Briefcase News 01 by Briefcase Type Foundry

Ne wS Briefcase News

BC Dres Design Vojtěch Říha → page A06 Specimen → page B02

BC Kakao Design Vojtěch Říha → page A12 Specimen → page B03

BC Thomas & Ruhller Design Aleš Najbrt → page A09 Specimen → page B10

BC Merkur Design Marek Pistora → page A10 Specimen → page B04

www.briefcasetype.com

Briefcase News “The best way to tell you some thing about Briefcase Type Foundry would be to do an inter view between the two of us. Just like when we go out for a beer,” thought Radek Sidun (1980). He and Tomáš Brousil (1975) have both been engaged in typog raphy for many years, and they both also teach in the Type Design and Typography studio at the Prague Academy of Arts, Architecture and Design. They established Briefcase two years ago as a unique project within Tomáš’s own Suitcase Type Foun dry. So they’ve met on Novem ber 16th at the U Švejka pub on Husova Street. The primary reason was to conduct the inter view, but they also went out for beer.

T: Sure you can! R: Is the Czech Republic a typo graphic superpower? T: Radek, is the Czech Republic a typographic superpower? R: (laughs) Otakar Karlas inspired me for the question – he says it is. The originality of Czech typefaces is unquestionable; this is represented well by the Preissig – Menhart – Týfa lineage. Apart from them, over the last ninety years or so, the Czech lands, a rather small and fairly insig nificant country, brought the world some pretty big names: Růžička, Tusar, Dyrynk, Benda, Muzika, Hlavsa and his famous Typographia, which is today hunted in antique shops even by foreigners. T: Hlavsa and Muzika aren’t type face designers. R: They’re not, but they did con tribute to the overall typographic culture. Czech typography’s pretty well represented in Hlavsa’s work; he incorporated type design into his publications too. But there’s a lot more names around, there’s Solpera, Rathouský. Then there’s František Štorm and the Czechoslovak Peter Biľak; Radim Peško and Veronika Burian are Czechs too. There’s you of course. That’s a lot of names for such a small country. There’s lots of European countries where you know bollocks about their local typographic scene. It’ll probably be similar with the Czech Republic, but I’m hoping that Briefcase will help put it on the map a bit. T: I’ve thought about it a lot and haven’t found a way to tell if we are a superpower or not. I don’t think one can even know the extent to which Czech typefaces are used throughout the world. I don’t know how you could deter mine a typographic superpower. R: Well, a superpower’s exagger ating a bit, I’m sure Otakar didn’t mean it literally, but… I do think we could claim that. T: Thanks to the studio that we have at school and also thanks to Jan Solpera, for example, who tasked students with designing typefaces, there’s been a huge number of experiments cropping up. Some of the fonts in Brief case were created thanks to Solp era’s activity in this field. R: So Briefcase exists because of Solpera’s work in the studio. T: Definitely. R: Do you think we missed any thing? T: I hope we did. R: Is there a typeface or a type designer that should be repre sented in Briefcase, but for some

with Suitcase. And Briefcase has typefaces by a lot of designers who aren’t primarily type designers, so it’s probably safe to say that some typefaces probably wouldn’t see the light of day in computer formats. T: Sure… twenty years after František Štorm did his type foun dry, there’s only Suitcase and Březina with his Rosetta, right? R: But that’s only one typeface. T: Yeah, it’s kind of like only one typeface. Just one font. R: Briefcase has a pretty wide scope. There’s the total off-the-wall stuff that Petr Babák did, to things that are useful across all of typography or graphic design. How are these two approaches bal anced? There’s the really abstract, unusable on one hand, and the purely practical on the other. How are these selected? T: There’s no universal key. We’ve been selecting them together, and I had some favourites. But there’s no algorithm… R: Well, it sort of seems like there would be, as the selection went pretty smoothly I think, we got to an agreement pretty quickly. So my question is, how come? What could the key points be? Is it, shall we say, a historical legacy? Is there an “invisible common typographic thread”? R: Is it a time stamp of sorts? T: It could be. They represent some important milestones in the evolution of Czech typography over the last twenty years. R: It sort of looks like Briefcase is becoming a presentation of Czech typography. What I like is that Briefcase brings together experimental and text typefaces, but both with full functionality, regardless of the extent of usabil ity… Why put the effort into those experimental typefaces when you know beforehand that they can’t be as universal and popular or wide spread as some of the standard sans-serif fonts? T: Hmmm… because they deserve to be as functional as this, and ready to be adequately used by any designer. You know, I think that if someone knows Petr Babák’s typeface, for example, and might have an order come his way where it’d be useful, then he couldn’t use it, because it wouldn’t be available. That’s a real pity. Even the fact that a typeface isn’t digitised means that it’s not getting used. What’s the point of making fonts, then, if you can’t use them? R: Well, all right, but you can’t really use a lot of those typefaces.

R: First of all, we should probably summarise what Briefcase actu ally is. It’s a channel to offer original Czech typefaces from type design ers who don’t have a need to set up their own type foundry in order to publish their typefaces. It’s really an independent type foundry that features a wide range of designers and can offer a pretty wide spec trum of typefaces. There’s modern typefaces by young students, and also digitised versions of older typefaces made by typographers and graphic designers, typefaces that were never released. Why’s it called Briefcase? T: It’s a label under my Suitcase brand. At first I thought it would be a part of Suitcase, but then I real ised that it’d be misleading… so Suitcase will remain my own origi nal type foundry and the rest will be published under Briefcase. I thought that’d be a good solution. R: We’ve been discussing the project for a while. There are some relatively good Czech typefaces out there. I’d like to know how long you carried the idea around and what the impulse to start was? T: I’ve been thinking for years about the fact that there’s a lot of typefaces that are being made or have been made and hardly any one distributed them. So I wanted to get the fonts out there. I think I’ve been thinking about it for five or six years. Maybe more. R: The path from the design, drawing the typeface, the shapes and characters, to a fully func tional font, if we are to differenti ate between a “typeface” and a “font”, is a long one. Briefcase proba bly wouldn’t have happened, were it not for the experience gained

But I’d like to stress that I wouldn’t really want to go the retro route, that is, merely repeating what’s already been done. T: And is there something cur rent that you like? R: I’m glad that we’ll have Rostislav Vaněk’s typeface. I’m also glad that we’ve got Honza Novák, I really like his work. R: Can you think of another type foundry anywhere in the world that would devote itself primarily to local designers? T: Can you think of something with a similar model? R: I’m leading in to the typo graphic tradition that we have here. To the closed-off environment of the Eastern Bloc – we couldn’t purchase typefaces from abroad, so we had to make them ourselves. I’m certain it’s one of the reasons why typography in the Czech Repub lic is at the level that it is today, while still remaining local, as the scope of operations was small. T: Hmm. Limited. R: It was small, because in the West they had their own distrib utors, their own type designers that they could afford, which was something we couldn’t do in Czech oslovakia or even the whole of the Eastern Bloc, as it was just too expensive. That’s the key as to why there were so many people active in the Czech lands. We didn’t have any other option. It was eas ier to draw that typeface than to buy it. That’s the story of Maršo and his Public font: the task was clear – to create a newspaper font, similar to Melior, because Melior was expensive. So Melior was pretty much copied, and we have a new typeface. The other thing was the competitions initiated by … Grafotechna? T: Those were different subjects, for example the Directorate of Czechoslovak Polytechnic Industry and the others. T: That’s where it was made… R: Technical conditions permit ting, haha. That’s another strong impulse having to do typefaces, be cause there wasn’t any other alter native. T: Hmmm. R: Those competitions must have been quite exciting: a country announcing a competition for national typefaces with several des ignated uses. I don’t mean national like in having some sort of Slavic identity heritage reference or some thing like that, but that it was a practical necessity to create these things. And I do believe it was

reason isn’t? Is there a designer that you’d like to have in Briefcase? T: I hope there’s someone like that. I can’t think of anyone specifi cally, but I hope we haven’t stopped yet after digitising twenty fonts. I hope there’ll be new typefaces cropping up that will be able to be finalised and distributed through Briefcase. At the same time, there’s a lot of fonts that have never been digitised, and we have the opportu nity to bring them to life. For sure, I’d love to have lots of type design ers on Briefcase. Solpera, for instance, is almost exclusively rep resented by Štorm, Týfa too actu ally, but there’s loads more… R: Well, I’ve been thinking about it and I think that one of those names is actually Jiří Rathouský, who’s represented by the Alphapipe typeface in Briefcase. He made several typefaces. What now inter ests me is whether we’d under stand his typefaces the same way if we didn’t know his graphic design work. Let’s take Barell for instance, I know that Barell was reworked and digitised partially by Marek Pistora and actually Vojta Říha’s Pramen, which we have in Briefcase, stems from Barell too. So Rathouský’s interesting in the aspect that he’s equally a typographer as he is a graphic designer, which is something I like a lot. It shows that a lot of graphic designers aren’t explic itly typographers. I think that’s pretty cool about Briefcase, that we help them finalise their works. Do you think there’s a type foundry elsewhere in the world that works similarly, that would be primarily involved with local typefaces? T: Hey, but why don’t you answer the same question for me first. R: You mean if there’s someone… T: If there’s someone who you’d really like on Briefcase or who you think should be there and isn’t, or who we’ve forgotten…? R: I’d like to spend time on some older, no longer living designers. Like Cantoria by Bronislav Malý, a grotesque with typical instrokes. R: And then there’s lots of designers who offered really prom ising glimpses of works, but those typefaces are pretty dated, so it all seems really retro today. But it would be worthwhile to have a look at some of Maršo’s works. We’ve actually talked about Vega a few days ago. That’s a type face which I think can actually look really up-to-date with a few adjustments, even though it has a pretty retro appearance.

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Briefcase News different from the rest of the world, as there was pure capital ism and an open market there. This local greenhouse effect over here maybedid form the basis of why we’re still doing fonts. T: A lot of fundamental things have their origin in those times. But I’ve got some questions too. My favourite question, one that I get asked a lot, and am glad that I can now pose to you too, is: how did you get into type design? R: Oh, what a question. There’s going to be a really long pause now, as I need to think really hard. Ahhh. I’ve always liked it. I’ve always liked fonts and typogra phy. Like.. T: Since birth?? R: I remember having an old bookcase in our house. There were books there printed in Schwa bacher. I really liked it. But the big gest impulse came with the František Štorm exhibition in Lib erec; I was about seventeen then. He had an exhibition of his fonts there, and that totally massacred me. I went there several times, I even nicked a catalogue there which wasn’t for sale. I have it to this day, but it feels a bit weird to ask František to sign it for me. T: Hm, hm. R: Do you want to answer that question too? T: No, I’ve answered it several times already, thank you. You’ve never profiled yourself as a typede signer, yet you have one on Brief case now: Alphapipe, which you’ve pretty much digitised and sub sequently finished off. Why did you choose it? R: For me, the font fulfils certain aesthetic criteria. Alphapipe is in reality Avant Garde from the sev enties, which I like a lot, trans posed into the eighties. The dated ness shows in it. And I also think that Alphapipe isn’t too well known and looks fresh. There’s too many fonts being produced today – yes, there are too many typefaces being produced today… T: OK. R: I’d dare say that a majority of typefaces being created are in reality unnecessary. If we disregard the cases where typefaces are made to order, and the reasons for that are primarily economical: it’s cheaper for a client to have his own typeface than to pay for 250 licences. I think that there are so many fonts being created today, and they’re re-hashed again and again. It’s relatively easy to

fonts… it’s a wide mix. It’ll be impor tant for Czechs in that there’ll be digitised typefaces there that they’ll know historically. But I’ve no idea how it’ll reach out to people abroad. R: That actually interests me a lot. T: It interests me too. Hm. R: And following up on that – I’d like to do a quiz: let’s try and guess which typeface will be the most popular. T: Hmm, wow, I dunno. I’ve no idea. What would interest me more though, would be which type faces will be successful in which specific countries. You know that some fonts are aesthetically more in tune with fonts that get used in certain countries. My feel ing is that Falster, for example, or Jan Novák’s stuff, would be stylisti cally aligned with Switzerland, whereas Babák’s things could be successful in Moravia. R: Primarily in the Southern part… I think that Kakao by Vojta Říha’s got a lot of potential in product design. T: Oh, sure. R: And the typeface is beautiful and I think that Kakao could be very popular. But go on, have a shot, one font. (long pause) T: I’ll go for Kakao. R: I should probably guess too, right? OK, I’ll go for Kakao too, but I’ll try to make one more guess. T: Hm. You should. R: I’ll go for Alphapipe. T: (laughs) R: My feeling is that the type face’s got a flair of sorts, otherwise I wouldn’t have done it. I’ve got another question now. T: Have you got a lot of them still? R: We’re almost at the end. Can you imagine Briefcase being used for other typefaces than Czech ones? T: I can. It could work globally even. It’d be nice if you could use only Czech resources, but I don’t think they’re inexhaustible. There’s logically a limit to the number of original Czech works. There’s currently quite a bit of tension in the sense that more Czech type foundries should start up, so there’s a probability that we might need to look abroad at some point in time. R: Speaking of Czech type foun dries, have you got a feeling, then, that we might be on the verge of a Czech type foundry Renaissance? T: A type foundry spring. T: It looks like it. Many young Czech designers are about to start their business soon. Oh, I’ve got another question about the visuals

