The Atrament font family was originally conceived in 2003 as the corporate display type family for Suitcase Type Foundry. Its original source of inspiration is the front cover of the Devetsil - Revolucni slovn’k almanac (1922), designed by Karel Teige. The lettering on this cover is a condensed sans serif with rounded stroke terminals. Atrament is significantly broader than the model and its characters are better balanced, reflecting the evolution of semi-condensed sans serifs throughout the 1960s. The horizontal strokes of both lower and upper case are less stressed than the vertical stems. Noteworthy are the unusual tiny gaps in the apex and vertex of letters with diagonal strokes, designed to prevent ink from spreading and smudging the letter shapes. This detail is one of the main features of the font’s character. The general feel of the italics closely matches the strictly vertical, parallel character of the regular cut.
The type family consists of six well-distinguished weights, from hair-thin all the way to the one black as the deepest night.
A big advantage of the font family is a consistent width of all sixteen styles, so it is possible to switch between them without changing the typesetting. Tabac Mono extends the means of expression of the other fonts in the font superfamily, with which it shares several OpenType functions, including indexes, fractions, several types of numbers and alternative shapes of the most distinctive letters of the Latin alphabet (a, g, Q), which you can use to significantly influence the character of the final composition.
Urban Grotesk attempts to follow the best of traditions of Grotesk typefaces: rounded arches, slightly thinner connecting strokes and a vertical shadowing axis, where outstrokes are terminated strictly in perpendicular to the stroke direction. The primary characteristics are the connection of the rounded stroke to the stem, a round dot, lower and more thrifty uppercase, and generous numerals. The width proportions of characters is almost unified, the text colour creates a unified grey area on a page. An airy metric aids good legibility in shorter texts.
Magion is a simple geometric sans, ideal for magazine headlines, logotypes, way-finding systems, and of course large billboards which need to make a great impact.
Its tall x-height and strong, open character ensure perfect legibility, even in the smallest sizes.
Dederon Serif has been specifically designed for book setting. Preliminary sketches were drawn in 2004. Its inspiration — particularly its weight and width proportions — can be traced to the Liberta typeface from the TypoArt type foundry in former Eastern Germany. After a careful study of the model, the design of Dederon branched off into its own direction, finding its distinctive voice and becoming a wholly original type family. Dederon Serif kept most of the elements typical for the Old Style Roman lettering, such as the angle of the stress, the medium x-height, and lower contrast. In large sizes, the typical shapes of the letters stand out — the calligraphic feel characteristic for the Czech typefaces by Oldrich Menhart, the unusual serifs hinting at the angle of the pen, the shapes of the stems, or the terminals of dots and ears.
The all-caps display face Sandwich was inspired by historic, hand lettered sans serif alphabets with slightly sloping terminals, as found in showcard lettering and on billboards.
Corpulent is a display font whose forms are extremely thick, up to the extent of being nearly illegible. In the 1980s, these construction principles were explored to their very limit.
Shortly after the collapse of the communist regime, a revolutionary atmosphere culminated at the studio of typography at the Academy of Arts, Architecture and Design. The 1990s were characterised by the deconstruction of traditional type design. The construction of typefaces didn't conform to established proportions anymore — the frame was often self-supporting, and if not, it became a mere framework in which a narrative was told. On the one hand designers attempted to grasp and interpret the atmosphere of freedom of the 1980s, represented by David Carson and Neville Brody. On the other hand they feverishly attempted to appropriate anything that surrounded them in their daily lives, moulding those everyday elements into shapes that would vaguely resemble type. Most of these typefaces only appeared briefly on posters, sometimes just once. Only a few were applied in other design projects, which ensured their longevity. But for most of them their ephemeral lives quickly came to an end.