TYPE DESIGN INFORMATION PAGE last updated on Fri Aug 29 17:26:08 EDT 2014


Type design in Slovenia

Luc Devroye
McGill University
Montreal, Canada
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Academy of Fine Arts Ljubljana

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]  ⦿

Adelina Pervanje

Ljubljana, Slovenia-based of a great compass-and-ruler roman caps alpahbet (2014), which was finished during her studies at the Academy of Fine Arts in Ljubljana (ALUO). She also made the display font Pikant (2014). [Google] [More]  ⦿

Ajda Bevc

Creator of Leprechaun (2011) during TipoBrda 2011, a type design workshop held in Slovenia. [Google] [More]  ⦿

Alja Herlah

Student in Ljubljana, Slovenia. During the 2014 Tipobrda workshop mentored by Domen Fras and Lucija Bratus, she created Praz Slab. [Google] [More]  ⦿

Aljaž Vindiš

Graduate of the Academy of Fine Arts and Design in Ljubljana, Slovenia, b. 1987, Slovenia. His typefaces:

Old URL at Tribuna, where he was on the editorial board from 2009 until 2011. [Google] [More]  ⦿

Aljaz Vesel

Designer in Ljubljana. Creator of the corporate slab serif typeface family Emsley (+Emsley Italic) (2011-2013), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia, and the Typeclinic 6 and 7 in 2013. See also tipoRenesansa 2nd international type design workshop and TipoBrda 2011.

Pic. [Google] [More]  ⦿

Anže Veršnik

Slovenian type designer who runs the design studio Grafikarna since 2011 (with Jure Kozuh). His typefaces:

  • Stajn (2011-2013). This 14-weight slab serif family of large x-height, with over 750 glyphs per weight, was created for Skupina Stajn [the Institute for Development and Research of Urban spaces Stajn in Kamnik]. It was coproduced with Grafikarna and Jure Kozuh. There are plans for Greek and Cyrillic versions. There is a free demo version.
  • The serif face Skelet, which was designed during the design workshop TipoBrda in 2008.

Participant in four TypeClinic workshops in Slovenia from 2011 until 2012.

Behance link. Grafikarna link. Stajn Type link (a web site dedicated to Stajn). About me link. Linkedin link. [Google] [MyFonts] [More]  ⦿

Ana Farkaš

Slovenian designer of the curly face face Krinoline during the design workshop TipoBrda in 2008. [Google] [More]  ⦿

Ana Flaker

Slovenian designer (b. 1988) of the art deco face slices (2010). Devian Tart link. [Google] [More]  ⦿

Ana Logar

Designer in Ljubljana, who made the headline faces Logana (2012) and Linea (2012). [Google] [More]  ⦿

Andraž Sedmak

Slovenian painter and illustrator. Designer of the futuristic face Apex (2006). [Google] [More]  ⦿

Andraž Tarman

Slovenian designer of the hookish text family (serif, italic, sans) Doberdanka during the design workshop TipoBrda in 2008. He had already started that project in 2006. [Google] [More]  ⦿

Anja Delbello

Based in Ljubljana, Anja designed Moose Sans in 2011-2012. Creator of Saga (2011, with Pika Novak) during TipoBrda 2011, a type design workshop held in Slovenia. Saga is an ultra-heavy poster titling face. [Google] [More]  ⦿

Anja Polh

Velenje, Slovenia-based illustrator / designer of a beautifully lettered poster for Festival Nasedlega Kita in 2012. [Google] [More]  ⦿

[Domen Fras]

Domen Fras completed his masters at London's Central Saint Martin's College of Art & Design in 2000. In 2002 he founded the type & design studio Aparat in Ljubljana, Slovenia. Since 2011 he is a full-time assistant professor at the Faculty of Natural Sciences at the University of Ljubljana. Speaker at ATypI 2014 in Barcelona. His largely experimental work:

  • Brutildo (2006): squarish headline lettering.
  • Butalci (1998, a pixel font) is a part of Domen's diploma project at Faculty of Architecture in Ljubljana, supervised by Janez Suhadolc.
  • Gyro (1998-2001) is an octagonal monospace font with 3 weights.
  • Exlibris (2001-2003) is an experimental face.
  • Pozor (1999) is a squarish sans, as for traffic signage.
  • Terragni (1998) is an alphabet study based on the floor plan composition analysis of the house 'Casa del Fascio' in Como by the architecta Giuseppe Terragni.
  • DinoUnicase (1997) is a variation on DIN Mittelschrift.
  • Narod (2003) was made for designing commemorative coins at 60th anniversary of Kocevje Summit.
  • JH Luzern (1999) is based on a scan of a hotel room card.
  • Pesjan Debu (2011) is a fat angular poster face created during TipoBrda 2011.
  • Narod Krepak (2010) is an art deco sans titling face created during TipoBrda 2010000000
[Google] [More]  ⦿

Archive Type
[Matevz Medja]

Slovenian foundry which specializes in old typefaces found in old prints, books and samples. Typefaces are reproduced as they appeared in print. In order to preserve the original feel of typefaces, no additional characters were added to originals therefore most of fonts consist just of basic character set. Upper case letters, lower case letters, numerals and basic punctuation. It was set up in 2000 by Matevz Medja. Engraving style faces: Kludsky (2006), Garfield (2005), Copperplate Head (2005), Western Iron (2005), Cider (2005), French Shaded (2005), Tilt (2005). The blackletter faces: School Text (2005), Harlem Title (2005), Copperplate Text (2005), Black Title (2005), Chased Black (2005), Tinted (2005), Steeler (2005), Blackcap (2005). Calligraphic faces: Petite Script (2005), Autograph Script (2005), French Script (2005), Penman Script (2005), Magnolia Script (2005), Roundface Script (2005), Roundhand Script (2005). Other faces: American Shadow (2005), Lightface Extended (2005), Grotesque Shaded (2005), Gothic Ornate (2005), Antique Extra Condensed (2005), Antique Extended (2005), Ironlace (2005), Atlantique (2005), Mann (2005), Old Style Condensed (2005), Ribbon (2005), Salisbury Script (2005), Black Title Text (2005, blackletter), German Text (2005, blackletter), Archive Hands (2006, pointing fingers), Archive Woodchild (2006). Distressed faces: Archive Tale (2006), Archive Egipt Compressed (2006). In 2011, he published the Archive Garamond family, which is closer to the unpolished originals. The 2010 catalog has three parts:

  • The Archive 40: Archive Western Iron, Archive American Shadow, Archive Antiqua Extra Cond, Archive Antique Extended, Archive Atlantique, Archive Autograph Script, Archive Black Title Text, Archive Black Title, Archive Blackcap, Archive Chased Black, Archive Cider, Archive Copperplate Head, Archive Copperplate Text, Archive Egipt Compressed, Archive French Script, Archive French Shaded, Archive Garfield (2005), Archive German Text, Archive Gothic Ornate, Archive Grotesque Shaded, Archive Harlem Title, Archive Ironlace, Archive Kludsky, Archive Lightface Extended, Archive Magno Script, Archive Mann, Archive Modern II Open, Archive Modern II, Archive Old Style Condensed, Archive Penman Script, Archive Petite Script, Archive Ribbon, Archive Roundface Script, Archive Roundhand Script, Archive Salisbury Script, Archive School Text, Archive Steeler, Archive Tale, Archive Tilt, Archive Tinted.
  • Archive Americana: Archive American Shadow, Archive Steeler, Archive Tilt, Archive Grotesque Shaded, Archive Black Title, Archive Mann, Archive Autograph Script, Archive Tinted, Archive Harlem Title.
  • Archive Western: Archive Egipt Compressed, Archive French Shaded, Archive Western Iron, Archive Antique Extended, Archive Copperplate Head, Archive Ribbon, Archive Gothic Ornate, Archive Oldstyle Condensed, Archive Lightface Extended, Archive Ironlace.