make a typeface today, you don’t need to engrave it anymore, you just whack it into FontLab. Pretty much anyone can do that. So you get a lot of boring crap. Because if it took more effort and money, a lot of type designers would think twice about doing it. T: So what should a typeface that’s not superfluous look like? R: There’s a wide range of type faces. And then there’s new fonts, which are really similar, but in reality you don’t need to make new typefaces in most of these cases, you can just look to see that it hasn’t been done before already. T: But that’s what you’ve been talking about, that Alphapipe is more or less a rehash of Avant Garde. R: That’s not really the case; what I mean is that over the last ten years, there’s been dozens of attempts at a new FF Meta from Erik Spiekermann. And it’s the same story over and over again. Garamond is a typeface that was made in so many different versions, and the Adobe Gara mond (using a different draft) is completely different from ITC Garamond, which is extreme. I believe we haven’t got this re-hashing with Briefcase. But we didn’t mention one thing, which we maybe should have at the beginning. Briefcase often has “fonts with a story”: a lot of those typefaces, mainly the older ones, have certain specific reasons why they were created… T: Hm. R: … and I like that about Brief case, we get a chance to work with this kind of material! A great example of this is Reflex that Aleš Najbrt did, a headline logo for a magazine with a typeface, at a time when digital fonts didn’t exist, and the typeface survived in its own way. T: Hm. R: Speaking of Reflex… Marek Pistora and his Vafle font. It ties in beautifully. Aleš began the Reflex typeface as a headline font, then ten years later Marek came out with another typeface. So now in 2013, we’ve got a fully functional version of Marek’s Vafle, as well as Aleš’s Reflex in Briefcase. R: In what sense should Brief case function? What sort of people could it interest? T: I’ve no idea. The Briefcase model isn’t based on the assump tion that we’d do book fonts or newspaper fonts or simply text fonts or just headline or comics

for Briefcase, which is something that you’re doing with Olga Benešová – who with you prepared many designs and specimens of Briefcase. How are those differ ent, or why are things looking the way they are? R: Given that Briefcase offers typefaces made by different designers and of different styles, each presentation calls for a slightly different approach. We’ve been occupied a lot by the fact that there’s really no preset that we could apply to or at least modify for all the typefaces. You’re sort of starting from scratch with each one. Olga’s and my taste for fonts is not usual or typical of some one who loves “beautiful typogra phy”. We’re used to all sorts of weird things in terms of fonts, so we naively thought that our slightly weird taste would be enough to sort of get us by. But damn did we work our arses off. But that goes hand in hand with what Brief case is: a visually hard to define and hard to grasp collection of typefaces… Have you got a funny final question? T: Oh, crap, I forgot. Radek: I haven’t got one either. Which probably means it’s not the end yet.

3 — Original Czech oslovak typo graphic typefaces. The book maps the Czechoslovak type faces submitted to various compe titions, including, for example, one initiated by the Directorate of Czechoslovak Poly technic Industry. 1972 4 — Typographia 2; second volume of three. Compiled and designed by Oldřich Hlavsa, published in 1981. The book shows classic typo graphic pieces and also never realized Czechoslovak typedesigns. Type faces are presented in generous and seductive compos tions. The book remains an inter esting source of information to this day. 5 — Beautiful Type face. A monu mental publica tion by František Muzika, describing the evolution of Latin typefaces in two hefty volumes, published in 1958 and 1963. 6 — The largest exhibition of Czech oslovak typefaces after 1989 was the “e-a-t” (experimentand-typography) exhibition. Designers and curators Alan Záruba and Johanna Balušíková-Biľak. 2004.

1 — Otakar Karlas (1956) is an impor tant figure on the Czech typo graphic scene. He’s an enthu siast and an expert at the same time, and has tremen dous insight into the world of typog raphy. The (some what exaggerated) saying goes that if Otakar doesn’t know something about typography, no-one does. He teaches Typeface Theory at UMPRUM. He’s also, along with

František Štorm, the co-designer of Votěch Preissig’s and John Basker ville’s typefaces. 2 — The Academy of Arts, Architec ture and Design (UMPRUM) in Prague, was founded in 1885. The academy is a key institu tion of typography education. Most of significant Czech type designers have been involved with it one way or another.

7 — The Type faces Of Vojtěch Preissig. Apart from his known type faces, the book contains some of Preissig’s works that have never been seen before. Otakar Karlas; 2009. 8 — Designing a Typeface, Oldřich Menhart. The text book contains detailed instructions and drawings and serves to under line the rich tradi tion of Czechoslovak typography. 1957. 9 — Since 1995, Živel magazine utilises many exper imental fonts by Marek Pistora,

Klára Kvízová and others. (Issue 23 – “Games”, ReDesign studio, 2003) 10 — Rostislav Vaněk (1945). A respected designer since the sixties, leading the Graphic Design and Visual Communi cation studio at the UMPRUM since 2004. He’s recently concentrated solely on typeface design. 11 — Storm Type Foundry. Founded in 1993 by František Štorm (1966). František lead the Typography studio at the UMPRUM during 2003–2008. 12 — Jan Solpera (1939) lead the Typography studio at the Academy of Arts, Architec ture and Design in Prague during the years 1973–2003. His broad-minded approach allowed for many novel and interesting font designs to see the light of day. He is the author of many typefaces and designs. He also designed the type face used on Czech bank notes; the same font is also used on the Czech National Bank logo. 13 — Týfa Antikva (1960). The typeface was also offered by ITC. František Štorm re-digitised it in 2004 and regularly keeps updating its variants to this day. 14 — Oldřich Menhart, the Manu script typeface (1946). 15 — Newspaper typeface Public (1955) by Stanislav Maršo and a re-drawn version, RePublic, by Tomáš Brousil; 2003. 16 — Vojtěch Preissig, typeface (1914). 17 — A sample of the Metron typeface (1973) designed by Jiří Rathouský for the Prague Metro. First digitisation by František Štorm in coperation with Marek Pistora; 2004.

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Reflex Reflex was designed by a graphic design team, namely Pavel Beneš, Pavel Lev and Aleš Najbrt, for Reflex, a weekly magazine focusing on social, political and cultural commentary and issues that first went to print in 1990, shortly after the Velvet Revolution. Published since 1990 and primarily focusing on social, political and cultural commentary and issues. Aleš Najbrt was a key figure at the magazine, simultaneously hold ing the posts of art director and editor-in-chief during the maga zine’s formative years from 1990 to 1992. The headlines of regular maga zine columns were hand drawn in ink and were based on the logo type. The original ink dip pens drawings made by were re-typed each week into templates, based on which graphic designers then made pre-press preparations. The magazine’s graphic style can be seen as a contemporary answer to Britain’s The Face, art-directed

Time Elle Rolling Stone People r e fl e x Vanity Fair FortunE bazaar Wired Esquire

by Neville Brody; in the Czech context, a magazine based around dominant and playful modern typography was a welcome nov elty. Even though the graphic attributes of the magazine slowly gravitated towards the main stream over time, Najbrt’s striking, unmistakable logotype, forming the identity of the magazine since its conception, remains to this day. Czechoslovak photographer Tono Stano was a regular contrib utor during the first years of the magazine. In later years the maga zine showcased the works of other acclaimed Czech photogra phers, illustrators and artists, such as Salim Issa, Adam Holý, Jan Šibík, David Kraus and Jakub Požár. Their images combined with the distinctive typography to underline the magazine’s excep tional graphic character. In 2001 Marek Pistora became art director of Reflex. One of the very first covers with Marek’s design is the cover with Depeche Mode

(2001). It’s the first cover to use a white stripe as a background for the logo; until then, a logo positioned behind the head was used. It wasn’t unusual for only “R-EX” to be vis ible. Several covers were generously printed in five colours over the course of time. In 2006, Reflex was expanded to include the cultural insert “Ex”, which had its own logo that used the same typeface. The graphic design was created by Marek Pistora, who imprinted a unique character to the Ex insert, wholly in line with his signature style. Reflex represents the cate gory of geometrically constructed fonts, differentiating itself from similarly conceived fonts primarily by atypical, thin vertical serifs, often denoted as semi-serifs. A narrow rectangle forms the shaping grid and sets the unified width propor tions of almost all letters. A high contrast and a vertical shadow axis lend the font an unusual character, which, together with diminished uppercases and short outstrokes,

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1 — The cover of Reflex magazine. Design by Aleš Najbrt; 1990. 2 — The layout of Reflex magazine designed by Aleš Najbrt in 1990–1992. During this period Aleš designed more than one hundred issues. 3 — Othello Poster for the Kašpar theatre group, designed by Marek Pistora, Studio Najbrt. Marek proves that Reflex is a flexible font that can be shaped and adapted very well. Done using the newly digitised Briefcase Reflex font; 2013. 4 — The cover of issue 47 Reflex by Marek Pistora, Vafle font. Marek Pistora served as art director of Reflex

magazine between 2001–2008. During this era he designed more than three hundred issues.

lighted drawings inspired by dining and beer drinking. Design by Zuzana Lednická, Studio Najbrt; 2011.

5 — A series of Reflex magazine covers designed by Marek Pistora. All 12 faces of Vafle were used for the magazine covers.

8 — A series of posters for the Beauty of Today theatre perform ance, designed by Belavenir Design Studio; 2004–2010.

6 — A book titled Musician Immorals. Designed by Klára Kvízová, ReDesign Studio; 2007.

9 — A collection of T-shirts and dresses from the I Love Your Boyfriend collec tion, designed by Ondřej Formánek for the Leeda boutique; Vafle font & logo for the Reflex sup plement Ex (Design Marek Pistora.) The collection became a huge hit and the design was witness to many a relation ship crisis. Female customers fre quently requested an Ex girlfriend ver sion, but in the end

7 — The graphic style of the “Hospoda” restau rant in New York uses ornaments based on wall drawings created by contempo rary Czech artist Jakub Matuška. The connec tion of the font Vafle condensed and carved under

had to make with only this model. 2010 10 — The original version of Vafle was substantially different to the current one. It was a favourite of Marek Pistora in the nine ties; he used it in several magazines. Živel issue 8; 1997.

predetermine the use of the type primarily for display purposes. It’s not usual for distinctive display typefaces to feature multiple language sets and to contain advanced OpenType features. Reflex is an exception, showing that modern fonts should not limit their users before hand and so contains not only a wide range of diacritics, ligatures and fractions, but also a set of small caps with numerals. Chal lengeing the notion that a font family should comprise several weights, Reflex goes against the grain and instead offers five font widths, from the compressed Extra Condensed to the wide Extra Extended. Each width is also complemented with a slanted version, which compensates for the absence of true italics by a notable tilt of the characters. As Marek Pistora is presently employed at Studio Najbrt, it is no coincidence that after many years, he and Aleš Najbrt joined up to digitalise the Reflex typeface.

