Crabath™ Collection

Editorial

Crabath™ Collection

When browsing new titles in bookstores, I pay close attention to how typefaces behave on the page. I realized that although serif families such as Tabac or RePublic perform very well, they were originally designed primarily for magazines and newspapers, and the catalog lacked a typeface created specifically for demanding, long-form book typesetting. Even though such a project makes little economic sense, I decided to develop a comprehensive type system capable of handling everything from cover titles and main text to small notes and scholarly apparatus.

7 September 2026

Searching for a Local Reference

Any good type design school can teach you how to create a reliable, generic book typeface today. Visually, however, I wanted to establish a connection with the local typographic tradition, which becomes rather more complicated when you have an ideal Venetian oldstyle in mind. Czech type history may be relatively short, but it is extraordinarily diverse and inspiring — just not particularly helpful in this case. The beginnings of the modern Czech type design tradition are closely connected with the revival of Czech book design and with the Czech National Revival in general, and from the outset its designs display a certain degree of distinctiveness, protest, and innovation associated with the search for a national identity.
Vojtěch Preissig, serif type design, 1913, New York. The brutalist quality of the broken curves is a distinctive feature that Preissig masterfully incorporated into his Antikva.

Vojtěch Preissig, serif type design, 1913, New York. The brutalist quality of the broken curves is a distinctive feature that Preissig masterfully incorporated into his Antikva.

Slavoboj Tusar, roman typeface used for the Paris exhibition, 1924, Průmyslová tiskárna. A few distinctive touches that Tusar used in his typeface designs. Notice that charming “g”!

Slavoboj Tusar, roman typeface used for the Paris exhibition, 1924, Průmyslová tiskárna. A few distinctive touches that Tusar used in his typeface designs. Notice that charming “g”!

So I tried to find some information about old printing houses and the typefaces they used, since printing in the Czech lands has respectable roots reaching back to the 15th century. Naturally, wherever there were printers, there was also a need for new type, so the first modest references to type casting and type foundries began to appear here in the 16th century. References to type specimens do not appear until the early 18th century, however, and the earliest surviving example is the specimen of Václav Jan Krabat (also signed as Crabat or Crabath), regarded as the founder of Prague’s first independent type foundry, which operated on Celetná Street from 1751.

Krabat’s Specimen

The type specimen produced by Krabat’s workshop was published in 1761; a second, expanded edition followed in 1789.

The first part of the specimen contains 41 roman styles and 33 Fraktur and Schwabacher styles. The second presents 21 Greek and Hebrew typefaces, while the third offers 130 variations of book ornament and eight groups of calendar symbols. Krabat employed no calligraphers or punchcutters, and his workshop cast type from matrices purchased abroad. Buying and subsequently reselling matrices was common practice among type foundries of the period. The matrices he used therefore most likely came from Frankfurt, Leipzig, Nuremberg, or Vienna, although the extensive circulation of matrices and punches means that they may originally have traveled from almost anywhere in Europe. Krabat’s specimen is therefore essentially an international inventory of type and a catalog of book typefaces available in Prague at the time.
The title page of the first edition reads: “Specimen of Latin characters available at the Prague type foundry of Václav Jan Krabat in March 1761.”

The title page of the first edition reads: “Specimen of Latin characters available at the Prague type foundry of Václav Jan Krabat in March 1761.”

A page showing impressions of type in the Garmond size. At first glance, the romans appear very similar, but they are two entirely different typefaces, most easily distinguished by certain capital letters.

A page showing impressions of type in the Garmond size. At first glance, the romans appear very similar, but they are two entirely different typefaces, most easily distinguished by certain capital letters.

The first part of the specimen, devoted to Latin type, presents sizes ranging from Grobe Sabon (66 pt) down to Petit (8 pt). In the preface, Krabat explains that his workshop had additional matrices that were not included in the specimen. It is therefore a selection of the typefaces most commonly used at the time, reflecting current demand from printers.

The first part of the specimen, devoted to Latin type, presents sizes ranging from Grobe Sabon (66 pt) down to Petit (8 pt). In the preface, Krabat explains that his workshop had additional matrices that were not included in the specimen. It is therefore a selection of the typefaces most commonly used at the time, reflecting current demand from printers.

An example from the second edition of 1789, whose page size is considerably smaller, probably as a result of later trimming, since the type area is identical to that of the first edition.

An example from the second edition of 1789, whose page size is considerably smaller, probably as a result of later trimming, since the type area is identical to that of the first edition.

This copy is carefully preserved in the Library of the Museum of Decorative Arts in Prague. A label on the cover bears the strict warning: “Do not lend! /Only in exceptional cases/.”