Creative Market link.

View Archive Type / Matevz Medja's typefaces. [Google] [MyFonts] [More]  ⦿

Barbara Borko

Slovenian designer of Slap Slab (2013), a slab serif typeface developed during Typeclinic 6 and Typeclinic 7 in 2013. [Google] [More]  ⦿

Boris Divjak

During the 7th Typeclinic (Trenta, Slovenia, 2013), Boris Divjak developed the friendly round sans typeface Cuddly Sans. [Google] [More]  ⦿

Damijan Kracina
[Proteus Fonts]

[More]  ⦿

Dejan Cirkvencic Kralj

Dejan Cirkvencic Kralj (Re-Format, Ljubljana, Slovenia) created the high-contrast smotth-edged fashion mag face Sundari (2011). [Google] [More]  ⦿

Denis Lelic

Slovenian designer of the wayfinding typeface Noway (2014), which was developed at Typeclinic in 2014. [Google] [More]  ⦿

Domen Fras

[More]  ⦿

Dorijan Sisko

Maribor, Slovenia-based designer of the modular display typeface family Truster (2013) and the octagonal typeface Updat3 (2013). [Google] [More]  ⦿

Emil Kozole

Emil Kozole (Ljubljana, Slovenia) s currently studying communication design at Central Saint Martins London. He created the slab serif typeface Sarajevo (2012), Icons Night Out (2012), the artsy art deco typeface Typometry (2012, Ten Dollar Fonts) and the information design typeface family Signalia (2012). Free download.

Attitude (2013) is a 7-style semi-alchemic typeface family. Random (2014) is a large and very pretty ransom note family.

Ten Dollar Fonts link. Cargocollective link. Behance link. [Google] [More]  ⦿

Ermin Design
[Ermin Mededovic]

Croatian designer of fonts such as Board, Counter (dot matrix), DeeDot, Dirty Karlson, Dope, EnfontTerrible (grunge), Exer, Fractual (Fraktur), Frizider (connected 50s style lettering), Gliberto, Jogurt Pi, Kelih, Latirilica, Malomorgen (Fraktur), Manifestina, Ministry of Defense, NoBodyType, OmarSans, OmarSansPlus, Pope-Regular, PopeInline, Siscia, Sugestica, Tune, Telekom Pi, Video-Flat.

At Plazm he published Centrifuga (1996), Board (1995). In 2005, he finished the design of a 40-style a typeface family for Delo, one of the leading Slovenian daily newspapers.

In 2014, he created Lipa Agate (Type Together), a workhorse sans serif for use in very small type sizes.

Ermin lives in Ljubljana. He is owner and type designer at Lettermin (since 2012) and design director at Delo Publishing House. [Google] [More]  ⦿

Ermin Mededovic
[Ermin Design]

[More]  ⦿

Evita Lukez

Slovenian designer of the lettering fonts Arhe and Arhe Metal used for the building of the Faculty of Architecture at the University of Ljubljana. [Google] [More]  ⦿

Franko Luin
[Omnibus Typographi]

[MyFonts] [More]  ⦿

Gaja Meznaric Osole

Ljubljana-based Slovenian graphic designer with a keen interest in typography. She created the organic family Kiwi during the summer of 2008 at the TipoBrda type design workshop under the mentorship of Tomato Košir and Lucijan Bratuš. [Google] [More]  ⦿

Gašper Premože

Slovenian designer of the simple sans face Mala šola during the design workshop TipoBrda in 2008. [Google] [More]  ⦿

GIGO Design

GIGO stands for Garbage In Garbage Out. Slovenian design company which created:

  • Cerdonis - Light, Regular, Bold, Light Italic, Italic, Small Caps, Light Display, Ornaments
  • Patetika - Light, Light Italic, Bold, Lines and Borders
  • Prasec - Front, Back
  • Selfcensorshit II - Regular, Bold, Black
  • Republika Sans: A bespoke typeface for Slovenia's public administration.
  • Rotor Short - Rotor Regular, Rotor Tall
Buy the fonts here. [Google] [More]  ⦿

[Matevz Medja]

Gigofonts is a Ljubljana-based foundry run by Matevz Medja (b. 1966, Kranj). He set up design studio Medja & Karlson in 1990 and Gigodesign in 2000. He founded Gigofonts and Archive Type typefoundries.

Matevz designed Compressor (1997, T-26), Gf Blackmail (2004, ransom note font), Gf Patetica (2004, an elegant renaissance serif with tall ascenders), Gf Scribbles (2005, hand-printed family), Gf Script No 2 (2005), Gf Script No 4, Gf Script No4 Scratch (2004, based on Penman Script), Gf Script No. 5 (2005), Gf SelfcensorShit (2004, T-26, and later at Gigofonts, now simply called Gf Selfcensor---a unicase family), Gf Spacetrash (2004), Gf Special (2005, 22 funky disco fonts, many of which are piano key faces), Semafor (1997, dot matrix, at T-26 since 2002), Gf H2O (2005, a humanist sans family done with Mitja Miklavčič).

MyFonts link. Creative Market link. Linotype link. Identifont link. Klingspor link.

View Matevz Medja's typefaces. [Google] [MyFonts] [More]  ⦿

GNU Freefont (or: Free UCS Outline Fonts)
[Steve White]

The GNU Freefont is continuously being updated to become a large useful Unicode monster. GNU FreeFont is a free family of scalable outline fonts, suitable for general use on computers and for desktop publishing. It is Unicode-encoded for compatability with all modern operating systems. There are serif, Sans and Mono subfamilies. Also called the "Free UCS Outline Fonts", this project is part of the larger Free Software Foundation. Scans: FreeMono, FreeMonoBold, FreeMonoBoldOblique, FreeMonoOblique, FreeSans, FreeSansBold, FreeSansBoldOblique, FreeSansOblique, FreeSerif, FreeSerifBold, FreeSerifBoldItalic, FreeSerifItalic. The original head honcho was Primoz Peterlin, the coordinator at the Institute of Biophysics of the University of Ljubljana, Slovenia. In 2008, Steve White took over. Participants and credits, as of the end of 2010, with Unicode range responsibilities:

  • URW++ Design&Development GmbH. URW++ donated a set of 35 core PostScript Type 1 fonts to the Ghostscript project.
    • Basic Latin (U+0041-U+007A)
    • Latin-1 Supplement (U+00C0-U+00FF)
    • Latin Extended-A (U+0100-U+017F)
    • Spacing Modifier Letters (U+02B0-U+02FF)
    • Mathematical Operators (U+2200-U+22FF)
    • Block Elements (U+2580-U+259F)
    • Dingbats (U+2700-U+27BF)
  • Yannis Haralambous and John Plaice. Yannis Haralambous and John Plaice are the authors of Omega typesetting system, which is an extension of TeX. Its first release, aims primarily at improving TeX's multilingual abilities. In Omega all characters and pointers into data-structures are 16-bit wide, instead of 8-bit, thereby eliminating many of the trivial limitations of TeX. Omega also allows multiple input and output character sets, and uses programmable filters to translate from one encoding to another, to perform contextual analysis, etc. Internally, Omega uses the universal 16-bit Unicode standard character set, based on ISO-10646. These improvements not only make it a lot easier for TeX users to cope with multiple or complex languages, like Arabic, Indic, Khmer, Chinese, Japanese or Korean, in one document, but will also form the basis for future developments in other areas, such as native color support and hypertext features. ... Fonts for UT1 (omlgc family) and UT2 (omah family) are under development: these fonts are in PostScript format and visually close to Times and Helvetica font families.
    • Latin Extended-B (U+0180-U+024F)
    • IPA Extensions (U+0250-U+02AF)
    • Greek (U+0370-U+03FF)
    • Armenian (U+0530-U+058F)
    • Hebrew (U+0590-U+05FF)
    • Arabic (U+0600-U+06FF)
    • Currency Symbols (U+20A0-U+20CF)
    • Arabic Presentation Forms-A (U+FB50-U+FDFF)
    • Arabic Presentation Forms-B (U+FE70-U+FEFF)
  • Yannis Haralambous and Wellcome Institute. In 1994, The Wellcome Library The Wellcome Institute for the History of Medicine 183 Euston Road, London NW1 2BE, England, commissioned Mr. Haralambous to produce a Sinhalese font for them. We have received 03/09 official notice from Robert Kiley, Head of e-Strategy for the Wellcome Library, that Yannis' font could be included in GNU FreeFont under its GNU license: Sinhala (U+0D80-U+0DFF).
  • Young U. Ryu at the University of Texas at Dallas is the author of Txfonts, a set of mathematical symbols designed to accompany text typeset in Times or its variants. In the documentation, Young adresses the design of mathematical symbols: "The Adobe Times fonts are thicker than the CM fonts. Designing math fonts for Times based on the rule thickness of Times =,, +, /, <, etc. would result in too thick math symbols, in my opinion. In the TX fonts, these glyphs are thinner than those of original Times fonts. That is, the rule thickness of these glyphs is around 85% of that of the Times fonts, but still thicker than that of the CM fonts." Ranges: Arrows (U+2190-U+21FF), Mathematical Symbols (U+2200-U+22FF).
  • Valek Filippov added Cyrillic glyphs and composite Latin Extended A to the whole set of the abovementioned URW set of 35 PostScript core fonts, Ranges: Latin Extended-A (U+0100-U+017F), Cyrillic (U+0400-U+04FF).
  • Wadalab Kanji Comittee. Between April 1990 and March 1992, Wadalab Kanji Comittee put together a series of scalable font files with Japanese scripts, in four forms: Sai Micho, Chu Mincho, Cho Kaku and Saimaru. The font files were written in custom file format, while tools for conversion into Metafont and PostScript Type 1 were also supplied. The Wadalab Kanji Comittee has later been dismissed, and the resulting files can be now found on the FTP server of the Depertment of Mathematical Engineering and Information Physics, Faculty of Engineering, University of Tokyo: Hiragana (U+3040-U+309F), Katakana (U+30A0-U+30FF). Note that some time around 2009, the hiragana and katakana ranges were deleted.
  • Angelo Haritsis has compiled a set of Greek type 1 fonts. The glyphs from this source has been used to compose Greek glyphs in FreeSans and FreeMono. Greek (U+0370-U+03FF).
  • Yannis Haralambous and Virach Sornlertlamvanich. In 1999, Yannis Haralambous and Virach Sornlertlamvanich made a set of glyphs covering the Thai national standard Nf3, in both upright and slanted shape. Range: Thai (U+0E00-U+0E7F).
  • Shaheed Haque has developed a basic set of basic Bengali glyphs (without ligatures), using ISO10646 encoding. Range: Bengali (U+0980-U+09FF).
  • Sam Stepanyan created a set of Armenian sans serif glyphs visually compatible with Helvetica or Arial. Range: Armenian (U+0530-U+058F).
  • Mohamed Ishan has started a Thaana Unicode Project. Range: Thaana (U+0780-U+07BF).
  • Sushant Kumar Dash has created a font in his mother tongue, Oriya: Oriya (U+0B00-U+0B7F). But Freefont has dropped Oriya because of the absence of font features neccessary for display of text in Oriya.
  • Harsh Kumar has started BharatBhasha for these ranges:
    • Devanagari (U+0900-U+097F)
    • Bengali (U+0980-U+09FF)
    • Gurmukhi (U+0A00-U+0A7F)
    • Gujarati (U+0A80-U+0AFF)
  • Prasad A. Chodavarapu created Tikkana, a Telugu font family: Telugu (U+0C00-U+0C7F). It was originally included in GNU Freefont, but supoort for Telugu was later dropped altogether from the GNU Freefont project.
  • Frans Velthuis and Anshuman Pandey. In 1991, Frans Velthuis from the Groningen University, The Netherlands, released a Devanagari font as Metafont source, available under the terms of GNU GPL. Later, Anshuman Pandey from Washington University in Seattle, took over the maintenance of font. Fonts can be found on CTAN. This font was converted the font to Type 1 format using Peter Szabo's TeXtrace and removed some redundant control points with PfaEdit. Range: Devanagari (U+0900-U+097F).
  • Hardip Singh Pannu. In 1991, Hardip Singh Pannu has created a free Gurmukhi TrueType font, available as regular, bold, oblique and bold oblique form. Range: Gurmukhi (U+0A00-U+0A7F).
  • Jeroen Hellingman (The Netherlands) created a set of Malayalam metafonts in 1994, and a set of Oriya metafonts in 1996. Malayalam fonts were created as uniform stroke only, while Oriya metafonts exist in both uniform and modulated stroke. From private communication: "It is my intention to release the fonts under GPL, but not all copies around have this notice on them." Metafonts can be found here and here. Ranges: Oriya (U+0B00-U+0B7F), Malayalam (U+0D00-U+0D7F). Oriya was subsequently dropped from the Freefont project.
  • Thomas Ridgeway, then at the Humanities And Arts Computing Center, Washington University, Seattle, USA, (now defunct), created a Tamil metafont in 1990. Anshuman Pandey from the same university took over the maintenance of font. Fonts can be found at CTAN and cover Tamil (U+0B80-U+0BFF).
  • Berhanu Beyene, Prof. Dr. Manfred Kudlek, Olaf Kummer, and Jochen Metzinger from the Theoretical Foundations of Computer Science, University of Hamburg, prepared a set of Ethiopic metafonts. They also maintain the home page on the Ethiopic font project. Someone converted the fonts to Type 1 format using TeXtrace, and removed some redundant control points with PfaEdit. Range: Ethiopic (U+1200-U+137F).
  • Maxim Iorsh. In 2002, Maxim Iorsh started the Culmus project, aiming at providing Hebrew-speaking Linux and Unix community with a basic collection of Hebrew fonts for X Windows. The fonts are visually compatible with URW++ Century Schoolbook L, URW++ Nimbus Sans L and URW++ Nimbus Mono L families, respectively. Range: Hebrew (U+0590-U+05FF).
  • Vyacheslav Dikonov made a Braille unicode font that could be merged with the UCS fonts to fill the 2800-28FF range completely (uniform scaling is possible to adapt it to any cell size). He also contributed a free Syriac font, whose glyphs (about half of them) are borrowed from the free Carlo Ator font. Vyacheslav also filled in a few missing spots in the U+2000-U+27FF area, e.g., the box drawing section, sets of subscript and superscript digits and capital Roman numbers. Ranges: Syriac (U+0700-U+074A), Box Drawing (U+2500-U+257F), Braille (U+2800-U+28FF).