It is interesting that both designers returned to Reflex together. Design Aleš Najbrt, Marek Pistora → Page A04, A05. Reflex specimen → Page B08

Aleš Najbrt (1962) is a Czech artist and graphic designer. He studied at the Acad emy of Arts, Architecture and Design in Prague. In the early nine ties he worked as the art director of the Reflex magazine and as edi tor of Raut magazine. In 1994 he co-founded Studio Najbrt and Lev, which affiliates prominent Czech designers. Together with his co-workers, he is the designer of many brands and visual styles, film and theatre posters. Since 1995 he has co-operated with the Karlovy Vary film festival on its visual style. Aleš has received numerous awards, including the Grand Prix of the XVII Brno Biennial in 1996, the bronze medal of the The Tokyo Type Directors Club, Czech Grand Design 2007, Popular Music Academy Award – Anděl 2003,

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Blindy Classic Condensed Egyptienne Extended Mono Picto Scratch Shadow small caps Stencil Tape 6

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several awards of the Czech Film and Television Academy for Best Movie Poster, and the Most Beautiful Czech Book award. Vafle In the sixth issue of Živel magazine, which came out in the spring of 1997, Vafle by Marek Pistora first appeared. The inspiration for its name was pretty straightforward – the typeface originated from the digitisation of an insignia found on Luftwaffe airplanes, where it origi nally would have conformed to some Deutsche Industrie-Norm. Vafle is soulless, purely utilitarian, plain. Two versions were created – Vafle Round and Angular. Marek struggled his way through fleeting typographic crea tions and installed an authoritar ian rule of simple planes and geo metric sections. Here, the new titling face Wafle Two came to life, followed by Wafle Stencil, the latter being some sort of interpreta tion of the original Vafle spirit. The two concepts met in the form

of a rectangular sans serif with pleasantly rounded curved strokes. The face included a lower case, and although the characters’ pro portions were well balanced, the occasional threats remained. Over the course of five years, the face convincingly demonstrated its simple force and helped define the graphic identity of the magazine. At the turn of 2005 and 2006, Wafle Two had a facelift. It was necessary to carry out some minor corrections in the proportions and weight of the upper case, lower case and numerals. Missing glyphs were added to the character set, along with accented charac ters or most Latin script languages. The resulting face was finaly named Vafle Classic. Similarly, its stencil version, Vafle Stencil, adopted the new and complex mor phology. The family was further augmented with a number of new members. Vafle Blindy has filled-out counters, Vafle Scratch features scratches and Vafle Shadow casts an elegant shadow. This last

variation can be used independ ently or in combination with Vafle Classic. In the monospaced ver sion, Vafle Mono, all the letters take up exactly the same width. Vafle Tape’s corners are angled instead of rounded, as if the characters were constructed with folded tape. Vafle Small Caps enhances the family with a set of small caps which have the exact same x-height as the lower case, thus allowing unicase setting by combining it with the Vafle Classic lower case. Vafle Condensed and Vafle Extended are – typically – condensed and extended iterations of Vafle Classic. Vafle Egyptienne features square slab serifs, adding a slab variation to this sans serif family. Arrows, frames and other assorted glyphs are accomodated in the Vafle Picto font. The Vafle family is a ver satile companion for the design of magazines, books, posters, or complete corporate systems. Marek Pistora completed the Vafle font in co-operation with Tomáš Brousil, who then made it

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available for sale through his Suitcase Type Foundry. Upon start ing Briefcase Type Foundry, the font was logically transferred under it, and will be sold along with Marek Pistora’s other typefaces. Suitcase Type Foundry will then remain a type foundry containing the works of a single designer. Design Marek Pistora → Page A05 Vafle specimen → Page B11

Marek Pistora (1973) was a student of Jan Solpera at the Book and Type Design studio at the Academy of Arts, Architecture and Design in Prague. In the late nineties he co-designed the cultural magazine Navigator. He contrib uted to the creation of the Živel magazine and was the Art Direc tor of Reflex magazine from 2001 until 2008. He has exhibited his works as part of the Experiment and Typography project at the Brno Biennial. During the course of his studies, Marek designed several typefaces, which have found uses in visual identity design, packaging

design and logotype design. In 1996 he received the special prize Le concours d‘affiches “Etudiants, tous à Chaumont!” in France for his poster for Merkur, one of his most popular typefaces, which is now also available from Briefcase. Marek has worked with Studio Najbrt since 2011.

Briefcase News

O T T F F S S E N T E

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B o x i n B a dm i e e B ow r C u r l e B a s k V o l l e e n W a t h t K o r e B a s e S o f t b v e n F o

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Sans Alternatives Alternatives

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New WR 9.58 WoW

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usain bolt august 16 2009

Dres The Dres family conjures up the sweaty aesthetics of sportswear and will find fans among those who like large-screen TVs, potato chips, and can’t seem to be drawn away from live feeds of team sports. It’s mandatory for those who own a club card to the local stadium or sports hall, prefer to drink beer from a paper cup, eat cold hot dogs and carry fireworks in their pockets. And of course for those who know all of the chants and choruses of their club by heart, wear scarves with logos around their necks and only travel by public transport dressed in the attire of their favourite club. No matter if it’s a football, ice hockey, volleyball or basketball club, regardless of whether you support Liverpool or United, Jágr, Gretzky or Maradona. Dres will remind you of all the successes (or failures) of your national or favourite team; some will also be reminded of the legendary Mexico 68 typography.

The Dres typeface was a part of a school project given to students at the Type Design and Typography studio of the Academy of Arts, Architecture and Design in Prague. The task was to design numbers for sport dresses. Vojta first drew the numbers, and a year later created letters and eight more styles with specific instroke decorations as an addition to the numbering system. A typeface for sports shirts needs to be simple, large, bold, and most of all, legible. It needs to be seen from a distance so that you can’t mistake the tiny figures on the pitch. Ornaments don’t belong on a sports shirt, and neither do attempts at original shape crea tions. Only decent linear decor is allowed, everything else is a dis traction. Vojtěch Říha wasn’t con tent with just one universal type; instead, he made an extensive group of styles that can be com bined at will. A total of eleven type faces within the framework of a simple geometric construction are available, which you’ll be able to

Slab Alternatives Alternatives

Slab Light Italic Slab Regular Italic Slab Medium Italic Slab Semibold Italic Slab Bold Italic Slab Black Italic 1 — A detail of the Barell typeface, showing the specific curved shapes and outstrokes, that inspired Vojtěch Říha to draw his Pramen. 2 — The idea for designing the Barell typeface was the character ema nating from a bar rel shape. The font was created in only one style. The type face was origi nally titled Thermal, the name of the hotel whose infor mation system the

combine into an unbeatable foot ball (or typography) team. On hand are styles as rounded as sausages, boxy styles, full and linear styles, even several fonts with different lev els of blotchiness. Some evoke sports fields, others evoke lines in front of a football goal, but all have an identical character set and contain excellent diacritics, as well as special symbols including arrows and fractions to support your creativity. Design Vojtěch Říha → Page A07 Dres specimen → Page B02

Pramen Sans + Slab The primary impulse for making the Pramen font family was Barell, a typeface created by Jiří Rathouský in the seventies for the Karlovy Vary Thermal hotel signage system. Barell is designed as a roundededged type for labelling hotel sec tions, numbering rooms, illumi nated information signs and as a headline typeface for publica tions. Vojtěch Říha, however, wasn’t content with merely copying the

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type was designed for. Designed by Jiří Rathouský; 1973. (Specimen pub lished in Typografia magazine) 3 — Details of unusual drawn vari ants of the Pramen font. Specimen, designed by Vojtěch Říha; 2010. 4 — A selection of book covers from the Gama edition, Odeon publishing house. Rathouský designed a number of them in the period between

preserved material and created his own typeface instead; Pramen uses Rathouský’s original work only as an inspiration and is not burdened by the time period of the original typeface design. The whole font family has wellbalanced proportions adjusted to meet contemporary standards. Lowered uppercases are unobtru sive in longer texts and allow space for distinct diacritics; lowercase letters are slightly increased in size in order to aid legibility in smaller sizes. The accentuation of each typeface is determined by a basic geometric construction – a con vexly bulging rectangle. This gov erns the appearance of the vast majority of the uppercase and low ercase letters. This is most visible in all of the rounded shapes, but it is also apparent in the diago nals (e.g. “K”, “R”). A seemingly mechanical approach and no-frills composition are disrupted by methods more associated with some of the humanist sans-serifs: all stems, diagonals, ascenders

1980–1992. Odeon was founded in 1925 by Jan Fromek, the logo was designed by Karel Teige. The most well-known edi tion was the Odeon Edition; Odeon also published Devětsil Revue.

of the Alphapipe since 1992. Distinctive typog raphy always plays a vital role in the graphic style of Komfort Mag – this is a task that Alpha pipe is well suited for. 2011

5 — Komfort Mag, issue 7, designed by Olga Benešová and Radek Sidun created with the first digitised beta version of the Alphapipe. This is the first typographic use

and descenders are terminated by perpendicular lines. This lends the font a friendly and lively appearance. While the inside out lines of the circular strokes con sist of sharp edges and corners, the outside contours are soft and rounded. The result is a surpris ingly calligraphic character of the type, reminiscent of flat brush strokes. The family comes with six weights, from Light to Black, each containing true italics. These have narrowed width proportions and their appearance is inspired by traditional italics, including slant, deep stem to arch connections and the alternated appearance of several characters. These include the usual single-storey “a”, but also the uppercase “G” and “J”, or the lowercase “k”, “v”, “w”, “x” and “y”. Pramen Slab further expands the basic typefaces with distinctive serifs. Dynamic sans-serif princi ples are applied here as well, prima rily in the axially asymmetric “C”, the “c” with an emphasised vertical

Briefcase News Jiří Rathouský (1924–2003) was a notable Czech graphic designer and typographer. He participated in designing the Czechoslovak expo sitions at the EXPO 67 in Montreal and EXPO 70 in Osaka and created the information design for the New Scene of the National Theatre in Prague. One of Rathouský’s most significant commissions was the signage system for the C line of the Prague under ground. Rathouský is the author of many type designs. Alphapipe is only the second officially digitised typeface in the world, the

first being Metron by František Štorm and Marek Pistora. He was also involved in other areas of graphic design, designing film posters and several book editions.

8 — A scan of one original typeface of the Alphapipe font; Jiří Rathouský archive. The sketch had a number of small imperfec tions due to the graininess of the paper. The inktraps, featured on the indi vidual characters, were also created due to material deficiencies. The original version

of Alphapipe was designed and used in only one style – Regular.

6 — Jiří Rathouský’s logo shows that he was a passionate tennis player and fan. 7 — Jiří Rathouský at the Monotype presentation at the AtypI congress in Prague; 1968.

serif and in the single-sided serifs of “m” and “n”. Each typeface contains upper case and lowercase letters, numer als and punctuation, an accented character set, ligatures, small capi tals, indexes, currency symbols, several numeral styles, arrows and ornaments. Stylistic alternates for selected uppercase and lowercase letters (“A”, “E”, “M”, “N”, “W”, “X”, “Y”, “a”, “e”, “g”, “l”, “m”, “n”, “u”, “w” and “y”) provide useful diversification – these are available upon enabling the OpenType feature. Vojtěch Říha has managed to create a modern type family that combines the world of geometry with calligraphic methods in an original way. Thanks to its original appearance, good legibility and pleasant range of styles, Pramen will find applications in the majority of areas of graphic design, be it posters, signage systems, maga zines, corporate identities or the Web. Design Vojtěch Říha → Page A07 Pramen Sans+Slab specimen → Page B06

Vojtěch Říha (1989) First read Beautiful Typeface by František Muzika at five years of age and decided to become a typographer. He graduated from the Technical School of Ceramics in Karlovy Vary, and has been a student of the Type Design and Typography studio at the Acad emy of Arts, Architecture and Design in Prague since 2008. He also studied at the Royal Academy of Art in the Hague and won the Silver award with his Pramen type family at the European Design Awards in 2011. Alphapipe The Alphapipe typeface was the telltale sign of the Gama book edi tion of the popular Odeon publish ing house. With it, Czech graphic designer Jiří Rathouský developed his flair for typefaces, showcasing rhythmic and dominant text compo sition throughout numerous books published in the eighties. Alphapipe is more than just another fashionable typeface, which

BBBAAWwaaarrr Fresh Modern Alternatives has sprung up following the suc cess of Avant Garde by Herb Luba lin and Tom Carnas. It is one of the first complex systems based on a number of ligatures and alter native characters used similarly to current stylistic sets. Thanks to this novel variability, Rathouský was able to choose arbitrary char acter combinations so as to achieve the best possible kerning and maximum graphic impact at the same time. The basis of the font is a simple geometric construction derived from the shape of a circle. Majes tic uppercase letters feature accen tuated width dynamics, as such referring to old inscriptional majus cules; the lowercase letters have an increased x-height. The family is made more interesting in sev eral places by the use of original accentuation. At other times, it boasts unusually open letter forms. The character of the text is determined by the lowercase “e” with a Venetian slant of the bar, a rounded “m” and “n”, and the

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tilted, seemingly italic lowercase “v”, “w” and “y”. A similar approach is applied to the character of some of the uppercase letters, for exam ple the slanted “A”, “M”, “V” and “W”. The uppercase “B”, “P”, “R” and “K” also feature atypical implemen tation, where the loop or diago nals are not tied in to the stem. The uppercase “Q” also possesses a distinctive arch, interrupted by the diagonal. The digital version of the type face by Radek Sidun contains a set of small capitals and all stylistic alternates to ensure the original variability of typed text. These include alternative versions of many lowercase “a”, “r” and “y”, a mir rored uppercase “A” plus further characters which help create desir able typesetting tension. While Jiří Rathouský made do with one typeface, his digitised legacy goes further, offering five weights with italics, thus further expanding the options for application. Design Radek Sidun → Page A07 Alphapipe specimen → Page B02

Radek Sidun (1980) devotes himself primarily to fonts and typography. His graduation thesis at the Prague Academy of Arts, Architecture and Design (Graphic Design and Visual Communication studio, 2010) dealt with the issue of diacritics in world languages. As a result, he is a sought-after consultant to font designers and foundries the world over. A former designer at Cornel Windlin’s Zurich studio, Radek is currently a member of the Komfort magazine editorial team and teaches at the Type Design and Typography studio at the Academy of Arts, Architecture and Design in Prague.