This copy is carefully preserved in the Library of the Museum of Decorative Arts in Prague. A label on the cover bears the strict warning: “Do not lend! /Only in exceptional cases/.”

This realization freed me from the need to focus on one particular type style or a single historical model. I did not want to create a revival or a digital reconstruction of a specific cut. Instead, I could build the typeface around the idea of universality and broad usability, picking individual elements from the specimen as needed – proportions, structural principles, and details.
Clearly articulated details that helped define the character of the digital typeface — in the lowercase, for example, the beak-like terminal of “r” and the distinctive angular construction of the bowl and upper curve of “a”; in the capitals, the open form of “P” and the elegant serif transitions into the stem at the foot and arms of “F.”

Clearly articulated details that helped define the character of the digital typeface — in the lowercase, for example, the beak-like terminal of “r” and the distinctive angular construction of the bowl and upper curve of “a”; in the capitals, the open form of “P” and the elegant serif transitions into the stem at the foot and arms of “F.”

The first more complete draft of the Crabath roman and italic lowercase. Version 1.2.

The first more complete draft of the Crabath roman and italic lowercase. Version 1.2.

Corrections to roman version 1.2.

Corrections to roman version 1.2.

Corrections to the roman and italic.

Corrections to the roman and italic.

Development, Testing, and Refinement

After roughly two years of development, the collection had grown to 34 styles, including Display, Subhead, and Text optical sizes with corresponding italics, each with approximately 870 glyphs. The sets included the full range of accented characters, ligatures, small caps, eight numeral styles, fractions, superior and inferior figures and lowercase letters, and other characters. This version was prepared as a functional beta and distributed to professionals working in book design. Thanks to their willingness to participate, several publications were designed using it, which meant that in addition to receiving valuable feedback, I could observe how the typeface behaved in different situations, at different sizes, and on different papers.

Pages from the document prepared for test printing of the beta version.

Based on these findings, I made minor adjustments to the roman styles, but more substantial changes were necessary in the italics. The deep ink traps where curved lowercase forms join the stems may be effective at display sizes, but paradoxically, at small sizes, particularly in ordinary printing on rougher papers, they disrupt the letterforms and make reading less comfortable.
Differences in the joins to the stems in the beta version (top) and the final version (bottom).

Differences in the joins to the stems in the beta version (top) and the final version (bottom).

I also expanded the italics with decorative variants of the capitals and several suitable lowercase letters, along with their accented forms and corresponding ligatures, adding almost another 200 glyphs.
Using combinations of OpenType features, the final form of the entire text can be changed quite significantly. As to whether all of the possibilities offered can be sustained to a reasonable extent, adequate to the scope and size of the typography used, that’s up to the user’s taste and experience.

Using combinations of OpenType features, the final form of the entire text can be changed quite significantly. As to whether all of the possibilities offered can be sustained to a reasonable extent, adequate to the scope and size of the typography used, that’s up to the user’s taste and experience.

Because the Text optical size still proved relatively delicate in microtype, I added two additional optical sizes, Small and Caption, with lower contrast, more substantial forms, and more open spacing. The difference between the Light and Regular styles also proved too pronounced, so a Book weight was added across all optical sizes.
To make it easier to understand optical sizes, one must look to the history of letterpress printing. In order to cast all sizes of a metal typeface, it was necessary to create individual matrices for each letter. This is why the engraver made slight alterations to the punch. A given letter hence differed slightly from size to size – in terms of contrast, boldness, and proportion, so that it was either perfectly legible in a Diamond¹ size, or that it charmed with its elegance at Two-Cicero². This natural characteristic of printed type was lost, however, with the onset of phototypesetting technology. The possibilities provided by the mechanical “scalability” of a single typeface design meant that the result was the same at all sizes used. It was no longer able to address differing practical and aesthetic needs, something the previous handwork could provide.Digital typesetting inherited the same problem: a single font can be scaled to any conceivable size. As a result, display designs can appear too decorative or delicate at small sizes, while text designs can look clumsy and heavy when enlarged. Optical sizes restore the centuries-old principle of adapting a typeface to its intended scale.The Crabath family therefore includes five optical sizes across its roman and italic styles and corresponding weights, each tuned to a specific range of type sizes. They differ in ductus, contrast, counter openness, and spacing. Display has a tighter construction and higher contrast, Text balances the qualities needed for comfortable novel-length reading, and Caption is robust and open enough for small annotations.

