In autumn 2022, we taught a four-month micro-degree course in type design at our alma mater, the Estonian Academy of Arts in Tallinn. Alongside technical aspects of typeface development, the course included guest visits from local and international type designers and regular drawing sessions.

One of the participants was <a href="https://www.laurapappa.biz/" target="_blank">Laura Pappa</a>, an EKA alumna who now teaches on the Graphic Design MA course. Laura was mainly interested in free-hand lettering and building alphabets from sketches, but towards the end of the course she decided to try designing a sans serif typeface. One of her long-time favourites is Bauer Type Foundry’s 1907 typeface <a href="https://en.wikipedia.org/wiki/Venus_(typeface)" target="_blank">Venus</a>, which influenced her early graphic design work and subsequent type choices. Venus is still used in the identity of <a href="https://www.rozenstraat.com/" target="_blank">ROZENSTRAAT — a rose is a rose is a rose</a>, a gallery and project space in Amsterdam, where Laura is based.

Laura set out to create a new version of Venus, inspired by its amateurish qualities. In her graphic design practice, she similarly avoids overly slick or polished results, preferring to preserve the nuances of human communication.

<img src="https://cdn.fontdue.com/typokompanii/images/2355981160288524897/IMG_7389-2.jpg?v=63955042041">

After the course, Laura was left with an unfinished Regular cut and began wondering what might become of it. She eventually asked us to turn her design and sketches into a workable typeface. Originally intended as something for her personal use, it was to include Regular and Thin cuts as well as italics.

We found the invitation intriguing and decided to take Laura’s files and sketches as a starting point rather than simply making a new Venus. Together, we developed a typeface that celebrates quirks, imperfections and even mistakes.

About a year into the process, Laura suggested releasing the typeface through our foundry. We saw potential in sharing it more widely, and eventually decided on five weights plus a variable version.

Our conversations focused on making the typeface feel simple and, in some ways, universal, while avoiding familiar type-design gestures and, in Laura’s words, “unnecessary additions”. We developed the Regular and Italic first, followed by Thin, and finally the Bold end of the spectrum. From the beginning, we wanted the different weights to share the same character width, making it a uniwidth, or duplexed, typeface. This means users can move between weights without affecting the text flow, while the variable font allows even more fine-tuning options.

<img src="https://cdn.fontdue.com/typokompanii/images/2355934027577465623/Vee-ENG-02.jpg?v=63955036423">

The typeface also went through a small parade of possible names before eventually becoming Vee. Early proposals included Linus, Reamus, Peanuts, Silvi, Pallas, Eris, Juno, Vesta, Fria, Flora, Metsik, Luna, Isola, Vonness, Femus, Janis, Nebulus, Pokus, Priius, Reesus, Renus, Revenus, Servus, Siblius, Siinus, Vemus, Veneres and Zenus.

## Publication ##
 

By spring 2026, Vee had taken shape and we began discussing its launch. Laura wanted to create a printed specimen, and after exploring several directions, we settled on a conversation between the three of us about amateurism, mistakes, collaboration, mostly focusing on Tüpokompanii’s practice.

The conversation took place over Zoom on 1 June 2026, with Laura joining from her home in Amsterdam, Aimur from Tüpokompanii’s studio, and Andree from home while also entertaining his children. We discussed how we got into type design, how we began working together, and how our practice grows out of graphic design tools and thinking. We also talked about our typefaces, commissioned projects and the ideas behind our new collaboration, Vee.

<img src="https://cdn.fontdue.com/typokompanii/images/2355934399947774744/Vee-ENG-03.jpg?v=63955036467">

Our friend <a href="https://www.knock-knock.ee/" target="_blank">Else Lagerspetz</a> helped edit and translate the conversation. The Estonian publication came to be called “Ekseldes ei eksi” (roughly, “you won’t get lost wandering”), while the English edition, “Let yourself be bad at things”, takes its title from a quote by American TV host Conan O’Brien, a big favourite of Laura’s.

We spent a day at <a href="https://www.instagram.com/a_space_for_etc/" target="_blank">Niine</a>, the Graphic Design MA students’ project space, printing the publications on the department’s risograph with the help of <a href="https://www.evaclaycomb.com/" target="_blank">Eva Claycomb</a>, and continuing some of the conversations from the interview — with some local gossip inevitably mixed in.

The launch was planned for the beach beside Linnahall, but ten minutes before it began, an Estonian summer storm brought strong winds and rain. Luckily, our friends at <a href="https://www.logisaun.ee/en/about/" target="_blank">Logi sauna</a> let us move inside. Benches became tables and seating, while home-made bread, dips, cookies and lemonades made for an unexpectedly fitting sauna reception. We read from the publication, talked about the typeface and, most importantly, caught up with friends over a drink.

<img src="https://cdn.fontdue.com/typokompanii/images/2355942663792007172/IMG_9896.jpeg?v=63955037452">

The typeface and publication are now available. The publication can be ordered for €7 + shipping, or you can visit our Tallinn studio for a chat and a complimentary copy.