Briefcase News 1 — The National Style, Culture and Politics exhibi tion, focusing on Czechoslovak visual culture in the years 1918–1925; National Gallery. The expo sition was designed by A1 Architects. 2 — The catalogue for the National Style, Culture and Politics exhibition; designed by Matěj Činčera and Jan Kloss, Liguria font, UMPRUM; 2013. 3 — Okolo Liguria, issue 4 of magazine; 2013.

Furniture and Accessories both useful and beautiful for the Living Room, the Dining Room, and the Home Office: at home with George Nelson, Jean Prouvé, Verner Panton, Charles & Ray Eames, Maarten Van Severen, Jasper Morrison, Ronan & Erwan Bouroullec, Isamu Noguchi, Sori Yanagi, Antonio Citterio, Alberto Meda, Frank O. Gehry, Herr Steiner and many others, brought to you by…

4 — RED8, a publi cation accompa nying the avantgarde art exhibition UMĚNÍ. Design by Jan Novák, Liguria font; 2013

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Liguria Liguria is a small region in the northwest of Italy. It lends its name not only to the fourth issue of Okolo magazine, but also to the font designed for the same issue by Jan Novák. The Okolo group focuses on creating original design projects, spanning a wide range of design categories. Okolo maga zine was the first occasion on which Jan Novák’s typefaces have been published. Along with the corporate Okolo Mono, Liguria is the latest typeface to debut in Okolo magazine. Similarly to Jan’s previ ous typeface Falster Grotesk, Liguria is not an experiment in clas sicism, but rather operates on a wholly different level. Jan designed the Liguria typeface using a novel and resourceful approach: he sep arated individual type segments into stems, bowls and sidestrokes, and then combined these freely. He took apart the base construc tion, then mixed it up. By moving the serif brackets, he separated the character strokes, thus creating

a design that directly ties in with the accidence of Ligurian archi tecture. A simple, subtly modulated non-emotional sans-serif forms the basis of the family, but it is the construction of letters itself that has been revised. The typical continu ity of round forms into straight lines in lowercase letters (and partially in uppercase) has been broken and replaced with the principles of shift, fragmentation and broken glass; fragmented curves lend the typeface a cogent decorum that will make its mark in larger sizes, being somewhat reminiscent of pixel fonts. However, the absence of fine details allows the family to be used in small texts, which have a tendency to efface such details to an extent. The type family consists of three weights and three slanted versions. This allows the typeface to be used not only in logotypes, posters, movie titles and warning signs, but also for typesetting periodical publications, for which

each distinctive typeface and each distinctive style can be consid ered a blessing. Each typeface con tains high quality diacritics and a high number of glyphs, including non-lining and index figures, arrows and currency symbols. Con servative typographers will enjoy traditional versions of several letters (“S”, “g” and “s”). Liguria is without doubt an original, modern, but nev ertheless legible type family for discerning users who seek uncon ventional aspects of typographic expression. Design Jan Novák → Page A08 Liguria specimen → Page B04

Jan Novák (1989) is a student of the Type Design and Typography studio at the Acad emy of Arts, Architecture and Design in Prague, and has also studied at the Zürcher Hochschule der Kün ste in Switzerland. He is a holder of the Arne Sáňka Award (The Most Beautiful Czech Books 2009) for the book Gamebook and received of the Czech Centres Award from the

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Brno Biennial for his Falster Grotesk. He co-operates with Filip Kraus on the visual style of the MeetFac tory cultural centre and with the Okolo group on typefaces for their annual magazine. At present, Jan is an intern at the Sagmeister & Walsh Studio in New York. Steiner Have you ever imagined what a modern serif with massive triangleshaped serifs instead of the usual hairline ones would look like? And what if the uppercases got smaller and the extenders were minimised at the same time? How big a nar rowing can a serif type handle but still retain its character and legi bility? Vojtěch Říha asked himself all of these questions and answered them with the extensive Steiner family. A contemporary serif, Ger man-like in strictness and preci sion, but still retaining originality in its shapes. Sudeten German Anton Steiner (*20 May 1855 – † 17 June 1920), buried in a cemetery near Karlovy

Vary. The lettering on his grave stone served as the basis for a majestic display type, in which static and dynamic principles are in symbiotic opposition. A verti cal shadow axis and heavy, trian gle-shaped serifs anchor the letters firmly on the baseline, with serif diagonals accentuating the inner dynamics of the whole typeface. Distinctive lowercase bulbous ter minals disrupt the seemingly strict triangular principle dominant in the uppercases. Deep incisions in the outstrokes to stem connec tions create a pleasing contrast and help cast away a slight weari ness typical of Classicist Didot types. Six weights with increasing contrast form a palette of options one doesn’t get bored with easily; the seventh version, simply titled Headline, is a shadowed version of the Black style and is most appro priate for death certificates and vari ous manifests with no expiry date. One of the greatest pleasures in a typographer’s life is having nice italics. Each weight of Steiner

Briefcase News

“Always forgive

your enemies; nothing annoys them so much.” Oscar Wilde 5 — A poster with the theme of Hořice; two colour silk screen. Designed by Vojtěch Říha, Steiner font; 2012. 6 — Frottage for the Steiner typeface. Vojtěch Říha created a series of frot tages, which served as his inspiration for the search for the ideal accidence for a new typeface; 2011.

7 — Poster for a tour of over thirty countries around the world. Thomas & Ruhller have been around for thirty years now and their show has sold out venues in many coun tries throughout the world. Aleš Najbrt designed all the posters, calen dars, invitations and programmes for these fine equi librists. Photo Tono Stano; 1990.

8 — An invitation for a Thomas & Ruhller performance in London; designed by Studio Najbrt; 2000.

9 — Equilibrists Thomas & Ruhller as cuddly toys for admirers and female fans. 25 and 30 cm tall; price for both: 500 CZK. Sold at mojemoje.com

contains a dynamic italic, which compensates for a lack of distinc tive slant with a visible change of accentuation. Romantic moods are evoked by softly arched curves, bulbous terminals alternate with pointed instrokes and out strokes, asymmetrical characters lend the text a feral character. The rippling of the italics as a coun terpoint to tectonically upright styles works perfectly. The Steiner family was origi nally part of a collection of fonts inspired by gravestone inscrip tions, which Vojtěch Říha designed during the course of his studies at the Type Design studio of the Academy of Arts, Architecture and Design in Prague. Vojta designed a set of three type families: Frieden, Wagner and Steiner, which are based on Sudetenland gravestone inscriptions traced onto paper using the frottage technique. Each represent a different font category – Sans Serif, Grotesque and Anti qua. All three typefaces have their strokes adjusted to correspond to

real stone-chiselled inscriptions. Each typeface has well thought out shapes of difficult strokes, such as crossings, instrokes, bottoms or extended and condensed ellipses. Vojta Říha verified his font during a stone sculpturing work shop in Hořice, organized by Type Design studio, where he chis elled the Steiner Bold and the thin nest Wagner Light faces into the stone without impairing the letters. Vojta sais: “Steiner is pure mastur bation on the subject of the old Sudetenland gravestone typogra phy, which I enjoy finding. Steiner draws not only from one single gravestone inscription, but from gravestone aesthetics in general, and also from Germany.” Steiner is a blessing for all designers of newspaper and maga zine, as it can magically conjure up a dramatic buzz even when sub stance is lacking. But a quality, contemporary typeface in seven weights with seven italics will always find its application – no clever type foundry recommendation will

ever replace the designer’s own sense of invention. Design Vojtech Říha → Page A07 Steiner specimen → Page B10

Thomas & Ruhller Their rubber bodies, shocking motion-creations (with turtlenecks rolled up pretty damn high) and meticulously combed hair will surely redefine your view on the nature of art. Thomas & Ruhller – yin & yang, two sad clowns from the land of the tulip, jugglers of taste and artists of the future, where the difference between high and low doesn’t exist. Nederlandse kunst. Pure joy. The template for the Thomas & Ruhller typeface was designed in 1989 and was originally hand drawn onto paper cards using ink. The typeface was primarily created for use in advertising, promoting and marketing the two performers’ tours and shows. The first digitised version contained basic characters and numbers, requisite diacrit ics and punctuation. The font was

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re-digitised for Briefcase and was supplemented with additional glyphs and alternative characters. Thomas & Ruhller is a dis play type inspired by theatre mas tery and transforms sensual stage movement into two dimen sions. Individual letters refer to famous figures from theatre and thus constitute a sort of “best of” theatre performance, which you can awaken on your computer in each new text or project. Asymmetric serifs create suspense in the text, the oval counters of the “A” and “V” are replaced with precise diago nals, the wavy “X” symbolises interlocked limbs spastic fig ures, elegant poses, artistic com positions. A novel approach to the con struction of the Latin typeface results in a variable poster type face, supported by a number of alternates, available through the respective OpenType function. The character set comprises a col lection of uppercases and first

rate diacritics, a set of numer als and special characters, allow ing for the typesetting of circus posters, artistic pamphlets, theatre programs and book covers in most Mid-European languages. Kunst heeft om te winnen. Design Aleš Najbrt → Page A04 Thomas & Ruhller specimen → Page B10

Briefcase News

1 — A quote from a Merkur catalogue.

2 — DIY Atomic bomb – a poster for Živel magazine. This was originally an advert for the back cover of Živel; eventually, it was

released as a limited edition poster printed with reflec tive and silver paint. Designed by Marek Pistora. Silkscreen; 1995.

signage system; term project at the Academy of Arts, Architec ture and Design in Prague by Marek Pistora; 1995.

3 — Merkur System, design for an

4 — The original Merkur kit with

accompanying leaflets, instruc tions and construc tion examples. Manufactured in Police nad Metují, Czechoslovakia.

Merkur The Merkur name points to a now legendary Czech metal mechani cal kit for small builders, manufac tured since the twenties. The kit was conceived as a reply to similar products of foreign manufacture (Meccano, Erector, Trix), but soon surpassed its original intended use as a child toy and became a universal tool used everywhere where a simple construction mech anism needed to be created. The Czech scientist and inventor Otto Wichterle used a Merkur kit in 1961 to construct the first prototype of a machine used to make contact lenses, and thus sealed its immortality. Marek drew the Merkur type face in 1995 as a term project at the Academy of Arts, Architecture and Design in Prague, on the theme of signage systems. He first created photograms of a mechan ics play kit, then transferred these into Font Studio (1.4 MB capacity, Mac LCII). The pictograms were pre sented on Chromolux paper with

perforated holes and white plastic sheets sprayed green; the edges had holes drilled in them and the symbols were copied by a laser printer. Everything was put together using real nuts and bolts. The first font in the Merkur System was Merkur Futur. Marek wanted to “bolt on” more styles to the Merkur theme, so in 1996 he designed Merkur Azbuk (Cyrillic) and Merkur Memphis, the latter being a para phrase of the Memphis type face. At the same time as the first Merkur font, Merkur Text was designed, which lacks the perfo rated holes in the letters, leaving the font with a clean appearance. The Merkur typeface became something of a hit in 1995 and made its appearance not only in magazines, but also on many posters, music records and at exhi bitions. One of the most charac teristic posters was created for the cyberpunk magazine Živel. It was originally a black and white adver tisement, announcing a new cyber punk magazine in the last issue of

VOKNO (30) (a self-published mag azine that was the main periodical of the cultural underground in the Czech Republic, published since 1979). The text, which was copied from the Internet, was a freely avail able manual for making a DIY atomic bomb. Merkur brings to life the poet ics of cranes, caterpillar tractors, trains, towers and bridges. It draws inspiration from circular shapes derived from geometrically con structed typefaces and “constructs” letterforms out of basic childern’s toy building blocks: perforated bars, wheels, caterpillar tracks, steer ing wheels, metal nuts and bolts, hooks, keys and other indispen sable material. The typical perfora tion of characters creates an original and timeless ornament, which enlivens the otherwise tradi tional Latin typeface with a play ful experiment and results in an unmistakable style. Similar to the original mechan ics play kit, the Merkur font is also a kit in its own right. The type family

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has three styles which tie in identi cally to one another and can be combined among themselves. Styles Two and Three originate from the basic perforated one, and can be used individually or combined with the others. In contrast to the majority of single-use fonts, Merkur offers a wide character set with exten sive diacritics, ligatures, mathemat ical symbols, arrows and practical construction kit ornaments. Design Marek Pistora → Page A05 Merkur specimen → Page B04

Falster Grotesk At first sight, Falster Grotesk by Jan Novák is a very simple sans-serif font. However, a closer look reveals the designer’s innovative approach. It breaks from the traditional line of thought that Swiss type construc tion is long outdated and doesn’t offer any possibilities for inventive ness. While the majority of world type foundries concentrate on increasing numbers of styles and weights, Falster Grotesk ignores

such efforts and heads in a com pletely new direction, enlivening lowercase shapes, breaking con ventional preconceptions about humanist sans and redefining the accentuation of certain letters. While the family continues to main tain the excellent legibility of its predecessors in the typesetting of small text, in poster sizes its subtle but expressive adaptations of shape are fully allowed to develop. Novák showcases several simplifying tendencies within the font, similar to the ones we know from the avant-garde approach of Paul Renner. But at the same time keeps in mind the fact that in a text typeface, all experiments end where legibil ity would be jeopardised. Replacing several arches of the lowercase letters with sharp diagonals gives the family a novel character and an up-to-date appearance. In case of the lower case “a”, the lower outstroke is replaced with a strict diagonal line. A similar approach is used in the

Briefcase News 5

NeO ONy jSOU U Z aVé! ZDR

{Havířov]

24/29 pt

11/13 pt

8/10 pt

L R M B

Li I Mi Bi

5 — First appear ance and specimen of Falster Grotesk; 297 × 420 mm, twocolour offset print; 2011. 6 — The book Mind of Pictures – Mind in Pictures, designed by Robert V. Novák. Robert used the image of his own Magnetic Reso nance Imaging scan; 2012.