To make it easier to understand optical sizes, one must look to the history of letterpress printing. In order to cast all sizes of a metal typeface, it was necessary to create individual matrices for each letter. This is why the engraver made slight alterations to the punch. A given letter hence differed slightly from size to size – in terms of contrast, boldness, and proportion, so that it was either perfectly legible in a Diamond¹ size, or that it charmed with its elegance at Two-Cicero². This natural characteristic of printed type was lost, however, with the onset of phototypesetting technology. The possibilities provided by the mechanical “scalability” of a single typeface design meant that the result was the same at all sizes used. It was no longer able to address differing practical and aesthetic needs, something the previous handwork could provide.Digital typesetting inherited the same problem: a single font can be scaled to any conceivable size. As a result, display designs can appear too decorative or delicate at small sizes, while text designs can look clumsy and heavy when enlarged. Optical sizes restore the centuries-old principle of adapting a typeface to its intended scale.The Crabath family therefore includes five optical sizes across its roman and italic styles and corresponding weights, each tuned to a specific range of type sizes. They differ in ductus, contrast, counter openness, and spacing. Display has a tighter construction and higher contrast, Text balances the qualities needed for comfortable novel-length reading, and Caption is robust and open enough for small annotations.

At the opposite end of the collection, I developed the uppercase-only Initial set for the largest typesetting sizes. It is intended primarily for initials, titles, and book covers. Rather than offering a spectrum of weights, the Initial styles use structures that mimic a three-dimensional profile. All eight styles can be combined or layered for more elaborate effects. For placing shaded lettering on a dark background, the shadow can also be reversed to the opposite side.
An initial (from the Latin initialis = beginning) uses size, style, color, or decoration to highlight the beginning letter of a word, chapter, or paragraph. Simple enlarged initial letters in paragraphs have been found in ancient manuscripts as early as the 5th century. In the following centuries the intensity of the initials’ decoration varied. Medieval codices and manuscripts often had initials so richly decorated that they frequently occupied the entire page. As a traditional element of book design, initials were also carried over into printed books, but at the beginning they were not part of the typefaces. Empty space left for initials was painted in by hand, affixed from separately printed clippings, or stamped. From the 15th century, printers had draftsmen and engravers design sets of initials corresponding in style both to typefaces and to ornaments and illustrations. Less wealthy printing houses bought ready-made sets which had nothing to do with the text typeface (and often even with the text). By the end of the 18th century, Giambattista Bodoni had already discarded the artistic component of the initials and concentrated only on the construction of the letter and on its visual harmony with the text typeface.³

An initial (from the Latin initialis = beginning) uses size, style, color, or decoration to highlight the beginning letter of a word, chapter, or paragraph. Simple enlarged initial letters in paragraphs have been found in ancient manuscripts as early as the 5th century. In the following centuries the intensity of the initials’ decoration varied. Medieval codices and manuscripts often had initials so richly decorated that they frequently occupied the entire page. As a traditional element of book design, initials were also carried over into printed books, but at the beginning they were not part of the typefaces. Empty space left for initials was painted in by hand, affixed from separately printed clippings, or stamped. From the 15th century, printers had draftsmen and engravers design sets of initials corresponding in style both to typefaces and to ornaments and illustrations. Less wealthy printing houses bought ready-made sets which had nothing to do with the text typeface (and often even with the text). By the end of the 18th century, Giambattista Bodoni had already discarded the artistic component of the initials and concentrated only on the construction of the letter and on its visual harmony with the text typeface.³

All these adjustments, expanding the character set, mastering, kerning, and preparing the typeface for release took another two years. Nothing should be rushed.

From Krabat to Crabath

Crabath, designed primarily for book typography, is a loose interpretation of the Latin typefaces found in Krabat’s specimen. The proportions and construction of both the roman and italic styles are based on examples in the Garmond Antiqua and Cursiv sizes (Garmond here refers to a type size of approximately 10 points). Details of the drawing, contrast, and overall character of the typeface draw on impressions of several characters in the Missal Antiqua courent size (Missal corresponds to approximately 44 points).
Crabath carefully reflects the differences in type drawn and cut for individual sizes through five optical subfamilies — from display through text to caption sizes. The pronounced ornamentation typical of late Baroque typefaces has been deliberately restrained so that the overall appearance feels natural to a contemporary reader. The stems in the italic styles were likewise “combed” into a more regular rhythm without compromising the italics’ role as a means of emphasis.
Across all styles, the character sets are extensive enough for demanding long-form digital typesetting. They include small caps, standard and decorative ligatures, and several numeral styles. A comfortable x-height, appropriate contrast, and sufficiently pronounced diacritics for a broad range of European languages using the Latin script make the typeface particularly suitable for long, complex, and typographically demanding texts, both in print and online. The delicacy of the display sizes comes into its own on book covers.
Overview of OpenType features.

