Exploring the complexities of tactile legibility and optimal spacing for enhanced reading experiences. Through research and collaboration with international organisations, Zed Braille emerges as a finely tuned typeface, bridging diverse user needs and international standards.

Sans-serif vs. serif fonts for legibility: a contentious debate without much evidence. Recent research challenges conventional wisdom.

The article was triggered by the discussions with the late Gerard Unger about the nature of originality in the type design industry, highlighting the importance of historical continuity in creating new works while examining the notions of originality and the boundaries between interpretation and plagiarism.

Typotheque tackled the unprecedented task of designing a comprehensive set of fonts for South Asia.

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.

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?

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?

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.

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.

Simple graphics unite Slovaks seeking justice and decency in the largest protests in the country’s history.

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

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.

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.

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.

Uni Grotesk is a modern adaptation of the ubiquitous but awkward Universal Grotesk, a typeface that dominated communist Czechoslovakia.

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.