The Rebecca font family is loosely inspired by the impression evoked by medieval calligraphy and manuscripts. Its inspiration were the Irish-Anglo-Saxon miniscule of the seventh century, the Rotunda script, the Uncial script, the Langobard book typeface, Lettre Bâtarde and also Literra Beneventana – excellent calligraphic minuscules, which were created many centuries ago by monks at the monastery of Monte Cassino. Rebecca is the general name of a type family of four fonts, which, while not rigorously copying their historical models, still strive to evoke a similarly majestic impression like the old Gothic scripts. The character silhouette is naturally and unobtrusively adapted to the subsequent evolution of Latin scripts over the centuries, which strived for better legibility and the clarity of individual characters. Rebecca Ordinary, the basic style, is contrasting, dynamic, and has tall uppercase letters with long, accentuated outstrokes. Other available Rebecca’s styles (Sharp, Obsolete, Grim) offer variations of the default forms and vary mostly in the extent of detail elaboration, the level of contrast and overall expression.
Jana Horáčková started designing the Rebecca font during an internship in Great Britain in 1995, using sketches made in local cemeteries. Upon returning to the studio of Jan Solpera, she started to digitise the font. It is not least due to her technical co-operation with František Štorm that Rebecca boasts an overtly metal character. The last style, Rebecca Grim, was not originally intended for release. Apart from Rebecca, Jana is also the designer of two other typefaces – Degetah (1993) and Grave (1994).
Rebecca works exceedingly well primarily in larger sizes on posters and signposts. It will find uses not only for those wanting to evoke Gothic imagery in texts, but will also be suitable for magazines, sign making, packaging and other post-modern graphic creations, which do not cling to historical accuracy or strict artistic decorum.
Rebecca shows a difference of four centuries, spanning from Irish-Scottish manuscripts to French codexes. A sheet from an original Rebecca manual. Design by Jana Horáčková; 1995.
Jana Horáčková started designing the Rebecca font during an internship in Great Britain in 1995, using sketches made in local cemeteries.
A comparison of sources of inspiration and historical templates for Rebecca: Literra Beneventana, Rotunda, Uncial and Gothic Script. Scans from the book Beautiful Typeface by František Muzika; 1958.
Lucie Kutálková’s limited-edition Leeda Redesigned Collection features typography by Olga Benešová.The words and sentences printed on the garments are excerpts of mini-stories written by Pavel Turek and Johana Švarcová; 2013.
Design: Jana Horáčková
Number of fonts in a family: 4 (Ordinary, Obsolete, Grim, Sharp)
Number of glyphs per font: 416
Release date: 2014
Case Sensitive Forms (case)
Localized Forms (locl)
Small Capitals (smcp)