TYPE DESIGN INFORMATION PAGE last updated on Wed Apr 16 05:57:48 EDT 2014
The Polish type scene
066.FONT is a 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 handprinted), 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 from Konskie (b. Poland, 1980).
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 1927-1930, 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 1922-1939, he taught graphical and print techniques at the High School for Journalism in Warszaw. He ran his own print shop, Jednosc, in Kielce from 1945-1949. He designed fonts that were widely used by Polish printing houses until the 1960s. His main type family, Poltawskiego (1931) was the first original Polish type family. It was digitally recreated by Bogusaw Jackowski, Janusz M. Nowacki and Piotr Strzelczyk (JNS TEAM) in 2000 under the name Antykwa Półtawskiego starting mainly from MetaPost. It has also been digitized/revived by Felix Steffen. Twardoch's description of his contributions. Klingspor link. [Google] [More] ⦿
Adam Twardoch (b. 1975) was raised in Tychy, Poland, and graduated from the University of Frankfurt/Oder, Germany. He worked at ffo 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.
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, handprinted), 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 2014: Roicamonta (connected script).
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] ⦿
Polish graphic designer and illustrator. She created the grungy typeface Dead Metal (2012) and the beautiful serifed text face Milosc (2012). In 2012, she added the great octagonalized version of Bodoni called Quadratoni. Just brilliant. As a Polish graphic design student, Aleksandra Grünholz created the Puenta transitional text family in 2012.
Foundry in Ypsilanti, MI. Kadmos, Bosporos (both classical Greek), Czasy, Szwajcarski (Polish), and Demotiki (modern Greek). Nice fonts, 85 US dollars per face. Jeffrey Rusten swears that these are the highest quality fonts for polytonic Greek. [Google] [More] ⦿
Polish illustrator and graphic artist, b. 1928, Warsaw. He created the beautiful initial caps face Bona. He also did nice lettering on some film posters, and designed bank notes, postage stamps, postcards and book covers. [Google] [More] ⦿
Polish typographer involved in GUST.org fonts for Polish, and son of Roman Tomaszewski, another Polish typographer. Author of Leksykon pism drukarskich Warszawa, Krupski i S-ka, 1996. Antykwa Poltawskiego, one of the few original Polish typefaces, is being digitized in an innovative way as a *parametrized* Type 1 font. The project is being co-sponsored by GUST, the Polish TeX users group. The typographical supervision is being held by Andrzej Tomaszewski (son of Roman Tomaszewski, R.I.P., a famous Polish typographer and a former member of the ATypI board). [Google] [MyFonts] [More] ⦿
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 face 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.
Anna Giedrys, who is based in Lidzbark Warminski, Poland, and in Czechia, works as a graphic designer focusing on visual identities, illustrations, and typeface design. She obtained an MA in graphic design and visual communication from the University of Fine Arts in Poznan (Sign and Typography Studio) and graduated as a Master of Arts. During her exchange studies of graphic and fashion design at Vilnius Fine Arts Academy (Lithuania), she fell in love with calligraphy, lettering, and pattern design. Currently, she runs her own studio Ancymonic and collaborates with Rosetta Type Foundry. Google Plus link.
Polish designer (b. 1989) who created Balls (2006), Ross (2006, handwriting), MPL (2006, handwriting), Dominos (2006, handwriting), Qlfones (2006, handwriting), Melsy (2006, handwriting) and New Age (2007, handwriting). Home page. [Google] [More] ⦿
Antraxja Fonts (or: Atrax)
Antraxja Fonts (or: Atrax) is a (now defunct) Polish foundry which offered these free fonts made by Rafa Brzezinski in 2004: ARTUR, Antraxja Goth 1938 (blackletter), Art (art nouveau), Battlefield (war lettering face), BananaShow-Medium, CrashTest, CrashTestItalic, CrashTestShadow, Cybernetyka (futuristic family), CybernetykaItalic, CybernetykaNormal, CybernetykaOutline, DarkPalladin, History Brush, Kreskwka-Italic, Kreskwka (handwriting), Monster, MonsterShadow, Mortis, Orchidee, Reforma, Returntocastle (gothic), Speed+, Speed+2, Techno, Medusa (blocky lettering), Weronika, Bajareczka, Camilla, Cherif, Top Secret (stencil).
Antykwa Toru\'nska (1952-1958, released by the Polish state foundry in 1960) is a serif font designed by the Polish type designer Zygfryd Gardzielewski (1914-2001) which has been reconstructed and digitized as Type1 by Janusz Nowacki. Three free Polish type 1 fonts called antyktor. Alternate site. Gardzielewski died in October 2001. [Google] [More] ⦿
Aka Baville, Artman Ay is based in Gothenburg, Sweden, and studies dentistry at the Medical University of Lublin, Poland. Creator of the hand-printed typeface Irregularis (2013). Created with Font Creator, it is useful for casual text, or blackboard emulation.
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 Uzurpator (2014) and Angry Ronin (2014) and the Latin / Cyrillic / Greek children's book typeface Cornelius (2014).
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] ⦿
Typefoundry in Opoczno, Poland. Their type designs include the all caps poster face 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). [Google] [MyFonts] [More] ⦿
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.
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.
Polish graphic designer. 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).
Barmee.com (was: Czcionki.com, or: Barme Fonts)
Original fonts by Polishman Bartek Nowak (aka Barme, b. 1973) made in 2000-2001: BukwaNormal (Cyrillic), Nokian (pixel font), Passja, Xar, BarmeReczny, Elementarz (orthographic writing for kids) [see also here], Gotyk-Poszarpany (Fraktur), 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 ulktra-Victorian face Nymphic), Zakret, RecycleIt, Sandwich, Keiser Sousa, Manifest.
Font list (with repetitions): 4Mini, BarmeReczny, Elementarz, Fiesta, GotykPoszarpany, GrubaBerta, Hieroglify, Infantyl, 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 (typewriter types), 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.
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. [Google] [More] ⦿
BIZNET Central European (ISO 8859-2) X Window Fonts : 395 fonts that comply with ISO 8859-2 for X Windows. For 10 zlotys, you get the fonts on diskette, and for 70 zlotys on a CD. Downloads over the net are free. [Google] [More] ⦿
Blazej Ostoja Lniski is an artist from Poland specialized in painting and lithography. He is the Dean of the Faculty of Graphic Arts at a local university. Creator of Lupo (2014), Kapra (2014) and Bobbin (2014, letterpress style), which were inspired by You And Me Monthly published by the (Polish) National Magazines Publisher RSW Prasa which was active from 1960-1973. 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 2981), Blezja (inspired by a metal tin dated 1907, Potsdam), Greta (a roman face based on a prayer book from 1888), and Kleks (grunge typeface inspired by vernacular typegraphy in Potsdam).
Polish type designer, b. 1936. Designer at Mecanorma of Glowworm, a truly ugly 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 face.
Polish type designer involved in GUST.org fonts for Polish such as QuasiTimes, QuasiPalladio, QuasiHelvetica, QuasiCourier, QuasiChancery, QuasiBookman, Antykwa Półtawskiego (based on work by Adam Półtawskiego (1923-1928), constructed by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk). He developed the Latin Modern fonts (2003, type 1) based on Knuth's Computer Modern fonts. In 2006, Nowacki and Jackowski published free extensions of the Ghostscript fonts in their TeX Gyre Project: Adventor, Bonum, Cursor, Heros, Pagella, Termes, Schola, Chorus. [Google] [More] ⦿
Borutta is the creative studio of Warsaw-based designer Mateusz Machalski. 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 faces: 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 (organic sans family), Vitali (sans), Korpo Serif (slab serif), Korpo Sans (elliptical family; +Greek, +Cyrillic), Korpo Sans (+Greek and Cyrillic).
Typefaces from 2014: Tupperware Pro.
Visual identity and graphic design company in Krakow, Poland. Tomasz Ulman is the designer of the highly creative (free) Babybox font in 2008. In 2012, he made the fat counterless typeface Grubo.
Graphic designer in Boston. His typefaces:
Polish type designer who 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 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.
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) and of the squared LCD pixel face ChessType (2008). Dafont link. Yet another URL. Yet another URL. [Google] [More] ⦿
Polish extensions of the Computer Concrete fonts. Originally done in Metafont by Boguslaw Jackowski and Marek Ryćko, the type 1 versions were done using pktrace by Wlodek Bzyl. [Google] [More] ⦿
Typefaces created in 2012: Crystal (a layered font system), Pisak (handprinted), Makata (decorative), Lectores (based on 18th century chronicles of Benedictine monastery manuscript), Lalalo (a monoline sans overlay system) and Lalalo Frames.
Barmee (Bartek Nowak) and PitDGulash, both from Poland, use Tymex Service to publish their free fonts now: 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] ⦿
Graphic designer and fine artist in Cieszyn, Poland. His only connection thus far to type design is the creation of ten circular-grid based numerals, called Numbers (2009). Behance link. [Google] [More] ⦿
Wroclaw, Poland-based 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).
Aleksandra and Daniel Mizielińscy are from Warsaw, where they set up Hipopotam. Together, they created the hand-drawn 3d outline face Bubol (2011), the hand-printed Cartographer (2011), the grungy caps face Mr. Black (2011), the upright connected monoline script face Mrs White (2011), and the constructivist face 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 faces).
Graphic designer in Zabrze, Poland, who has a BFA Degree in Graphic Design from the Academy of Fine Arts in Katowice. He created the latin / Cyrillic pixacao-style typeface Roak (Street, Classic) in 2013.
The DejaVu fonts form an open source font family based on the Bitstream Vera Fonts. Free download. Its purpose is to provide a wider range of characters (see Current status page for more information) while maintaining the original look and feel through the process of collaborative development. Included are DejaVuSans-Bold, DejaVuSans-BoldOblique, DejaVuSans-Oblique, DejaVuSans, DejaVuSansCondensed-Bold, DejaVuSansCondensed-BoldOblique, DejaVuSansCondensed-Oblique, DejaVuSansCondensed, DejaVuSansMono-Bold, DejaVuSansMono-BoldOb, DejaVuSansMono-Oblique, DejaVuSansMono-Roman, DejaVuSerif-Bold, DejaVuSerif-BoldOblique, DejaVuSerif-Oblique, DejaVuSerif-Roman, DejaVuSerifCondensed-Bold, DejaVuSerifCondensed-BoldOblique, DejaVuSerifCondensed-Oblique, DejaVuSerifCondensed.
