This article highlights some major steps in the historical development of lettering tools for drafting.
Essays · 15 January 2017 ·
English · 2500 words
by Peter Biľak
Nel novembre del 2010 Peter Biľak è stato invitato a intervenire alla conferenza di un giorno tenutasi a Copenaghen ‘Conceptual Type - Type led by ideas’; tema del convegno, le idee che stanno alla base della progettazione dei caratteri. Questo intervento si interroga sulle possibilità dei caratteri concettuali e compara il type design ad altre discipline.
Essays · 18 November 2013 ·
Italian
by Peter Biľak
Este articulo discute los métodos de distribución convencionales de la tipografía digital y sus alternativas. Fue escrito originalmente para el Centre National des Arts Plastiques y esta enfocado al ámbito de la tipografía en Francia.
Essays · 23 May 2012 ·
Spanish · 1725 words
by Peter Biľak
En este breve ensayo se evalúan las percepciones equivocadas acerca de la tipografía occidental en general y la pertinencia del uso de la terminología eurocéntrica en torno a los tipos.
Essays · 23 May 2012 ·
Spanish · 1012 words
by Ellen Lupton
Un recorrido que da cuenta de las mujeres diseñadoras de libros, revistas, campañas activistas, marcas y otras cosas más en el siglo XX.
Essays · 23 May 2012 ·
Spanish · 4956 words
by Peter Biľak
What is the value of type competitions? A brief reflection on the common practice of awards hunting.
Essays · 20 March 2012 ·
English · 620 words
L’œuvre typographique de Hans Eduard Meier révèle plus de soixante ans de passion pour la lettre et la traversée de profondes mutations techniques. Si ses recherches des années 1950 restent d’actualité – aussi bien son livre Le Développement des caractères que le Syntax, essentiel dans le répertoire des fontes sans sérifs humanistiques –, il poursuit aujourd’hui avec de nouvelles créations, comme le Schulschrift. Il est tentant de qualifier sa production de « typographie durable ».
Essays · 1 February 2012 ·
French · 5625 words
La obra tipográfica de Hans Eduard Meier refleja más de sesenta años de pasión por la letra y atraviesa profundas mutaciones técnicas. Si, por un lado, la investigaciones que realizó en la década de 1950 no han perdido vigencia –tanto su libro La evolución de la letra como el Syntax, esencial dentro del repertorio de tipos humanísticos sin remates–, por otro lado, su trabajo continua en la actualidad con nuevas creaciones como el Schulschrift. Por ello es tentador calificar su producción como «tipografía sostenible».
Essays · 1 February 2012 ·
Spanish · 6027 words
Hans Eduard Meier’s typographic work is the fruit of his passion for letter design which has lasted over 60 years, against a background of profound technological mutations. The research he conducted in the 1950s is still relevant today, notably in his book The Development of Script and Type and his Syntax typeface, a key humanistic sans serif. He is still designing typefaces today, such as Schulschrift. His output in this domain can be seen as a type of “sustainable typography”.
Essays · 1 February 2012 ·
English · 5749 words
by Peter Biľak
Is there any reason to make new fonts when there are so many already available for downloading? It's time to reflect on motivation to draw new type. While there is no reason to make uninspired new fonts, still, there are typefaces which haven’t been made yet and which we do need.
Essays · 15 July 2011 ·
English · 492 words
by Peter Biľak
In November 2010 Peter Biľak was invited to give a talk at a one-day conference
‘Conceptual Type – Type led by ideas’ in Copenhagen about the underlying ideas behind typefaces. This lecture questions the possibility of conceptual type and compares type to other disciplines.
Essays · 24 February 2011 ·
English · 1738 words
by Jürg Lehni
A glossary of tools and technologies mentioned in Typeface As Programme.
Essays · 14 April 2011 ·
English · 1084 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
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
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
hardware
Harper’s Bazaar magazine
headline
Helvetica
Herb Lubalin
hinting
history
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
Michel Foucault
microtypography
Milton Glaser
modernism
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
Paul Rand
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 design
type specimens
type systems
typography
USA
Victor Moscoso
vocalisation
W3C
Walter Benjamin
webfonts
Willem Sandberg
Wim Crouwel
Windows
WOFF
wood type
Zuzana Ličko