  • Panayotis Katsaloulis helped fixing Greek accents in the Greek Extended area: (U+1F00-U+1FFF).
  • M.S. Sridhar. M/S Cyberscape Multimedia Limited, Mumbai, developers of Akruti Software for Indian Languages (http://www.akruti.com/), have released a set of TTF fonts for nine Indian scripts (Devanagari, Gujarati, Telugu, Tamil, Malayalam, Kannada, Bengali, Oriya, and Gurumukhi) under the GNU General Public License (GPL). You can download the fonts from the Free Software Foundation of India WWW site. Their original contributions to Freefont were
    • Devanagari (U+0900-U+097F)
    • Bengali (U+0980-U+09FF)
    • Gurmukhi (U+0A00-U+0A7F)
    • Gujarati (U+0A80-U+0AFF)
    • Oriya (U+0B00-U+0B7F)
    • Tamil (U+0B80-U+0BFF)
    • Telugu (U+0C00-U+0C7F)
    • Kannada (U+0C80-U+0CFF)
    • Malayalam (U+0D00-U+0D7F)
    Oriya, Kannada and Telugu were dropped from the GNU Freefont project.
  • DMS Electronics, The Sri Lanka Tipitaka Project, and Noah Levitt. Noah Levitt found out that the Sinhalese fonts available on the site metta.lk are released under GNU GPL. These glyphs were later replaced by those from the LKLUG font. Finally the range was completely replaced by glyphs from the sinh TeX font, with much help and advice from Harshula Jayasuriya. Range: Sinhala (U+0D80-U+0DFF).
  • Daniel Shurovich Chirkov. Dan Chirkov updated the FreeSerif font with the missing Cyrillic glyphs needed for conformance to Unicode 3.2. The effort is part of the Slavjanskij package for Mac OS X. range: Cyrillic (U+0400-U+04FF).
  • Abbas Izad. Responsible for Arabic (U+0600-U+06FF), Arabic Presentation Forms-A, (U+FB50-U+FDFF), Arabic Presentation Forms-B (U+FE70-U+FEFF).
  • Denis Jacquerye added new glyphs and corrected existing ones in the Latin Extended-B (U+0180-U+024F) and IPA Extensions (U+0250-U+02AF) ranges.
  • K.H. Hussain and R. Chitrajan. Rachana in Malayalam means to write, to create. Rachana Akshara Vedi, a team of socially committed information technology professionals and philologists, has applied developments in computer technology and desktop publishing to resurrect the Malayalam language from the disorder, fragmentation and degeneration it had suffered since the attempt to adapt the Malayalam script for using with a regular mechanical typewriter, which took place in 1967-69. K.H. Hussein at the Kerala Forest Research Institute has released "Rachana Normal" fonts with approximately 900 glyphs required to typeset traditional Malayalam. R. Chitrajan apparently encoded the glyphs in the OpenType table. In 2008, the Malayalam ranges in FreeSerif were updated under the advise and supervision of Hiran Venugopalan of Swathanthra Malayalam Computing, to reflect the revised edition Rachana_04. Range: Malayalam (U+0D00-U+0D7F).
  • Solaiman Karim filled in Bengali (U+0980-U+09FF). Solaiman Karim has developed several OpenType Bangla fonts and released them under GNU GPL.
  • Sonali Sonania and Monika Shah covered Devanagari (U+0900-U+097F) and Gujarati (U+0A80-U+0AFF). Glyphs were drawn by Cyberscape Multimedia Ltd., #101, Mahalakshmi Mansion 21st Main 22nd "A" Cross Banashankari 2nd stage Banglore 560070, India. Converted to OTF by IndicTrans Team, Powai, Mumbai, lead by Prof. Jitendra Shah. Maintained by Monika Shah and Sonali Sonania of janabhaaratii Team, C-DAC, Mumbai. This font is released under GPL by Dr. Alka Irani and Prof Jitendra Shah, janabhaaratii Team, C-DAC, Mumabi. janabhaaratii is localisation project at C-DAC Mumbai (formerly National Centre for Software Technology); funded by TDIL, Govt. of India.
  • Pravin Satpute, Bageshri Salvi, Rahul Bhalerao and Sandeep Shedmake added these Indic language cranges:
    • Devanagari (U+0900-U+097F)
    • Gujarati (U+0A80-U+0AFF)
    • Oriya (U+0B00-U+0B7F)
    • Malayalam (U+0D00-U+0D7F)
    • Tamil (U+0B80-U+0BFF)
    In December 2005 the team at www.gnowledge.org released a set of two Unicode pan-Indic fonts: "Samyak" and "Samyak Sans". "Samyak" font belongs to serif style and is an original work of the team; "Samyak Sans" font belongs to sans serif style and is actually a compilation of already released Indic fonts (Gargi, Padma, Mukti, Utkal, Akruti and ThendralUni). Both fonts are based on Unicode standard. You can download the font files separately. Note that Oriya was dropped from the Freefont project.
  • Kulbir Singh Thind added Gurmukhi (U+0A00-U+0A7F). Dr. Kulbir Singh Thind designed a set of Gurmukhi Unicode fonts, AnmolUni and AnmolUni-Bold, which are available under the terms of GNU license from the Punjabu Computing Resource Center.
  • Gia Shervashidze added Georgian (U+10A0-U+10FF). Starting in mid-1990s, Gia Shervashidze designed many Unicode-compliant Georgian fonts: Times New Roman Georgian, Arial Georgian, Courier New Georgian.
  • Daniel Johnson. Created by hand a Cherokee range specially for FreeFont to be "in line with the classic Cherokee typefaces used in 19th century printing", but also to fit well with ranges previously in FreeFont. Then he made Unified Canadian Syllabics in Sans, and a Cherokee and Kayah Li in Mono! And never to be outdone by himself, then did UCAS Extended and Osmanya.... What next?
    • Armenian (serif) (U+0530-U+058F)
    • Cherokee (U+13A0-U+13FF)
    • Unified Canadian Aboriginal Syllabics (U+1400-U+167F)
    • UCAS Extended (U+18B0-U+18F5)
    • Kayah Li (U+A900-U+A92F)
    • Tifinagh (U+2D30-U+2D7F)
    • Vai (U+A500-U+A62B)
    • Latin Extended-D (Mayanist letters) (U+A720-U+A7FF)
    • Osmanya (U+10480-U+104a7)
  • George Douros, the creator of several fonts focusing on ancient scripts and symbols. Many of the glyphs are created by making outlines from scanned images of ancient sources.
    • Aegean: Phoenecian (U+10900-U+1091F).
    • Analecta: Gothic (U+10330-U+1034F)
    • Musical: Byzantine (U+1D000-U+1D0FF)&Western (U+1D100-U+1D1DF)
    • Unicode: many miscellaneous symbols, miscellaneous technical, supplemental symbols, and mathematical alphanumeric symbols (U+1D400-U+1D7FF), Mah Jong (U+1F000-U+1F02B), and the outline of the domino (U+1F030-U+1F093).
  • Steve White filled in a lot of missing characters, got some font features working, left fingerprints almost everywhere, and is responsible for these blocks: Glagolitic (U+2C00-U+2C5F), Coptic (U+2C80-U+2CFF).
  • Pavel Skrylev is responsible for Cyrillic Extended-A (U+2DEO-U+2DFF) as well as many of the additions to Cyrillic Extended-B (U+A640-U+A65F).
  • Mark Williamson made the MPH 2 Damase font, from which these ranges were taken:
    • Hanunóo (U+1720-U+173F)
    • Buginese (U+1A00-U+1A1F)
    • Tai Le (U+1950-U+197F)
    • Ugaritic (U+10380-U+1039F)
    • Old Persian (U+103A0-U+103DF)
  • Primoz Peterlin filled in missing glyphs here and there (e.g., Latin Extended-B and IPA Extensions ranges in the FreeMono family), and created the following UCS blocks:
    • Latin Extended-B (U+0180-U+024F)
    • IPA Extensions (U+0250-U+02AF)
    • Arrows (U+2190-U+21FF)
    • Box Drawing (U+2500-U+257F)
    • Block Elements (U+2580-U+259F)
    • Geometrical Shapes (U+25A0-U+25FF)
  • Jacob Poon submitted a very thorough survey of glyph problems and other suggestions.
  • Alexey Kryukov made the TemporaLCGUni fonts, based on the URW++ fonts, from which at one point FreeSerif Cyrillic, and some of the Greek, was drawn. He also provided valuable direction about Cyrillic and Greek typesetting.
  • The Sinhala font project has taken the glyphs from Yannis Haralambous' Sinhala font, to produce a Unicode TrueType font, LKLUG. These glyphs were for a while included in FreeFont: Sinhala (U+0D80-U+0DFF).