Authors and contributors comprise Adrian Schroeter, Ben Laenen, Dafydd Harries, Danilo Segan (Cyrillic), David Jez, David Lawrence Ramsey, Denis Jacquerye, Dwayne Bailey, James Cloos, James Crippen, Keenan Pepper, Mashrab Kuvatov, Misu Moldovan (Romanian), Ognyan Kulev, Ondrej Koala Vacha, Peter Cernák, Sander Vesik, Stepán Roh (project manager; Polish), Tavmjong Bah, Valentin Stoykov, and Vasek Stodulka. The idea is to eventually cover most of unicode. Currently, this is covered: Latin (+supplement, extended A and part of extended B), IPA, Greek, Coptic, Cyrillic, Georgian, Armenian, Hebrew, N'ko, Tifinagh, Lao, Canadian aboriginal syllabics, Ogham, Arabic, math symbols, arrows, Braille, chess, and many dingbats.
Tarnow, Poland-based studio that is working an the revival of a 1930s signage typeface called Tarnow (2012).
Swietokrzyskie and/or Kielce, Poland-based type designer. Creator of the rounded squarish typeface family Aquari (2012).
Kuba Tatarkiewicz's font pages. Kuba also made a bunch of Polish modifications of Monotype's Dante (1992) in 2005 entitled Dante-BoldItalicPL, Dante-BoldPL, Dante-ExpertBoldItalicPL, Dante-ExpertMediumItalicPL, Dante-ExpertPL, Dante-ItalicPL, Dante-MediumItalicPL, Dante-MediumPL, Dante-PL, Dante-TitlingPL. [Google] [More] ⦿
Polish designer at FontStruct in 2008 of Le Chat Sans (inspired by a 1930s poster), Tetromino, Diamond, Alpha Spot, Ossicles (like ECG output), Cubistic1, Peter's Chess Pieces. In 2009, he added the artistic BO86. [Google] [More] ⦿
The Polish TEX users group evolved into GUST and then e-foundry. Here you can find goodies in truetype and type 1 such as
Polish designer of some free fonts: Drogowskaz (2006: this mimics the type on Polish traffic signs), BN-67.9010-03 (2003: sans). See also here for the images below, and a discussion. [Google] [More] ⦿
Empty Page Studio
Lukasz Kulakowski, a Polish graphic designer in Dublin and Baile Atha Cliath, Ireland, created the free typeface Mosaic Leaf (2011), which was inspired by Akzidenz Grotesk typeface. In 2012, he published Orbits (a prismatic multiline face, done with Zbyszek Czapnik).
Endie (Michal Lewkowicz) is the Polish designer of Bojivojova-12 (1999---this blackboard bold face is his best), Dafxter, Drapu Drap (1999, white on black), Dziewaty Final, Endiesonix, Inna, Jeff-Kovalsky, Kszywometrja, Lifeline (1999), Mike Brychkowsky, Nowa Arial Style, Lenka Krajniak, Subway-Sign, Tahalm-pl, Teknik-14, in or before 2001.
In 2002, he designed Ich Bin Endie, Milan Krajniak, Io, Joke Prod, Lomax, Marika Anna Tarnofsky, Splywaj (dripping paint face), Mike Brychovsky, Throniser, JoseAndreas, StreetSoul (graffiti face).
Polish foundry, located in Wroclaw. They sell barcode fonts (click on kody kreskowe), multi-language fonts, and many regular fonts, especially designed for East-European languages. The font "EFN PolskieStrony 2000 10pt" is a Polish bitmap truetype font that can be found here in the file pols2.zip. The free formal script font EFNDecoratorPS (type 1) can be found by clicking on Wypróbuj under eurofonty. EFN JuglansC (2000) is here. [Google] [More] ⦿
Face 2 Face (or: F2F)
Polish designer Alexander Branczyk, b. 1959, (Frankfurt, Germany) is the main typographer at F2F (Face 2 Face), which is based in Berlin and Frankfurt. Other participants include Stefan Hausen, Alessio Leonardi, Torsti Maier-Bautor, Thomas Nagel, Haike Dehl and Sybille Schlaich. F2F specializes in what it calls anarchistic typography. Branczyk made F2F CzykagoTrans (1995) and a few other experimental fonts, as well as Bellczyk, CZYKago-Cameo, CZYKago-Quer, OCR-Alexczyk, OCR-Bczyk, SubberlogoMini, TheczykM, MadzineScript, BurnoutChaos, Frontpage, MonakoStoned, Entebbe, OCRFBeta and OCRHeike. Other designers: Thomas Nagel (ScreenScream, Shakkarakk, ElDeeCons, Madame Butterfly, Pixmix, Shpeetz, TyrellCorp), Heike Nehl (LoveGrid, Starter Kid, Lego Stoned, Twins), Alessio Leonardi (PrototipaMultipla, TagliatelleSugo, Mekanik Amente, Metamorfosi, provinciali, AlRetto, F2F TechLand, F2FAlLineato, F2FMekkasoTomanik, F2FSimbolico (1992, dingbats), Poison Flowers (1992)), Stefan Hauser (F2FBoneR, Haakonsen), Sybille Schlaich (Styletti Medium). Face2Face groups the designers of Moniteurs and xplicit ffm. Bitstream link. Alternate URL. In 2003, these designs by Alexander Branczyk appeared in the Linotype Taketype 5 collection: F2FBurnoutChaos LT Std, F2FCzykago LT Std Light, F2FCzykago LT Std Semiserif, F2FCzykago LT Std Trans, F2FEntebbe LT Std, F2FFrontpageFour LT Std, F2FMadZine LT Std Dirt, F2FMadZine LT Std Fear, F2FMadZine LT Std Script, F2FMadZine LT Std Wip (1992), F2FMonakoStoned LT Std, F2FOCRAlexczyk LT Std Regular, F2FOCRAlexczyk LT Std Shake, F2FOCRBczyk LT Std Bold, F2FOCRBczyk LT Std Regular, F2FTechLand LT Std. [Google] [MyFonts] [More] ⦿
Felix Steffen is a German designer who moved in 1991 from Munchen to Warsaw, fascinated by the exotic life and lettering of post-communist Poland. He lives and works in Poland. He designed the Blanke family for use in Polish telephone directories. Felix claims that he got his ideas for that font from some writings in the train station of Kattowitz, from which he first developed the font Krakowa. He is currently working on the digitization/revival of Poltawskiego, a classic Polish text face, and the first typically Polish face, designed in the late 1940s by Polish type designer Adam Jerzy Poltawski (1881-1952). Felix's company in Warsaw is OM-Grafika. Someone reported to me that Felix Steffen is now Felix Tymcik. [Google] [More] ⦿
Fernando Forero Foundry
Fernando Forero (b. 1978, Tunja) ran EisartGraphic.com together with Weronika Kwiatkowska, and moved from Bogota to Kalisz, Wielkopolska, Poland, where he started Fernando Forero Foundry. He is now located in Warsaw, where he works as a graphic and type designer and illustrator.
Designer of Ishia Antiqua (2013, a cursive hand), Urbania (2013, a dusty face), Ilex (2012, hand-printed), Baltan (2012, a calligraphic script), Old Stamps (2011, scanbats), Boys and Girls (2011, dingbats), Aliovha (2011, a monoline elliptical sans), Old Nyleshina (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 face0, Intuitiva (2010, grungy), Czarnulka (2010, script), Khamus (an earthy calligraphic face) and Últimos Ritos (a hybridization between the forms of the Cyrillic and Roman characters), two typefaces that won awards at Tipos Latinos 2008. He also made the grungy Refaxed (2008) and Efficient Fax Font (2010), and the experimental Aleah (2010) and Ovhol (2010).
In 2014, Forero published the grungy letterpress emulation font family Asfalto.
Central European font links at Filip Blazek's Czech site. Great jump site for typography in general. Some links are taken from my own pages. Jump page for Polish typography. List of the special Polish characters: A, a, E and e ogonek; C, c, N, n, O, o, S, s, Z, and z acute; Lslash, lslash, Zdotaccent and zdotaccent. [Google] [More] ⦿
Polish graphic designer, b. 1989, based in Warsaw. Creator of WIP July (2009), a text serif face modeled after some 19th century designs, with full support for East-European languages. In 2010, he made the heavy geometric sans face Sonatic, the octagonal techno face Speeds, and the ronde squarish face Agrotos. Digart link. Behance link. [Google] [More] ⦿
Florence (or: Bombastudio)
Marta Podkowińska is the Polish designer of a few great type logos such as Bomba (2009). She also made the exquisite candy face Roisin (2011). Her studio / foundry called Florence operates in Krakow and Berlin.
Font Boutique (was: Typografski Font Boutique)
The Font Boutique is a commercial foundry started in 2002 by Heinrich Lischka from Köthen, Germany, who was born in 1968 in Groß Strehliz, Poland. An autodidact and freelancer, he taught some courses in 2005 at FH Magdeburg-Stendal.
Lischka designed these fonts:
Krzysztof Szafranek explains font smoothing on computer screens. Things like antialiasing and subpixel rendering get a thorough treatment. Subpixel rendering seems to be the method of choice as of 2009, with Windows Vista's version called ClearType and the Masc OS X version called Quartz. I quote some of his conclusions.
Unfortunately, a designer cannot ensure that users will see HTML text exactly as designed. Rendering the whole page as an image or Flash file is not a sensible alternative due to performance, usability and accessibility concerns. What, then, can a designer do to ensure maximum legibility and a good look of a type?