You can also read the conversation and download the digital version here:

<a href="https://www.dropbox.com/scl/fi/xw613xik8w2xte1r8ylnf/Vee_spc_EN.pdf?rlkey=2184boc4kp9crdvbu7ygzw20k&dl=0" target="_blank">ENG</a> & <a href="https://www.dropbox.com/scl/fi/kl40rpi75dzc9yseo5bag/Vee_spc_EE.pdf?rlkey=q49igfnr7bgtn58591cfrpbhf&dl=0" target="_blank">EST</a>

<img src="https://cdn.fontdue.com/typokompanii/images/2355938914730154777/Vee-ENG-01.jpg?v=63955037005">

let-yourself-be-bad-at-things

Let yourself be bad at things

Design collective AKU approached us in the spring of 2022 to design a custom typeface for the city of Tartu, the second-largest in Estonia. It’s not exactly every day that one gets an offer like this so we eagerly got on board. The initial brief called for a typeface that could “time-travel” by having two sets of alternate characters next to the default style, one looking to the past and the other facing the future. As the budget was limited, the option to use an existing open-source typeface as the starting point was also discussed but we politely declined this compromise and took a typeface that Andree had secretly been drawing as the initial basis to work with.

We met once a week with AKU to discuss our progress and were given access to a shared Figma file where we could be the flies on the wall observing the development of the visual identity system. After a couple of feedback rounds, it was going okay but we felt like something was still missing at the core. The keywords “past, present, future” were becoming too restrictive, and it was difficult not to step into the usual clichés. Also, it wasn’t completely clear yet in what contexts the different font styles would be used.

<img src="https://cdn.fontdue.com/typokompanii/images/1429684952617884248/Tartu-fonts-visull-3.png?v=63844618928">

## Semiootik ##
 

Incidentally, around the same time, Aimur had a discussion about the project with Henri Papson, our friend and consigliere. They were trying to think about what are the unique characteristics of Tartu and how to reflect them in the typeface. Tartu is a well-known university town in the whole Baltic region and one of the most prominent figures in the academic field was Juri Lotman, the founder of the Tartu–Moscow Semiotic School. The connection to semiotics gave us a good excuse to realize a thought experiment that Aimur had pondered some time ago – by flipping and turning letters they start to resemble other characters and thus change their meaning. This trick helped us solve our uncertainties with the original “time-traveling typeface” idea. Not only did it feel like the typeface started designing itself but also the semiotics-inspired style found its logical usage context for cultural-orientated communication. The number of possibilities seemed endless and it became a sort of brain teaser game for us to see how many letter-flipping options we could spot (don’t even get us started with numb3r5!). We tested around 50 combinations and ended up with a selection of 21 alternate forms in the final typeface.

<img src="https://i.imgur.com/yIwOCsA.gif">

## Kodanik ##
 

Simultaneously, we also reconsidered the formal references of the typeface and wanted to tie it more closely to the local context. One warm summer day Andree got on a train to Tartu to capture the many old hand-painted enamel street signs that are still commonly used in Tartu. Riding a bicycle for easier navigation and with a camera mounted on a monopod (like a tripod but with one leg) to be able to get up close and personal, he documented 48 signs in different parts of the city which then became the formal source material for the typeface. We took Ladna as the basis to speed up the process, changed the proportions and completely reworked all characters in the font. We aimed to match the spirit of the sign-painter and keep as many quirks of the street signs in the final typeface as possible and not to iron them out from the vector shapes which is somewhat counter-intuitive to our habits as type designers. 

<img src="https://cdn.fontdue.com/typokompanii/images/1433456108042885173/Tartu-fonts-street-signs.jpg?v=63845068485">

<figure>
<img src="https://cdn.fontdue.com/typokompanii/images/1429707476818893528/Tartu-fonts-visull-4.png?v=63844621613">
<figcaption>Visual correction proposals that were ignored</figcaption>
</figure>

## Geneetik ##
 

By this time it was clear that the two font styles would be able to hold the identity system together nicely and cover almost all use cases appropriately. The only situation where the street-sign-inspired roughness didn’t do the team at AKU any favors was when they had to design the template for a formal letter of thanks a.k.a. the Designer’s Dream Job. While technically it was possible to make it work, we started to see that there would be more situations that would benefit from a third contrasting style to seal the deal. The idea of swash capital letters seemed intriguing initially, but after trying out several stylistic approaches to the swashes, they still didn’t seem to click. Cold… Then we drew a lighter weight to have some contrast next to the other two styles. Warmer… Finally thinking again about the imaginary sign-painter and putting on their hat, we envisioned a scenario where they are asked to draw something elegant but the paint keeps running out halfway through the brushstrokes so the result is a little bumpy but still delicate. Bingo! The shapes also resemble a parabola or a DNA sequence which came in handy when it was time to name the fonts. As a final step, we decided to name the typefaces by thinking of them as characters in the city: Tartu Kodanik (Citizen), Semiootik (Semiotician), and Geneetik (Geneticist).

