Peter Biľak www.peterbilak.com

Peter Biľak works in the field of editorial, graphic, and type design. In 1999 he started Typotheque type foundry, in 2000, together with Stuart Bailey he co-founded art & design journal Dot Dot Dot, in 2012 he started Works That Work, a magazine of unexpected creativity, in 2015 together with Andrej Krátky he co-founded Fontstand.com, a font rental platform. He collaborates with the choreographer Lukas Timulak on creation of modern dance performances, and together they started Make-Move-Think.org, a foundation for interdisciplinary artistic collaborations. Peter is teaching at the Type & Media, postgraduate course at the Royal Academy of Arts, The Hague. Member of AGI (Alliance Graphique Internationale).

Books 33

Independent art/design publication which began life as a graphic design magazine, but whose content has gradually widened to cover art, music, language, film and literature.
A simple cotton bag to carry a couple of books. Eco friendly woven cotton, with long handles. Printed on one side only.
Independent art/design publication which began life as a graphic design magazine, but whose content has gradually widened to cover art, music, language, film and literature.
Independent art/design publication which began life as a graphic design magazine, but whose content has gradually widened to cover art, music, language, film and literature.
The latest Typotheque type specimen, which in 224 pages presents the full font collection, including the future releases.

Posters 1

Plan your future or just contemplate the beautiful pattern of numbers. This oversized A0 poster presents all the days of the 21st century, with weekends clearly marked in magenta.

Articles 52

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
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
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
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
Uni Grotesk is a modern adaptation of the ubiquitous but awkward Universal Grotesk, a typeface that dominated communist Czechoslovakia.
Typeface stories · 7 March 2016 · English · 1550 words