Overview of OpenType features.

Why do the uppercase and lowercase letters of italics have a different slant? The first semi-italic typeface was designed by Francesco Griffo at the end of the 15th century, commissioned by the Venetian workshop of Aldo Manuzio. Due to its space-saving design, Manuzio used it to set small, inexpensive editions of ancient Greek authors. The smaller typesetting this print typeface enabled allowed the format of the books to be reduced from the usual folio to an octavo⁴. Griffo’s italic was based on the humanist written letterforms of the papal office (lettera cancellaresca) and stood at the beginning of a long and interesting development of italic typefaces. But Aldine italics were only executed in lowercase. When setting these, Manuzio’s workshop combined them with uppercase characters from roman types. The designers of later revivals thus referred to Venetian italics with more or less differing inclines of the upper- and lowercase. In 1524, Johann Singrenius, a Bavarian printer based in Vienna, was the first to supplement an italic typeface with equally slanted uppercase letters.⁵

Why do the uppercase and lowercase letters of italics have a different slant? The first semi-italic typeface was designed by Francesco Griffo at the end of the 15th century, commissioned by the Venetian workshop of Aldo Manuzio. Due to its space-saving design, Manuzio used it to set small, inexpensive editions of ancient Greek authors. The smaller typesetting this print typeface enabled allowed the format of the books to be reduced from the usual folio to an octavo⁴. Griffo’s italic was based on the humanist written letterforms of the papal office (lettera cancellaresca) and stood at the beginning of a long and interesting development of italic typefaces. But Aldine italics were only executed in lowercase. When setting these, Manuzio’s workshop combined them with uppercase characters from roman types. The designers of later revivals thus referred to Venetian italics with more or less differing inclines of the upper- and lowercase. In 1524, Johann Singrenius, a Bavarian printer based in Vienna, was the first to supplement an italic typeface with equally slanted uppercase letters.⁵

Back to Print

Playful display typefaces can be presented quite effectively on websites and in eye-catching animated social media posts. They are created, presented, and for the most part also used in digital environments. Book typefaces, however, deserve a high-quality printed medium in which they can exist naturally.

The Crabath Collection specimen was produced in a very limited edition. It is offset printed in three spot colors on Fedrigoni Arena Natural Rough 140 g/m² and casebound in covers wrapped in pearlescent paper with blind embossing.
The first part is devoted to the typeface itself and presents Crabath across a wide range of typographic situations — in all of its optical sizes and in settings appropriate to each of them, from display compositions to microtype.

The second part uses the typeface as a tool for explaining practical principles of book typography — from the fundamentals to details that readers may barely notice, but that make a decisive difference to the quality of the final typesetting.


The specimen is not available for sale. However, while supplies last, we are sending 50 copies on request to customers who purchase one of the families in the collection.
If you happen to browse through some new books in a bookstore anytime soon, take a closer look at the typefaces they are set in. You might come across Crabath – and it may make your reading a little more enjoyable.

Colophon

Notes

1) Specific terminology has been used for individual sizes of print typefaces since around the 17th century. It has varied somewhat across countries, among different printers, and over time. In the Czech lands, the continental German system based on the Didot point was used, so Diamond corresponded to a size of four points, while it has a size of 4.5 points in the American system and of only 3 points in the French.

2) Two-Cicero is equivalent to a size of 24 points (German Doppelcicero, French Palestine, Dutch Dubbele mediaan).

3) Petr Voit, Encyklopedie knihy: starší knihtisk a příbuzné obory mezi polovinou 15. a počátkem 19. století [Encyclopedia of the Book: Older Letterpress and Related Fields Between the Middle of the 15th and Beginning of the 19th Centuries], Libri, Prague 2006.

4) A folio is a printed double sheet, referred to as 2°. An octavo (from the Latin octavus = eight) is a sheet folded three times in portrait with eight printed pages in a folder. The designation 8° is used for it.

5) František Muzika, Krásné písmo ve vývoji latinky II [Beautiful Type in the Development of Latin Script], SNKLU, Prague 1963.



Bibliography

Horák, František, Česká kniha v minulosti a její výzdoba [Czech Book of the Past and Its Decoration], F. Novák, Prague 1948
A. F. Johnson, Decorative Initial Letters, The Cresset Press, London, 1931
Kiermeier-Debre, Joseph & Fritz Franz Vogel, Das Alphabet. Die Bildwelt der Buchstaben von A bis Z [The Alphabet: The Image of the Letters from A to Z], Ravensburg, Ravensburger Buchverlag, 1995