Documentation and research that lead to design of Arabic newspaper typeface

This article presents the Diwani style of Arabic which lead to designing Thuraya, a contemporary yet faithful interpretation of the Diwani style with extensive calligraphic features.

Our daily lives are full of noise, but when we immerse ourselves in reading, it seems to disappear. But what if the shapes of the words we read also contain perceptible noise? Does it disrupt the reading process, or do we learn to filter it out?

Interview with the Dutch designer René Knip, specialising in three-dimensional typography and lettering. From the book 158 answers.

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.

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.

Overview and sample code for accessing OpenType features in CSS.

A short essay scrutinising the general misconceptions of western typography, and the appropriateness of Euro-centric type terminology.

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.

Calcula is an experimental display typeface inspired by the idea of exploring the grey area between typeface design and lettering.

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

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.

Lava was designed to bridge the digital and print editions of a newly designed magazine.

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

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.

Riccardo Olocco and Jonathan Pierini’s Parmigiano is a reinterpretation of the work of Giambattista Bodoni (1740–1813) commemorating the bicentenary of his death.

Greta Sans was been planned from the outset as a system of interrelated styles. From the very beginning, work proceeded on multiple styles simultaneously. This text is a reflection on the process of designing large typeface systems.

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?

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 final part describes the influence of Latin script on other writing systems, namely Cyrillic and Greek, and especially on their cursiveness.