Urtd / Odesta


Typecache’s 20 Best of 2013 picksMay 14, 2014

Typecache has named six Village releases — Balto, the Domaine Superset, the Brooklyn Superset, Odesta, Ogg and Superior Title to their 20 Favorites fonts of 2013 (out of 550 new releases they featured in 2013.)

Typecache writes: ‘There were more than 550 new releases announced last year on TYPECACHE! So, it took us some time to review all of the great work from last year. We created another roundup of what we regard as the great typefaces from 2013.’

See all 20 Typecache picks here

2014 TDC Winner: OdestaMay 1, 2014

Odesta, designed by Ondrej Jób of Urtd, was one of the winners in the 2014 TDC competition.

The TDC writes: ‘There was a total of only 24 entries selected by the jury from nearly 200 submitted from 29 countries. These winners will will be included in the Annual of the Type Directors Club, Typography 35 and also included in 7 exhibitions touring cities in the United States, Canada, England, France, Germany, Hong Kong, Japan, Russia, Spain, South Korea, Taiwan and Vietnam.’

Typographica’s Best of 2013: OdestaMarch 13, 2014

Dyana Weissman writes: I hate this typeface.

I hate it because I wish I had drawn it myself. But I didn’t. And even if I had, who is to say whose would be better? It doesn’t matter, because this is excellent, and there is no need to even try.

When in conversation with people who know nothing about fonts, once they find out about my job, they in­vari­ably ask what my favorite typeface is. I’ve always found that question to be awkward. It’s difficult to answer when one makes, but rarely uses, the thing under discussion. I feel like an asshole saying, “I like the one that I made for this well-known, high-end client” — it’s self-absorbed and pretentious. I appre­ciate a high-quality typeface, of course, but I’m not a graphic designer, so I have no reason to license one. In answer to this question, I usually just give the name of a typeface I admire to keep the conversation flowing.

But this… this is a typeface I want. And that is an incredibly rare thing. This captures what I would want for myself so perfectly (without me even knowing that until I saw it), that I have been thinking about it. In fact, I don’t want anyone else to have it. I want perpet­ual exclusivity. I know that’s silly (and expensive), and that Ondrej can’t agree to that now that Odesta is out there. I take solace in knowing that now everyone else can license it and put it on everything BECAUSE THEY SHOULD PUT IT ON EVERYTHING.

More specifically, I love Odesta’s perfectly round ball terminals. (I often make them in my own sketches.) They lend themselves well to the pochoir/stencil effect, but this is also a script, which is lovely. It has some beautiful curves. The ‘M’. The ‘k’. The ‘r’Especially the ‘r’. I make an ‘r like that in my hand­writing just because I love the shape so much. And, oh yes, that high contrast. So elegant! All of these ele­ments together should be a total mess, but here, they come together quite nicely. There is a bit of stiffness to it, but I know where it comes from, and I forgive it. What Ondrej pulled off here is pretty amazing.

Odesta is a little bit bonkers, and that’s why I love it. I could never truly hate it.

See the review on Typographica.org.

Odesta / Best of 2013January 2, 2014

Christoph Koeberlin of Typefacts named Urtd’s Odesta one of the best fonts of 2013, he writes: You can rarely so easily find one of your ten favourites out of hundreds of new typefaces. Odesta was love at first sight — maybe because she was designed for love!

See the other Best of 2013 picks at Typefacts.com

TNW / Best of 2013December 23, 2013

Sean Manning of TNW included three Village releases in his Best of 2013 picks.

See more over at TNW

The story behind the making of OdestaNovember 19, 2013

Odesta, designed by Ondrej Jób of Urtd, is a decorative script typeface with detached strokes and pronounced ball terminals. It comes in 7 weights with small capitals, swash capitals, plenty of ligatures, and initial & final forms for each of the lowercase letters.

Read about the development of Odesta here…

New Release: OdestaSeptember 30, 2013

Odesta is new new script typeface designed by Ondrej Jób of Urtd. It has seven feature-rich weights with built-in small caps, swash alternates, ititals & finals.

