The story of Devanagari type from early print to the digital age, as Indian print culture both sparked and responded to intense socio-political change and constant technological innovation.
Essays · 21 March 2022 ·
English · 12695 words
We created a survey to evaluate different graphic variants of Devanagari characters, interviewing hundreds of people gathering data and recommendations not only on the recognisability of each form of the Devanagari characters, but also on the preferences of readers and users.
Essays · 21 March 2022 ·
English · 5045 words
by Kevin King
This essay provides guidelines to fine Syllabics typography through identifying its general and inherent concepts, as well as detailing the nuances found in local preferences within individual communities.
Essays · 24 January 2022 ·
English · 6512 words
by Kevin King
This essay explores the journey to developing a suitable secondary style for such a script, the Canadian Syllabics, in a way that expands its typographic palette and offers more tools for expressing the language in its visual form.
Essays · 24 January 2022 ·
English · 3019 words
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.
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
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
Devanagari
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
Inuktitut
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
Nunavik
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
Syllabics
Tamil
technology
The Face magazine
The Hague
theory
Thomas Huot-Marchand
Tibor Kalman
Tobias Frere-Jones
transliteration
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