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


Grafikarna is a graphic design studio focused on producing innovative and effective visual communications. Located in Ljubljana, Slovenia, the team comprises Jure Kozuh and Anže Veršnik. Behance link.

Anže Veršnik created Stajn and Stajn Italic (2011-2013). This 14-weight slab serif family of large x-height was created for Skupina Stajn [the Institute for Development and Research of Urban spaces Stajn in Kamnik]. Jure Kozuh designed the sans display face Gospodar (2008). [Google] [More]  ⦿

Helena Bozic

Freelance designer in Ljubljana, Slovenia, who created the Metropolitana typeface in 2013 together with Metka Bacar. During her studies, she created Burja Sans (2014).

Behance link. [Google] [More]  ⦿

Igor Stumberger

Maribor, Slovenia-based designer of Sadwitch (2013), a typeface developed during Typeclinic 6 in 2013 for editorial use.

Behance link. [Google] [More]  ⦿

ISO 8859-2 resources

ISO 8859-2 character set is a part of ISO 8859 series of 8-bit character sets for writing in Western alphabetic languages (i.e. Latin, Cyrillic, Arabic, Hebrew and Greek). Primoz Peterlin provides many links to font resources for this set of characters. [Google] [More]  ⦿


Archive with the Monotype families Courier New CE, Times New Roman CE, Arial CE. Also, Lucida Sans, and a Swiss family (type 1), adapted by Tefik Becirovic, Zagreb, for use in East-European languages. Link went dead. [Google] [More]  ⦿

Jack Yan
[Jack Yan and Associates]

[MyFonts] [More]  ⦿

Jack Yan and Associates
[Jack Yan]

Jack Yan (b. 1972, Hong-Kong) now lives in Wellington, New Zealand, where he founded Jack Yan and Associates (JY&A) in 1987, the first kiwi digital typefoundry. He designed over 100 typefaces, which mostly share calligraphic roots---his lower case f is like a signature Yan glyph. In 2013, he turned to politics and is running to become mayor of wellington.

He designed the extensive family Aetna, digitized based upon 16th century work by Francesco Griffo and Giovanni Antonio Tagliente. It is Yan's version of Bembo.

His other font families include Decennie Express Pro (2011, a sans companion for JY Décennie), Integrity JY (2002), Pinnacle JY (1995-1996, +Bold), Rebeca JY (1993), Tranquility (1994-1995) and Yan Series 333 (1987-1993). JY Koliba (by Jure Stojan, 2001) is a sans serif typeface family based on Slovenian architects' lettering of the 1940s. Other typefaces include Dandy JY (2012: Originally created for a theatre project at Massey University, Dandy is reminiscent of Pablo Ferro's hand-lettering), Comic Pro JY (1999, by Antonio Gonzalez de Santiago for Jack Yan), Novalis JY (2008, an anthroposophic family), Boum-Boum (2002) and Alia JY (2008-2009, an aldine serif family).

JY Pressly (2012, a serif family) was originally designed for Lucire, and destined for web and print use.

Arts and Crafts alphabet by JY&A.

Personal and political web site. Interview.

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

Jakob Jugovic

Slovenian designer of the experimental face Aanima and the graffiti face Mazaccio during the design workshop TipoBrda in 2007. Participant in the TipoRenesansa workshop in Slovenia in 2010, who designed Crepaldi (2010). [Google] [More]  ⦿

Jože Carli

Slovenian designer of the artsy sans face Aktor during the design workshop TipoBrda in 2007. [Google] [More]  ⦿

Josef Poklukar

The first Slovenian type designer. [Google] [More]  ⦿

Jure Kožuh

Slovenian designer (b. 1984, Ljubljana) of the sans display face Gospodar during the design workshop TipoBrda in 2008. He writes about Gospodar: This typeface was first published in the Newspaper of Slovenian Museums, ARGO ([53/1], 2010). Authors of the newspapers design are Ziga Testen and Ajdin Basic. For the work on the project, they were awarded 1st prize in category Magazines and newspapers, at the 4th Biennial of Slovene Visual Communications (Brumen Fundation) in 2009.

At TipoBrda 2007, he created Neo Gothic. Stat (2011, an information design sans face) was developed at tipoRenesansa, 2nd international type design workshop.

Commercial faces: Cookogram (2011, dings), Master (2012, black sans headline face).

In 2013, he published the information design sans families Stat Display Pro and Stat Text Pro.

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

Jure Legac

Slovenian designer of the grungy Kafkaesque face Tank during the design workshop TipoBrda in 2007. [Google] [More]  ⦿

Jure Martinec

Student at the Köln International School of Design, but based in Ljubljana, Slovenia. Creator of Drugstore Screen Regular (2011), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia. This is an attractive and bouncy papercut display face. Participant in the TipoRenesansa workshop in Slovenia in 2010, who designed La Farmacia (2010). This was further developed at tipoRenesansa, 2nd international type design workshop in 2011. [Google] [More]  ⦿

Jure Stojan

Slovenian Jure Stojan designed the sans serif family JY Koliba in 2000 at Jack Yan and Associates. Check out that wacky "g". Also at Jack Yan, he published Raj JY (2001-2011), and KlinJY (which was done for a student magazine in Ljubljana). [Google] [MyFonts] [More]  ⦿

Katarina Jeraj

Ljubljana, Slovenia-based visual communication student (b. 1992) who created a partial typeface called Sibirski Mraz (Siberian cold) in 2013 during her studies.

Behance link. [Google] [More]  ⦿

Katarina Medic

Participant in the TipoRenesansa workshop in Slovenia in 2010, who designed Trezulja (2010). Sofia (2011, a soft-über-humanistic sans) was designed at tipoRenesansa, 2nd international type design workshop and tipoRenesansa, 4th international type design workshop (2012). [Google] [More]  ⦿

Klementina Mozina

A PhD from the Faculty of Arts at the University of Ljubljana, 2001, where she is presently assistant professor. Her research is related to the history and usability of type. At ATypI 2007 in Brighton, she spoke on Typeface Praetoria: from v-cut to digital media (with Tanja Medved). This font is based on an old inscription on the Praetorian palace in Koper. Old chiselled letters from the 17th century formed the basis for the creation of the new font. The Praetoria font is now used as a corporate identity at the Koper Museum. [Google] [More]  ⦿

Lea Jelenko
[Lea Noir]

[More]  ⦿

Lea Noir
[Lea Jelenko]

Slovenian graphic designer Lea Jelenko creates art, including typefaces, under the appropriate alias, Lea Noir---all is in indeed black and white (and esthetically magnificent). Her work includes some pictograms (called Garderoba, 2012), as well as a typeface called Pulp (2012). [Google] [More]  ⦿

Lucijan Bratuš

Slovenian painter and artist (b. Vipava, 1949). Designer of Rokus and Rokus Script (2002) for schoolbooks published by Rokus Publishing House. Professor of type design. Creator of the calligraphic face Kanela (2006). Cofounder of the TipoBrda type design conferences, held annually since 2006 in Slovenia. TipoBrda 2006. Designer of the art deco face Čiginj during the design workshop TipoBrda in 2008.

At TipoBrda 2007, he showed Kanela.

At TipoBrda 2011, he created the geometric sans family Makalonca.