Novák won the Czech Centres prize usually rounded ascender of the at the 2012 Brno Biennial. The lowercase “f”. The simplified ear of V architektuře of Postmodernism Graphic Design Bien the “g”(resp. tiesv umění) with pojem the succinct The movement International postmoderna popr vé použil Joseph Hudnut began with architecture, as a response nial in Brno is considered one of taper of the(Postmoderní lowercase v titulku svého článku dům)“r”; a simi to the perceived blandness, hostility, již v roce 1945, běžně stroke tento termín začal of the Modernsignificant movement. events in the larly short instead of a and Utopianismthe most používat až americký architekt Charles Modern Architecture, as established ofsuch visual communications the upper bowland with Jenksloop connects ve svém díle Řeč postmoderní developed field by people as Walter architektur y. Základní snahou architektur y Gropius, Le Corbusier, and Philip Johnson, in the world, and is one of the most the loop of the “g”. The outstroke je překonat jistou elitnost architektur y was focused on the pursuit of a perceived a přenést ji do jazyka srozumitelného ideal perfection, and attemptedplatforms harmony important for exhibi of the “t”, usually fluid and derived i laikovi, na druhé straně se snaží udržet of form and function, and dismissal tions, discussion and accompa from calligraphy, isdvojím treated in aof frivolous ornament. i zájem odborníků, to se projevuje nying programmes about graphic similar fashion, as is the detail of design in the Czech Republic. lowercase “l”. V architektuře (resp. v umění) The movement of PostmoFour weights with correspond Design Jan Novák → Page A08 pojem postmoderna poprvé dernism began with archiingJoseph italicsHudnut suit the simple, con Grotesk → Page B03 použil v titulku tecture, as Falster a response to specimen the temporary design, preferring frugal svého článku (Postmoderní perceived blandness, hostility, dům) jižsophisticated v roce 1945, běžně and Utopianism of the Modern yet solutions over Motel Sans + Slab tento termín začal používat Modern Architecture, a plethora of typefaces, whichmovement. can Night life typography and the až americký architekt as established and developed more often typography Charles Jenks ve than svém not díle lead to a by people such as Walterof streets, bars and quandary. This distinctively Řeč creative postmoderní architektury. Gropius, Lemotorway Corbusier, stops and can be an infi technicistic typeface offers unlim nite source of inspiration. This is ited possibilities for application, true without exception for the from display typesetting to mathe North Moravian town of Havířov, matic textbooks. Its wide range of which contains a plethora of characters and indexes make Falster true gems. For example, slightly Grotesk a true workhorse for eve obscure neon shopping centre ryday graphic design work. signage, which freely alternates Falster Grotesk is the second between uppercase and lower typeface featured at Briefcase case letters. Their naive but genial to receive an award (the first was style, reminding us of the longPramen by Vojtěch Říha). Jan standing tradition of Czechoslovak

V architektuře (resp. v umění) pojem postmoderna poprvé použil Joseph Hudnut v titulku svého článku (Postmoderní dům) již v roce 1945, běžně termín The movement of Postmodernism began with architecture, as a response to the perceived blandness, hostility, and

advertising typefaces, served as the impulse for the inception of the Motel Sans and Motel Slab font duo, which expands upon this magical concept. Both families transport the grotesque aesthetics of night clubs, petrol stations and mysterious motels to your print or web pages. Neons were commonplace in the streets of former Czechoslo vakia. Unlike virtuoso Las Vegas compositions, they kept to fairly modest expressions, and so in many cases complemented house facades with fairly good taste. More so than today’s blaring plotter graphics, ostentatiously disre garding the architecture they are placed on. Neon signs usually worked in two ways. They were three dimensional letters on facades during the day, and neon lines at night. These would either copy the shapes of the letters, or (more often) would be in the centre of the strokes. The same principles are adhered to in both Motel families. Each consists of three styles, with Regular forming the character

8— The first sampler of Motel Sans, printed using a Risograph machine. Design by Vojtěch Říha; 2012. 9 — Neon signs on a building in Havířov – these were the inspiration for Vojtěch Říha’s Motel type family. These are used on the building to this day. It’s more

body and Light being the neon snake. Combining these gives us Black, where neon lines shine from within darkened characters. All three styles tie in identically to one another and can be mixed and matched to taste among themselves. Motel Sans is a monolinear typeface with a uniform character height. It forms a pleasant, monu mental placard majuscule in its default setting, but changes into a very dynamic and convivial dis play type upon selecting one of the available stylistic sets. Its charac ter is then reminiscent of the socalled hybrid uppercases, in which uppercase and lowercase letters alternate, creating an unusually dramatic effect. Lowercase alterna tions are reserved for most of the characteristic letters of the typeface such as “a”, “e”, “t”, “y” and several others. The lowercase “i” and “j” stand out from the set by having a lower height so as to include the dots above them. Motel Sans and Slab also have an additional

ABCDEFGHI JKLMNOPQR STUV W X YZ abcdefghi jklmnopqr stuv w x yz 123456789 (& ß € A 11$#+!?)

Falster Light

Falster Grotesk

Our working hypothesis is that the status of knowledge is altered as societies enter what is known as the postindustrial age and cultures enter what is known as the postmodern age. This transition has been under way since at least the end of the 1950s, which for Europe marks the completion of reconstruction. The pace is faster or slower depending on the country, and within countries it varies according to the sector of activity: the general situation is one of temporal disjunction which makes sketching an overview difficult. A portion of the description would necessarily be conjectural. At any rate, we know that it is unwise 7 too much faith in futurology. to put Rather than painting a picture that would inevitably remain incomplete, I will take as my point of departure a single feature, one that immediately defines our object of study. Scientific knowledge is a kind of discourse. And it is fair to say that for the last forty years the “leading” sciences and technologies have had to do with language: phonology and theories of linguistics, problems of communication and cybernetics, modern theories of algebra and informatics, computers and their languages, problems of translation and the search for areas of compatibility among computer languages, problems of information storage and data banks, telematics and the perfection of intelligent terminals, to paradoxology. The facts speak for themselves (and this list is not exhaustive). These technological transformations can be expected to have a considerable impact on knowledge. Its two principal functions, research and the transmission of acquired learningare already feeling the effect, or will in the future. With respect to the first 9 function, genetics provides an example that is accessible to the layman: it owes its theoretical paradigm to cybernetics. Many other examples could be cited. As for the second 7 — The corpo function, it is common knowledge that the miniaturisation and rate profile of the commercialisation of machines is already changing the way Vítkovice Machinery in which learning is acquired, classified, made available, and Group. The first exploited. It is reasonable to suppose that the proliferation of commercial use information-processing machines is having, and will continue to of Falster Grotesk have, as much of an effect on the circulation of learning as did typeface. Design advancements in human circulation (transportation systems) and Bohumil Vašák, later, in the circulation of sounds and visual images (the media). Studio Najbrt; 2011. The nature of knowledge cannot survive unchanged within this context of general transformation. It can fit into the new channels, and become operational, only if learning is translated into quantities of information.” We can predict that anything in the constituted body of knowledge that is not translatable in this way will be abandoned and that the direction of new research will be dictated by the possibility of its eventual results being translatable into

of a rarity, though; such signs and neon advertisements are slowly but surely disappearing into obscurity. In the past, however, these were an integral part of the visual culture of Czechoslovak retail.

extensive frame set, available upon selecting the appropriate stylistic set. This encompasses not only the basic character set, but also alter native characters (interchangeable through stylistic set combinations), currency symbols and punctuation, so that typesetting of complex combinations is possible. You will be able to utilise the font’s elegant frame set in posters, directional signs or other signpost typesettings. In addition, Motel Slab incor porates heavy-tonnage serifs. Besides minor alterations to the let ter shapes, the width proportions have been increased, so the type setting takes up more space. All other attributes remain the same, however, and the family still rep resents a slightly decadently beau tiful typeface. You’ll be pleasantly surprised by just how many novel and entertaining variations you can create by alternating all six typefaces of both type families on one line or even within one word. Design Vojtěch Říha → Page A07 Motel Sans + Slab specimen → Page B05

Briefcase News 1

idiots

bea sts@™

RRRR DCCCXLIX Sharp

MCCXLVI Obsolete

MCCLXXXVII Ordinary

MCDXCV Grim

Roman documentary manuscript 79 BC Rebecca Ordinary

Irish-Scottish manuscript 8th – 12th century Rebecca Sharp Literra Beneventana 10th – 12th century Rebecca Obsolete

Gothic Script 13th century Rebecca Obsolete

Literra Beneventana 13th century Rebecca Sharp

Rotunda 14th – 15th century Rebecca Obsolete

Rebecca The Rebecca font family is loosely inspired by the impression evoked by medieval calligraphy and manu scripts. Its inspiration were the Irish-Anglo-Saxon miniscule of the seventh century, the Rotunda script, the Uncial script, the Langobard book typeface, Lettre Bâtarde and also Literra Beneventana – excel lent calligraphic minuscules, which were created many centuries ago by monks at the monastery of Monte Cassino. Rebecca is the general name of a type family of four fonts, which, while not rigorously cop ying their historical models, still strive to evoke a similarly majestic impression like the old Gothic scripts. The character silhouette is naturally and unobtrusively adapted to the subsequent evolu tion of Latin scripts over the centu ries, which strived for better legibility and the clarity of individual characters. Rebecca Ordinary, the basic style, is contrasting, dynamic, and has tall uppercase letters with long, accentuated outstrokes.

Other available Rebecca’s styles (Sharp, Obsolete, Grim) offer varia tions of the default forms and vary mostly in the extent of detail elaboration, the level of contrast and overall expression. Jana Horáčková started design ing the Rebecca font during an internship in Great Britain in 1995, using sketches made in local cemeteries. Upon returning to the studio of Jan Solpera, she started to digitise the font. It is not least due to her technical co-operation with František Štorm that Rebecca boasts an overtly metal charac ter. The last style, Rebecca Grim, was not originally intended for release. Apart from Rebecca, Jana is also the designer of two other typefaces – Degetah (1993) and Grave (1994). Rebecca works exceedingly well primarily in larger sizes on posters and signposts. It will find uses not only for those wanting to evoke Gothic imagery in texts, but will also be suitable for magazines, sign making, packaging and other

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fre aks

She was telling him something about the decimation of the middle class over a glass of wine, when he realised he wasn’t listening to her anymore. His brain was releasing chemicals that compel people to write bad poetry, and he hated himself for it. “Isn’t it magical, how we understand each other?”, he blurted out uncontrollably. And that wasn’t by far the worst thing that he would say that evening. — Pavel Turek for Leeda

†

post-modern graphic creations, which do not cling to historical accuracy or strict artistic decorum. Design Jana Horáčková → Page A12 Rebecca specimen → Page B07

Jana Horáčková (1962) studied at the Type and Book Cul ture department of the Academy of Arts, Architecture and Design in Prague. During her studies she was an intern at Nottingham Poly technic University, where she focused on digital font processing, and later took part in several collective exhibitions, where she presented her work. She is currently involved in research work among tribal communities of the Alto Purus river basin in Amazonia, where she is studying medicinal and ritual herbs as part of her doctorate studies. Kakao Kakao is a font family of stylisti cally similar fonts loosely based on calligraphy and handwriting. Its creation was inspired not only by

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handwritten typefaces of the six ties, but also by the diversity of street typography – shop windows, sign plates, adolescent tags, graf fiti and even love messages written on walls. Vojta started to sketch the Kakao family in 2011. When drawing Kakao, he frequently refer enced Bohumil Lanz and Zdeněk Němeček’s book Typeface in Advertising (published by Merkur Publishing House, Prague, 1974). During the course of the twentieth century, publications for arrangers that included manuals for hand drawing of letters were common in Czechoslovakia. These were primarily intended for window dressers and shopkeepers. They taught the proper ways of writing banners advertising dis counts, price tag labels, and even taught how to label a whole shop window. Vojta stole the above-men tioned book during his studies at primary school. He tried sketching using various methods, primarily using brushes, drawing ink, and

Script

Kakao

Black YEAR 2384156709 Year 2384156709

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amidog amidog hajßolud HAJBOLUD & jadaz � �adaz 1 — Lucie Kutálková’s limited-edition Leeda Redesigned Collection features typography by Olga Benešová. The words and sentences printed on the garments are excerpts of ministories written by Pavel Turek and Johana Švarcová. 2013. 2 — A difference of four centu ries, spanning from Irish-Scottish manuscripts to French codexes.

