  ⦿

    Sasha Zakrevska

    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).

    Behance link. [Google] [More]  ⦿

    Sebastian Cabaj

    Sebastian Cabaj studied graphic design at the Academy of Fine Arts in Warsaw, where he now works as a graphic and type designer.

    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).

    In 2012, he set up the Sebastian Cabaj Foundry via MyFonts.

    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).

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

    Sebastian Kostrubala

    Polish designer of the futuristic typeface Cleev Reticulean (2004). [Google] [More]  ⦿

    Sebastian Onufszak

    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).

    Behance link. [Google] [More]  ⦿

    Sebastien Sanfilippo
    [Love Letters]

    [More]  ⦿


    Polish designer (b. 1981). Creator of Bazgroly (2006, handwriting font). [Google] [More]  ⦿

    Silesian Letters
    [Adam Twardoch]

    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
    [Ewa Satalecka]

    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]  ⦿


    Polish designer of the hand-printed typeface Applause (2014). [Google] [More]  ⦿

    Sos Sosowski

    Polish designer (b. 1987) of the angular Flintstone typeface Allegro Cartoon (2015). Dafont link. [Google] [More]  ⦿

    [Jerz Stach]

    Spinefonts is the typefoundry in Warsaw of Polish designer Jerz Stach.

    Creator of Airbuzz (2012, octagonal typeface) and the monoline monospaced octagonal typeface Redaktor (2012). [Google] [MyFonts] [More]  ⦿

    Stanislav Tomsej

    Graphic designer in Prague and Katowice, Poland. Behance link. He has many great examples of typographic compositions and creative lettering, such as Carigraphy (2009, hand-drawn letters on a Cadillac). He designed the condensed didone family Fidentia (2010), Cukrik Type (2009, glyphs like pieces of candy), Pampas (2009, a curvy multiline face), and a whole bunch of hand-made typefaces. Digart link. [Google] [More]  ⦿

    Stanislaw Ziolkowski

    Type designer who participated in the Linotype International Type design Contest in 2000. [Google] [More]  ⦿

    Stefan Bernacinski

    Polish film poster artist. Occasional type designer who created Sawa (Latin, Cyrillic), a text face. Other typefaces include Grotesk (sans), and Wanda (serifed). [Google] [More]  ⦿

    Stefan Szczypka
    [STR: Studio Typografii Realnej]

    [MyFonts] [More]  ⦿

    Stepan Roh
    [DejaVu Fonts]

    [More]  ⦿

    STR: Studio Typografii Realnej
    [Stefan Szczypka]

    Stefan Szczypka's type studio in Warszaw. [Google] [MyFonts] [More]  ⦿

    Studio 62

    Graphic and typographic design studio in Wroclaw, Poland. Behance link. They are involved in original typographic work and lettering. [Google] [More]  ⦿

    Studio Filigran

    Typefoundry 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
    [Maciek Blazniak]

    Maciej Blazniak (Studio Ladne Halo, Lodz, Poland) is a graphic designer and illustrator. In 2015, he designed the fat art deco typeface Miasto.

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


    Designer in Warsaw, Poland, who created the straight-edged monoline typeface Nypel in 2016. [Google] [More]  ⦿

    [Jan Tonellato]

    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. 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.

    Fontsquirrel link. MyFonts link for Synthview. Klingspor link. Behance link. Fontspring link. Home page. [Google] [MyFonts] [More]  ⦿

    Szuflada Designs

    Polish designer of the hand-printed typefaces My Own Script PL (2011) and dagita (2011). [Google] [More]  ⦿

    Szymon Celej

    [More]  ⦿

    Szymon Dabrowski
    [Galeria Communication]

    [More]  ⦿

    Szymon Sznajder

    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]  ⦿


    Designer of the military typeface KoszPL (2002). [Google] [More]  ⦿

    Technical University of Warsaw

    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]  ⦿

    Teletext New PL

    A Courier-like font with all Polish diacritics. [Google] [More]  ⦿


    Temeshi is the Polish designer of a neat curly-jazzy logotype called Fizzy (2009). Home page. [Google] [More]  ⦿

    Teresa Vetter

    Warsaw, Poland-based illustrator and graphic designer. Creator of the typeface Doom Cult (2013). [Google] [More]  ⦿