At Tipo Brda 2010, he designed the Slova OT family of old Slavonic typefaces. That family includes one gorgeous Latin typeface that simulates old Slavonic. [Google] [More]  ⦿

Luka Paragi

Ljubljana, Slovenia-based designer of the rounded modular display typeface Malina (2013). [Google] [More]  ⦿

Marin Santic

Ljubljana, Slovenia-based designer of the tweetware font Prince Pro typeface (2013), which according to Marin was influened by Meta, Profile and Benton Sans. Prince Pro has a very large x-height.

In 2014, Marin designed Snow Math (free snowman font codesigned with Tanja Semion), and Rusulica Script.

Later in 2014, he set up the commercial typefoundry Marin Santic.

Behance link. You Work For Them link. [Google] [MyFonts] [More]  ⦿

Marion Robinson

Creator of Marcelle (2011, a text face), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia. [Google] [More]  ⦿

Marjan Bozic

Slovenian designer, at Apostrophic Laboratory, of the R-rated dingbat font Hard Talk. [Google] [More]  ⦿

Martin Fujan

Creator of Talschrift (2010, blackletter) during TipoBrda 2010, a type design workshop held in Ljubljana, Slovenia. [Google] [More]  ⦿

Martina Grdic

Martina Grdic (Ljubljana, Slovenia) created Circola (2013). [Google] [More]  ⦿

Marusa Racic

Ljubljana-based creator of the artsy Treefrog-style hand-printed Ink Blowing Alphabet (2013). [Google] [More]  ⦿

Masa Majce

Creator of Mashonique (2011) during TipoBrda 2011, a type design workshop held in Slovenia. [Google] [More]  ⦿

Matevz Medja

[MyFonts] [More]  ⦿

Matevz Medja
[Archive Type]

[MyFonts] [More]  ⦿

Matic Leban

Tolmin, Slovenia-based creator of Rozmarin (2011, +Unicase) during TipoBrda 2011, a type design workshop held in Slovenia. [Google] [More]  ⦿

Matjaz Tomazic

Ljubljana, Slovenia-based designer of a Bauhaus/DIN style font (2003). [Google] [More]  ⦿

Miha Košmač

Slovenian designer of the graffiti face Fasada (2006) during TipoBrda 2006. Creator of the condensed serif face Chainsaw during the design workshop TipoBrda in 2008. [Google] [More]  ⦿

Miha Zajec

Creator of Puding (2011) during TipoBrda 2011, a type design workshop held in Slovenia. [Google] [More]  ⦿

Milos Radosavljevic

Krsko-based Slovenian graphic designer, who created the grunge face MCK Mono (2005, Garcia Fonts). [Google] [More]  ⦿

Mina Arko

Slovenian designer (Ljubljana, b. 1983) of the futuristic monoline sans family Nouvelle during the design workshop TipoBrda in 2008. It was perfected and started selling at MyFonts in 2011. In 2009, she created Afrikana [Behance link], an alphabet with a decidedly African theme.

During TipoBrda 2010 in Ljubljana, she created the didone numbering face Kampula.

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

Mitja Miklavčič

Slovenian designer who lives in Postojna. His typefaces:

  • He created Gf H2O Sans in 2005 font at Gigofonts. This is a humanist sans done with Matevz Medja.
  • Tisa is a slab-serif inspired text family that won an award at TDC2 2007. It has useful features such as ink traps and uiformized math symbol and number widths across all styles in the family. In fact, the Latin/Cyrillic type family Tisa was his project at the University of Reading, where he graduated in 2006. He wrote a nice essay on the history of Clarendon (2006). In 2008, he published Tisa as FF Tisa at FontFont. Tisa won a TDC award. In 2012, he added the superfamily FF Tisa Sans (FontFont).
  • Mitja worked full-time at Fontsmith and now continues to collaborate with the team on some type design projects. His Fontsmith cooperation led to FS Rufus (a slab serif done with Jason Smith and Emanuela Conidi), FS Me (a sans family designed for readers with a learning disability; codesigned with Emanuela Conidi, Fernando Mello, Jason Smith and Phil Garnham: FS Me was researched and developed in conjunction with - and endorsed by - Mencap, the UK's leading charity and voice for those with learning disability. Mencap receive a donation for each font licence purchased), FS Albert Pro, and FS Albert Pro Narrow. The latter two families were done with Jason Smith and Phil Garnham---they support Greek, Cyrillic, and Latin, covering 60 languages.

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

Nikos Georgopoulos

Creator of Koumpa (2010, a Greek headline face) during TipoBrda 2010, a type design workshop held in Ljubljana, Slovenia. [Google] [More]  ⦿

Omnibus Typographi
[Franko Luin]

Fonts designed by talented Swedish designer Franko Luin (born in Trieste, Italy in 1941, to Slovenian parents). Luin immigrated to Sweden in 1961. After studying at the Grafiska Institutet during the 1960s, Franko Luin spent two decades as a print designer for Ericsson before becoming independent. In the 1990s he was involved in multimedia and typeface design. In 1996, he founded his own typographic studio, Omnibus Typografi. At some point, he led a course in Web Typography at the Berghs School of Communication in Stockholm. Franko Luin passed away on September 15, 2005, in Tyresö, Sweden. Autobiography. Obituary by Dan Reynolds. Linotype pages on Luin.

His typefaces, all at Linotype: Omnibus (1993), Goudy Village (1994), Jenson Classico, Ad Hoc (1992), Baskerville Classico, Birka (1992), Bodoni Classico, Carniola (1993), Caslon Classico (1993), Devin (1994, roman), Dialog (1993), Emona (1992, roman), Esperanto (1992), Garamond Classico, Griffo Classico (1992), Humana, Isolde (1993), Jesper, Jonatan (1995), Kalix (1994), Kasper (1995), Kis Classico (1992), Marco Polo (1993), Memento (1992), Miramar (1993), Norma (1994), Nyfors (1995), Odense (1994; + Odense Neon (1993)), Pax (1995), Persona, Ragnar (1993), Res Publica (1992), Rustika, Saga (1992), Semper (1993), Transport (1995; +Transport Kapitäler), Vega (1994), Zip2000.

View Franko Luin's typefaces. [Google] [MyFonts] [More]  ⦿

Peter Stupica

During the 7th Typeclinic (Trenta, Slovenia, 2013), Peter Stupica (Slovenia) created the italic typeface Gotiva, which took inspiration from Greek minuscules. [Google] [More]  ⦿

Petra Bukovinski

Visual Communications student at the Academy of Fine Arts and Design in Ljubljana, Slovenia. Slovenian creator of Rina (2011, a slab serif text family), developed at the tipoRenesansa 3rd international type design workshop in Ljubljana, Slovenia. At TipoRenesansa workshop in Slovenia in 2010, she already started the design of Rina. Pic. [Google] [More]  ⦿

Petra Cerne Oven

This Slovenian researcher in languages and typography obtained her Ph.D. at the Department of Typography and Graphic Communication from the University of Reading, UK, in 2004 on the topic of the development of special characters in Slavonic languages. She won a typographic excellence award from the Type Directors Club of New York in 1999. In 2008 she won an invited tender for visual identity of Ljubljana---World Book Capital 2010, and was recipient of The most beautiful Slovene book award in 2011. She is the ATypI delegate for Slovenia and was a graphic designer and teacher in Ljubljana. At ATypI 2004 in Prague, she spoke about "The development of diacritical marks".