4 — The Kakao family was presented in Font magazine for the first time. Pres entations of the latest student fonts appear in the centrefold of the magazine on a regular basis. Font, issue 109; 2010. 5 — Sketches for the Kakao typeface; designed by Vojtěch Říha; 2010.

3 — A comparison of sources of inspi ration and histor ical templates for Rebecca: Literra Beneventana, Rotunda, Uncial and Gothic Script. Scans from the book Beautiful Typeface by František Muzika; 1958.

rectangular and slanted felt tip pens. Kakao script is largely based on Vojta’s handwriting. The font family consists of three stylistic variations of one theme. Black has all the bells and whistles of a typical display typeface: heavy and dominating, able to com mand all graphical output. Small contrast, low uppercases and short ascenders and descenders are all attributes of a modern type which doesn’t limit itself to larger text sizes only, but can cope with sizes smaller than ten points equally well. Variance in character shape boost its already good legibility. Cursive seeks to stay true to its title and applies most of the methods typical for cursive forms. It’s nar rower and has a slight inclination to the right, but more importantly offers distinctive character alterna tions, including several playful loops. Kakao Script completes the set with its calligraphy-inspired continuous forms, where individual letters tie into one another, allow ing more space for its distinctive

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It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Lorem Ipsum comes from sections 1.10.32 and 1.10.33 of “de Finibus Bonorum et Malorum” (The Extremes of Good and Evil) by Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the Renaissance.

6 — “Is has a damn thing to do with India!” The elephant needed for the project using the first attempt at creating the Reformulate typeface.

9 —A poster for the Ernesto Neto “Blue Mist Gray Girls” – in Memoriam Miroslav Tichý exhibition, GASK; designed by Mütanta; 2011.

7 — Invisible Cities exhibition catalogue, designed by Mütanta; Reformulate font; 2011. 8 — Reformulate Mag, designed by Michal Landa; 2011.

calligraphic characteristics. It also contains two types of uppercases, activated according to the given context. These are modest versions used in text set with uppercase; lowercase letters feature distinctive swash letterforms and various context alternates. A good script cannot do with out a number of stylistic alternates and a wider range of two and three-letter ligatures, which lend variety and authenticity to the text. Kakao offers, besides alternates, also initial and terminal forms; low ercase numerals are included as a matter-of-course. Each typeface contains a set of currency sym bols, so you’ll be able to create any number of lunch menus or shoe, book, LP, bratwurst price tags in no time. The only limit is your fantasy. Design Vojtěch Říha → Page A07 Kakao specimen → Page B03

Reformulate There aren’t many fonts on the mar ket which naturally and function ally combine strict rationality with

humanistic calligraphy inspirations. Reformulate proves that even a non-proportional font, created using a very simple principle of shad owing, need not appear cold, drab and artificial. Jakub Samek displays a good sense of balance between the traditional and the calculated, between banal and thought-out. For him, optical impression and an aspiration for perfect legibility are more important than the perfect consistency of individual charac ters, taking a free, but educated approach. A geometrical construc tion, wrapped in an Illustrator brush stroke, was placed onto a cone of uniform width, as dictated by the tools and the grid. In spite of its coarseness in both principles and implementation, Reformulate later found a somewhat surprising application for its use. The first sketch for the Refor mulate was conceived in the summer of 2010 in India when de signing a poster for a local jazz club. The plan might have seemed a bit fantastical by European

standards, but in India, practically anything was possible. The aim was to have a photograph of an ele phant with a slogan written on its belly. The realisation, however, was fraught with difficulties. In the end the original sketch had to be abandoned, and the plan was forced to rely solely on designer’s fantasy and the elephant tamer’s firm hand. It worked. The original sketches went back into the drawer, but not for long. Reformulate defies established font categories. Even though it is a non-proportional typeface with a unified width of all glyphs, typi cal of some twentieth century types, contrasting shadowing along the left-tilted axis return us to the era of handwritten Renaissance scripts. Vertical proportions correspond to those of classic text typefaces; the width of characters is unified so uppercases appear slim, while narrow lowercase letters (“f”, “i”, “j”, “l”, “r”) cleverly hide their handi cap with long diagonal or vertical serifs. Reformulate is dynamic in

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appearance and the minuscules are asymmetrical, all of which enhances already good legibility. Texts are pleasantly spiced up by the unusual execution of sev eral characters – first and fore most an open, winding “g”, with a bowl intersecting the top arch. Further welcome and refreshing elements are the alternative characters, accessible through the OpenType function. These con tain an alternative “a”, a calligra phy-style extended stem of the “f”, a simplified form of the lower case “g”, a lowercase “k” with a top loop instead of a diagonal, a more dynamic variant of the “l”, a “z” dis rupted by a vertical bar, etc. The uppercase set is varied in a similar fashion, leaving the designer to decide which variant to use in a par ticular project. The Reformulate font family consists of four weights with true italics. These contain, apart from a slanted, alternative singlebowl “a” and “g”, an elongated “f” without the horizontal stroke and

generally more rounded forms, which, even while maintaining con stant character width, provide excellent readability. All typefaces contain small caps and ligatures, arrows and other special characters. Design Jakub Samek → Page A13 Reformulate specimen → Page B08

Jakub Samek (1988) studied at the Art High School of Václav Hollar and now continues his studies at the Type Design and Typography studio at the Acad emy of Arts, Architecture and Design in Prague. He is a co-founder of studio Mütanta (2011) and is involved in various significant projects, for example the visual concept of the Institute of Documentary Film and Prague Quadriennale. Mütanta is pres ently developing the visual identity and programme for a year’s worth of cultural events for the Tonlab residential space.

Briefcase News 1

1 — Tryskáč maga zine. Petr Babák and Ondřej Chorý; 1992. 2 — Prkno – the “exposed” typeface. Changing the angle of the light source used to expose the letters created shadows below them. The installation included a lamp. From certain angles the text was legible, but from others the result was merely a collection of “images”. 3 — Negatives of the Prkno font; 1992. 4 — A poster presenting Prkno; designed by Petr Babák; 1992

Woody Allen 1935

5 — The manual for the Prkno font, school project; designed by Petr Babák, 60 pages; 1992. 6 — Babák: “A sharp razor. No subse quent retouching, so you get all these little flaws, dots or different razor cut thicknesses.”

All knifes on sale

7 — Petr Babák cut the original, six centi metre characters with using a razor. Frame size: 530 × 529 mm.

8 — A poster pre senting Řezan; Petr Babák 9 — Catalogue for the Daniel Balabán exhibition, Moravian Gallery; designed by Lukáš Kijonka and Petr Babák, Řezan font; 2013.

An Experiment in Typography The nineties were a period of bold experiments in the Czech typo graphic scene. Thanks to desktop computers becoming more widespread and more accessible, designers were able to design fonts much more easily than ever before. This spurred designers on to new heights in terms of effort, before-unseen playfulness, and resulted in an unprecedented quantity of new fonts. Students and young designers began to design typefaces on the very edge of legibility; a large number of scratched, smudged or otherwise deformed typefaces saw the light of day, as well as large numbers of hybrid letter shapes that com bined historical geometric forms with modern and post-modern accidence. Deconstructive experi ments then brought together the “imperfection” of hand drawn typefaces and machine-like mechanical forms. It was an unex pected and inspiring meeting of formerly incompatible worlds.

The Aim of the Experiment In the nineties, the Book and Type Design studio at the Academy of Arts, Architecture and Design in Prague was led by Jan Solpera. For those unfamiliar with his works from the sixties, Jan Solpera is an eminent exponent of “classic typography”, an inclination that was further strengthened in the eighties by the influence of American visionary Herb Lubalin’s accidence. Solpera’s term projects, however, directly and unambigu ously challenged his students to design formall novel typefaces. His support for experimentation was not merely the consequence of his broad-mindedness, but surprisingly also arose out of his fondness of street art and street typography (a liking quite possibly hard to grasp by his contempo raries). Solpera’s open-minded approach to typography influenced many of his students – Petr Babák, Klára Kvízová, Jana Horáčková, or Marek Pistora.

Their experiments defied orthodox concepts of “serious” typography work, ironised experiences with daily life under the Communist regime, and drew from many as-yet untra ditional sources of inspiration, such as rather traditional funeral typography, but also DIY hob bies, nationalistic interpretations of folk art or the above mentioned street art. These young designers tried to achieve two goals with their type projects: firstly, an ironic approach to the DIY culture historically popular in Czechoslovakia and later in the Czech Republic; secondly, dealing with punk aesthetics, which crossed the Iron Curtain into Czechoslovakia with approximately a decade-long delay (as was usual with most things from the West). The young designers of the nineties had the advantage of contemporary context; as opposed to the authors of illegal/self published publications, who strove to find an adequate techno logical replacement for the then

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now unavailable “beautiful typography”, their work was unimpaired by an ideological climate of the leading role of the Communist Party in all aspects of society. Even though their works may sometimes seem to be a selfserving revolt against “beautiful typography”, the more educated observer will notice that this is not the case. On the contrary – they become a natural juxtaposition, which not only complements, but above all highlights efforts, inaccurately titled “serious work”. One without the other loses cogency and meaning, as hard work and informality (unless it is merely frivolity) are oftentimes two sides of the same coin. Tryskáč and Xerox Experimental typefaces found their first uses in the “fast” Tryskáč (Jet) magazine, which was pub lished in 1992 by Petr Babák and his classmate Ondřej Chorý. They published not only their own fonts, but also typefaces of other

classmates at the Academy of Arts, Architecture and Design in Prague. Tryskáč became somewhat of a research platform, being the first to present the upcoming Merkur by Marek Pistora. The magazine wasn’t restricted thematically or otherwise; the range of subjects covered by individual issues was fairly diverse: aircraft designer Sergey Ilyushin, industrial designer Raymond Loewy, musical visionary Prince, or even the subjects of hand and machine embroidery were covered. The magazine served primarily as a design base on which the edi tors could reflect on their current interests. It was printed on a Xerox machine, which was a complete novelty in the public domain of the Czech Republic in the early nineties. The local Mecca for Xerox-obsessed individuals was located on Jilská Street; the machine allowed one to use several interchangeable toners which allowed one to create composite pictures. These could be printed on transparent foil, copied onto various materials, or, using

Briefcase News 12

Character shapes of Šijan typeface were embroidered into the cloth by a professional seamstress using a Minerva brand sewing machine.

30 °C machine wash only. 10 — Character shapes of the Šijan typeface were embroi dered into the cloth by a professional seamstress using a Minerva brand sewing machine. 11 — Let’s Sew; a practical hand book and significant source of inspiration for Petr Babák. 12 — The Šijan II font came to life as a set together with Number One (sewn with a single stitch) in one after noon. “Number Two was created on the impulse of the seamstress,

white toner, the image could be inverted without the use of films. It was all rather exciting and adven turous, but somewhat work-inten sive, so the results often varied according to the mood and goodwill of the printing staff. For Tryskáč, however, the Xerox machine wasn’t just an accessible and econom ical means of copying, as was the case with most fanzines of the time; it was an indivisible and form ative element of the magazine’s visual style. Prkno The Prkno original type project para phrases the theme of a popular DIY television series, broadcast for many years by Czech Television under the name of “Recipes not only for Sundays”. Prkno was made by breaking wooden vegetable boxes, gluing the pieces together, then photographing and scanning them, with no further adjustments. Each letter measured approximately 30 centimetres, and the first implementation outlined an article

“how to make bags from washed milk sachets”. This was, incidentally, one of the many recipes that viewers sent to the television series on a regular basis. The Prkno characters are most reminiscent of legendary Czech folk creativity. The result is a lively and bodily typeface, guaranteed to get your attention. Prkno will be at home in large to huge sizes and short texts, but it covers all sorts of world languages and allows you to design at least a whole punk poster with it.

who saw my enthu siasm for sewing, and showed me a double stitch. Hey presto, and we had Number Two,” explains Babák 13 — A poster advertising the book World of PostModern Games, illustrated with Trhan; designed by Petr Babák. 14 — Móda, a poster advertising an end of year exhibition of typefaces; designed by Petr Babák; 1994.

were intricately assembled into words, only to be thoroughly revitalised, and their character set significantly extended, twenty years later. The main hallmarks of Řezan are hair serifs, which are cre ated by the extension of the razor blade cuts outside of the char acter shapes. Řezan is an uncon ventional, dynamic display type, originally created as a one-off stu dent project. Design Petr Babák → Page A15 Řezan specimen → Page B09

Design Petr Babák → Page A15 Prkno specimen → Page B07

Řezan In 1993, Petr Babák cut letters about six centimeters in size into a yel lowed paper using a razor blade and then scanned them. The typeface didn’t undergo any retouching or any other beautification procedures, so it contains various imperfec tions and traces of different cut widths. The characters were origi nally used as vector pictures that

Šijan Šijan is the third in a series of Petr Babák’s font creations, which were part of an experiment to find the limits of the Latin typeface and typeface legibility in the early nineties. Similarly to Petr’s Prkno and Řezan typefaces, Šijan found its use primarily in Tryskáč magazine. The concept for the font was simple: the character shapes, drawn by a pencil on a piece of cloth, were embroidered

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15 — Petr Babák: “I cut all the characters into a piece of paper using nail cutting scissors and then scanned everything. It took me one afternoon. It was my fifth and so far last font.” 1994

into the cloth by a professional seamstress using a Minerva brand sewing machine. This collabora tion was successful and more than fruitful; some of the characters weren’t to the seamstress’ liking, so she redid them according to her taste. Design Petr Babák → Page A15 Šijan specimen → Page B09

Trhan The Trhan typeface was conceived in a similar fashion to the design er’s other typographic projects: quickly, on a sudden impulse and on the basis of a simple idea. The letters were torn into pieces of paper with nail scissors and then scanned with minimal postretouching afterwards. It invites you for a journey back to xeroxed zines, where a distinctive designer font and the joy of a black and white photocopy is more impor tant than clinging on to lamentably regular typesetting convention. Design Petr Babák → Page A15 Trhan specimen → Page B11

16 — World of PostModern Games. The book deals with the electronic boom, characterized by a huge expan sion of mass media resources that have occurred since the seventies. Designed by Petr Babák. Ilustrations are

created using the Trhan. Published by H+H; 1995.