    Terrapin Font Services

    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]  ⦿

    TeX Gyre Project

    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

    • Adventor: family of four sansserif fonts, based on the URW Gothic L family, which in turn is based on ITC Avant Garde Gothic, designed by Herb Lubalin and Tom Carnase in 1970. Open Font Library link.
    • Bonum (2006), based on the URW Bookman L family: TeXGyreBonum-Bold, TeXGyreBonum-BoldItalic, TeXGyreBonum-Italic, TeXGyreBonum-Regular.
    • Cursor: based on URW Nimbus Mono L, which itself mimics Bud Kettler's Courier.
    • Heros (2007): based on the URW Nimbus Sans L family, but heavily extended---eight typefaces of 1200 glyphs each. With the release of Heros, their QuasiSwiss fonts becomes obsolete. This is, in fact, the Gyre version of Miedinger's Helvetica. .
    • Pagella (2006), based on the URW Palladio L family (and thus, indirectly, Zapf's Palatino): TeXGyrePagella-Bold, TeXGyrePagella-BoldItalic, TeXGyrePagella-Italic, TeXGyrePagella-Regular. In 2013, we find Tex Gyre Pagella Math in opentype format, by Boguslaw Jackowski, Piotr Strzelczyk and Piotr Pianowski. Greek symbols were taken from the Math Pazo font by Diego Puga. The calligraphic alphabet was taken from the Odstemplik font. The Fraktur is based on Euler. The sans part is DejaVu Sans, and the monospaced alphabet is taken from Latin Modern Mono Light Condensed.
    • Termes (2006), based on the Nimbus Roman No9 L family (and thus, by transitivity, Stanley Morison's Times-Roman): TeXGyreTermes-Bold, TeXGyreTermes-BoldItalic, TeXGyreTermes-Italic, TeXGyreTermes-Regular. In 2013, we find Tex Gyre Termes Math in opentype format, by Boguslaw Jackowski, Piotr Strzelczyk and Piotr Pianowski. The Fraktur part is based on Peter Wiegel's Leipziger Fraktur. The sans serif part uses TeX Gyre Heros. The monospaced part is based on TeX Gyre Cursor. In 2017, the Open Font Library published a slightly updated and darker TG Roman.
    • Schola (2006, based on the URW Century Schoolbook L family, designed by Morris Fuller Benton in 1919: TeXGyreSchola-Bold, TeXGyreSchola-BoldItalic, TeXGyreSchola-Italic, TeXGyreSchola-Regular.
    • Chorus (2007): derived from handwritten letterforms of the Italian Renaissance as used by Hermann Zapf in ITC Zapf Chancery (1979). TeX Gyre Chorus is based on the URW Chancery L Medium Italic font, but heavily extended. The Vietnamese and Cyrillic characters were added by Han The Thanh and Valek Filippov, respectively.
    Articles: The New Font Project (BachoTeX 2006 article by Hans Hagen (NTG), Jerzy Ludwichowski (GUST) and Volker RW Schaa (DANTE e.V.), TeX Gyre Project (2006) by Bogusaw Jackowski, Janusz M. Nowacki and Jerzy Ludwichowski, and TeX Gyre Project II (2007) by the same three authors.

    Fontspace link. [Google] [More]  ⦿

    Thaddeus Ted Szumilas
    [Thaddeus Typographic Center]

    [MyFonts] [More]  ⦿

    Thaddeus Typographic Center
    [Thaddeus Ted Szumilas]

    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).

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

    The European Computer Modern Fonts

    Jörg Knappen's page on the European Computer Modern fonts. "The following languages are supported by the Cork encoding: Afrikaans, Albanian, Breton, Croat, Czech, Danish, Dutch, English, Estonian, Faroese, Finnish, French, Frisian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Irish (modern orthography), Italian, Letzeburgish, Lusatian (Sorbian), Norwegian, Polish, Portuguese, Rhaetian (Rumantsch), Romanian, Slovak, Slovene, Spanish, Swedish, Turkish." [Google] [More]  ⦿


    Polish font distributor in Warszaw. [Google] [More]  ⦿

    Thomas Grzybowski

    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]  ⦿


    Polish designer of the Cindy Crawford photo typeface Cindy (2000), and of the display typeface Aklatanic (2004). See also here. [Google] [More]  ⦿

    Titon Malczow

    Polish illustrator, who created an ornamental caps alphabet called Malchov (2012).