FontArte (was: Magdart Fonts)
FontArte (est. 2004; ex: Magdart Fonts) is Artur Frankowski's foundry in Warsaw, launched in cooperation with Magdalena Frankowska. Frankowski is a Polish designer (b. 1965, Zamosciu) of a character in the September 11 charity font done for FontAid II. He currently teaches typography at the Technical University of Warsaw. In 2004 he finished his PhD thesis on legibility of type on cartographic maps. 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. 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. MyFonts link. Author of several typefaces:
Fontika is run by Polish graphic designer Kamil Szydło. In 2009, he created the modern faces Antika, Fontika, BadFace and Limak, and the techno face Horporacyjny. Digart link. Born i 1974, he lives in adresJastrz&ecedil;bie Zdrój [Google] [More] ⦿
Polish outfit which in 1998 published a collection of truetype fonts that included FLDrzewiasty, FLFiftyFifty, FLGoracaLawa, FLGotycki1, FLGotycki2, FLGotycki3, FLGotycki4, FLGotycki5, FLGotycki6, FLGotycki7, FLJazzowy1, FLJazzowy2, FLJazzowy3D, FLJazzowyCien1, FLJazzowyCien2, FLJazzowyDziurawy, FLJazzowyGruby, FLJazzowyOzdobny, FLJazzowyPasiasty, FLJazzowyPopekany, FLKonstrukcyjny1, FLKonstrukcyjny2, FLKonstrukcyjny3, FLKonstrukcyjny4, FLKonstrukcyjny5, FLKonstrukcyjny6, FLKonstrukcyjny7, FLKonstrukcyjny8, FLKonstrukcyjnyKolczasty, FLKonstrukcyjnyPofalowany, FLKreskowka1, FLKreskowka2, FLKreskowka3, FLKreskowka4, FLKreskowka5, FLKrzywy1, FLKrzywy2, FLKrzywy3, FLKrzywyReczny1, FLKrzywyReczny2, FLNowy1, FLNowy2, FLNowy3, FLNowy4, FLNowy5, FLObramowanyKarciany, FLObramowanyOzdobny, FLOzdobny1, FLOzdobny10, FLOzdobny2, FLOzdobny3, FLOzdobny4, FLOzdobny5, FLOzdobny6, FLOzdobny7, FLOzdobny8, FLOzdobny9, FLPismoReczne1, FLPismoReczne10, FLPismoReczne11, FLPismoReczne12, FLPismoReczne13, FLPismoReczne2, FLPismoReczne3, FLPismoReczne4, FLPismoReczne5, FLPismoReczne6, FLPismoReczne7, FLPismoReczne8, FLPismoReczne9, FLProsty1, FLProsty2, FLProsty3, FLProsty4, FLProsty5, FLProsty6, FLProsty7, FLProsty8, FLProstyKolczasty, FLProstyObramowany1, FLProstyObramowany2, FLProstyOzdobny, FLProstyWojskowy, FLRomanski1, FLRomanski10, FLRomanski11, FLRomanski12, FLRomanski13, FLRomanski14, FLRomanski2, FLRomanski3, FLRomanski4, FLRomanski5, FLRomanski6, FLRomanski7, FLRomanski8, FLRomanski9, FLRomanskiFalisty, FLRomanskiObramowany, FLRomanskiPasiasty, FLRomanskiPlamisty, FLRomanskiSpeed, FLRozwiany, FLStarogrecki1, FLStarogrecki2, FLStarogrecki3, FLStarogrecki4, FLStarogrecki5, FLStarogrecki6, FLStarogrecki7, FLStarogrecki8, FLStaropolski1, FLStaropolski2, FLStaropolski3, FLStaropolski4, FLStaropolski5, FLStaropolski6, FLStaropolski7, FLStaropolski8, FLSymbole1, FLSymbole2, FLSymbole3, FLSymbole4, FLSymbole5, FLSymbole6, FLSymboleFale, FLSymboleFigury1, FLSymboleFigury2, FLSymboleFigury3, FLSymboleFlagi1, FLSymboleFlagi2, FLSymboleFlagi3, FLSymboleGwiazdy1, FLSymboleGwiazdy2, FLSymboleKlawiatura1, FLSymboleKlawiatura2, FLSymboleKlawiatura3, FLSymboleKlawiatura4, FLSymboleMatematyczne1, FLSymboleMatematyczne2, FLSymboleMatematyczne3, FLSymboleMiny, FLSymbolePaski1, FLSymbolePaski2, FLSymboleStanyUSA, FLUnikatowyCartoon, FLUnikatowyCiern, FLUnikatowyGrecki, FLUnikatowyKolczasty, FLUnikatowyKwiatowy, FLUnikatowyLawa, FLUnikatowyLodowy, FLUnikatowyObramowany, FLUnikatowySpeed, FLUnikatowyZoom. The fonts can be downloaded here. Their fonts FL Pismo Techniczne (1999) and FL Pismo Techniczne Pochyle (1999) are both downloadable here. Here we find these fonts made in 1999: FLKrzywy2, FLModny3, FLPismoReczne10, FLPismoReczne11, FLPismoReczne13, FLPismoReczne4, FLPismoReczne8, FLProstyOzdobny, FLStarogrecki8, FLStaropolski3, FLStaropolski4, FLStaropolski7, FLStaropolski8. [Google] [More] ⦿
Several free Polish fonts at this great page by Adam Twardoch. Included are STF Andromeda (free, truetype by Adam Twardoch), Antykwa Torunska (freeware; designed by Zygfryd Gardzielewski and digitized by Janusz M. Nowacki). There is also a nice archive of free fonts from major foundries, including URW's DTC fun fonts, DTC PlazaM22, DTC Funky M01, DTC Brody M20. The latter three fonts are by Digital Type Hamburg. [Google] [More] ⦿
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 faces 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 faces), Cornelius (grunge), Bureau, Credo Chalk, Eunice, EuroGaramond, Gilead, German, Gutenberg, Gaya, Gingko Biloba, Koenig, McGregor (art nouveau), Goldy, Greenfield, Grand Antique, Irbis, Morus, Olivea, Penny Lane (script), Straight, Platea, Pinus, Symeon Old, Random, Schrift, Orient, Switzer (+Condensed, +Round, +Scribbled), Watch, Watch The Line, Tabasco, Techniczne, Rutica, Troya, Flowers, Jasmin, Handy, Fagus, Black Puzzle, Binokle, Breeze, Decorator, Kredki, Daglesia (blackletter), Tablica (chalk font), Detlef, Blackout, Ketling, Etiopia, Eukalyptus, Xtras (fleurons), Rubber, Garage, Machine One (old typewriter face), Wymalowany (brush).
The names of the fonts in the EuroFont collection by Fonty PL (Grzegorz Klimczewski): EFNAbigail, EFNAbsolut-Bold, EFNAbsolut, EFNAdalbert, EFNAdalbertBold, EFNAdalbertCnt, EFNAdamas, EFNAdamasBold, EFNAgabus-Italic, EFNAgabus, EFNAgabusBlack, EFNAgabusBlackCnd, EFNAgabusBold, EFNAgabusBoldItalic, EFNAgabusEngraved, EFNAgapes, EFNAlegoria, EFNAntyk, EFNArletta, EFNArlettaCzarna, EFNArlettaJasna, EFNArras, EFNArystone, EFNBarka, EFNBass, EFNBeate, EFNBelki, EFNBelkiII, EFNBenita, EFNBinokle, EFNBlackout, EFNBlacky, EFNBookOut, EFNBrawo, EFNBukoff, EFNBulgars, EFNButik, EFNCeline, EFNCeltyk, EFNChapter, EFNChicagoCube, EFNCienki, EFNCyrkiel, EFNCzarnyDiament, EFNDamian, EFNDance, EFNDaniel, EFNDebraCzarna, EFNDebraJasna, EFNDekorator, EFNDelfin, EFNDelfinBold, EFNDeseczki, EFNDetlef, EFNDingsy, EFNDokument, EFNDolores, EFNDustin, EFNDustinBold, EFNDustinBoldItalic, EFNDustinItalic, EFNDziurki, EFNEfekt, EFNElisheva, EFNEliza, EFNEnergia, EFNErazmus, EFNEtiopia, EFNEtiopiaCnt, EFNEukalipte, EFNFarba, EFNFarmer, EFNFelix, EFNFelixOpen, EFNFerrus, EFNFlorian, EFNGaled, EFNGaramo-BoldItalic, EFNGaramo, EFNGaramoBold, EFNGaramoCnd-Bold, EFNGaramoCnd-Italic, EFNGaramoCnd, EFNGaramoCndBoldItalic, EFNGaramoItalic, EFNGaucho, EFNGedeon, EFNGeorgia, EFNGermanik, EFNGilead, EFNGileadBlack, EFNGileadBlackCnd, EFNGileadBold, EFNGileadCnd, EFNGileadCndBold, EFNGileadHvSh, EFNGileadHvy, EFNGileadHvyCnd, EFNGoldenBlack, EFNGoldyOlds-Bold, EFNGoldyOlds-BoldItalic, EFNGoldyOlds-Italic, EFNGoldyOlds, EFNGoldyOpen, EFNGondola, EFNGothic, EFNGradientLogo, EFNGramatyk, EFNGramatykBold, EFNGraphos, EFNGrasses, EFNGrawer, EFNGregorio, EFNGustowny, EFNGutenberg, EFNHandy, EFNHandyBold, EFNHannait, EFNHarfa, EFNHarlem, EFNHasspis, EFNHebanus, EFNHebanusJasny, EFNHebel, EFNHebron, EFNHundred, EFNIberia, EFNImpresja, EFNIndiana, EFNJasmin, EFNJessica, EFNJoannes, EFNJonatan, EFNJonatanII, EFNKameleon, EFNKangoo, EFNKangooShinny, EFNKaret, EFNKarolus, EFNKastlers, EFNKetling, EFNKlasyk, EFNKlasykBold, EFNKlasykItalic, EFNKlawiatura, EFNKoenig, EFNKogelMogel, EFNKokos, EFNKorzenie, EFNKredki, EFNKreska, EFNKropelki, EFNKropleWody, EFNKunszt, EFNKursywa, EFNKuteLiterki, EFNKwiatki, EFNLaciaty, EFNLaten, EFNLatenCShad, EFNLatenCnd, EFNLatenLtSh, EFNLegenda, EFNLemon, EFNLeonis, EFNLiberus, EFNLinneus, EFNLiterki, EFNLiterkiEmi, EFNLitografia, EFNLitografiaBold, EFNLitografiaCnd, EFNLitografiaCndBold, EFNLubellus, EFNMalarz, EFNMalowany, EFNManuel, EFNMaretta, EFNMaszyna, EFNMcGregor, EFNMechanik, EFNMeduse, EFNMeduseWhite, EFNMeksyk, EFNMellotron, EFNMemphisSans, EFNMessage, EFNMetaloweLiterki, EFNMetropolia, EFNMiddayLights, EFNMiddayOutl, EFNMobil, EFNModernista, EFNMokreLiterki, EFNMonitor, EFNMost, EFNMotek, EFNMotyl, EFNNissan, EFNNissanBold, EFNNissanBoldItalic, EFNNissanHeavy, EFNNissanItalic, EFNNocneNiebo, EFNNocny, EFNNoemi, EFNNunete, EFNOdAnonima, EFNOknoFont, EFNOliwier, EFNOliwier3D, EFNOliwka, EFNOrient, EFNPalace, EFNPalaceBold, EFNPalaceBoldItalic, EFNPalaceItalic, EFNPalce, EFNPapirus, EFNPapirusCnd, EFNPastele, EFNPisak, EFNPisakBold, EFNPisakCienki, EFNPodartaKartka, EFNPoster, EFNPosterGradient, EFNPosterShadow, EFNPoszarpaneLiterki, EFNPrague, EFNPragueBold, EFNQuadrus, EFNRachel, EFNReDigit, EFNRebook, EFNRexFont, EFNRexFontKonturowany, EFNRobin, EFNRobinBold, EFNRobinHeavy, EFNRondo, EFNRut, EFNRytm, EFNRytmII, EFNSafari, EFNSalem, EFNSamuels, EFNSecess, EFNSerenade, EFNSerenadeWhite, EFNSerpentine, EFNSerpentineBold, EFNShadows, EFNShanghai, EFNSkrypt, EFNSpokojny, EFNStars, EFNStart, EFNStraightNew, EFNStraightNewBold, EFNStudio, EFNStudioBold, EFNStudioItalic, EFNSymeon, EFNSymeonBold, EFNSymeonCnd, EFNSymeonCndBold, EFNSzafir, EFNSzarfa, EFNSzeroki, EFNSzerokiFun, EFNSzklany, EFNSzkolnyZeszyt, EFNTablica, EFNTamiza, EFNTamizaBold, EFNTapes, EFNTatra, EFNTeheran, EFNTess, EFNTextury, EFNThailand, EFNTower, EFNTriangle, EFNTusz, EFNUncjalis, EFNWaranus, EFNWatch, EFNWatchBold, EFNWeiss, EFNWeissBold, EFNWeissBoldItalic, EFNWeissItalic, EFNWenecja, EFNWenezuel, EFNWerset, EFNWestEast, EFNWidok, EFNZawijany, EFNZecer, EFNZefir-Bold, EFNZefir, EFNZepsutaMaszyna, EFNZnak. [Google] [More] ⦿
Polish type designer who teaches graphic design at the Secondary Art School in Bydgoszcz. Second prize at the 3rd International Digital Type Design Contest by Linotype Library for the handwriting fonts Linotype Notec (1998) and JP2 (2008, based on the (shaky) handwriting of Pope John Paul II). Brda (2003, Linotype) is a fat display face that won an award at Linotype's Fourth International Type Design Contest---it was originally designed for the Powiat weekly. Waza (2008, Linotype) is a copperplate script revived from an etching by Wilhelm Hondius (Hondt), the Dutch court engraver for the Polish king, Ladislaus IV.