Petr Babák (1967) graduated from the Book and Type Design studio studied at the Academy of Arts, Architecture and Design in Prague., at the Book and Type Design studio. Since 2003 he has had graphic studio, Laboratoř (Laboratory), where he and several external staff explore wide areas of graphic design. He has exhibited his works as part of the Experiment and Typog raphy project. One of his latest, most visible realisation projects is the visual style of the Czech National Library of Technology in Prague. Petr has received numerous awards, including the Czech Grand Design and the Most Beautiful Czech Book awards. He is also involved in graphic design theory, giving lec tures, leading workshops and regularly publishing his works. He has been the head of the Graphic Design and New Media department at the Academy of Arts, Archi tecture and Design in Prague since 2005.

Briefcase News

BC Reformulate Design Jakub Samek→ page A13 Specimen → page B08

BC Rebecca Design Jana Horáčková → page A12 Specimen → page B07

Briefcase News 01 presents the first batch of Briefcase’s fonts. It explains the context, reasons and purposes of foundry’s activity. This copy is free of charge.

Editors Tomáš Brousil, Marius Corradini, Petra Dočekalová, Radek Sidun Texts Petra Dočekalová, Karel Haloun, Martin Pecina, Radek Sidun Design Marius Corradini (Studio Side2), Radek Sidun Pictures Michal Šeba + various archives Colour and Reprographics Zdeněk Franc Translation Dan Devečka Language Editor Neil Johnston, Nicola Ryan, Elizabeth Spacilova, Megan Tope

Thanks to Olga Benešová, Filip Blažek, Alan Cartridge, Karel Haloun, Jan Havel, Otakar Karlas, Tomáš Machek, Josef Pospíšil, JUDr. Hana Jareš Procházková, Markéta Schönbornová, Jan Solpera, Studio Najbrt, Studio ReDesign, Studio Side2, František Štorm, Rostislav Vaněk, Bohumil Vašák Contact Briefcase Type Foundry, Maiselova 25/4, Prague 1, Czech Republic mail@briefcasetype.com www.briefcasetype.com Copyright © 2014 All rights reserved. Reproduction without permission from Briefcase Type Foundry prohibited.

Print run 2 000 Release date 06/2014 Print Libertas, a.s.

BC Šijan Design Petr Babák → page A15 Specimen → page B09

BC Steiner Design Vojtěch Říha → page A08 Specimen → page B10

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s p eC

BC Merkur Design Marek Pistora → page A10 Specimen → page B04

BC Reflex Design Aleš Najbrt, Marek Pistora → page A04 Specimen → page B08

BC Falster Grotesk Design Jan Novák → page A10 Specimen → page B03

BC Řezan Design Petr Babák→ page A15 Specimen → page B09

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Briefcase News

tLRSB + ItalIc

UEFA Champions League: Real Madrid

Fresh Modern Alternatives BBBAAaaarrr +small caps

Mirer

club MAMAMiA MESSI NAcioNAl FINAL MATCH footbAl RUN

M ATE—

Jiří Rathouský went to grammar school in Prague, and then studied art education at the Pedagogical Faculty of Charles University, Prague (1945—1949). From the 1950's onwards he devoted himself to advertising and book design. He helped establish two groups: in 1952 the Štursa, in 1957 the Máj.

Jiří Rathouský was part of the team that created the visuals for the Czech pavilions at Expo 58, Brussels, Expo 67, Montréal and Expo 70, Osaka. His contribution to information design helped shape the visual environment of Czechoslovak transport (on the Prague Metro, in PragueHolešovice Railway Station, and the information system for Czech Rail, etc.). In the 1990's, Jiří Rathouský dedicated himself to information design, exhibition design, and typeface and product design. Much of his work arose out of collaboration with his wife, Dora Nováková. The artist was an active member of the Horizont group and designed posters for its exhibitions. He was also a member of Typo&, SČUG Hollar and the Association of Applied Graphics, Prague. The Czech pavilions at Expo 58, Brussels, Expo 67, Montréal and Expo 70, Osaka.

AAAAA

RUGBY LAGUE

New WR 9.58

REAL MA DRID ⟶ Guinness Book of Records

Dres One — Boxing / Dres Two — Badminton / Dres Three — Bowls / Dres Four — Polo / Dres Five — Basketball / Dres Six — Volleyball / Dres Seven — Water Polo / Dres Eight — Korfball / Dres Nine — Baseball / Dres Ten — Softball / Dres Eleven — Football

newAVANt Miami Heat vs. GARDE San Antonio Spurs Gothic performances not recognized as an official world record: either because the event is a non-qualifying event (e.g. the 150 m run or individual events in a decathlon), or because it does not fulfil other criteria of an otherwise qualifying event (e.g. the Great North Run halfmarathon, which has an excessive downhill gradient).

Score was 3–3 after 90 minutes and extra time. Liverpool won the penaltyshootout 3–2.

1970’

BC Alphapipe Radek Sidun

BC Dres Vojtěch Říha

B 02

PETR ČECH

Briefcase News ↓ medium 70 / 78 pt

L Li R i m Mi B Bi

quäkt Jürgen blöd vom PaSS ↓ Regular 100 / 110 pt

Flight → Swiss LX 1495

Pineapple Mint sherbet CranaChan

Okay 120° A lollipop is a type of confectionery consisting mainly of hardened, flavored sucrose with corn syrup mounted on a stick and intended for sucking or licking .

Architekture Architekture

Lavender & Honey Crème Brûlée

Miles & More contains 4 weights with italic

Na pohled i na omak vypadá materiál, z něhož je vyrobena série venkovního nábytku FALSTER, jako dřevo. Ve skutečnosti je to ale plast, což znamená, že údržba tohoto nábytku bude velmi jednoduchá. Série nabízí pro každého něco. Ať už máte malý balkon nebo velkou zahradu.

From medieval times until 1766, most of Falster belonged to the crown. King Valdemar’s Census Book from 1231 lists all the parishes and most of the villages. Falster’s two main towns, Nykøbing and Stubbekøbing, were both founded towards the end of the 12th century.

na pohled i na omak vypadá materiál, z něhož je vyrobena série venkovního nábytku FalSter, jako dřevo. ve skutečnosti je to ale plast, což znamená, že údržba tohoto nábytku bude velmi jednoduchá. Série nabízí pro každého něco. ať už máte malý balkon nebo velkou zahradu.

available in OTF

Falster Grotesk

Vanilla

Zwölf Boxkämpfer jagen Viktor quer über den großen Sylter Deich

BAC

Aérosp atia

rhubarb delicious flavour

Q&A

IngredIents

With a splash of grappa

Gingerbread

The End.

BC Falster Grotesk Jan Novák

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Preheat your oven to 110ºC/225ºF/gas ¼. Lay your figs, cut-side up, in a baking tray .

BC Kakao Vojtěch Říha

B 03

RRR

Vincenzo Cardarelli — da Sera di Liguria, in (Poesie)

knowledge

Genova, Italy Nuovo Maggio 2013

I’m staRtIng to buIld 1. I’M sTARTIng To bUIld 2. I’m staRtIng to buIld 3.

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Regione La Liguria (Ligûria in ligure) è una regione italiana di 1.563.267 abitanti1, situata nel Nord-

TEMPERATURE

Ovest della penisola e avente come capoluogo la città di Genova. È bagnata a sud dal Mar Ligure, a ovest confina con la Francia (regione provenza-Alpi-

13/16

15/16.5

19.5/21

andiera Blu. ing. La Liguria presenta nelle due riviere di ponente e levante numerosi porti turistici. Alcuni di questi presentano un buon livello di posti barca e ormeggi, premiati ogni anno con la Bandiera Blu. LIGHT Tra i principali scali46 della Riviera di Ponente si trovano in provincia di Imperia i porti turistici di Ventimiglia (in costruzione), Bordi-

ghera (250 posti), Sanremo (903 posti), Arma di Taggia (204 posti), Riva Ligure (120 posti), Santo Stefano al Mare (Marina degli Aregai 974 posti), San Lorenzo al Mare (100 posti), Imperia (651 posti), Diano Marina (270 posti) e San Bartolomeo al Mare (170 posti).

La Liguria costiera è sottomessa ufficialmente dai romani soltanto durante il II secolo a.C., con varie sacche autonome che, date le caratteristiche del territorio, resisteranno LIGHT al diretto controllo centrale ancora per qualche decennio. La Liguria corrispondeva alla IX regio Italiae come riporta Plinio (III, 5, 49):

Con i suoi 5.420 km² la Liguria è una delle regioni più piccole d'Italia, dopo Valle d'Aosta e Molise, ma è una delle più densamente popolate in quanto ospita oltre 1.600.000 abitanti per una densità di 298 ab/km², molto al di sopra della media nazionale, REGULAR collocandosi al quarto posto, dopo Campania, Lombardia e Lazio, nel rapporto tra numero di abitanti e La regione

è compresa tra le ALpI LIGURI E L'AppENNINO LIGURE A NORd E IL MAR LIGURE a sud, con una catena ininterrotta che costituisce una vera e propria dorsale che REGULAR si presenta continua nel suo sviluppo (orientato secondo due

LIG ria ITAlia

23/25

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Giuseppe Gilera 1909 iTalia alt1+2 Ssss gg L'estate è moderatamente calda ma piuttosto afosa (a Genova Sestri le medie del mese di luglio sono comprese tra i +20,8 °C della minima e i +27,2 °C della massima). Normalmente le temperature BOLD diurne superano i 30 °C solo 3-4 volte nell'arco dell'intero mese di luglio, ma spesso l'umidità relativa atmosferica si mantiene alta anche nel

La parola ligure / liguria fu assegnata a questo popolo prima dai Greci, poi dai romani e ha il significato BOLD di luogo pa ludoso o acquitrino. In età classica centri importanti sono Genua, savo, Vada sabatia, albium intemelium, albium ingaunum, lunae, quest'ultima nota ai giorni nostri con il nome di Luni perderà via via d'importanza sino

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Minestrone: Onion Carrot Garlic Celery Gently fried parsley Chickpeas Kidney beans Egg Cauliflower Pumpkin Cabbage Spinach Beetroot Potatoes Green beans Leek Tomatoes Zucchini Zucchini flower Beans Tablespoon of tomato concentrate OKOLO magazine 4/2012

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Merkur venuše Země Mars Jupiter saturn Uran

BC Liguria Jan Novák

the planet with the second highest temperature in the solar system and the …

BC Merkur Marek Pistora

B 04

TYPo nEW! fIvE

this article is about the astronomical structure. …

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Li ReBo LIRi Bi Lenta e rosata sale su dal mare la sera di Liguria, perdizione di cuori amanti e di cose lontane.

Briefcase News

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luxury [a motor hotel] or motel for short is a hotel designed {for motorists} and usually has a parking area for motor vehicles

BREAKFEST 0.85$ HOT DOG 0.85$ PANCAKE CAKE 1.30 $ ROASTBEEF 7.50$

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BC Motel Sans Vojtěch Říha

BC Motel Slab Vojtěch Říha

B 05

Briefcase News

Colonnade

sentō nose How To Clean A Jetted Tub

KARLSBAD Grandhotel

0123456789 Double Room Superior Plus*****

Aromatherapy

Spa & Clinic

frigidarium / tepidarium / caldarium

Mineral

Gastrointestinal diseases

rheumatism Balneotherapy (from latin: balneum) is the treatment of disease by bathing, usually practiced at spas. While it is considered distinct from hydrotherapy, there are some overlaps in practice and in underlying principles. Balneotherapy may involve hot or cold water, massage through moving water, relaxation or stimulation. Many mineral waters at spas are rich in particular minerals (silica, sulfur, selenium, radium) which can be absorbed through the skin. Medicinal clays are also widely used, which practice is known as fangotherapy.

