Constructed. Dynamic. Primitive. Aft draws inspiration from Tyfa Text – its refined, simplified forms that break from traditional calligraphy. Its monolinear, tapering strokes, curved arches, and minimal or absent serifs make the uppercase E nearly sans-serif. Aft combines Tyfa's design with a pursuit of primitiveness, influenced by experiments in micro-legibility by Émile Javal and Charles Dreyfuss, as well as Daniel Fisset's research on dyslexic typefaces. While these influences are primarily aesthetic, the typeface remains legible at small sizes. Rather than avoiding print errors, it embraces them as visual input. Serifs and shapes merge into solid forms, with a focus on stroke endings and letter recognition over fine detail. The distinctive lowercase g exemplifies its use of unique proportions – an approach applied across the alphabet to form a unified system of abstract strokes.

Ananas began as an idea to create a serif counterpart to a grotesque typeface. It reimagines sans-serif principles through the lens of classic Renaissance typefaces without aiming for historical revival. Instead, it explores their contemporary interpretation by merging traditional approaches with a constructed primitivism. Its simplified, dynamic forms are designed to be both distinctive and highly functional, offering strong readability across various sizes and long texts.

Asystematik draws inspiration from Oldřich Menhart's handwritten Manuskript (1943). The project focused on analyzing and defining each of his letterforms to better understand their construction. The final design reflects my interpretation, shaped by technical insight into calligraphic techniques. With its organic forms, Asystematik pairs especially well with illustrations, complementing their expressive character.

B-ROT is a monospace typeface inspired by the aesthetics of typewriters, DIY publishing culture, and digital themes from the turn of the millennium. Rooted in the history of technical fonts, it also reflects current typographic needs. Suitable for both offline and online use, B-ROT combines strong character with functionality. Designed using a skeleton-based approach, it emphasizes rhythm and legibility, offering a headline presence with potential for use in text settings.

Digitization of Genzsch Antiqua from a not-so-great photograph (iPhone 6, with flash) of a not particularly well-done proof of the two-cicero Genzsch Antiqua, stored in the basement of UMPRUM's letterpress workshop. The newly digitized Benzsch is special not only for its absence of other historically present cuts but also for the uneven darkness of characters and punctuation supporting only a few negligible languages.

Block Antiqua is a new cut of the well-known Block font, which is considered in certain literature as the height of tastelessness that should rather not be shown. Yet the font was for a time quite popular to the point of overuse. The original designs have several cuts, ranging from condensed to bold cuts, I even found it in Block Fraktur.

Burnout Script is a typeface for anyone who can appreciate wood and is scared to burn out.

Rooted in classical forms of Centaur typeface designed by Bruce Rogers (1914), the Centavra font updates this legacy for contemporary design. Stripped of unnecessary weight, its monolinear structure represents the essential skeleton of the typeface's identity. The design emphasizes clarity and precision, with even strokes that harmonize with its classic proportions. The serifs, sharp yet graceful, remain as a tribute to the font's historical origins while adapting seamlessly to modern needs.

Beton ripp-off.

Rooted in the angular structure of Fraktur and early Gothic lettering, it revives the sharp elegance of historical forms while reinterpreting them through a contemporary Cyrillic lens. The font preserves the strong geometric character of traditional inscriptions while offering a modern, legible structure for contemporary use.

This font called Eclipse explores the limits of legibility based on the concept of a solar eclipse, with geometrical shape to create cutouts in letters. The result of this experimentation is an impactful font, which reminds of the Letraset era in a modern way, that can be used for display purposes.

Mechanically condensed grotesque typeface with italics that are extra slanted. Generally inspired by the 90s trend of using condensed type on various ephemera like album sleeves and magazines. The typeface name originates from Empedocles, who is best known for originating the cosmogonic theory of the four classical elements (air, fire, earth, water).

Grotesque typeface exploring constructed primitiveness.

Furikake is a sans-serif typeface designed for use at small sizes, particularly for text and captions. Unlike most sans-serif fonts, Furikake reflects the anatomy of a serif typeface — featuring a slanted axis, open counters, and noticeable contrast. The classic series is complemented by a wavy cursive style that subtly deviates from conventional norms.