Spanish language site for various non-Latin language fonts. A sampling: Afus Deg Wfus 2 (for Berber), AlKatib1 (2001, an Arabic face by Naseem Amjad), Albanian, Alice_0 (Lao face by by Ngakham Southichack), LAOMAY_5 CHAREUNSILP (Lao face by by Soupasith Bouahom), Arial AMU (1999, Armenian face 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 face 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 face by BYTEC Computers and Massis Graphics), HONGKAD (1994, a family by Dr. Hongkad Souvannavong), IsmarBold, IsmarLight, Lakshmi, X000000A (1994, a lao face by Sith Bouahom), LAOMAY_2-CHAREUNSILP, Alice3Medium, Alice0Medium, Langagedessignes (1998, by Philippe and François Blondel), NorKirk (1997, a great Armenian face 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 face by Libor Sztemon), GreatMoravia (2001 Libor Sztemon, Czechia), Johaansi-ye-Peyravi (2001, a full accent blackletter face by Libor Sztemon, Czechia), TimesNREuskaraEuransiEsperanto (2001, Libor Sztemon). [Google] [More] ⦿
Szczecin, Poland-based designer of Mister Poster (2013, ornamental caps), Mrs. Doodle (2013), Up To Date (2013), Handyman (2013), Rama (2013), Linesman (2014, a sketched typeface), and Mitty (2014, a poster font).
Galeria Communication is a studio in Wroclaw, Poland. For her diploma thesis, Szymona Dabrowski developed a typeface called Szydab (2012), a circle-based typeface that comes in two styles, Szydab Optimal and Szydab Design.
Creator of the free artsy font Wanta (2008), of Resagnicto (2010), of Rawengulk (2010), of Rawengulk Sans (2011), of Reswysokr (2011), of the bold slab serif face Zantroke (2011), and of the free calligraphic faces Odstemplik (2009), promocyja (2008) and Konstytucyja (2008).
He published the elegant serif family Foglihten (2010), which includes the inline faces 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 faces, 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 face 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 face based on tilting the horizontal edges about ten degrees up. Kawoszeh (2008) is a curly Victorian pre-art nouveau face. Spinwerad (2009) and Itsadzoke S01 (2010) and Itsadzoke S02 are display didones. Znikomit (2011) is an impressive lachrymal hairline slab face. See also Znikomit No. 25 (2012) and Znikomit No. 24 (2012; image by Benjamin Frazzetto).
Typefaces from 2014: Kleymissky, Sortefax (an outline font with engraved versions as on dollar bills), Dragerotypos (blackboard bold), Resamitz.
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. [Google] [More] ⦿
Piotr Marcinowicz (Opole, Poland) is a type designer who co-founded the GRIN3 group. In the beginning of 2000 he started designing fonts which he published on the internet as freeware under the aliases PitDGulash and later just Gulash. In 2010 he tightened collaboration with Bartek Nowak (aka Barmee in the early days). As GRIN3 they design commercial fonts. In his daytime job, Piotr provides image management in areas of web presence and promotion.
His early free typefaces, designed as Gulash, include 270-Fudge, 700-Fudge, Antibiotech, Antibiotic, Ariendesse, Ariendezze, Brrritty, Celofan, Dirty-Dung-Solid, Dirty-Dung, Ekoclean, Floup, Lick'-em, Mich, Momentum, Mumendoom, Stuk-Puk, Trix, Wymaz, Ginger-Snake.
Graphic designer, artist, musician and photographer in Poland. In 2012, he created an organic sans typeface called Halogen.
GUST is the Polish TEX Users Group. This document describes, in Polish, the many directories and files here. Notable are the type 1 fonts Antykwa Torunska and seria PL by J.M. Nowacki, Quasi-Palladio IV'98 and QuasiTimes IV'98 by B. Jackowski. There are also many metafonts. Maintained by Staszek Wawrykiewicz. [Google] [More] ⦿
Graphic design graduate of the Academy of Fine Arts Minerva, Groningen, The Netherlands. With Karolina Lijklema, he runs the studio Lijklema Design in Warsaw, Poland. Author of Free Font Index (2008, The Pepin Press, Amsterdam). It contains comprehensive letterproofs of more than 500 fonts from 35 type foundries in 17 countries and interviews with 6 font designers. All fonts contained in the book are included on the accompanying CD and are licensed for personal and commercial use. The following have contributed fonts to this CD: Astigmatic One Eye Typographic Institute, Brain Eaters Font Co, Brode Vosloo, Bumbayo Font Fabrik, Dieter Steffmann, Fenotype, Flat-it type foundry, Fonthead Design Inc., GUST e-foundry, Grixel, Igino Marini, Janusz Marian Nowacki, La Tipomatika, Larabie Fonts, Manfred Klein Fonteria, MartinPlus, Misprinted Type, Nick's Fonts, Objets Dart, Reading Type, Rob Meek, SMeltery, Shamfonts, Sonntag Fonts, Typedifferent, Typodermic Fonts, VTKS DESIGN, Vic Fieger, WC Fonts, Yanone, boodas.de, defaulterror, eightface, exljbris, pizzadude.dk. As far as I can tell, all these fonts can be downloaded for free from the usual web archives. [Google] [More] ⦿
Polish post-WWII type designer and calligrapher, b. 1942, Katowice. He graduated in 1965 from Technikum Poligraficz. In 1970, he designed Typos. From 1975-1980, he designed Akant. He also made 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] ⦿
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 face 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.
Children's book illustrators Aleksandra and Daniel Mizielińscy are from Warsaw, where they set up Hipopotam. Together, they created the hand-drawn 3d outline face Bubol (2011) and the constructivist face 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 faces).
Polish foundry of Szymon Celej, located in Warsaw. Celej is a graduate of the Polish-Japanese Institute of Information Technology (New Media Art Department). Typefaces:
The i-ching package by Wlodek Bzyl contains I-Ching-Regular in type 1 format and various macros and TEX files. Author of The Tao of Fonts (TUGBoat, vol. 23, pp. 27-40, 2002, in which he explains about font design using Metafont and MetaPost. [Google] [More] ⦿
Polish print, graphic and type designer who lives in Poznan. She was inspired by Polish embroidery in her design of several typefaces in 2010.
Poznan, Poland-based graphic and type designer, b. Sulechow, 1983. Behance link. Izabela created these typefaces in 2008: Roksana, Wool, Eisac, Bamboo Shoots. In 2009, she added the sensationally details ornamental caps face Isaura. No downloads. [Google] [More] ⦿
Jacek Jan Judkiewicz
Berlin-based designer (b. 1974, Bydgoszcz, Poland) of the great avant garde font Droelma (or: Skylounge, 2000), and the dingbat font Seppuku, both free at Typotek. Jakob calls hiimself "Droelma, da King". [Google] [More] ⦿
Jan Id'zkowski Giesserei
Jan Id'zkowski Giesserei was located in Warsaw. The most important type family in its collection was Antykwa Poltawskiego (+Italic, Bold, BoldItalic) designed in 1931 by Adam Jerzy Poltwaski. Other typefaces included Nil (1934ff, a copy of Wolf's Memphis) and Baccarat (sans). [Google] [More] ⦿
Polish graphic and type designer, b. 1907 (or 1908?), Czestochowa. He noticed how bad Hebrew type looked compared to Latin. So, in 1929 he designed the Hebrew alphabet Chaim. This alphabet became very popular in Israel since it departs from its Latin nemesis. [Google] [More] ⦿
Janusz M. Nowacki
Janusz Marian Nowacki
Janusz Marian Nowacki
Polish type designer in Grudziadz (Stycznia) involved in the restauration of historical Polish type designs. At GUST.org, he created fonts for Polish such as QuasiHelvetica, QuasiCourier, QuasiChancery, QuasiBookman, Antykwa Półtawskiego (based on work by Adam Półtawskiego (1923-1928), constructed by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk), Antykwa Toruńska (1995, based on work by Zygfryd Gardzielewski, electronic version by Janusz M. Nowacki). Alternate URL for the latter face.