The Snake Spring 30 °C

a layer of mud is applied to the skin Electrotherapy is the use of electrical energy as a medical treatment. In medicine, the term electrotherapy can apply to a variety of treatments, including the use of electrical devices such as deep brain stimulators for neurological disease. The term has also been applied specifically to the use of electric current to speed wound healing. Additionally, the term “electrotherapy” or “electromagnetic therapy” has also been applied to a range of alternative medical devices and treatments.

infrared

Saratoga SpringS between 70 °C (158 °F) and 100 °C (212 °F)

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Hot segregation of the sexes

massage

Anma is a traditional Japanese massage

EuropEan facial

BC Pramen Sans Vojtěch Říha

BC Pramen Slab Vojtěch Říha

B 06

Briefcase News

sharp

LIGNEOUS love parket × hate linoleum

OrdInary

OBI vs. Hornbach

fire!

garden Grim save virgin forest

ObsOlete

ANXIOUS: saw, nails, knife, rasper Sawdust or wood dust is a by-product of cutting, grinding, drilling, sanding.

UNDERGROUND

Na Rebecce je svěží právě komplikovanost tvarů, prvopohledová nelogičnost, směšnost, iracionalita, bezvadně perfektní nedokonalost tahů, které úžasně parafrázují kaligrafii a zručnost.

Receptář

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(80kg)

Pinocchio 100% Apple & peach A HANDYMAN is a person skilled at a wide range of repairs.

Stojací a univerzální žebřík: 270 Kč BC Prkno Petr Babák

The classical tradition was late to use capital letters for initials at all; in surviving roman texts it often is difficult even to separate the words as spacing was not used either. In the Late antique period both came into in common use in Italy, the initials usually were set in the left margin (as in the third example below), as though to cut them off from the rest of the text, and about twice as tall as the other letters. The radical innovation of insular manuscripts was to make initials much larger, not indented, and fOr The LeTTers IMMedIaTeLy fOLLOwIng The InITIaL aLsO TO be Larger, buT dIMInIshIng In sIze (caLLed The “dIMInuendO” effecT, afTer The MusIcaL nOTaTIOn). subsequenTLy They becaMe Larger sTILL, cOLOured, and peneTraTed farTher and farTher InTO The resT Of The TeXT, unTIL The whOLe

r&a 136&hot farts

Beast TerriBle

Na rebecce je svěží právě komplikovaNost tvarů, prvopohledová NelogičNost, směšNost, iracioNalita, bezvadNě perfektNí NedokoNalost tahů, které úžasNě parafrázují kaligrafii a zručNost.

Vieux Föråldrad MMXIII

BC Rebecca Jana Horáčková

B 07

Briefcase News

Wired ULTRa

«every video I'm in, every magazine cover, they stretch you; they make you perfect. It's not real life.» lady gaga

In typography, small capitals (usually abbreviated small caps) are uppercase (capital) characters set at the same height and weight as surrounding lowercase (small) letters or text figures. For example, TeXT IN caps appears as text in caps.

reformulate: příŝĕŕńęĵ ñášůp şŧēťköú�

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El veloz murciélago hindú comía feliz cardillo y kiwi. La cigüeña tocaba el saxofón detrás del palenque de paja.

rolling Stone economist

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c i r k u s k l o v n E n W a l t h E r p å

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"But I will never stop helping and loving people the way Jesus said to." michael jackson

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reflex Extra condensed — reflex Extra condensed italic — reflex condesed — reflex condesed italic — reflex regular — reflex Italic — Reflex Extended — Reflex Extended italic — Reflex Extra Extended —Reflex Extra Extended Italic

Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at HampdenSydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Lorem Ipsum comes from sections 1.10.32 and 1.10.33 of "de Finibus Bonorum et Malorum" (The Extremes of Good and Evil) by Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the Renaissance. Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at HampdenSydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Lorem Ipsum comes from

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It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Lorem Ipsum comes from sections 1.10.32 and 1.10.33 of "de Finibus Bonorum et Malorum" (The Extremes of Good and Evil) by Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the Renaissance. Contrary to

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richard mcClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites

BC Reflex Aleš Najbrt, Marek Pistora

Briefcase News

rex the DOG

SEWING !only 30 °C non-iron!

SCARY! laundromat!

Decorating (Oh, very pretty pullover)

I’m not EMO

SAw

MURTE Sewing is the craft of fastening or attaching objects

made with a needle and thread

Auto stitch since 1892

BURDA MAGAZINE

DOLCE& PSYCHO SUCH A ROMANTIC Cutting is the separation of a physical object, or a portion of a physical object.

100% BlOOD GABANA Scar disappears! “Řezan nemá naprosto nic šití záclon společnýho s Preissigem!” Oh, much dirty pullover!

100% cotton 200% pleasure

Machette H Y S t E R I C A l l Y

Zahradní vozík je praktický pomocník pro veškeré zahradní práce.

∞Ω∞@∞–∞℗∞◊∞

CHANEL

BC Řezan Petr Babák

BC Šijan Petr Babák

B 09

Briefcase News

show!

Frauen magazine DEZ 17#

» �&T«

comedy drama

1990—2013 Amore & tears ort + + actor flame

The Prague Spring (Czech: Pražské jaro, Slovak: Pražská jar) was a period of political liberalization in Czechoslovakia during the era of its domination by the Soviet Union after World War II. It began on 5 January 1968, when reformist Alexander Dubček was elected the First Secretary of Communist Party of Czechoslovakia, and continued until 21 August when the Soviet Union and all members of the Warsaw Pact, with the notable exception of Romania, invaded the country to halt the reforms.

�Fear leads to anger; anger leads to hate; hate leads to suffering.�

Mr. howard Moon!

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Light italic REGulaR ItalIc MeDIUM ItalIc SEMIBOLD ITALIC BLaCK ITALIC & Headline

KK LL MM NN RR VV

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Geboren 20. Mai 1855 Gestorben 17. Juni 1920

The stage duo T&R has existed for more than 20 years and presented its shows in many countries

Thousand cardinalnumber (pl. thousands • (thousands) the numbers from or (with numeral or quantify- one thousand to �,��: the cost ing word) same) of repairs could be vin the (a/one thousand) thousands. the number equivalent to the • (usu. thousands) informal product of a hundred and ten; an unspecified large number: �,��: a thousand metres | two you’ll meet thousands of girls thousand acres | thousands before you find the one have been killed. (Roman nu- you like meral: m, M) The ��–�� season was the ��th completed season.

of the world. Our studio has produced all posters,

BC Steiner Vojtěch Říha

BC Thomas & Ruhller Aleš Najbrt

calendars, invitations, and programmes for the artists.

world. Our studio has produced all programmes for the artists.

+ Eind +

B 10

Briefcase News

flour Where is my money? ClassiC Trhan rules

HAND MADE

RAGE

myself upgrade available

Condensed ExtEndEd small caps

sugar ƒ In a small bowl, whisk milk and eggs; pour over flour mixture, and whisk gently to combine (don’t overmix). Gently whisk in butter.

little bit scary scarification font

makes me happy WELCOME LONG NIGHT EVERYDAY

Akvaristika

q Preheat waffle iron according to manufacturer’s instructions. In a large bowl, whisk flour, sugar, baking powder, and salt; set aside.

Shadow Blindy Scratch Stencil

Never worry aBout Bad press: all that matters is if they spell your Name right. Kate Hudson

eggs

SalT SMOOTH

Butter Ragamuffin

THE SCIENCE Of INDIRECT MEASuREMENT

S. D. EST LATABHOCOR

cos2x = cos2 x - sin2 x

Tape Mono Egyptienne

” Following manufacturer’s instructions, cook waffles until deep brown and crisp. (For a standard waffle iron, pour a generous ½ cup of batter into center, spreading to within ½ inch of edges, and close; waffle will cook in 2 to 3 minutes.)

The significant problems we face today can’t be solved

NAKED

“HE wHo Has tHE gold makEs tHE rulEs”. tylEr PErry

BC Trhan Petr Babák

BC Vafle Marek Pistora

B 11

Briefcase News

B 12

Briefcase News

B 13

Briefcase News

B R E F C A S E T Y P E F O U N D R Y c O M B 14

Briefcase News BC Alphapipe 10 fonts

BC Motel Sans 3 fonts

BC Reformulate 8 fonts

BC Alphapipe Thin BC Alphapipe Thin Italic BC Alphapipe Light BC Alphapipe Light Italic BC Alphapipe Regular BC Alphapipe Italic BC Alphapipe Semibold BC Alphapipe Semibold Italic BC Alphapipe Bold BC Alphapipe Bold Italic

BC Motel Sans One BC motel SANS Two BC Motel SANS Three

BC BC BC BC BC BC BC BC

BC Dres 11 fonts

BC Dres One BC Dres Two BC Dres Three BC Dres four BC Dres five BC Dres six BC Dres seven BC Dres eight BC Dres nine BC Dres ten BC Dres eleven

BC Motel Slab 3 fonts

BC Motel SLAB One BC motel SLAB Two BC Motel SLAB Three

BC Pramen Sans Light BC Pramen Sans Light Italic BC Pramen Sans Regular BC Pramen Sans Italic BC Pramen Sans Medium BC Pramen Sans Medium Italic BC Pramen Sans Semibold BC Pramen Sans Semibold Italic BC Pramen Sans Bold BC Pramen Sans Bold Italic BC Pramen Sans Black BC Pramen Sans Black Italic BC Pramen Slab 12 fonts

BC Kakao 3 fonts

BC Kakao Script BC Kakao Cursive BC Kakao Black BC Liguria 6 fonts

BC Liguria Light BC Liguria Light Italic BC Liguria Regular BC Liguria Italic BC Liguria Bold BC Liguria Bold Italic

BC Pramen Slab Light BC Pramen Slab Light Italic BC Pramen Slab Regular BC Pramen Slab Italic BC Pramen Slab Medium BC Pramen Slab Medium Italic BC Pramen Slab Semibold BC Pramen Slab Semibold Italic BC Pramen Slab Bold BC Pramen Slab Bold Italic BC Pramen Slab Black BC Pramen Slab Black Italic BC Prkno 1 font

BC Řezan BC Steiner 14 fonts

BC Steiner Light BC Steiner Light Italic BC Steiner Regular BC Steiner Italic BC Steiner Medium BC Steiner Medium Italic BC Steiner Semibold BC Steiner Semibold Italic BC Steiner Bold BC Steiner Bold Italic BC Steiner Black BC Steiner Black Italic BC Steiner Headline BC Steiner Headline Italic BC Šijan 1 font

BC Šijan BC Thomas & Ruhller 1 font

BC thomas & ruhller BC Trhan 1 font

BC Trhan BC Vafle 12 fonts

BC Prkno BC Rebecca 4 fonts

BC Rebecca Grim BC Rebecca Obsolete BC Rebecca Ordinary BC Rebecca Sharp BC Reflex 10 fonts

BC Merkur 3 fonts

BC Merkur One BC Merkur Two BC Merkur Three

Light Light Italic Medium Medium Italic Semibold Semibold Italic Bold Bold Italic

BC Řezan 1 font

BC Pramen Sans 12 fonts

BC Falster Grotesk 8 fonts

BC Falster Grotesk Light BC Falster Grotesk Light Italic BC Falster Grotesk Regular BC Falster Grotesk Italic BC Falster Grotesk Medium BC Falster Grotesk Medium Italic BC Falster Grotesk Bold BC Falster Grotesk Bold Italic

Reformulate Reformulate Reformulate Reformulate Reformulate Reformulate Reformulate Reformulate

BC Reflex Extra Condensed BC Reflex Extra Condensed Italic BC Reflex Condensed BC Reflex Condensed Italic BC Reflex Regular BC Reflex Italic BC Reflex Extended BC Reflex Extended Italic BC Reflex Extra Extended BC Reflex Extra Extended Italic

B 15

BC Vafle Blindy BC Vafle Classic BC Vafle Condensed BC Vafle Egyptienne BC Vafle Extended BC Vafle Mono BC Vafle Picto BC Vafle Scratch BC Vafle Shadow BC Vafle Small Caps BC Vafle Stencil BC Vafle Tape

BC 01 Briefcase News

BC Prkno Design Petr Babák → page A15 Specimen → page B07

BC Motel Sans Design Vojtěch Říha → page A11 Specimen → page B05

BC Dres Design Vojtěch Říha → page A06 Specimen → page B02

BC Trhan Design Petr Babák → page A15 Specimen → page B11