See Odesta here

SELF Festival, BratislavaSeptember 7, 2012

Ondrej Jób exhibited at SELF Festival in Bratislava

Prvý ročník festivalu SELF mal podtému „vlastným nákladom“, ktorá odkazovala na aktivity v oblas­ti grafického a komunikačného dizajnu, novú publicistiku (so za­meraním na dizajn) a nezávislé vydavateľské aktivity. Prezentovali sme navýraznejšie projek­ty, ktoré vznikli na území Slovenskej a Českej republiky v oblasti tzv. self­-publishingu, DIY vydávania (do it yourself), ale aj subdisciplíny, ktoré s témou súvisia (typografia a tvorba písma, technológia výroby tlačenej pub­likácie, elektronické médiá/multi­médiá a publikovanie). Súčasťou trojdňového programu boli prednášky, výstava a diskusie 45-tich českých a slovenských autorov. Ako sprievodný program fungovalo malé knihkúpectvo, burza samizdatov, dizajnérska poradňa, freestyle printlab, kontraktačné stretnutia, festivalový časopis redakcie TVOR, komentované prehliadky, raňajky a koncert. Počas troch dní sa na festivale stretlo 700 návštevníkov—študentov, profesionálov a laická verejnosť zo Slovenska a Čiech.

New Release: RemiFebruary 8, 2012

Remi is a geometric monospace sans-serif, with five weights, two sets of capitals and plenty of OpenType features intended for display typography but with its true italics and various features designed specifically for text setting, its usage possibilities are wide.

The construction and the proportions are based on the classic segmented LCD fonts: the capitals are the same height as the ascender and the x-height is exactly in the middle of the capital height. For this reason, another set of ‘shorter’ capitals was added. They can be used as ordinary small capitals or as short capitals via the Stylistic Set 1 OpenType feature.

The fonts have more than 40 special ligatures: compound glyphs containing abbreviations of both imperial and metric measurement units as well as some frequent short words from five major languages.

Read more

Typographica on DokoJanuary 1, 2012

Reviewed by Tânia Raposo and Frank Grießhammer

Doko’s name was generated automatically. Designer [Ondrej Jób](http:vllg.com/urtd] was only sure of how the name should sound, and — based on a small number of variables — he wrote a Python script that finally created the name he was looking for.

This is not the only thing that makes Doko unique. Doko’s features are drawn from various fields of inspiration, including comics and cartoons, illustration, and hand-lettering. The letter proportions (big head on a small body) are a direct reference to cartoon characters. In the italic styles, especially in the decorative swash caps, the nod to brush lettering is clearly visible.

Read more on Typographica

Profile: Ondrej JóbSeptember 7, 2011

Ondrej Jób: Tvorba písma je super komplikovaná záležitosť

Ondrej je dizajnér písma, čo je disciplína na Slovensku málo rozšírená. Rozprávala som sa s ním o tvorbe písma, o nekonečnom spore medzi grafikmi a jeho obľúbených fontoch.

Read more at Zajtra

Welcome: UrtdJuly 18, 2011

Our newest member foundry is Urtd, the one-man foundry run by young Czech designer Ondrej Jób. His work is fresh and vibrant, and we’re excited to bring you his Doko typeface.

New Release: DokoJuly 18, 2011

Doko is a type family for magazines inspired by cartoons, illustration and hand-lettering. The design balances on the thin line between the expressiveness of display typefaces and the perfect functionality of text faces, but performs equally well on both sides of the border.

The Case and Point: Ondrej JóbJanuary 11, 2011

Ondrej Jób is a graphic designer and type designer from Liptovský Hrádok and currently living and working in Bratislava, Slovakia. His projects often utilizes his own custom lettering which bring an essential sense of vitality to his work.

Q: As a graphic designer and a type designer, what role does type design play in your work?

I think having the skills and the ability to design letters has made me more sensitive about typography and typographic flaws, compared to a ‘regular’ graphic designer. For example, in the Slovak language, we have an alternative form of caron used with the lowercase l and d, sadly there are so many graphic designers here in Slovakia who just use the apostrophe or the acute mark if they can’t find the right caron in their fonts. It catches my attention every time I see badly treated typography … I think I would make a good typographic police officer.

Read more on The Case and Point

Typer / Doko

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