An article on the origins of the Georgian writing script, is historical development, printing traditions, and Georgian typography today.

Creating a new language version of a typeface is akin to a translation, whereby purpose, intention and respect are as important as proportion and design.

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.

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.

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.

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.

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.

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.

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.

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.

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?

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?