    Behance link. [Google] [More]  ⦿

    Tobiasz Konieczny

    Polish designer of Neogeo (2008, FontStruct: gridded solid letters), Sonny Boy Williamson (2008, FontStruct) and Superlue (2008, FontStruct, rounded octagonal). [Google] [More]  ⦿

    Tom Nowak

    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]  ⦿


    Gdansk-based Polish graffiti artist (b. 1982) who made the computer screen look font c-82 (2006). No downloads. [Google] [More]  ⦿

    Tomasz Czuprynski

    Glasgow, Scotland-based designer of Lego Technik (2014), complertely made with Lego pieces. [Google] [More]  ⦿

    Tomasz Dudziak

    Tomasz Dudziak (b. 1982, Poland), aka Thomasso, created the hip comic book typeface Aklatanic TSO (2006). Dafont link. [Google] [More]  ⦿

    Tomasz Duzniak

    Bielsko-Biala, Poland-based designer of the free hand-crafted typeface Mariano Hand (2016). [Google] [More]  ⦿

    Tomasz Jura

    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]  ⦿

    Tomasz Kaftal

    Polish designer with Anna Hodel of the informal script typefaces Alamakota (2004) and Stellina (2004). See also here (where the name seems to be Tomasz Wrobel). [Google] [More]  ⦿

    Tomasz Kucharczyk

    Warsaw-based designer of the calligraphic typeface Fontino (2012). [Google] [More]  ⦿

    Tomasz Malczuk

    Polish graphic designer in Wroclaw. Creator of the sans display typeface The Big Boy Uno (2009). [Google] [More]  ⦿

    Tomasz Pienczak

    Poznan, Poland-based designer of Stragan Cafe Icons (2015). Behance link. [Google] [More]  ⦿

    Tomasz Skowroński

    Zakopane, Poland-based designer (b. 1975) who created these typefaces:

    • 2011: The handwriting typefaces zai_NicolasSloppyPen (was Bartlomiej Gil), Tomasz Skowronski, Bazgroly, the grungy Stempel, the 18th century hand-printed Konstitucja Polska (based on the text of the Polish Constitution of 1791), the grungy Kornik, the grungy zai Shaken (was called Halny), and the grungy Dukarnia Polska.
    • 2012: The distressed script typeface US Declaration.
    • 2013: Courier Polski 1941, Konstitucja Polska Cleaned.
    • 2017: zai Royal Vogue Typewriter 1929, zai Kinematografia Polska 1908, the sketched font zai Seagull Felt-Tip Pen, zai Drukarnia Wydawnicza 1870, zai Urania Piccola typewriter, zai Smith-Corona Galaxie typewriter, zai Olivetti Underwood Studio 21 Typewriter, the old typewriter font Triumph Typewriter, the revival font zai Drukarnia Akademii Krakowskiej 1674, the grungy Zai Torn Paper (renamed from Wydzieranki), zai Wacky Bruce, zai Nicolas Sloppy Pen, Zai Ed Sloppy Simple (a renaming of his 2011 font, Wojcieh Pochrzest), zai Crumpled Paper (renamed from Zmiety Papier / Polska OnLine, a fat poster typeface from 2011), and Zai Calligraphy Pen Handwritten.
    • Typefaces from 2018: zai Italic Hand Calligraohy.
    [Google] [More]  ⦿

    Tomasz Ulman

    [More]  ⦿

    Tomasz Welna

    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]  ⦿

    Tomasz Zelmanski

    Freelance designer in Gdansk, Poland. Behance link. He created a nice type poster called M for Mathematics in 2009. [Google] [More]  ⦿

    Tomek Woloszyn

    Gliwice, Poland-based designer of the free blackboard bold typeface Glanc (2015). [Google] [More]  ⦿

    Traffic Sign Typefaces: Poland
    [Ralf Herrmann]

    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]  ⦿

    Tuvia Aharoni

    Israeli type designer, b. Radomska, Poland, 1909, d. 1981. Klingspor link. [Google] [MyFonts] [More]  ⦿

    Tymex Service
    [Bartek Nowak]

    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]  ⦿

    [Krzysztof Kochnowicz]

    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]  ⦿

    Typo&Construction exhibition in Lodz, Poland

    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]

    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 typefoundry 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).

    Typefaces from 2017: Merlo Neue Round, Kapra Neue (24 styles).

    Typefaces from 2018: Kapra Neue Pro.

    You Work For Them link. Creative Market link. Behance link.

    View Typforge's typeface. [Google] [MyFonts] [More]  ⦿

    Typohole Basia Barbarja Lukasik (was: Barbarja)
    [Barbara Lukasik]

    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).

    Her illustrations and other art can be found here, here and here: A typical illustration, woman 1, woman 2, woman 3, woman 4, woman 5, woman 6, woman 7, woman 8.

    In 2014, as Typohole, Barbara Lukasik created the 3d typeface Axonometry Font No1.