Inspired by Morris Fuller Benton's Cloister from 1913, this refined serif font combines classic elegance with modern versatility. Ideal for both body text and display use, it offers better readability and timeless style.

Co-operation between Anne-Sophie Avril and Šimon Vlasák. This is pure revival typeface. With respecting its origin from Haase's specimens. Keep all the proportional rules but set new system of constructing the typeface. Creating two extreme masters of Thin and Heavy. Super-wide uppercase characters with characteristic details. Co-operation is also a character of this typeface strong on its own.

Numismatic typeface is a specific typeface used on coins. The font is designed to be highly legible on small surfaces, being dynamic and rhythmic at the same time. The numismatic set is unique for its variation of individual characters. In the Middle Ages, symbols were hand-engraved, and as a result, the number of types and variations of individual symbols was “infinite“. However, this is not the case with the set found in the school letterpress workshop, where the only letter that has more than two variations is practically just the letter A (which has four variations). Therefore additional research followed beyond the school’s resources, incorporating other studies and typefaces. I chose this character set for its striking appearance. My goal was to break free from the font’s original function, which was irreversibly linked to coins, and create a modern interpretation that brings the font into a new context. The design took a monolinear approach, preserving the rhythm of the strokes and introducing distinctive serifs, whose shapes resemble bones. This approach was followed by replacing the original Art Nouveau inspiration with a style evoking the aesthetics of the Wild West. The result is a typeface that blends classic character variations with a bold and playful feel.

While examining frottages of various gravestones, one in particular stood out to me. It was monolinear and blocky, with sharp angles and straight lines — it almost looked futuristic. I was immediately inspired to revive this font and bring it into the digital age. The result is the typeface Geöf, which means “grave” in Icelandic. For my character set, I included not only English letters but also Icelandic special characters as well as Czech ones. This decision felt like a natural way to combine my Icelandic roots with the time I spent in Prague.

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Vzorem pro moji práci se stalo písmo Praha, původně nazvané Corona, které navrhl československý typograf Jindřich Posekaný. Písmo vzniklo v rámci soutěže vyhlášené v roce 1959 na návrh krásného knižního písma pro Mezinárodní výstavu knižního umění v Lipsku. Tato soutěž byla součástí snahy Československa zvýraznit svou tradici a dovednosti v oblasti knižní kultury a typografie, soutěže se zúčastnili i další významní typografové té doby: J. Týfa – Týfova antikva, O. Menhart – Standard, F. Pánek, M. Fulín a další. Praha byla odlita v roce 1963 v tiskárně Grafotechna fungující tehdy jako hlavní producent písem v Československu. Jindřich Posekaný obsadil třetí místo v soutěži, přičemž navrhl pro písmo Praha dva řezy, Regular a Italic. Písmo je zástupcem serifové antikvy, která byla navržena s ohledem na čitelnost a estetiku a odráží modernistické trendy své doby, kombinuje funkčnost s jemnými estetickými detaily.

Haase Englische Antiqua is a text typeface originally used for letterpress printing, revived through a semester project focused on the Prague printing house Gottlieb Haase und Söhne. Developed collaboratively, the digital version reinterprets a historical design likely created in the late 19th century, when Haase und Söhne were active in producing high-quality types. Typefounding during this period was marked by technical innovation and stylistic refinement, blending German precision with Central European aesthetics. This revival pays homage to the craftsmanship of the time, adapting a forgotten type for contemporary use.

Haase Englische Antiqua is a text typeface originally used for letterpress printing, revived through a semester project focused on the Prague printing house Gottlieb Haase und Söhne. Developed collaboratively, the digital version reinterprets a historical design likely created in the late 19th century, when Haase und Söhne were active in producing high-quality types. Typefounding during this period was marked by technical innovation and stylistic refinement, blending German precision with Central European aesthetics. This revival pays homage to the craftsmanship of the time, adapting a forgotten type for contemporary use.

Hofer originated from a study of gravestone lettering. Rather than replicating the inscriptions directly, I aimed to reinterpret their formal qualities. I took the name Hofer from the surname that was carved in the grave i chose. It has ligatures!

In very small text sizes (4–6 pt), details in typefaces fade and new, sometimes more important moments we need to shine light on emerge. We are faced with "poor image" documents that circulate daily and the type-forms start to fall apart as a result. This idea shaped the final design of Input 1.0. The loss of detail became a tool for discovering new, organic forms.