He runs FOTO ALFA. At the latter page, you can find these fonts in which Nowacki participated: Antykwa Torunska, Antykwa Pótawskiego, Rodzina krojów PL, Rodzina fontów LM (Latin Modern), Quasi Palatino, Quasi Times, Quasi Bookman, Quasi Courier, Quasi Swiss, Quasi Chancery. The Quasi series are Polish versions of standard URW and Ghostscript fonts. The Rodzina series are Polish versions of the Computer Modern families.
In 2005, he placed these fonts on CTAN: Kurier and Iwona. Kurier is a two-element sans-serif typeface. It was designed for a diploma in typeface design by Malgorzata Budyta (1975) at the Warsaw Academy of Fine Arts under the supervision of Roman Tomaszewski. The result was presented with other Polish typefaces at the ATypI conference in Warsaw in 1975. Kurier was intended for Linotype typesetting of newspapers and similar periodicals. The design goals included resistance to technological processes destructive to the letter shapes. As a result, amongst others, the typeface distinguishes itself through intra- and extra-letter white spaces as well as ink traps at cross-sections of some elements constituting the characters. The PostScript and OpenType family covers Latin, East-European languages, Cyrillic and Vietnamese. Iwona covers all of these too and is Nowacki's alternative to Kurier. Both sans font families have many useful mathematical symbols as well.
In 2006, Nowacki and Jackowski published free extensions of the Ghostscript fonts in their TeX Gyre Project: Adventor, Bonum, Cursor, Heros, Pagella, Termes, Schola, Chorus.
In 2008, two styles of Cyklop were published. This was a generalization and extension of a historical type.
He writes: The Cyclop typeface was designed in the 1920s at the workshop of Warsaw type foundry "Odlewnia Czcionek J. Idzkowski i S-ka". This sans serif typeface has a highly modulated stroke so it has high typographic contrast. The vertical stems are much heavier then horizontal ones. Most characters have thin rectangles as additional counters giving the unique shape of the characters. The lead types of Cyclop typeface were produced in slanted variant at sizes 8-48 pt. It was heavily used for heads in newspapers and accidents prints. Typesetters used Cyclop in the inter-war period, during the occupation in the w underground press. The typeface was used until the beginnings of the offset print and computer typesetting era. Nowadays it is hard to find the metal types of this typeface.
j.dsky is a Polish foundry located in Sobotka, and run by Jacek Dziubinski. Jacek designed the experimental modular graffiti faces Tagged One and Tagged Two (2010) as well as the silhouette dingbat face Just Boys (2010).
Creator at OPD in Poland of Alauda (1970). Adam Twardoch writes: This intricately drawn, beautifully clear typeface bears a strikingly modern appearance which remains fresh after 30 years. Although slightly slanted, Alauda retains its balance by using half-serifs. In essence, Desselberger follows Poltawskis design postulates, but does so far better and more consistently than Poltawski himself has ever done. Initially, Alauda was meant for release on photosetting, with Desselberger having prepared three styles (roman, italic and bold), with over 350 characters each. Unfortunately, the typeface has never been released, and OPD has ceased to function in 1976 due to a financial crisis. Twardoch is working on a digital version with Desselberger. He also made the art deco face Akantis. [Google] [More] ⦿
The "exe" files, when unzipped, have a bunch of truetype fonts for East-European languages such as Polish, and for Cyrillic. Included are ArialMT, TimesNewRomanMT, CourierNewMT, Cyrillic-1, and Eastern-EuropeRoman. [Google] [More] ⦿
Jimi-neko is a collaboration of Anton Drachuk and Jadwiga Krym offering expertise in various disciplines, such as graphic design, film-making, typography, lettering, print design, street-wear design, advertisement as well as corporate identity design and user experience design. It is located in Poznan, Poland.
Anton's graduation typeface in 2013 was Bertau.
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).
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] ⦿
Polish graphic designer and assistant professor at the Academy of Fine Arts in Krakow, Poland. Behance link.
Creator of Hoptype (2012) about which he says: Hoptype is a screen font I designed during Ala ma font(a) workshop in Katowice. The workshop was led by Martin Majoor, Filip Blazek, Marian Misiak, Eben Sorkin and Ann Bessemans and curated by Ewa Satalecka. The typeface is designed especially for iPad applications for children who are not yet fluent readers. [Google] [More] ⦿
Kamil Kurzajewski is an independent Art Director. In 2008 he obtained an MA in typography from the Academy of Fine Arts in Poznan. He lives in Poznan (Poland) and specializes in visual communication, typeface and graphic design. He created the slabby typewriter typeface Struqtura (2012) and the rounded typeface family Carbon, and the 12-style corporate sans typeface family Kolo (designed specially for Kolo Sanitec, Polish nationwide company that manufactures and sells bathroom systems).
Kapitan Studio is Joanna Rzezak and Piotr Karski. Based in Warsaw, they design books, typefaces and magazines. Their typefaces include Captian Blackbeard (2012, a heavy angular condensed caps typeface based on a 19th century wooden type Grecian made by William Page).
Together, Tom Nowak (Nowak Studios) and Karol Gadzala created the Lean Serif type family in 2012. They explain: Lean is Cologne based digital agency specialized in CGI, Photomanipulations, 3D Modelling and Sound Engineering. Lean is working with an international clients, especially with automotive companies like Lamborghini, Seat and some more.
Polish / American designer who writes: Karolina Lach is a graphic designer, web designer and typographer residing in New York. She currently works as the Senior Designer for Kiwibox Media, a social network and online magazine for teens. A graduate of The Cooper Union for the Advancement of Science and Art, she has studied under Mike Essl, Emily Oberman, James Craig, Maxim Zhukov and Hannes Famira. Graduate from the type design program at the University of Reading in 2010.
She used FontStruct to create Coney Island Baby (2008: Victorian circus font), Temptation (2008, a crispy serifed face), this Tuscan wood type (2008, done outside FontStruct) and Innocent When You Dream (2008, a dotted lines face).
She She created Sora there in 4 styles, Regular, Italic, Black and Arabic. Karolina tried to give Sora a distinctive Oz Cooper / Frederic Goudy American look. Pompiere (2011, a free font at Google Font Directory, is a low contrast condensed sans serif font with tall ascenders and small x-height, which is based on lettering outside a new York firehouse. Arbutus (2011, a free spiky slab face at Google Web Fonts; see also Arbutus Slab made in 2012) is a sturdy medium contrast slab serif cactus skin font.
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).
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.
Graduate of the London College of Communication who works in Paris. His list of typefaces:
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] ⦿
Blogger, web/graphic Designer, and new media art student in Warsaw, Poland. She created the beautiful blackboard bold typeface Cinema Paradiso (2012).
Polish design studio which created a nice logo for Restaurant Zurowina in Warsaw in 2012.
Latin Modern fonts
Boguslaw Jackowski, aka Jacko, writes about this large typeface family, developed from 2003-2009 by himself and J.M. Nowacki: The Latin Modern fonts are based on the Computer Modern fonts released into public domain by AMS (copyright (C) 1997 AMS). They contain a lot of additional characters, mainly accented ones, but not only. This family is free and in type 1 format. Developed by B. Jackowski&J. M. Nowacki thanks to Metatype. See also here. Font names: LMCaps10-Italic, LMCaps10-Regular, LMRoman10-Bold, LMRoman10-BoldItalic, LMRoman10-Italic, LMRoman10-Regular, LMRoman12-Bold, LMRoman12-Italic, LMRoman12-Regular, LMRoman17-Regular, LMRoman5-Bold, LMRoman5-Regular, LMRoman6-Bold, LMRoman6-Regular, LMRoman7-Bold, LMRoman7-Italic, LMRoman7-Regular, LMRoman8-Bold, LMRoman8-Italic, LMRoman8-Regular, LMRoman9-Bold, LMRoman9-Italic, LMRoman9-Regular, LMRomanDemi10-Italic, LMRomanDemi10-Regular, LMSans10-Bold, LMSans10-BoldItalic, LMSans10-Italic, LMSans10-Regular, LMSans12-Italic, LMSans12-Regular, LMSans17-Italic, LMSans17-Regular, LMSans8-Italic, LMSans8-Regular, LMSans9-Italic, LMSans9-Regular, LMSansDemiCond10-Italic, LMSansDemiCond10-Regular, LMSansQuotation8-Bold, LMSansQuotation8-BoldItalic, LMSansQuotation8-Italic, LMSansQuotation8-Regular, LMSlanted10-BoldItalic, LMSlanted10-Italic, LMSlanted12-Italic, LMSlanted8-Italic, LMSlanted9-Italic, LMTypewriter10-Italic, LMTypewriter10-Regular, LMTypewriter12-Regular, LMTypewriter8-Regular, LMTypewriter9-Regular, LMTypewriterCaps10-Regular, LMTypewriterSlanted10-Italic, LMTypewriterVarWd10-Italic, LMTypewriterVarWd10-Regular.
These 72 fonts were renamed lmb10, lmbo10, lmbx5, lmbx6, lmbx7, lmbx8, lmbx9, lmbx10, lmbx12, lmbxi10, lmbxo10, lmcsc10, lmcsco10, lmdunh10, lmduno10, lmr5, lmr6, lmr7, lmr8, lmr9, lmr10, lmr12, lmr17, lmri7, lmri8, lmri9, lmri10, lmri12, lmro8, lmro9, lmro10, lmro12, lmro17, lmss8, lmss9, lmss10, lmss12, lmss17, lmssbo10, lmssbx10, lmssdc10, lmssdo10, lmsso8, lmsso9, lmsso10, lmsso12, lmsso17, lmssq8, lmssqbo8, lmssqbx8, lmssqo8, lmtcsc10, lmtcso10, lmtk10, lmtko10, lmtl10, lmtlc10, lmtlco10, lmtlo10, lmtt8, lmtt9, lmtt10, lmtt12, lmtti10, lmtto10, lmu10, lmvtk10, lmvtko10, lmvtl10, lmvtlo10, lmvtt10, lmvtto10. In addition, there now 20 math fonts: lmbsy5, lmbsy7, lmbsy10, lmex10, lmmi5, lmmi6, lmmi7, lmmi8, lmmi9, lmmi10, lmmi12, lmmib5, lmmib7, lmmib10, lmsy5, lmsy6, lmsy7, lmsy8, lmsy9, lmsy10.
