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
by Peter Biľak
An article on the process of designing typefaces for the language other than your own — challenges of looking at unfamiliar patterns, letters, and their cultural significances.
Essays · 5 October 2017 ·
English · 1920 words
by Peter Biľak
Von den einsprachigen single-style-Fonts der Bleisatzära zu den komplexen, umfangreichen Multi-Script-Familien der digitalen Gegenwart haben sich Typografie und Schriftgestaltung weiterentwickelt, nicht nur um sich den Veränderungen in Druck- und Kommunikationstechnik anzupassen, sondern auch um eine Welt zu fördern, in der Gemeinsamkeiten und Unterschiede zusammen finden müssen.
Essays · 2 October 2017 ·
German · 1235 words
by Peter Biľak
From the single-style, monolingual fonts of the metal-type era to the complex, sprawling, multi-script families of the digital present, typography and type design have evolved, not only to embrace developments in print and communication technology, but also to support a world where unity and diversity must meet if we are to survive.
Essays · 2 October 2017 ·
English · 1302 words
Calcula is an experimental display typeface inspired by the idea of exploring the grey area between typeface design and lettering.
Typeface stories · 12 June 2017 ·
English · 2060 words
This article highlights some major steps in the historical development of lettering tools for drafting.
Essays · 15 January 2017 ·
English · 2500 words
This article describes the process of designing Thesaurus typeface, based on the types that Robert Estienne brought from Paris to Geneva, and in some way, serve as a bridge between France and Switzerland, between Catholicism and Protestantism, and now, through Thesaurus, between past and present.
Typeface stories · 15 January 2017 ·
English
Tags
Ellen Lupton
Erik Spiekermann
1980s
1990s
@font-face
Åbäke
Abbott Miller
academic
activism
Adobe
Adrian Frutiger
advertising
AGI
alternate glyphs
alternative culture
Americana
Amsterdam
Andrej Krátky
Anthon Beeke
Apple
April Greiman
Arabic
architectural
architecture
Arnhem
art
Art Chantry
Art Nouveau
Arts and Crafts
authorship
awards
Bauhaus
Beatrice Warde
bitmap
Bitstream
blogs
Bob Gill
Bodoni
book design
books
British design
browser
Bruce Mau
calligraphic
calligraphy
Canada
capitals
catalogue
Central European
Chris Brand
CNC router
collection of work
comics
conferences
corporate identity
Cranbrook Academy
CSS
cult of the ugly
cultural studies
curation
custom fonts
Czech and Slovak Republics
dance
Dance Writer
David Berlow
David Carson
David Levine
David Quay
David Reinfurt
decorative
design criticism
design heroes
design history
dictionary
Didone
digital publishing
Dimitri Bruni
distribution
distributors
Diwani
documentaries
Donald E. Knuth
Dot Dot Dot magazine
Dutch design
eBooks
Ed Fella
editorial design
education
Edward Johnston
Elisa Biľak
embedded fonts
Emigre
Emily King
ephemera
Eric Gill
Erik Nitsche
Erik van Blokland
exhibitions
experimental
Experimental Jetset
Eye magazine
fashion
feminine
Ferdinand de Saussure
film titles
film/video
Firefox
font formats
font name
font styles
France
František Štorm
Fred Smeijers
Freda Sack
Fuse magazine
geometric
Georges Perec
Gerard Unger
Germany
Gerrit Noordzij
Gert Dumbar
graphic design
grotesque
hand lettering
Hans Eduard Meier
Hansje van Halem
hardware
Harper’s Bazaar magazine
headline
Hebrew
Helvetica
Herb Lubalin
hinting
history
humanist
humour
illustration
India
industrial
interdisciplinary
Irma Boom
ISO
Italy
Ivan Chermayeff
Jacques Derrida
James McMullan
Jan Solpera
Jan Tschichold
Jan van Krimpen
Jan van Toorn
Jean Baudrillard
Jessica Helfand
Joep Pohlen
Johanna Biľak
John Berger
John Maeda
Jon Wozencroft
Jonathan Barnbrook
Jonathan Hoefler
Jürg Lehni
Just van Rossum
KABK
Kai Bernau
Karel Martens
Karel Teige
Katherine McCoy
Kristyan Sarkis
Kufic
Ladislav Sutnar
language
László Moholy-Nagy
layers
lecture
legibility
Letterror
Lewis Blackwell
ligatures
Lorraine Wild
low-contrast
magazines
Mark Thomson
Marshall Arisman
Martin Majoor
Massimo Vignelli
Matthew Carter
Max Kisman
METAFONT
Mevis & Van Deursen
Michael Bierut
Michael Rock
Michal Sahar
Michel Foucault
microtypography
Milton Glaser
modernism
modular
multi-purpose
multilingual
multimedia
multiscript
Muriel Cooper
music
Naomi Klein
Naskhi
Netherlands
neutral
Neville Brody
new media
newspaper
non-Latin
Oldřich Menhart
on-screen reading
Ondrej Jób
Ootje Oxenaar
OpenType
Otto Bettmann
Otto Treumann
Pablo Ferro
packaging
parametric
pattern
Paul Rand
Paul Renner
Paula Scher
Persian
Peter Biľak
Peter Verheul
Petr van Blokland
philosophy
phonetic
photography
Pierre di Sciullo
Pierre Simon Fournier
Piet Zwart
pixels
politics
posters
PostScript
Print magazine
programming
publishing
René Knip
research
revivals
Rian Hughes
Richard Hollis
Rick Poynor
Robert Crumb
Robert Estienne
Robin Kinross
Roger Black
Roland Barthes
role of designer
Ross Milne
Roxane Jubert
Rudy VanderLans
sans-serif
serif
Seymour Chwast
Sheila de Bretteville
signage
sketchbook
slab serif
society
software
standards
Stanley Morison
Steven Heller
Stuart Bailey
Sumner Stone
Switzerland
technology
The Face magazine
The Hague
theory
Thomas Huot-Marchand
Tibor Kalman
Tobias Frere-Jones
TrueType
TrueType GX
type as object
type design
type specimens
type systems
typography
USA
variable fonts
Victor Moscoso
vocalisation
W3C
Walter Benjamin
web-safe
webfonts
websites
Willem Sandberg
Wim Crouwel
Windows
WOFF
wood type
Zuzana Ličko