(EN) The quick brown fox jumps over the lazy dog. (NL) Op brute wijze ving de schooljuf de quasi-kalme lynx. (CS) Nechť již hříšné saxofony ďáblů rozezvučí síň úděsnými tóny waltzu, tanga a quickstepu. (HU) Jó foxim és don Quijote húszwattos lámpánál ülve egy pár bűvös cipőt készít. (RO) Înjurând pițigăiat, zoofobul comandă vexat whisky și tequila. (RU) Разъяренный чтец эгоистично бьёт пятью жердями шустрого фехтовальщика. (BG) Огньове изгаряха с блуждаещи пламъци любовта човешка на Орфей. (SR) Фијуче ветар у шибљу, леди пасаже и куће иза њих и гунђа у оџацима. (EL) Ταχίστη αλώπηξ βαφής ψημένη γη, δρασκελίζει υπέρ νωθρού κυνός. Type your own text to test the font!
Brygada 1918 is a digital revival project of Brygada typeface done thanks to the support of the “Independent” program and the President of the Republic of Poland. The source of inspiration lies in casting matrices found by Janusz Paweł Tryzno In the Book Art Museum in Lodz. Extended Btygada 1918 family including 6 versions is available for download under Open Font License. We hope that through its use the Brygada 1918 project will benefit the building common conscience of type design – a domain of significant, culture building character.
According to the historical research the typeface was most probably created during the interwar period, in the Type Foundry Idźkowski and Co. in Warsaw. The main idea of this undertaking was to honor the typographic heritage in a vivid manner. Original matrices were available in regular, italic, and bold versions. To allow the practical application of the font in a larger versatility of projects the collection gained semibold, semibold italic and bold italic variants. Apart from redrawing, the shapes were adjusted and corrected, and the available glyph coverage was greatly expanded. Regarding the character set, Brygada 1918 type family contains extended Latin, extended Cyrillic, basic Greek, International Phonetic Alphabet, 4 figuer versions (oldstyle, lining, tabular oldstyle, tabular lining), small caps, sub- and superscript, currency symbols, mathematical signs, and a wide set of ornaments, in all 6 versions.
B. 1989; studies at the Faculty of Graphic Arts of the Academy of Fine Arts in Warsaw (2009–2014). Works mainly in graphic design with emphasis on visual identification and typeface design. Authored a font family with 42 variations for Tupperware, commissioned by RR Donnelley Europe and visual identification for The Lech Wałęsa Solidarity Award ceremony. Art director at “Warsawholic” magazine. Co-founder of production and creative group BORUTTA.
Freelance graphic and type designer in Lodz, Poland. He cooperates with the Book Art Museum (which stores the legacy of Polish typography) to revive the spirit of letterpress printing and digitize old type. Speaker at ATypI 2017 in Montreal.
Przemec Hoffer is the Lodz, Poland-based creator of the hairline titling sans typeface Basicl (2012) and of Basic Title Font (2012, hairline caps). In 2013, he designed Madame Klara, Madame Deloblat and Madame Mary, a trio of thin slab serif typefaces for glamour magazines. In 2014, he made the octagonal typeface Mechanik. In 2016, he started work on Laktoza.
Designer in Warsaw, Poland, b. 1992, who studied at Warsaw Academy of Fine Arts. She created Musso (2016), a remarkable brushy vernacular script typeface that is loaded with alternates to emulate real handwriting. Since about 2010, there has been an explosion of brushy typefaces, but even in this crowded field, Musso stands out. Later in 2016, Ania Wielunska and Mateusz Machalski co-designed the weathered typeface family Gangrena. Her last typeface from 2016 was the connected school script Koszyki, also co-designed with Mateusz Machalski.