In 2013, they published one large opentype font, Latin Modern Math, which has as authors B. Jackowski, P. Strzelczyk and P. Pianowski.
Articles about the Latin Modern Fonts:
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] ⦿
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] ⦿
Warsaw-based designer, b. Warsaw, 1967. 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).
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.
Polish designer of the multiline typeface PK Designers (2012).
Polish graphic designer, b. 1986, based in Nisza, 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 2014, he started his own commercial typefoundry.
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:
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.
In 2013, Maria Regucka (Krakow, Poland) published a typeface called Animal Typography.
Graduate from the type design program at the University of Reading in 2010. Marian designed Timeline for his thesis. Timeline is a full family with serif, sans and Arabic subfamilies. It is intended for information design---the serif is kept uncomplicated while the sans and Arabic are basically monoline styles. Marian has both a Polish and a Czech background. With Tomek Bersz, he runs a studio in Warsaw. [Google] [More] ⦿
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).
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] ⦿
Polish designer of the free face 26 Alco (2010, alcohol-related dingbats).
Michal Adamiec (b. 1987) is studying at the Pedagogical University in Krakow, Poland. He made Murena (2012, a bouncy sans family), Cello Sans face (2010, organic), and the techno-inspired Penumbrum (2010).
Designer of Dark Garden, a free thorn-like font with Polish and German characters, 1999-2004. It The typeface is based on author's original hand drawings. The letterform is complex, with all characters decorated with spikes resembling thorns or flames. Access via NONAGS. Polish fonts at this site include Arial CE, Times New Roman CE, Courier New CE, Strony US.
During his studies in Leszno, Poland, Michal Kubalczyk designed the logotype Arkadius for Arkadiusz Paszkowski (2013).
Polish type pages. Huge well-documented archive of Latin fonts and dingbats. Links, catalogs, and discussions (in Polish). Dingbat and regular archive by Barmee. Also an erotic font archive. Direct access. Alternate URL. Plus font tool downloads: Typograf 4.0, Font Creator 3.1, FontPage, FontXplorer, TypeTool 1.2. [Google] [More] ⦿
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 face 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. [Google] [More] ⦿
Polish designer of the futuristic faces Deltafonte (2004), Ryszard (2004). He also made the handwriting faces Gleitpfad (2004) and Glidepath (2004), the informal printing face Mikolajf (2004), and the kitchen tile face Hopscotch (2004). [Google] [More] ⦿
A Polish type design competition for all university students world-wide. Named after Czeslaw Milosz, the winner receives about 2500 Euros. The jury of Milosz 2011 consisted of Veronika Burian, Pilar Cano, Barbara Kesek-Bardel, Robert Oles, and Kuba Sowinski. The results:
Polish designer of the hand-drawn blackboard bold typeface PFS Pastel Feather (2013). Her company is called Pastel Feather Studio.
Born in 1983 in Kujawy (Poland), and a 2008 graduate from the University of Fine Arts in Poznan, Natalia Seczkowska's first font, showcased at Behance, is called David (2011). It has a bit of a Victorian look. [Google] [More] ⦿
Michal Nowak (b. 1994, aka Neoqueto) is the Koszalin, Poland-based designer who used FontStruct in 2009 to make the horizontal stripe face 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 face Sector 017 (grunge---followed in 2011 by Sector 034), Tetraminos, Sinclair Logo, the beveled Mekotek, Pictograms Audio, and the extended square face 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#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 Blocks LDR, Drum and Bass LDR, Pink Has Gone Extinct, Darktech LDR (stencil face), Affection LDR, Hextremum LDR, Hexotic LDR.
Most of his typefaces are modular and can be categorized as techno or sci-fi.
Polish graphic designer who is based in Krakow. Nina is exploring geometric concepts such as in her Alfabetczi White (2012), Teleport (2011, monoline hexagonal), in her Stripes typeface (2010), in Do Not Cut (2011), in CLN 3000 ID (2011), in the multiline face Pink Twist Alphabet (2011), in the hand-printed poster face 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.
Odlewnia Czcionek J. Idzkowski i S-ka
Polish foundry in Warsaw active in the early part of the 20th century. At e-foundry, Janusz M. Nowacki extended and digitized one of their high-contrast typefaces, and called it Cyklop (2008). Free downloads here. Nowacki explains: The Cyclop typeface was designed in the 1920s at the workshop of Warsaw type foundry "Odlewnia Czcionek J. Idzkowski i S-ka". This sans serif typeface has a highly modulated stroke so it has high typographic contrast. The vertical stems are much heavier then horizontal ones. Most characters have thin rectangles as additional counters giving the unique shape of the characters. The lead types of Cyclop typeface were produced in slanted variant at sizes 8-48 pt. It was heavily used for heads in newspapers and accidents prints. Typesetters used Cyclop in the inter-war period, during the occupation in the underground press. The typeface was used until the beginnings of the offset print and computer typesetting era. Nowadays it is hard to find the metal types of this typeface. The font was generated using the Metatype1 package. Then the original set of characters was completed by adding the full set of accented letters and characters of the modern Latin alphabets (including Vietnamese). [Google] [More] ⦿
Polish foundry, which existed from 1969-1976. Its history was told by Adam Twardoch: OPD was founded in Warsaw in 1969 under the direction of the Polish type designer and long-term Association Typographique Internationale (ATypI) board member Roman Tomaszewski. Until 1976, it existed as a research center of the state printing industry, gathering a group of Polish designers involved in lettering with a goal of creating a series of new typefaces for use in printing. Before OPD, very few original typefaces were designed in Poland. A major moment in the existence of this typeface development center was a font design contest held in March 1971 in Dresden, East Germany, where several Polish fonts designed at OPD specifically for that event received awards. One of the most interesting typefaces developed under the auspices of OPD is Alauda, designed by Jerzy Desselberger, who is a world-renowned specialist for Middle European birds. As a member of international ornithological associations, Desselberger writes about birds, supplementing the texts with beautiful illustrations. He occasionally deals with type, and Alauda (Latin for lark) is one of his typographic creations. This intricately drawn, beautifully clear typeface bears a strikingly modern appearance which remains fresh after 30 years. Although slightly slanted, Alauda retains its balance by using half-serifs. In essence, Desselberger follows Poltawski's design postulates, but does so far better and more consistently than Poltawski himself has ever done. Initially, Alauda has been meant for release on photosetting, with Desselberger having prepared three styles (roman, italic and bold), with over 350 characters each. Unfortunately, the typeface has never been released, and OPD has ceased to function in 1976 due to a financial crisis. [Google] [More] ⦿
Portugal-born Mauro Santos (Oruam Graphiks, Zielona Gora, Poland) designed an unnamed blackletter typeface in 2013 during his studies in Poland. His home base is in Sines (and/or Santo André), Portugal. Squeezer (2013) is a graffiti face. [Google] [More] ⦿
Polish type development center from the communist era. OPD was founded in Warsaw in 1969 under the direction of the Polish type designer and long-term Association Typographique Internationale (ATypI) board member Roman Tomaszewski. Until 1976, it existed as a research center of the state printing industry, gathering a group of Polish designers involved in lettering with a goal of creating a series of new typefaces for use in printing. Before OPD, very few original typefaces were designed in Poland. A major moment in the existence of this typeface development center was a font design contest held in March 1971 in Dresden, East Germany, where several Polish fonts designed at OPD specifically for that event received awards. One of the most interesting typefaces developed under the auspices of OPD is Alauda, designed by Jerzy Desselberger, who is a world-renowned specialist for Middle European birds. As a member of international ornithological associations, Desselberger writes about birds, supplementing the texts with beautiful illustrations. He occasionally deals with type, and Alauda [Latin for lark] is one of his typographic creations. Adam Twardch: This intricately drawn, beautifully clear typeface bears a strikingly modern appearance which remains fresh after 30 years. Although slightly slanted, Alauda retains its balance by using half-serifs. In essence, Desselberger follows Poltawskis design postulates, but does so far better and more consistently than Poltawski himself has ever done. Initially, Alauda has been meant for release on photosetting, with Desselberger having prepared three styles (roman, italic and bold), with over 350 characters each. Unfortunately, the typeface has never been released, and OPD has ceased to function in 1976 due to a financial crisis. Currently, Desselberger is working with Adam Twardoch on a digital version. Other faces by ODP include Hel, Helikon (by Helena Nowak-Mroczek), and Bona. [Google] [More] ⦿
Paism a graffiti writer and typography enthusiast, and a member of Typoets and Truest, and is located in Warsaw. The Brazilian pixacao graffiti style inspired the typeface Pixacaism (2013, free download).
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 is free.
