November, October and November Stencil Tamil are a family of low-contrast, monolinear Tamil typefaces. Following a rigorous overhaul of the original, they have now been redesigned for better reading and unambiguous communication in text and display sizes. With a range of widths (normal to compressed) and weights (hairline to black) this suite of designs is a comprehensive toolkit for pragmatic Tamil typography.
Essays · 18 November 2021 ·
English · 2034 words
by Peter Biľak
Um ensaio sobre a história e definição de famílias tipográficas, parâmetros para o design de tipos, e as possibilidades para criação de sistemas tipográficos ainda maiores hoje.
Essays · 15 May 2021 ·
Portuguese · 2990 words
by Peter Biľak
A distração das mídias sociais pode levar a gritos de “deixe-me continuar com meu trabalho”. Para designers, não há fim na demanda para se estar fisicamente e digitalmente ‘na vitrine’. Porém, e se esse não for o seu modo de ser, ou se não foi esse o motivo que o levou a projetar? Para além de curtidas, seguidores, networking e conexões, para muitos a questão fundamental é: até que ponto o reconhecimento público é uma medida de sucesso?
Essays · 15 May 2021 ·
Portuguese · 1912 words
by Peter Biľak
A book review of Theory of Type Design by internationally renowned type designer Gerard Unger, where he is delving into cultural, historical and social roots of type design and typography.
Reviews · 1 June 2021 ·
English · 878 words
by Peter Biľak
The distraction of social media can lead to screams of ‘let me just get on with my work.’ For designers, the demand to be physically and digitally ‘out there’ is endless. But what if that is not how you are, or why you even wanted to design? Beyond the likes, followers, networking and connecting, for many people the fundamental issue is: to what extent is public recognition a measure of success?
Essays · 19 April 2021 ·
English · 1764 words
by Peter Biľak
Type design must consider not only the shape of the letters, but also the white space around them, which is essential for the ease of reading.
Essays · 25 May 2021 ·
English · 2010 words
by Peter Biľak
Design is concerned with creations of form, rather than philosophical discussions about holism and acceptance of non-form. However, can the absence of matter teach us more about our true nature?
Essays · 19 February 2004 ·
English · 2088 words
by Peter Biľak
In the world driven by utility and performance, is there a room for open-ended typographic play system, that allows to discover something that was not entirely planned, something that the system hoped to allow, but could not guarantee?
Typeface stories · 22 June 2020 ·
English · 1112 words
by Peter Biľak
In less than three decades, web typography has caught up to and even surpassed print typography. A brief look into how we got to where we are today.
Essays · 22 October 2019 ·
English · 1450 words
by Peter Biľak
The five centuries that followed Gutenberg and his moveable typefaces defined the possibilities of Roman serif type. The current possibilities of sans typefaces were defined over the course of the 20th century. Notes about types that inspired the Ping typeface.
Essays · 11 March 2019 ·
English · 955 words
by Peter Biľak
It is not very often that I come across type that is so unusual, so strikingly different that I can’t place it. Hansje van Halem’s Wind is one of those rare examples, so I asked her if we could publish it
Typeface stories · 8 December 2017 ·
English
by Michal Sahar
Traditionally, Hebrew printed typography doesn't have a notion of ‘italic’, a concept linked with the evolution of the Latin alphabet. Hebrew, however, when written by hand used cursive forms taught at schools simultaneously from when children start to read, the informal style hasn’t integrated into printed typography. Michal Sahar proposes a cursive Hebrew for continuous text.
Essays · 11 October 2017 ·
English · 1075 words
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