This font was created for a small co-working office offering space for projects dealing with AI, VR and IT in relation to business. The name of the co-working space itself comes from the port that’s in close proximity to it while also referring to the ports of electronic devices. In the visual elements of actual ports and electronic device ports or computer components, we found a shared element in the form of a cut and sharp edge at a 45° angle. We then inserted this principle of cutting right-angle corners into a custom font with a special bracket, which further strengthened this principle and was reminiscent of the spatial demarcations in docks. By doing so, we created a tool for the client to write their logo simply using a font and to use the primary visual element of the brackets according to the needs of communication.

Plusss began as a school project for the Doors Open Days at FAVU BUT, for which we created a font to accompany a studio presentation in the spirit of a fictitious supermarket. We gave the font a playful and friendly mood that was intended to reflect the ambience of our studio. During the Doors Open Days, each student of the studio had his/her own nametag and their names written on them in the Plusss font. The fact that each student was given alternative characters for their initials made each name unique.

Soon after that, we developed a font during a long-term project with the city of Brno to go along with an event for the general public in which legends and fairy tales about Brno were presented using works of art in collaboration with FAVU. The character of the font highly suited this project, and we gradually expanded and improved it to fit the requirements.

In 2015, direction of Brno’s experimental “HaDivadlo” theater was taken over by artistic director Ivan Buraj, who lent a new perspective to the dramaturgy and performances of this establishment. Upon his arrival, he planned to create a new visual style that we based on distinctive typography, which publicly yelled out the slogans that the theater wanted to communicate to its viewers. Ivan was greatly inspired by Berlin’s theaters, which were approaching contemporary theater more as a channel of communication used to point to current social and global problems. In addition, he was trying to open up a new space that would be shared more for communicating about these problems. We attempted to depict all of Ivan’s ideas in a font that was designed from a door-frame construction and pointed to a newly opened space while at the same time being reminiscent of visually classic blackletter fonts such as fraktur, which are often linked to Germany and hint to the approach of Berlin’s theaters. Thus, the font itself created a clearly identifiable brand in Brno’s space.

While studying at FAVU BUT, we were called upon to provide a solution to the markings on the classicist building in which FAVU resided. Historically, the building houses the technology-focused faculties of BUT. We approached the font design using the proportions of Trajan fonts that often decorated such buildings with a more distinct and modern character. We searched for a more technical depiction for the individual glyphs in serif format. The font was intended to be further developed for the Faculty’s marketing purposes.

Along with our friends, we managed to win a competition for the new visual identity of the non-profit organization Muzeum Novojičínska, which operates 11 various museums in the Nový Jičín region of the Czech Republic. For their identity, we customized the Uttara Grotesk, a font which we also designed. We gave the font a more playful look to make it better at attracting parents and grandparents with children. We created a tool from the font that contains pictograms and logos of the branches, which can be used easily with the help of ligatures.

While creating an identity for a korfball club, we developed a font with a condensed character with the same width of almost all the glyphs. The font contains various special symbols supporting their slang terms, thematic symbols and a lot of imaginative ligatures.

We created two fonts, “Krsna” and “Caitanya”, with an oriental vibe for the travelling Padayatra festival, during which participants travel with an oxcart carrying the deities Shri Krishna Caitanya while travelling from village to village with a spiritual program presenting Vedic culture. In translation, Krsna means black, and that’s why this cut is dark, whereas Caitanya means golden, which we saw as a contrast to the word Krsna. We thus thinned the font in its central areas, which optically lightened it. At the same time, both names refer to the same figure, and therefore the fonts stem from one another in terms of their construction.

While participating in the competition for a new visual identity for the city of Ústí nad Labem, we developed the Labe Sans font. The whole visual identity was based on promoting the positive perception of the city, which is linked more to the negative emotions that the city has long been struggling with. We partially based the font on a modification of our Uttara font.

Tobiáš Grolich is the author of the visual identity of the new Pop Messe festival in Brno, which focuses on contemporary music. Tobiáš was looking for a distinct and crazy font with a condensed character. For the font, we prototyped various display style fonts, which were based on the same construction of the basic font.

In order to change the new visual identity of the municipal district Bratislava Petržalka, which was created by Juraj Hatlas, we were asked to modify our Uttara font, which we customized for the municipal district to meet the needs of its new identity.

We were invited to take part in a closed competition for a new visual identity of the town of Prachatice with its unique preserved renaissance-style center. Historically, the town was a significant site for salt trading in the Middle Ages. For its identity, we designed a font with reference to the renaissance and salt. We took inspiration from the Gill Sans font, as its character makes a decent and historical impression. We gave the font a higher x-height for the lowercase letters. We also inserted minute serifs hinting to the renaissance, which are visible when larger font sizes are used. We also inserted a reference to the salt trade into the font in the form of dots over the letters “i” and “j”, which are intended to be reminiscent of a grain of salt. This reference is further intensified in the logotype, where the small “i” appears in the name of the town Prachatice.

In a competition for a new visual identity for the Gallery of Modern Art in Hradec Králové, which is housed in a secessionist building designed by prominent Czech architect Osvald Polívka, we wanted to create an identity based on a font mirroring the appearance and era of this building. Secession is the beginning of modern art, and therefore we decided to take this path and develop a grotesque font from distinct secessionist fonts that would reflect the Secession. At the same time, we wanted it to fulfill the function of a more common font that would not compete with other significant elements such as the exhibited works. Our grotesque is inspired by secessionist fonts in its heightened construction in the central areas of the font, the atypical letter “U” and slight extension. The vertical cut into the font’s terminal is slightly sloped, giving the font a more elegant impression.

In the competition for the Bratislava Cultural and Information Center, we modified out Uttara Grotesk font into a playful urban font combining round and square shapes with a reference to architecture and streets from a bird’s eye view. In addition, we modified all the diagonal ends of the terminals into a horizontal ending to give the font a more technical impression to better correspond with the right-angle terminals of the lowercase letters “a”, “f”, “j” and “r”.

We made this font for our friends in the vegetarian lunch-delivery business to create their identity. Their brand is called “VEGET”. The term “VEGE” denotes the word vegetarian, and in Czech slang “veget” also roughly translates to “chilling out”. That’s why we tried to design a font that would carry these good vibes and peace of mind.