Briefcase Type Foundry

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Briefcase Type Foundry

The independent font distributor based in Prague.

Briefcase offers original Czech productions by authors, who may not wish to set up their own type foundry for the purpose of publishing their fonts. It profiles itself as an independent type foundry, which is be able to offer a wide range of unique fonts, thanks to its extensive author portfolio. Briefcase digitises original font designs, offer original fonts by young authors and help publish olde

r, previously unreleased fonts, created by typographers and graphic designers. The project is a logical extension of the traditional Suitcase Type Foundry, which offers technical excellence of its fonts as its core value.

10/04/2026

Font in use: BC Šijan

Můj bratr is a crude family drama set in the north of Sweden, written by Karin Smirnoff.
Cover art by Kamila Kučerová
Published by
Photo by

BC Šijan 🔸 Experimental typeface 🔸 1 style (Regular)
🔸 Design by
Petr Babák’s font creation, which was part of an experiment to find the limits of the Latin typeface and typeface legibility in the early 90s.

27/02/2026

BC Blot includes two styles showing that even a typeface originally created as a spontaneous experiment in the 1970s still has a place in contemporary typography, offering considerable artistic potential even in the age of digital media.

BC Blot 🫟 New Headline Typeface
Number of fonts in a family: 2 (Regular, Inline)
Number of glyphs per font: 936

👋 ASK FOR TRIALS 👌
🤚 LINK IN BIO 🤙

Design: Jan Solpera, David Řeřicha and Petra Dočekalová .typo

16/02/2026

Case study: BC Blot 🫟 but make it fashion
“With Blot, I felt it would be good for a florist, a perfumery, or some fashion product.”
— Jan Solpera, 2025

BC Blot 🫟 New Headline Typeface 🫟 2 styles
👋 ASK FOR TRIALS 👌
🤚 LINK IN BIO 🤙

Design: Jan Solpera, David Řeřicha and Petra Dočekalová .typo
Graphic design: Marius Corradini

*This is just a fictional application of the typeface.

12/02/2026

Design Talks #02 in Warsaw 🎤✨:

Huge thanks for the perfectly organised event in Warsaw 🙌
The lecture within was a real pleasure — great production, focused audience, no chaos, just genuine interest in typography and design. This is how a design talk should feel. Huge respect to the organisers and everyone behind this 👏

Made in Central Europe: “When the entire world is written in one script, what does it actually mean to be local?”
The talk, presented by , explored how typography of the late 20th century is usually interpreted through a Western lens, while Central Europe — with its rich but less visible heritage — remains on the margins.
How do we maintain local authenticity in a global visual culture without falling into nostalgia?
Type travels through time. What once was fashionable can gain new meaning today. The lecture focused on parallels between past and present, the thin line between inspiration and copying, and why it still isn’t “sexy” to admit that even a new font can grow from historical roots.

🎤 Greetings to all amazing speakers included: 📍 — Yevgeniy Anfalov (Kyiv Type Foundry)
📍 — Dominika Toboła (Neon Museum, Warsaw 📍 — Johannes Breyer (Dinamo Typefaces)
📍 .d.m — Kiel Danger Mutschelknaus
📍 — Liza Enebeis (Studio Dumbar)
📍 — Ben Wittner (Eps51)
📍 Radek Sidun (Briefcase Type Foundry)

Thank you, Warsaw. Central Europe isn’t the periphery — it’s a source. ✊
Photos by Patryk Wisniewski and Lucie Kutalkova

03/02/2026

Case study: BC Blot 🫟 but make it Matisse

Blot reflects Jan Solpera’s fascination with 19th- and early 20th-century display lettering — those strange, often bizarre letterforms that provoke and reveal unexpected beauty.

BC Blot 🫟 New Headline Typeface 🫟 2 styles
👋 ASK FOR TRIALS 👌
🤚 LINK IN BIO 🤙

Design: Jan Solpera, David Řeřicha and Petra Dočekalová .typo
Case study design: Marius Corradini

*This is just a fictional application, no official use of the typeface.

16/01/2026

Font in use: BC Falster Grotesk

Issue #01 of *Comprendre Son Temps* (Understanding Our Time) journal is an invitation to pause and reflect on the challenges of our era. Published by , it releases two issues per year.
Illustrations by

Falster Grotesk 🔶 designed by
🔶 8 styles (Light, Light Italic, Regular, Italic, Medium, Medium Italic, Bold, Bold Italic)
🔶 Number of glyphs per font: 467

🔶Other fonts in use:
Ostia Antica
NaN Matrify A
TEKST

02/01/2026

“Once, it happened that I made an ink blot and tried to wipe it off quickly. When I looked at the white surface of the paper, with the black blot and the smear around it, I suddenly realised it was an “O.” Just for fun, I started playing with shapes that could be derived from that first blotted letter. And at that moment, I had no idea it could ever turn into a complete alphabet.”

— Jan Solpera, 2025

BC Blot 🫟 New Headline Typeface 🫟 2 styles
👋 ASK FOR TRIALS 👌
🤚 LINK IN BIO 🤙

Design: Jan Solpera, David Řeřicha and Petra Dočekalová .typo

29/12/2025

“The “i” worked wonderfully — the thin stem and the big dot above it still kept a clear connection to the basic forms of the whole alphabet. But with the uppercase letters, everything became much more complicated. I had to merge the visual effect of the aggressive blot and the thin line emerging from it with the conventional shapes of the capital alphabet, whenever possible. That’s where the real challenge lay. My playful approach stopped working, and I had to start thinking hard about each letter.”
— Jan Solpera, 2025

BC Blot 🫟 New Headline Typeface 🫟 2 styles
👋 ASK FOR TRIALS 👌
🤚 LINK IN BIO 🤙

Design: Jan Solpera, David Řeřicha and Petra Dočekalová .typo

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