In 1993, Petr Babák cut letters about six centimeters in size into a yellowed paper using a razor blade and then scanned them. The typeface didn’t undergo any retouching or any other beautification procedures, so it contains various imperfections and traces of different cut widths. The characters were originally used as vector pictures that were intricately assembled into words, only to be thoroughly revitalised, and their character set significantly extended, twenty years later.
The main hallmarks of Řezan are hair serifs, which are created by the extension of the razor blade cuts outside of the character shapes. Řezan is an unconventional, dynamic display type, originally created as a one-off student project.
A poster presenting Řezan; Petr Babák; 1992.
Tryskáč magazine. Petr Babák and Ondřej Chorý; 1992. The magazine wasn’t restricted thematically or otherwise; the range of subjects covered by individual issues was fairly diverse: aircraft designer Sergey Ilyushin, industrial designer Raymond Loewy, musical visionary Prince...
Experimental typefaces found their first uses in the “fast” Tryskáč (Jet) magazine, which was published in 1992 by Petr Babák and his classmate Ondřej Chorý. They published not only their own fonts, but also typefaces of other classmates at the Academy of Arts, Architecture and Design in Prague.
Petr Babák cut the original, six centimetre characters with using a razor. Frame size: 530 × 529 mm.
Catalogue for the Daniel Balabán exhibition, Moravian Gallery; designed by Lukáš Kijonka and Petr Babák, Řezan font; 2013.
Design: Petr Babák
Number of fonts in a family: 1 (Regular)
Number of glyphs per font: 401
Release date: 2014
Slashed Zero (zero)
Case Sensitive Forms (case)
Localized Forms (locl)