    Fontspace link. Dafont link. Devian tart link. Behance link. [Google] [More]  ⦿

    [Lukasz Dziedzic]

    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.

  • Typefaces from 2009: Achimov, Champaigne, Circa, Helga, KeyToDoor, LA4 (constructivist), FF Mach (constructivist), Magano, Nihil, Pendot, QBad (hand-printed, rough outline), Receter, Sentext, Tolkien, WeekEnd (sans family).

    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. 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. 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.

    tyPoland is the foundry he started in 2010. In 2011, FontShop published the text family FF More.

    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).

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

  • University of Wroclaw

    Arial and Times truetype families with all Polish diacritics. [Google] [More]  ⦿

    Unka Odya

    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]  ⦿

    Urszula Lopata

    Urszula Lopata (Poznan, Poland) is first and foremost an illustrator and digital artist. She designed a modular face, Mahbula (2011), which feels and smells like a FontStruct font. [Google] [More]  ⦿

    Valentyn Tyshchenko

    Art director in Warsaw, who created the modular Chrifis typeface in 2013. It was inspired by sacred art. [Google] [More]  ⦿

    Valerii Ponomarenko

    Rzeszow, Poland-based designer of a display typeface in 2018. [Google] [More]  ⦿

    Victor Gad

    Canadian designer (b. Poland) of ITC TotSpots (1997, dingbats for children).

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

    Viktoriya Gadomska
    [Viktoriya Grabowska]

    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 2009, she made the Armata family of elliptical sans faces for Latin and Cyrillic. This typeface is free at Fontsquirrel, where it was published by Sorkin Type.

    She also uses the name Viktoriya Grabowska at Google Font Directory, where one can download her angular typeface Passero One (2011) and the sturdy yet balanced balanced text face Fjord One (2011).

    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.

    Speaker at ATypI 2016 in Warsaw. Fontsquirrel link. Behance link. Blogspot link. Fontspace link. Google Plus link. [Google] [More]  ⦿

    Viktoriya Grabowska
    [Viktoriya Gadomska]

    [More]  ⦿


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

    Visual Art Trends

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

    W. Schreiber

    Foundry in Warsaw, ca. 1870. [Google] [More]  ⦿

    Wanda Pawlikowska

    Polish design student who made a typeface while studying in Krakow from 2003 until 2005. [Google] [More]  ⦿

    Warsaw Types

    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:

    • Apropal (Rafal Buchner)
    • Bajaderka (Beata Kurek)
    • Cyrulik (Maciej Polczynski)
    • Havana (Joanna Angulska)
    • Lombard (Ania Wielunska)
    • Magiel Pro (Mateusz Machalski)
    • Nocturne (Mateusz Machalski)
    • Olympic (Ludka Niezgoda)
    • Praho Pro (Maciek Wloczewski)
    • Rewir (Robert Jarzec)
    • Tagger (Zuzanna Rogatty)
    • Zaklad (Szymon Sznajder)
    [Google] [More]  ⦿


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

    Wera Piatek

    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).

    Behance link. [Google] [More]  ⦿

    Weronika Cyganik

    During her studies at the Academy of Fine Arts in Cracow, Poland, Weronika Cyganik designed the experimental typeface Triangle (2017). [Google] [More]  ⦿

    Wiktoria Galecka

    Warsaw, Poland-based type designer and photographer. In 2016, she designed the high-contrast poster typeface family Artigua (with Maciej Wloczewski). Behance link. [Google] [More]  ⦿

    Wioletta Taratuta

    Polish design student who made a typeface while studying in Krakow from 2003 until 2005. [Google] [More]  ⦿

    Wioletta Taratuta

    Krakow, Poland-based designer of Needle (2015). [Google] [More]  ⦿

    Wlodek Bzyl

    [More]  ⦿

    Wojciech Freudenreich

    Polish designer, b. Poznan, 1939. In 2012, Polish designer Wojciech Freudenreich and Mateusz Machalski combined forces to design the techno typeface SYN (Borutta). [Google] [More]  ⦿

    Wojciech Góral

    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

    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:

    • Controls and Basic Latin - 0000-007F (all)
    • Latin 1 - 0080-00FF (all)
    • Latin A - 0100-017F (all)
    • Latin B - 0192, 01C4-01CC, 01E4, 01E5, 01F1-01F3, 01FA-021B, 0237
    • Spacing Modifier Letters - 02C6, 02C7, 02C8, 02D8-02DD, 0308
    • Greek and Coptic - 0370-03FF (all)
    • Latin Extended Additional - 1E0C-1E0F, 1E24, 1E25, 1E36, 1E37, 1E80-1E89, 1E9E, 1EF2-1EF5, 1EF8, 1EF9
    • General Punctuation - 2000-206F (all)
    • Superscripts and Subscripts - 2070-209F (all)
    • Currency Symbols - 20A0-20CF (all)
    • Letterlike Symbols - 2100-214F (all)
    • Number Forms - 2150-218F (all)
    • Arrows - 2190-21FF (all)
    • Mathematical Operators - 2200-22FF (all)
    • Miscellaneous Technical - 2302, 2308-230B, 2310, 2319, 231C-2323, 2329, 232A, 2335, 239B-23AE, 23B0-23B7
    • Geometric Shapes - 25A0, 25A1, 25A3, 25AA-25CC, 25CF-25D7, 25E0-25FF
    • Miscellaneous Symbols and Arrows - 2B12-2B1C, 2B1F-2B28, 2B2C-2B2F, 2B53, 2B54

    Klingspor link. Open Font Library link. Fontspace link. [Google] [More]  ⦿

    Wojciech Pietrzak

    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.

    Aka Uncle Avi's Supply. [Google] [More]  ⦿

    Wojciech Regulski

    Krakow, Poland-based designer of the roman typeface 128 Classic (2012). [Google] [More]  ⦿

    Wojciech Regulski
    [Pracownia Liternictwa i Typografii]

    [More]  ⦿

    Wojcieh Janicki

    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]  ⦿

    Wojcieh Obuchowicz

    Polish graphic and web designer from Bialystok. [Google] [More]  ⦿

    Wojcieh Zielinski

    Polish type designer. [Google] [More]  ⦿

    Wojtek Kasay

    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]  ⦿

    Wojtek Podulka

    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]  ⦿

    Wojtek Polak

    Print and design expert in Katowice, Poland. He created some artful type posters in 2009. [Google] [More]  ⦿

    Wojtek Zolty

    Polish designer of New Magnetic (2018). [Google] [More]  ⦿

    Zbigniew Koziol

    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]  ⦿

    Zbyszek Czapnik

    Polish codesigner with Lukasz Kulakowski of the free prismatic multiline typeface Orbits (2012).

    Typefaces from 2013 include Rhubarb Display Font (a condensed art deco sans caps family for Latin and Cyrillic done with Lukasz Kulakowski). Free download. [Google] [More]  ⦿

    Zdzislaw Beksinski
    [Joana Patrasc]

    Polish abstract and surrealist illustrator active in the 1950s, 1960s and 1970s, whose freehand sketches inspired an expressive typeface by Joana Patrasc (Toronto) in 2012. [Google] [More]  ⦿

    Zecer Polish Fonts

    20, 50 and 150 font packs (Polish truetype fonts for Windows) at reasonable prices. [Google] [More]  ⦿

    Zofia Janina Borysiewicz

    Poznan, Poland-based designer of the hand-crafted typeface Kosimazaki (2017). Behance link. [Google] [More]  ⦿

    Zofia Szostkiewicz

    Graphic designer who runs ZoSzo Studio in Krakow, Poland. In 2014, she created the display typeface Puella. Behance link. [Google] [More]  ⦿

    Zofia Wloczewska

    Warsaw, Poland-based designer of the hairline decorative typeface Niebo (2017). [Google] [More]  ⦿


    Design studio in Poznan that created Prefab Font in 2014. Prefab is a dot matrix typeface based on mosaic tiling. Behance link. [Google] [More]  ⦿

    Zuza Waligorska

    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]  ⦿

    Zuzanna Labus

    At the 15th Typeclinic, held in 2017, Zuzanna Labus (Poland) designed the text typeface Fika. [Google] [More]  ⦿

    Zuzanna Parcheta

    At the Academy of Fine Arts in Warsaw, Zuzanna Parcheta designed a straight-edged typeface (2016). [Google] [More]  ⦿

    Zuzanna Rogatty

    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.

    In 2016, as part of the Warsaw Types project, she published the free Warsaw graffiti typeface Tagger. [Google] [MyFonts] [More]  ⦿

    Zuzanna Walas

    Polish designer of Blok (2011, pixelish), Full Font (2011, counterless), Enigma (2012) and Domino (2011, fat face).

    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.

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

    Zygfryd Gardzielewski

    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 typefoundry 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.

    Antykwa Torunska (1995) is a large digital family made by Janusz Marian Nowacki based on Gardzielewski's work. Klingspor link. [Google] [More]  ⦿

    Zygfryd Gardzielewski

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