Input 2.0 emphasises the most significant and obvious distortions caused by printing. Shapes become organic and fluid. At what point should we focus more on light and counter than on the body itself? I didn't make any major changes to the final version, compared to rough scans, only minor tweaks that were required. I remained on the outside, observing.

Korchma was inspired by Renaissance type and designed with simplicity in mind. Since it's a book typeface where readability is key, rather than adding standout features, I focused on refining proportions, spacing, and rhythm to ensure clarity and comfort in long texts. Korchma doesn't try to stand out, it's simple, neutral and quiet, what I believe makes it stronger. It avoids distraction, letting content take the lead while still offering a quiet elegance rooted in historical forms.

Urban planning can be a good tool in creating a font. When looking from above, the imagination can find many unexpected forms and connections of letters, which are directly formed from streets, highways or parks and at the same time contain the logic that exists in the structure of the city. Just change the angle of view and freely walk around the city map!

Märzdorf graveyard left behind one hidden gem — the gravestone of Amalie Schmidt, born in 1867. The width of the characters and the proportions of letters like e and s caught my eye and inspired me to capture this wide grotesk style. What began as a headline typeface surprisingly turned out to work well even in smaller sizes and longer texts. For such a long time, I wanted wide bold grotesk of my own to use.

Món inspired and coming from Mundus-Antiqua by Willy Schwerdtner. In the letterpress workshop shelves, there was only uppercase left. When I found the only document showing also lowercase, I wanted to transform this "art-nouveau" character into uppercase, but remain the Roman Capital feel as well. The result should be something in between, which works best for headlines, but is also readable in smaller text.

If I succeeded in anything with this typeface, it was naming it – Mononene Antiqua. It perfectly captures what I was trying to achieve during the winter semester of 2024. I started with a monospaced template, but the result is not monospaced, and I enriched it with Antiqua elements. That summary would be more than enough to describe it.

Is a historically informed digital typeface based on the Glagolitic letterforms used in the mid-19th century by Czech printing house Haase und Söhne, most notably in collaboration with Slavic scholar Pavel Jozef Šafárik. The typeface faithfully revives the elegant, geometric, and slightly ornamental style found in key publications such as Památky hlaholského písemnictví (1853) and Glagolitische Fragmente (1857), which were among the first printed efforts to preserve and study Old Church Slavonic texts in Glagolitic script. Full Glagolitic character set based on the Bulgaric (rounded) variant. Historical numerals and punctuation based on period usage. Optimized for display use.

The Osten typeface was created in 2022 as part of a semester assignment to design a text font for a new edition of Živel magazine. It is intended to ensure smooth readability for both short and long texts, particularly at smaller sizes. As this was the author’s first major experience designing a complete typeface, inspiration was drawn from established text fonts such as Lido and LL Bradford. A workshop at school with typographer Yevgeniy Anfalov, focused on drawing Cyrillic characters, also led to the development of a full character set for writing in various Slavic and Eastern European languages.

Typeface exactly as I imagined. Ozone is my creation of typeface without any source. It ended up being something of medieval itself, but my idea initially was simple visual. Ozone is a type, created mainly for the band The Ozone. It's characteristic. And while being capable of many emotions, this typeface remains edgy as hell.

Psila Grotesk is a reinterpretation of an unnamed woodcut font stored in a drawer in the letterpress workshop at the Academy of Arts, Architecture and Design in Prague, labeled only as “úzký grotesk”. The typeface is narrow, bold, geometric, sans serif, and is characterized by curved diagonals and high minuscules. It is comparable to well-known fonts such as Inserat-Grotesk or Steinschriften from the late 19th to the 20th century. Such fonts appear on book and record covers, posters, magazines, etc., as headline fonts, but also on a few food store signs in Prague. In general, these fonts—as well as “úzký grotesk”—have a quite modern look, but also some old-fashioned vibes that could be dusted off in order to make them fit for more timeless and contemporary uses.