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 Peppo (2012), a feisty informal script family. Arsinoe (2012) is a condensed geometric typeface noted for their unorthodox long ascenders and low x-height. [Google] [MyFonts] [More] ⦿
Born in Stargard, Pomerania, in 1940, he was the technical director and their cofounder of URW Software&Type GmbH in Hamburg (URW stands for Unternehmensberatung Rubow Weber, after the first two of the founders, Rubow and Weber [Karow being the third one], and was succeeded by URW++), and developed the Ikarus programfor font design. Since 1988, Karow and Zapf cooperated on the hz program for micro-typography of texts. Karow published Digital Typefaces (Springer, 1994), Typeface Statistics (URW Verlag, Hamburg, 1993), and Font Technology (Springer, 1994), and is an expert in font technology. In 2013, DTL published Karow's booklet Digital Typography & Artificial Intelligence. In 2003, he was the first recipient of the Dr. Peter Karow Award established by DTL to honor people with extraordinary and innovative achievements in the field of font-related technology. [Google] [MyFonts] [More] ⦿
Great little piece of PostScript code requiring ghostscript to generate AFM files from the pfb/pfa files and an optional pfm file. By B.Jackowski (Gdansk, Poland), based on James Clark's printafm.ps (with alterations by firstname.lastname@example.org 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] ⦿
Polish typographer involved in GUST.org fonts for Polish such as QuasiHelvetica, QuasiCourier, QuasiChancery, QuasiBookman, Antykwa Półtawskiego (based on work by Adam Półtawskiego (1923-1928), constructed by Bogusław Jackowski, Janusz M. Nowacki and Piotr Strzelczyk). Read about that last project here in their 1999 EuroTeX article Antykwa Półtawskiego: a parameterized outline font. [Google] [More] ⦿
The PL fonts are a set of Polish extensions of the Computer Modern fonts. The type 1 and metafont code is in the public domain. Created by Janusz M. Nowacki, the 77 fonts are PLCaps10-Regular, PLDunhill10-Regular, PLFibonacci8-Regular, PLFunny10-Italic, PLFunny10-Regular, PLInch-Regular, PLMathExtension10-Regular, PLMathExtension9-Regular, PLMathItalic10-BoldItalic, PLMathItalic10-Italic, PLMathItalic12-Italic, PLMathItalic5-Italic, PLMathItalic6-Italic, PLMathItalic7-Italic, PLMathItalic8-Italic, PLMathItalic9-Italic, PLMathSymbols10-BoldItalic, PLMathSymbols10-Italic, PLMathSymbols5-Italic, PLMathSymbols6-Italic, PLMathSymbols7-Italic, PLMathSymbols8-Italic, PLMathSymbols9-Italic, PLRoman10-Bold, PLRoman10-BoldItalic, PLRoman10-Italic, PLRoman10-Regular, PLRoman12-Bold, PLRoman12-Italic, PLRoman12-Regular, PLRoman17-Regular, PLRoman5-Bold, PLRoman5-Regular, PLRoman6-Bold, PLRoman6-Regular, PLRoman7-Bold, PLRoman7-Italic, PLRoman7-Regular, PLRoman8-Bold, PLRoman8-Italic, PLRoman8-Regular, PLRoman9-Bold, PLRoman9-Italic, PLRoman9-Regular, PLRomanDemi10-Regular, PLSans10-Bold, PLSans10-BoldItalic, PLSans10-Italic, PLSans10-Regular, PLSans12-Italic, PLSans12-Regular, PLSans17-Italic, PLSans17-Regular, PLSans8-Italic, PLSans8-Regular, PLSans9-Italic, PLSans9-Regular, PLSansDemiCond10-Regular, PLSansQuotation8-Italic, PLSansQuotation8-Regular, PLSlanted10-BoldItalic, PLSlanted10-Italic, PLSlanted12-Italic, PLSlanted8-Italic, PLSlanted9-Italic, PLTeXExtended10-Regular, PLTeXExtended8-Regular, PLTeXExtended9-Regular, PLTypewriter10-Italic, PLTypewriter10-Regular, PLTypewriter12-Regular, PLTypewriter8-Regular, PLTypewriter9-Regular, PLTypewriterCaps10-Regular, PLTypewriterSlanted10-Italic, PLTypewriterVarWd10-Regular, PLUnslanted10-Regular. The fonts were originally created by Janusz M. Nowacki in 1997 and released during the meeting of the Polish TeX Users Group (GUST) in Bachotek. Several minor bugs were removed during a few years of using the fonts. Total re-arrangement of the collection and adaptation to the Windows environment took place out in 2000 and was carried out by the JNS TEAM (Boguslaw Jackowski, Janusz M. Nowacki and Piotr Strzelczyk). [Google] [More] ⦿
Pracownia Liternictwa i Typografii
Web designer and illustrator in Sandomierz, Poland. In 2009, he created the wonderful hand-printed faces Akvilon and Vanishing Point. He is working on the sans face OffDaHook (2009). [Google] [More] ⦿
Renata Pokrywińska is at the Uniwersytet Artystyczny in Poznań, Poland. She created the Milosz text typeface in 2011 in honor of Czeslaw Milosz (1911-2004), a Lithuanian-born poet who was part of the catastrophist school of poets in the 1930s. Renata Pokrywinska's graduation project was the large x-height informal screen font Arlekin (2013). It includes a cursive. The typeface has been used in children's books. [Google] [More] ⦿
Polish pixel face outfit, which gives away its creations here: RittswoodProfile6 (2004), RittswoodImpresive6 (2004), RittswoodOffice_lg (2004), RittswoodYoungEx7 (2004), RittswoodYoung08 (2004), RittswoodPlaza8 (2004), RittswoodClassic08 (2004), RittswoodProfile_6-Bold, RittswoodProfile_6-Regular, RittswoodTechnical-Regular, RittswoodThreeOranges-regular, RittswoodYoung-Extended, RittswoodYoung-Regular (2005). Others are commercial. We have (with the prefix Rittswood omitted) ThreeOranges7, Mataxa8, Office2, Profile5, Profile9, Fagot, WoodAloha, ImpresiveNew, Rozania, Makro, Friday, Metric, Lui, Profile, Place3_10, Place2_10, Place1_10, Avchai, OfficeLong, Office, Organic, Woodcode, Argentina, WoodRulez, Tronic, Tower, Atomic, Fix, Plaza, Cube, News, Impresive, Magnum, Classic, Young, Technical, Prestige, Hand, Pix Gothic 7 (2006), PIXleft_5 (2006), PIXroma_8 (2006), Rittswood Impressive (2006), RedStar (2006). Dafont link. Yet another URL. [Google] [More] ⦿
Polish type design pages by Robert Chwalowski. On-line type book on good and bad typography by Robert Chwalowski, in Polish. He is the author of Typografia typowej ksiazki (2001) (Typography of a typical book). [Google] [More] ⦿
Polish type designer, typographer, writer and printer (b. Poznan, 1921, d. Warszaw, 1992). From 1968 until 1981, he was the leading type expert at the Polish Printing Industry Union. From 1966 until 1978, he edited Litera, a type magazine in Poland. From 1965 until 1975, he lectured on typography at the University of Arts (ASP) in Warsaw and College of Arts (WSSP) in Lodz. In 1968, he founded Osrodek Pism Drukarskich (the Centre of Typefaces) in Warszaw. [Google] [MyFonts] [More] ⦿
Jacek Jan Judkiewicz is a Polish type designer who runs Rotograf in Warsaw. Creator of Roto Script (2010), Kalchynsky Script (2007, Rotograf), Roto Extra Large (2007, white on black), and Kalchynsky Simple Heavy (2007, a 4-style funky sans family). [Google] [MyFonts] [More] ⦿
This list is extracted from the (German) text of Die Industrie Russlands in ihrer bisherigen Entwicklung und in ihrem gegenwärtigem Zustande mit besonderer Berücksichtigung der allgemeinen russischen Manufactur-Ausstellung im Jahre 1870 Industrielles Handbuch für das Gesammtgebiet des russischen Reiches, Band 1-2 (1872-1873, Friedrich Matthaï, Gera: Griesbach). The Finance Ministry reports ten foundries in 1870. A lot of type was imported from foundries like F. Flinsch (Frankfurt). The leading foundry in Russia was Osip Lehmann (founded in St. Petersburg in 1854). Also in St. Petersburg, one of the main printers there, Moritz Wolf, has started a foundry as well. There are other small foundries associated with the Academy of Sciences, with the Senate, with the Ministry of War, with the Office of the Emperor, and with the Interior Ministry, for example. Other small foundries include W. Besobrasow&Cie in St. Petersburg, and Iwan Glasunow (I presume also in that city). In Moscow can one find the oldest foundry in Russia (for Slavonic scripts), which is associated with the Sinodal printing company. Smaller foundries in Moscow include those of Ries and of Tschuksin. Mr. Steffenhagen runs a small foundry in Mietau. As Russia also comprised Poland then, we learn that Warsaw had three foundries, of which that of S. Orgelbrand (founded in 1836) was the largest and most impoortant. The other two were run by W. Schreiber and P. Swichotzki, respectively. Finally, the Alexander University in Helsingfors also had its own foundry, founded in 1842 and run by H. Hanemann. [Google] [More] ⦿
Creator of the octagonal modular Castania (2012), the squarish display face DLG Monospace (2012), the dadaist cut-out typeface Mad Cut (2012), the hand-printed poster face 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), Garda (a layered system with a great inline), Pancake (a signage script), Zapora, Sailors Dream (layered font family).
Typefaces from 2014: Old Craftsman.
Born in Breslau (Poland) in 1978, Sebastian Onufszak is a German-Polish illustrator, designer and director. He is located in Augsburg, Germany. Creator of the experimental geometric typeface Black and White (2012).
Adam Twardoch is a Polish type expert (b. 1975) who lived in Frankfurt (Oder), after graduating in cultural studies in the same city. Since the summer of 2000, he is type consultant of MyFonts, and in the summer of 2002, he became type consultant at Linotype. He also ran Font.org, which closed around 2005. In January 2004, he joined Fontlab as "Scripting Products and Marketing Manager". Currently he is Product and Marketing Manager at FontLab and MyFonts. Designer of TTG Andromeda (2001, now Andromeda SL), inspired by a 1970's-like logo design for the "Andromeda" cinema in Tychy, Poland. Fontspace link. At ATypI 2004 in Prague, he spoke about East-European diacritics, and Cenrral European type support. In 2007, he designed Nadyezhda SL One, based on Jim Lyles' Bitstream Vera Mono. SL stands for Silesian Letters. Speaker in the TypeTech Forum at ATypI 2008 in St. Petersburg, at ATypI 2009 in Mexico City, and at numerous other type design and type tech meetings. Subpage with samples of Polish type, 1918-1990. [Google] [More] ⦿
Silesiana 2006 is a project that involves a typeface designed in Poland after World War II. Supported by the government of Silesia (Poland), the (re)creators are Artur Frankowski (Warsaw), a type designer from the digital era, and Henryk Sakwerda (Katowice), a pre-digital typographer and calligrapher. The result is a gorgeous calligraphic typeface. To celebrate this, a free (!) conference was held on November 15, 2006, at The Castle of Enterprise and Art in Cieszyn and The Silesian Library in Katowice. Speakers include Artur Frankowski, Gerry Leonidas, Verena Gerlach and Filip Blazek. See also Ewa Satalecka's announcement. See also here. [Google] [More] ⦿
Spinefonts is the typefoundry in Warsaw of Polish designer Jerz Stach.
Graphic designer in Prague and Katowice, Poland. Behance link. He has many great examples of typographic compositions and creative lettering, such as Carigraphy (2009, hand-drawn letters on a Cadillac). He designed the condensed didone family Fidentia (2010), Cukrik Type (2009, glyphs like pieces of candy), Pampas (2009, a curvy multiline face), and a whole bunch of hand-made typefaces. Digart link. [Google] [More] ⦿
STR: Studio Typografii Realnej
Typefoundry in Warsaw, Poland, run by Krużyńska. It published the caps face Filigran, and the playful textured face Ping-Pong. In 2012, Filigran published the fat hand-drawn poster typeface families Kruszynka and Serwus.