With Paul Stiff, she emabarked upon a project called The optimism of modernity. It aims to tell the story of an incomplete and now almost forgotten project: that of modernity in British typography. This is envisaged as a matter not of style but of design as a visible form of social philosophy and as an optimistic claim on enlightenment. They wrote: The modern typographers included professional practitioners and academics; their reasoning was channelled into unpaid work in study groups and expert panels, working parties, and internally circulated policy papers. (Examples: in 1965 the Typographers' Computer Working Group, TCWG, was constituted; and 1966 saw the first meeting of the Working Party on Typographic Teaching, WPTT.) Some of their work emerged in British Standards on publishing and printing, in professional periodicals, in academic journals and monographs. But most of their invisible work has lain dormant since completion or suspension. This work is largely undocumented. Many of the principal participants are dead: Anthony Froshaug, Maurice Goldring, Ernest Hoch, Jock Kinneir, Herbert Spencer. We will interview surviving participants and establish facts about the existence and accessibility of documents. We hope for access to the papers of some British Standards panels; we will interview participants in the work of the WPTT and the TCWG, and other groups. We will establish registers of documents, chronologies of events, and network diagrams of participants. This work will lead to the writing and publication of an account of this brief enlightenment in British typography.

Link at Reading, where she is a Research Fellow. LinkedIn link. Ljubljana university link with a full bio. Facebook link. Another URL. [Google] [More]  ⦿


Commercial pictogram vendor. All pictograms are designed by Morphix Design Studio, which is based in Slovenia. Formats include AI, EPS, PDF, PNG, PSD. The icon sets are Picons Basic (1, 2, and 3), Picons Weather, Picons Ultimate+, and Picons Social (free). [Google] [More]  ⦿

Pika Novak

Creator of Saga (2011, with Anja Delbello) during TipoBrda 2011, a type design workshop held in Slovenia. Saga is an ultra-heavy poster titling face. [Google] [More]  ⦿

Primoz Peterlin

Slovenian font and font software specialist, who works at the Institute of Biophysics of the University of Ljubljana, Slovenia. Early on, he created type 1 outlines for the Devanagari fonts of Frans Velthuis, which dated back to ca. 1990. But his main project was the Free UCS Outline Fonts project, which was part of the Free Software Foundation. It morphed into the GNU Freefont project that set out to provide three monster fonts, FreeMono, FreeSerif and FreeSans, to cover many Unicode blocks. Primoz himself filled in missing glyphs here and there (e.g., Latin Extended-B and IPA Extensions ranges in the FreeMono family), and created the following UCS blocks:

  • Latin Extended-B (U+0180-U+024F)
  • IPA Extensions (U+0250-U+02AF)
  • Arrows (U+2190-U+21FF)
  • Box Drawing (U+2500-U+257F)
  • Block Elements (U+2580-U+259F)
  • Geometrical Shapes (U+25A0-U+25FF)
In 2008, he ceded the command of that project to steve White. [Google] [More]  ⦿

Proteus Fonts
[Damijan Kracina]

From Slovenia, Proteus Fonts (Damijan Kracina) offers some original creations. See also here. Among the first creations is Vulgata, a typeface with letters made up of a rare salamander. [Google] [More]  ⦿

Robert Koritnik

Slovenian designer from Muljava. He created the sans family Inovares (2007). [Google] [More]  ⦿

Rok Klemenčič

Slovenian designer of the art nouveau face Secirnica during the design workshop TipoBrda in 2008. [Google] [More]  ⦿

Samo Ačko

Ljubljana, Slovenia-based creator of CE Star (2006, a highway font for Eastern Europe), and Grill Serif Extra Bold Wide Latin Lover Case during the design workshop TipoBrda in 2008. In 2011, he designed Morgana, a daring wedge-serif medieval fortress face, while participating at the tipoRenesansa 3rd international type design workshop in Ljubljana. In 2014, he created the great headline and poster font Bad News Sans Extreme. [Google] [More]  ⦿

Sanja Radakovic

Sanja Radakovic (Ljubljana, Slovenia) is a Master student of graphic and interactive designat Designskolen Kolding in Denmark. In 2009, she created the text typeface Font Sanes. In 2011, she designed a corporate organic sans typeface for Telia Sonera called Sonera. [Google] [More]  ⦿

Sara Vrbinc

BA student at University of Ljubljana: Academy of Fine arts and Design, Department of Visual Communication Design, 2010-2013. In 2012, she is an exchange student at Aalto University: School of Arts, Design and Architecture in Helsinki.

Creator of the experimental typeface Hemifission (2012) and of Kutsu (2012).

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


Slovenian designer of Resurrected (2009). [Google] [More]  ⦿

Steve White
[GNU Freefont (or: Free UCS Outline Fonts)]

[More]  ⦿

Taja Polovsak

During her studies in Ljubljana, Slovenia, Taja Polovsak designed the art deco typeface Horizon (2013). [Google] [More]  ⦿

Tanja Medved

MA student in typography at the University of Ljubljana, Slovenia. At ATypI 2007 in Brighton, she spoke on Typeface Praetoria: from v-cut to digital media (with Klementina Mozina). This font is based on an old inscription on the Praetorian palace in Koper. Old chiselled letters from the 17th century formed the basis for the creation of the new font. The Praetoria font is now used as a corporate identity at the Koper Museum. Designer of the serif text face Valentin during the design workshop TipoBrda in 2008. Earlier, she created Nonsense (2006). At TipoBrda 2007, she created the text face Metelchica. [Google] [More]  ⦿

Tanja Semion

Slovenian designer of the condensed modern face Benjamin during the design workshop TipoBrda in 2008. At TipoBrda 2007, she created the comic book face Damn. [Google] [More]  ⦿

Teja Smrekar

Participant in the TipoRenesansa workshop in Slovenia in 2010, who designed the angular face Arkadika (2010). She also made the pixel face Piksna (2010). Her first degree in fine arts was from the University of Maribor.

Arkadika was further developed at tipoRenesansa, 2nd international type design workshop in 2011. At tipoRenesansa, 4th international type design workshop (2012), she created the contemporary serif face Paradigma.

In 2013, Teja received the 2013 Monotype Studentship at the University of Reading. [Google] [More]  ⦿

The Miha Artnak

Slovenian graphic designer who graduated from the Academy of Fine Arts and Design in Ljubljana. He created some great icons in 2010. He also did some type design experiments such as Analphabet Y (2008). Behance link. [Google] [More]  ⦿

Tina Jeler

Trbovlje, Slovenia-based creator of Squcut (2013, counrterless and squarish, created with Fontstruct) and Fly High (2013, a sans face codesigned with Franci Judez).

In 2014, she published the decorative caps typeface Tendril.

Behance link. [Google] [More]  ⦿

Tipo Brda 06

Type meeting held in Kaverljag, in the Slovenian part of Istria region, from July 29-August 6, 2006. It took place in the house of Ales Sedmak, a Slovenian painter and illustrator. Tipo Brda was launched in 1997, in Ssmartno, located in the Brda wine region near the Italian border, hence the name of the workshop (Type Hills). Back then, the gathering was organized by Lucijan Bratuš, professor of typography at ALU and several of his students. Tipo Brda grew in to a non-profit organization and a specific cultural institution. [Google] [More]  ⦿


Type designing workshop, organized during the first week of February in Trenta, Italy, and during the first week of August in Grintovec/Kaverljag under the leadership of Slovenian type design professors Tomato Košir and Lucijan Bratuš. Summer design workshops have been held annually since 2006. 2007 workshop. 2008 workshop. [Google] [More]  ⦿


A series of four international workshops run by Tomato Kosir in Slovenia from 2010 until 2012. The fifth was renamed TypeClinic, and that name will be used from 2012 onwards. The first workshop was held from July 25-31, 2010: A first-time international workshop deals with designing typeface for poster size in letterpress technique. That was repeated from August 28 until September 4, 2011 in Ljubljana. The Fourth Workshop took place in Trenta Valley near the beginning of February 2012. [Google] [More]  ⦿

TipoRenesansa 2010

Type design workshop held in Slovenia in 2010 under the leadership of Tomato Kosir. Typefaces designed by the group include these:

  • Aljaz Vindis: Tribunal.
  • Anze Versnik: StajnBoldItalic.
  • Jakob Jugovic: Crepaldi.
  • Jure Martinec: La Farmacia.
  • Katarina Medic: Trezulja (Sofijas alter ego).
  • Petra Bukovinski: Rina.
  • Teja Smrekar: Arkadika.
  • Tomato Kosir: Spacioneza.
Home page. [Google] [More]  ⦿

Tjasa Krivec

Domzale, Slovenia-based designer of Lilo (2014, a script typeface) and Ophion (2014, an ink-trapped beauty). [Google] [More]  ⦿

Tomato Košir

Prolific Slovenian graphic designer (b. 1978, Kranju) who made the typefaces Geotip (1998, geometric experiment), Grotesca (1998), Russia (1999, Cyrillic simulation font), Stisca (1999), Walbotomy (2000, Walbaum letters rotated to make other letters), Circularum (2000), Quadra (2000, a squarish font), QuadraII, Mikona (2000) and J477 (2000, underbelt and uppercut, left and right versions of minimalist ideas). He is designing the corporate identity of the Ministry of Culture of the Republic of Slovenia. Designer of the sans face Finting (2006).

Cofounder of the TipoBrda type design conferences, held annually since 2006 in Slovenia.

From 2010 until 2012, he organized four type design workshops in Slovenia called tipoRenesansa. From 2012 onwards, these events were renamed TypeClinic. They are typically held in February and August of every year.

Creator of the futuristic experimental face Laufr during the design workshop TipoBrda in 2008. From 2011 until 2013, he designed the didone family Rastignac (+Italic). Rastignac Bold appeared in 2014.

He finished his master's degree in 2007 at the Department for Design, Academy of Fine Arts and Design in Ljubljana. In 2010 he became Assistant Professor at Academy of Fine Arts and Design in Ljubljana. In the same year, he created Spacioneza.

Behance link.

Lolita Band poster (2010). [Google] [More]  ⦿

Tomato Kosir

[More]  ⦿

[Tomato Kosir]

An annual or biannual type design workshop typically held in Trenta, Slovenia, under the mentorship of Tomato Kosir. The current schedule has meetings in February and August. TypeClinic is a continuation of tipoRenesansa. [Google] [More]  ⦿

Typeclinic 5th International Type design Workshop

Type design workshop held in Trenta, Slovenia, from August 19-26, 2012, which used to be called Tipo Renesansa in previous versions. The following typefaces were fully or partially developed at the workshop under the mentorship of Tomato Kosir:

  • Anja Schwendenwein: Oachakatzerl. This is an angular serif typeface inspired by linguistic contrasts, in particular the sharpness and softness of the German language as spoken in Austria.
  • Diana Ovezea: Paige Italic. This body text face is based on a previous display typeface.
  • Kevin van Reenen: Ishumi Nanye. This sans serif typeface was created for the road sign system of South Africa. It uses the triangular shape of the South African flag for huge ink-traps.
  • Marianne Riegelnegg: Janis Book.
  • Marija Rnjak: Prouge. This is described as a soft didone that is best for titling, but can be successfully used also in smaller sizes down to 12 pt.
  • Marijana Orsolic: Nioki. This humanist sans comes in several weights.
  • Theresa Radlingmaier: Poldi. Poldi is a modern typeface with a calligraphic character.
  • Verena Manyet: Pandora. This work is a continuation of a slightly rounded sans serif typeface she started earlier. This titling face offers art nouveau, Bauhaus and avant-garde style capital letters.
[Google] [More]  ⦿

Typeclinic 6th International Type design Workshop

Type design workshop held in Trenta, Slovenia, from February 10-17, 2013. The following typefaces were fully or partially developed at the workshop under the mentorship of Tomato Kosir and Aljaz Vesel:

  • Theresa Radlingmaier: Poldi. Poldi is a modern typeface with a calligraphic character.
  • Verena Manyet: Pandora. This work is a continuation of a slightly rounded sans serif typeface she started earlier. This titling face offers art nouveau, Bauhaus and avant-garde style capital letters.
  • Aljaz Vesel: Emsley. A slab serif.
  • Barbara Borko: Slap Slab.
  • Christin Bacher: Spoon.
  • Clara Wildberger: Kigeling. A typeface for use on photographs.
  • Damian Langosz: Broken Stamp.An angular typeface.
  • Tomato Kosir: Rastignac Italic.
  • Monika Marek: Angd B.
  • Maria Ramos: Calada.
  • Jan Janecek: Skvär. A serifed typeface.
  • Igor Stumberger: Sadwitch. A sans serif for editorial use.
  • Dedi Cohen: Kita. A serif typeface modeled after Hebrew.
[Google] [More]  ⦿

Typeclinic 7th International Type Design Workshop

Type design workshop held in Trenta, Slovenia, from September 1-8, 2013. Organized by Tomato Kosir. [Google] [More]  ⦿

Typeclinic's 8th International Type Design Workshop

Type design workshop held in Trenta, Slovenia, from February 9 to February 16, 2014. Organized by Tomato Kosir and mentored by Aljaz Vesel and Diana Ovezea. Behance link. [Google] [More]  ⦿

Typo Brda 2010 Summer Typedesign Workshop

This is one in a regular series of type design workshops held in Slovenia since ca. 2007. Typefaces were created by these participants in Ljubljana: Martin Fujan (Talschrift), Uros de Gleria (Not yet pro), Domen Fras (Narod Krepak), Mina Arko (Kampula), Eleni Beveratou (Untitled), Nikos Georgopoulos (Koumpa), Lucijan Bratus (Slova OT 1, 2 and 3). [Google] [More]  ⦿

Typo Brda 2011 Winter Typedesign Workshop

This is one in a regular series of type design workshops held in Slovenia since ca. 2007. Typefaces were created by these participants: Ajda Bevc (Leprechaun), Aljaz Vesel (Emsley), Anja Delbello&Pika Novak (Saga), Lucijan Bratus (Makalonca), Masa Majce (Mashonique), Matic Leban (Rozmarin), Miha Zajec (Puding), Nejc Prah (Meg), Urska Alic (Gunabrez), Domen Fras (Pesjan Debu). [Google] [More]  ⦿

Urh Kocevar

Graphic designer in Ljubljana, Slovenia. Creator of BauSans (2014). [Google] [More]  ⦿

Uros de Gleria

Creator of Not yet pro (2010) during TipoBrda 2010, a type design workshop held in Ljubljana, Slovenia. [Google] [More]  ⦿

Urska Alic

Creator of Gunabrez (2011) during TipoBrda 2011, a type design workshop held in Slovenia. [Google] [More]  ⦿


Foundry in Ljubljana, Slovenia, est. 2011. Vladimir & Vladimir soes art direction at Modna, the main Slovenian fashion magazine. Based in Lubljana, Vladimir & Vladimir designed the fat finger font Krink in 2013. Earlier, he (they?) created Tape Font (2011, dadaist).

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

Ziga Artnak

Žiga Artnak is the Slovenian designer of the semi-blackletter face Yellow Snow during the design workshop TipoBrda in 2007. Designer of Crack Whore (2006). [Google] [More]  ⦿

Ziga Drnovscek

Student of graphic design at Academy of Design in Ljubljana, Slovenia. In 2010, Ziga created the Latin / Cyrillic semi-squarish sans face called Simple Typeface. [Google] [More]  ⦿

Ziga Testen

Ljubljana-based designer of this roman headline face (2006) and this roman caps face (2006). [Google] [More]  ⦿

Zineta Milak

Slovenian graphic designer. ZMA or Zineta Milak Airport is a mock typeface designed in 2012 for airport signage systems. It comes with appropriate dingbats. [Google] [More]  ⦿