Polia is inspired by the Renaissance typeface Poliphilo, cut by Francesco Griffo for Aldus Manutius's 1499 edition of Hypnerotomachia Poliphili. Polia is based on a 16 pt movable metal type print from our UMPRUM letterpress workshop. I kept some irregular lowercase widths and the monumental capitals, but stripped away historical and romantic details to find a contemporary book face. The Book cut is complete; an italic, likely based on Blado (1925), is in development.

Pueblo Antikva is a revival typeface from Francis Densmore’ 1926 book, The American Indians and their music.

PyRoman is a sans serif font based on the CAD font Roman D (Duplex), originally from the early Hershey Fonts family of vector fonts (1967). The character's construction was adapted from humanist fonts such as Frutiger and similar fonts for use in typesetting. It is easily readable in text, where the geometric segments are visually lost; it also works in large headings, where its details instead stand out. The name PyRoman is a composite of the words Roman D and py*o.

Qarel is based on the proportions of 1990s serif fonts with a higher x-height, therefore saving you space in typesetting. It is best used in newspaper and magazine layouts where the Medium cut is ideal for reading in smaller text sizes, and showcases it's easy legibility. In larger sizes, specific chopped details are revealed that otherwise remain somewhat hidden.

The Rappo font is inspired by 19th century English circus posters. Excessively narrow Bodoni-type antiqua complements the Fraktur cut in equally tapered proportions. The font is not primarily intended for tlonger text. The Rappo Fraktur in this case serves more as an ornamental section of this typeface, as its character construction is based on the original fraktur. Therefore, it is relatively illegible to the general user.

It is shortly after the Punic Wars and the victors over the Roman Empire, Carthage, are laying the foundations for the Latin alphabet. So the Latin alphabet comes from a different historical context of historical alphabets than we know today. RElatina is a fictional construction of the Latin alphabet, drawn in three basic letter styles, such as grotesque (REhelvetica) serif (REbaskerville) and serif promise (REclarendon). The project was developed as a bachelor thesis.

Renegade was inspired by my admiration for Memphis, a 1920s typeface by Rudolf Wolf. My goal here was to honor everything that made Memphis special without turning it into something unrecognizable. It already has elegant shapes, so instead of making dramatic changes, I concentrated on refining its proportions, softening some curves, and ensuring consistency across the letterforms. These subtle adjustments may seem minor, but they significantly enhance the typeface’s balance, clarity, and functionality. I wanted Renegade to retain Memphis’s strict, geometric structure while avoiding any sense of coldness, preserving the elegance in its simplicity while making it feel more contemporary.

From the book The sea-man's grammar and dictionary, explaining all the difficult terms in navigation. Comes in pixie, rough pixel and smooth.

From the series of typefaces taken from embroidery samplers.

From some picture.

Among legends like Garamond and Baskerville, an odd typeface surfaced in a letterpress studio — wood grotesk, its origin unknown. Likely a geometric sans-serif with monoline strokes, it echoes 1920s constructivism and interwar German design. Its imperfections intrigued me: strange forms, clashing angles, a tension between mechanical and humanist traits. I saw these flaws as inspiration. Some letters I redrew completely, others I merely adjusted. The goal was to calm the chaos, yet preserve its raw, distinct character.

Svar is a sans-serif typeface inspired by early 20th-century European grotesques like Aurora, Venus, and Akzidenz, later evolving into classics such as Helvetica and Univers. Its main reference is Slavia, likely from a German foundry, used in the UMPRUM print workshop. Rather than a direct digitization, Svar borrows key features like high-positioned bowls in letters B, R, P—echoes of Art Nouveau. It also draws from Stanislav Marša’s Pražské kamenné for its condensed form. Svar merges Czech and German typographic traditions, questioning whether the ideal of a universal grotesque can be surpassed—or if we've already found our typographic paradise.

Svět was born from an attempt at digitalizing the text typeface found in the letterpressed Czech book series “Světová knihovna” (Books from the world) from 1906. It mainly tries to reinterpret the peculiar looks of its aged, lower-quality print through round and enlarged serifs and chamfered connections.

Walbert is inspired by a frottage of a German gravestone found near the German border. However, to avoid a purely revivalist approach, I used the reference as a source of inspiration rather than a direct model. While maintaining the proportions and character of the Art Nouveau typeface, I aimed to redesign it with a more contemporary feel. With its monolinear nature, I believe it is on its way to fulfilling my vision.