Marko Hrastovec

Sturdy type family with wider proportions, including broad range of styles that perform equally well in sizes big and small. It preserves dynamics without any particular influence of writing tools. Instead, it’s using contrast as a manipulated variable rather than fixed one. Seven weights from Thin to Black, plus a Display weight. Contact for more information and availability.

Designed in 2015 as part of TypeMedia master course.

Lettering for Best student award diplomas at School of Design in Zagreb. Unfortunately whole project was dropped.

Central lettering for foosball field at type]media studio.

Logotype for a streetwear clothing store based in Split and Zagreb, Croatia.

Directed by Nikola Djurek

Stencil monogram for custom frame builder Hrvoje Banić. It is cut into aluminium plates and used as a headbadge on bicycle frames. Photos by Christian Bajsić.

Logotype and monogram for Austrian-based architecture studio Andrea Vattovanni Architecture. Logotype is set in custom tailored simple, geometrical lowercase in light and bold weights. Accompanying monogram is derived from uppercase initials. Monogram is designed in ten optical weights so they can be combined together while stroke width stays the same.

Logotype for croatian fashion designer Mura Pehnec. Hairline version is designed for use in all printed and web applications, while more thicker version with 1,5 mm stroke width was drawn specifically for aluminium nameplates that are applied to products which can be seen here.

Logotype for Tourist association of Lumbarda, island of Korčula. This is the place where Antique Greek document ‘Lumbarajska psefizma’ was discovered, and whose letters carved in the stone were revived, refined and interpreted into a new logotype.

Directed by Tonka Lujanac

Garestin Type System is intended to serve as a carrier of visual identity of city of Varaždin. Therefore, its styles should perform well in all possible sizes from small continuous text to large ones such as storefronts or wayfinding system. System consists of three ‘optical’ styles: Small, Medium and Large with accompanying italics whose names indicate intended application size. Details are crafted specifically for each style, while Large style sports higher contrast than Small and Medium.

City of Varaždin is famous for its baroque architecture, which was main inspiration for the typeface. Garestin Type System is at the same time inspired by architecture details and proportions in the city and transitional typefaces from baroque period. Result is an elegant contemporary serif type system suited for text and display use, with enough character to carry identity of a city.

Developed as final MA project @ School of Design, Zagreb
Mentored by Nikola Djurek

Still work in progress.

Lettering for Jinx — Croatian Pop band from Zagreb. Interpretation of their first ever logotype to celebrate band’s 20th birthday.

Commissioned by Dejan Kršić

Lettering system for multifunctional hall/organisation  that organises concerts, exhibitions, movie screenings etc.

Designed with Nikola Djurek

Variable type system that consists of 15 different serif types, two different construction models, high & low contrast and finally stencil, inline and stencil+inline styles. Altogether it counts 240 styles to choose from.

Designed with Nikola Djurek, published by Typonine.

Wordmark for small agrotourism startup ‘Kos’ based near Zabok, Croatia. Everything they offer is hand-made from juices, wines, food etc., so I was searching for something between natural, organic, crafty that would easily be applied into various type of material (wood, metal). Final wordmark is soft-stenciled brush script with simple swashes.

Directed by Nikola Djurek

Marina is a boat hostel based in Rijeka, Croatia. Client had exact idea in mind sketched with existing font, but wanted custom tailored logotype. Main challenge was to find the best option for RI ligature (RI is also abbreviation for Rijeka) that would be noticable but still not standing out too much.

Directed by Tin Kadoić (Brlog)

Swashes inspired by penmanship of George Bickham and Italian calligraphers Arrighi, Palatino and Tagliente as addition to fine stenciled letterforms of Marlene Stencil. Every letter has 5 different swash alternates, each of which is unique.

Designed with Nikola Djurek, published by Typonine.

Logotype redesign for CaoCao chocolate. Client wanted to refresh their logo, but didn’t want to go for something totally different. New, more simple script logotype, incorporates characteristic capital C and a bit funky contrast from existing packaging. It is actually one word that can be repeated in a row for the needs of advertising campaign. Two different versions of letter ‘o’, with and without final form.

Directed by Šesnić&Turković

Designing visual identity for restaurant Okrugljak’s 100 year anniversary. For that occasion Studio Cuculić invited me to collaborate on redesign of their old logotype which was interesting bastarda-like combination of blackletter shapes and calligraphic details. Following the broad nib contrast type of the logo, number 100 was added for restaurant’s birthday promotion materials.

Directed by Vanja Cuculić

Custom lettering that makes use of 2 baselines and 3 cap heights. Designed for young rock-band Act Normal

Concept behind the project is to show how many different work is done by School of design students in one year. All the work titles and their quantity were hand lettered in simple informal uppercase letters and numbers with brush pen.

Designed with Luka Reicher

Lettering for holiday cards that I’m sending out to friends and colleagues during holiday time

Typeface Miłosz was designed by Andrija Mudnić, Luka Reicher and Marko Hrastovec for Type Design International Competition ‘Miłosz 2011’ organized by Znaczy Się New Art Foundation. As the brief stated, the typface was to be used for publishing Czesław Miłosz’s work (both prose and poetry) in Polish and English language.

By analyzing Miłosz’s work, conclusion was brought that his poetry is rich with symbolic metaphors and that ‘atmosphere’ in his poems can change drastically from one verse to the other. Our focus was on functionality and legibility as the typeface was intended for use in continuous text aswell as poetry. Special attention was given to shaping Polish diacritics, adjusting proportions of letters based on their frequency of use and designing a variety of ligatures that would solve type setting problems common to Polish and other European languages.

Download PDF specimen

Lettering for experimental music project named Vagus. Inspired by Wim Crouwel and Jurrian Schroffer letterforms.

Lettering piece for my dearest grandmother Zdenka

Caps only typeface that balances between rough stencil letterforms and soft strokes with calligraphic details. Numerals work with different geometric-shaped terminals.

Script-like logotype with uneven amount of contrast for Croatian punk-rock band

Custom lettering for a sports center based in Varaždin, Croatia.

Directed by Fran Mubrin

Personal monogram collection