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.
One can study typography in the Department of Design here. AT TDC47 in 2001, a group of five students (Jure Engelsberger, Martina Gobec, Tomato Kosir, Ziva Moskric and Mina Zabnikar) received a Certificate of Typographic Excellence. [Google] [More] ⦿
British font service house: can sell you most of the commercial fonts. Sells also fonts for Albanian, Arabic, Bengali, Bulgarian, Croatian, Czech, Estonian, Farsi, Greek, Gujurati, Hindi, Hungarian, Japanese (Katakana, Hiragana, Kanji), Latvian, Lithuanian, Polish, Punjabi, Russian, Serbian, Slovak, Slovene, Thai, Turkish, Ukrainian, Vietnamese, Welsh. Has barcode fonts, and is a special distributor of the Royal Mail Barcode font. [Google] [More] ⦿
The TeX Gyre Project was started in 2006 as the brainchild of Hans Hagen (NTG). It is described in The New Font Project (Hans Hagen (NTG), Jerzy Ludwichowski (GUST) and Volker RW Schaa (DANTE e.V.), presented at BachoTeX2, 2006). From the project, which is being implemented by GUST's e-foundry guys, Boguslaw Jacko Jackowski and Janusz M. Nowacki aka Ulan: All of the Ghostscript font families will eventually become gyrefied as the result of the project. Gyrefication, also called LM-ization, was first applied to the Computer Modern Fonts and their various generalizations with the result known as the Latin Modern (LM) Fonts. The Gyre fonts each have 1200 glyphs that cover basically all European scripts (including Latin, Cyrillic and Greek), and have Vietnamese characters added by Han The Thanh, and Cyrillic glyphs by Valek Filippov. Available in Type 1 and OpenType, they come under a very liberal license (free, modifiable, unlimited use, and a request to rename altered fonts). The TeX Gyre fonts are
Thaddeus Ted Szumilas
Thaddeus Typographic Center
Thaddeus "Ted" Szumilas was born in Poland in 1951. In 1966 he emigrated to the United States where he attended Haaren H.S. and Parsons School of Design, majoring in Graphic Design. Practical experiences at Lubalin, Smith&Carnase Design Studio and with John Pistilli at Sudler&Hennessey ad agency prepared him for the real world of typographic design. He did book jackets, packaging, corporate identity, entertainment and TV. Here is one of his early typefaces. Thaddeus has been teaching the curriculum of basic and advanced typography at Pratt Institute in Brooklyn, New York, from 1998-2008. Designer of the medieval script family Ovidius Script (2001, FontHaus; in Light, Demi and Bold weights; also known as TS Ovidius), Sans Original, On The Line (2008, great calligraphic grunge), Singles Bar (2008, display sans), Wind Factor (more calligraphic grunge), Agitas Gallery (2008, blackletter), Big New Sign (2008), Breslau City (2008), Daily Fix (2008), Deltona (2008), Nigerian King (2008, avant garde face), Stigmal (2008, African theme), Amerigraf (2009), Election (2009, medieval with a rough outline), Gillateg (2009, grungy outline), Wackoface (grungy like Treefrog), Taliography (2009, another script with a rough outline).
Jörg Knappen's page on the European Computer Modern fonts. "The following languages are supported by the Cork encoding: Afrikaans, Albanian, Breton, Croat, Czech, Danish, Dutch, English, Estonian, Faroese, Finnish, French, Frisian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Irish (modern orthography), Italian, Letzeburgish, Lusatian (Sorbian), Norwegian, Polish, Portuguese, Rhaetian (Rumantsch), Romanian, Slovak, Slovene, Spanish, Swedish, Turkish." [Google] [More] ⦿
Polish designer of Adler Clean (2009, Open Font Library), a "clean" derivative of the typewriter face Adler Monospace. Type 3 version only. I generated the truetype, opentype and typ[e 1 versions. [Google] [More] ⦿
Polish illustrator, who created an ornamental caps alphabet called Malchov (2012).
Together, Tom Nowak (Nowak Studios) and Karol Gadzala (YLLV, Krakow, Poland) created the Lean Serif type family in 2012. They explain: Lean is Cologne based digital agency specialized in CGI, Photomanipulations, 3D Modelling and Sound Engineering. Lean is working with an international clients, especially with automotive companies like Lamborghini, Seat and some more. [Google] [More] ⦿
Polish graphic designer (b. 1943). In 1991, he drew a naked woman alphabet for the title page of "Szpilli". Other humoristic drawings are here, under the theme "How to make love today", based on a poster sold by the German monthly journal Das Magazin. A specimen is in "Menschenalphabete" (Joseph Kiermeier-Debre and Fritz Franz Vogel, 2001). See also here, here and here. [Google] [More] ⦿
Zakopane, Poland-based designer (b. 1975) who created the handwriting faces Bartlomiej Gil (2011), Tomasz Skowronski (2011), WojciehPochrzest (2011), Bazgroly (2011), the grungy Stempel (2011), the 18th century hand-printed Konstitucja Polska (2011, which is based on the text of the Polish Constitution of 1791), Konstitucja Polska Cleaned (2013), the grungy Kornik (2011), the grungy Halny (2011), the grungy Dukarnia Polska (2011), and the fat poster face Polska On Line (2011).
In 2012, Tomasz made the distressed script typeface US Declaration.
In 2013, he created Courier Polski 1941.
Traffic Sign Typefaces: Poland
Ralf Herrmann discusses Polish traffic typefaces. Quoting some passages: The typeface has a very simple geometric design almost without any typographic corrections. Only one style is in use. There is no condensed style available and no variations for positive/negative contrasts. There are two digital versions: Tablica drogowa (commercial) by Grzegorz Klimczewski and Drogowskaz (free) by Emil Wojtacki. [Google] [More] ⦿
TypeTalks2---the second edition of the symposium---took place at the University of Arts in Poznan, Poland, from 18-19 June 2011, and was organized by David Brezina and Anna Giedrys in collaboration with the University of Arts in Poznan and the Foundation of the Academy of Fine Arts. [Google] [More] ⦿
TYPO, or Sign and Typography Studio in English, was founded by Krzysztof Kochnowicz, b. 1955. Kochnowicz started teaching in 1989 at the State College of Fine Arts (now Academy of Fine Arts) in Poznan, Poland. His typefaces include Sylwia (a modern serif), Corner (pixelish), Jeweler (3d face), and Pricker. He created Mecanorma Anatol, a futuristic-looking stencil face. MyFonts link. [Google] [MyFonts] [More] ⦿
Typographic posters from the collection of the National Museum in Poznan, at the Miejska Galeria Sztuki in Lodz, Poland. Featuring type-based posters of five designers, Philippe Apeloig, Takenobu Igarashi, Tadeusz Piechura, Taku Satoh, and Ruedi Wyss. Especially the work of Taku Satoh from the early nineties (neo-ornamentalism) is quite impressive. Letters are constructively worked into futuristic designs and ads. [Google] [More] ⦿
Partly Polish design group specializing in graffiti. Paism, an alias for a Polish designer in Warsaw, is part of Typoets. The Brazilian pixacao graffiti style inspired the typeface Pixacaism (2013, free download).
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] ⦿
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).
Freelance graphic and type designer in Poznan, Poland. He 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 is an assistant at the Sign and Typography Studio of the University of Arts in Poznan.
Creator of some interesting typefaces in 2008: Argon, Jackson (handprinted, inspired by Michael Jackson).
In 2012, she made the rounded sans family Capriola (Google Font Directory). Kavoon, a fat signage script, and Fruktur, an angular German expressionist typeface, can be found at Sorkin Type and Google Web Fonts. Fontsquirrel link. Behance link. Blogspot link. Fontspace link [Google] [More] ⦿
Polish designer (b. 1980) of the pixel font Mutter LVS, of the hookish font Rammstein (1999, named after the rock group), which can be found here, and of the scribbly handwriting font Sehnsucht (1999). See also here. See also here. [Google] [More] ⦿
Wojciech Kalinowski was born in Wroclaw, Poland in 1969. Since 1990, he has designed and carved inscriptions and reliefs in stone, commemorative plaques, and gravestones. He also deals with computer graphics, digital typeface and logo design, and wallpapers. His typefaces are free and are available from the Open Font Library (or OFL).
He created New Shape (2012, organic sans), Medieval Sharp (2011, blackletter), which originated 15 years earlier from a stone inscription alphabet. Consola Mono (2011, OFL) is a monoline monospaced sans for Latin, Greek and Cyrillic. Classica (2011) is a classical roman family. SquareAntiqua (2011, OFL) is a wavy informal face. Cursive Sans and Cursive Serif (ca. 1997, OFL) and Modern Antiqua (1997, OFL) are also based on stone inscriptions. Klaudia and Berenika (2011) is a Celtic style family. Roundstyle (2011) is a sans display family. Modern Antiqua (2011) has a strange name for a font that is neither modern (i.e., didone) nor Antiqua---it is an organic, or liquid, face with the gothic flavor of Jonathan Barnbrook's types.
Kalinowski started the NovaCut face 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:
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] ⦿
Polish type designer, b. 1976, Gliwice, Poland. He studied graphic design at the Fachbereich Gestaltung of the Fachhochschule Bielefeld. After some training with LeonardiWollein in Berlin, he moved to Hamburg where he works today. At URW, he published Komisz (2004, outlined hand-printed face), Buchstaby (2004), Friederike (2004), Szablon (2004), Sztiefel (2004), Sztempel (2004), Sztark (2004, handwriting). [Google] [More] ⦿
Polish fonts: links, explanations, code tables, maintained by Zbigniew Koziol. Read about the following codings of the special Polish characters: Mazovia, Dom Handlowy Nauki, Cyfromat, Microvex, LOGIC, IEA = Instytut Energii Atomowej w Swierku, IBM Latin-2 (DOS - Latin-2, CP852), ISO Latin-2 (ISO-8859-2), CP1250 = Microsoft Windows Code Page 1250, also called a Latin-2. [Google] [More] ⦿
Zuzanna graduated from Ecole Boulle (Paris) in 2008, with a degree in industrial design. She is currently studying media arts at the Polish-Japanese IT Institute in Warsaw.
Polish type designer, 1914-2001. Creator of Antykwa Toru\'nska (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. Gardzielewski's biography, told by Andrzej Tomaszewski.