<img src="https://i.imgur.com/oXOT01u.gif">

## Logo ##
 

During the process, we proposed some logo solutions as well, not to mention the hundreds of sketches by AKU, that didn’t make the cut for better or worse. Finally, once the direction of the logo had been settled, we helped to make finishing refinements to it. The T R T U letters were taken from Tartu Kodanik and widened to match the width of the spiral-shaped A by robustly inserting extensions, maintaining a connection to its street-sign origins.

<figure>
<img src="https://cdn.fontdue.com/typokompanii/images/1429728406471351067/Tartu-fonts-visull-5.png?v=63844624108">
<figcaption>Robustly extended T R T U letters</figcaption>
</figure>

## Conclusion ##
 

All in all, it has been a real milestone project for us. The first typeface we made collaboratively and the biggest client for both of us so far. We’re truly thankful to AKU and Tartu City Government for trusting us. The road had many unexpected twists and turns but we’re glad our opinions were taken into account and we got to realize our vision without having to make unnecessary compromises.

<a href="https://cvi.tartu.ee/" target="_blank">Tartu CVI</a>

tartu-fonts

Custom fonts for the city of Tartu

From 2013 to 2016, we studied together in the Graphic Design department at the Estonian Academy of Arts (EKA), where we also discovered our passion for typefaces. Our main influencers were Ivar Sakk, whose legendary lectures on the history of typography we still remember vividly; the founders of Dinamo type design studio Fabian Harb and Johannes Breyer, who gave us a workshop during our second year that was a game-changer for us and, of course, Indrek “The Matchmaker” Sirkel because without him none of these connections would have happened.

We finished our BA in 2016 and made a bunch of fonts for our thesis projects. Aimur’s <a href="https://www.suvatypefoundry.ee/kalligro-kalli/" target="_blank">KalliGro</a> is a typeface system that uses modular components to incorporate elements from calligraphy and Grotesk typefaces into one. Andree was trying to draw fonts in different online apps that had primitive line-drawing functionality but weren’t proper design software. One of the most interesting experiments was the <a href="https://www.suvatypefoundry.ee/my-maps-sans-robinson/" target="_blank">My Maps Sans</a> typeface family, initially drawn in Google’s My Maps app, from where the line art letters were exported, reshaped by 14 different map projections via IndieMapper, and finally reassembled in Glyphs into 14 fonts.

After our studies, we weren’t ready to launch a studio right away, but during the dawn hours after our graduation in a hazy local dive bar, a plan that would later become Tüpokompanii was forged. In the following years, Aimur started his MA studies at EKA, did an internship at <a href="https://aku.co/projects/sveta-bold-display/" target="blank">AKU</a>, designed typefaces for <a href="https://erki.artun.ee/2017/" target="blank">ERKI Fashion Show</a> (2017), <a href="https://tmw.ee/" target="blank">Tallinn Music Week</a> (2018), <a href="https://idaidaida.ee/#/" target="blank">IDA Radio</a> (2018), and also studied at ECAL (2018–2020), but history is silent about that part.

Meanwhile, Andree continued to learn type design on his own and started practicing under the <a href="https://www.kirjatehnika.ee/en" target="blank">Kirjatehnika</a> moniker. He sought alternative means of education, luckily landing an internship position at <a href="https://commercialtype.com/catalog/publico/publico_headline_condensed" target="blank">Commercial Type</a> (2017), started working as a collaborator on different typeface projects with <a href="https://abcdinamo.com/typefaces/maxi" target="blank">Dinamo</a> (2018–…), worked as a graphic designer at <a href="https://stuudiostuudio.ee/" target="blank">Stuudio Stuudio</a> (2018–2020), and has been a guest lecturer at EKA since 2018. 

After these detours and both back in Tallinn in 2020, the idea of starting a foundry together came back into the picture. Since we’re constantly in touch about each other’s work, it made sense for us to create a collaborative platform for releasing our typefaces (and maybe others in the future) instead of each of us agonizing on our own. Over the years, we had accumulated a long list of possible names for the foundry, but Tüpokompanii had stuck around the longest. We like its neutrality, recognizability in different languages, and the wordplay on typos.

Thinking about where we are positioned in the general type design scene, our distinguishing feature might be a certain inherent Estonian-as-peripheral vantage point, while not being ashamed of our underdog past, but trying to find ways to turn it into our advantage. Our local typographic landscape is seemingly quite sparse, and the feeling of always jogging behind western influences is common, but we believe it’s time to rediscover and rejuvenate the material that has been foreshadowed by amateurism and technological inferiority, in a contemporary way. We try to continue to look at typefaces through the eyes of a graphic designer and find exciting visual solutions through a meaningful disruption of conventional approaches in type design.

Stories

Let yourself be bad at things

Custom fonts for the city of Tartu

The Story of Tüpokompanii

Stories

Let yourself be bad at things

Custom fonts for the city of Tartu

The Story of Tüpokompanii