Peter Biľak, founder of Typotheque, Dot Dot DotInterviews by Rudy VanderLansRudy VanderLans talks with Peter Biľak about the Typotheque founder’s education, design practice and experience as an ex-pat Slovak living in the Netherlands. Dot Dot Dot is discussed, as well as the typefaces Biľak has produced and his current teaching practice.
Taking Credit: Film title sequences, 1955-1965 / 3 Visions in MotionEssays by Emily KingPart three of ten of Emily King’s dissertation for the V&A/RCA M.A. Course in the History of Design. The dissertation focuses on the relationship between graphic design and film in the middle of the past century. here she lays down the modernist roots of her work.
Microtipografia: Il progetto dei nuovi dizionari CollinsEssays by Mark ThomsonL'Art Director di Collins descrive il procedimento seguito per il progetto di una nuova serie di dizionari, dal punto di vista storico, del layout e della scelta dei caratteri. Data la scala alla quale il contenuto del dizionario viene espresso, e il modo particolare in cui viene letto, le decisioni microtipografiche hanno un effetto amplificato.
About Nothing, reallyEssays by Peter BiľakDesign 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?
Eric Gill got it wrong; a re-evaluation of Gill SansTypeface stories by Ben ArcherThis article is intended for an audience of contemporary designers and students who are at least one step removed from mid-century British typographic culture; it is a critique of the Gill Sans typeface and the idiosyncrasies of its creation from a contemporary perspective. The central argument is that an earlier typeface by Eric Gill’s mentor, Edward Johnston, is a superior piece of type design.
From Lettering Guides to CNC Plotters — A Brief History of Technical Lettering ToolsEssays by Florian Hardwig, Thomas MaierThis article highlights some major steps in the historical development of lettering tools for drafting.
Métodos de distribución: Tipos digitales en el mercado globalEssays by Peter BiľakEste 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.
Spot the differenceEssays by Emily KingEmily King examines the interaction of punctuation, numerals and acronyms via corporate design and an album cover.
Why Not Associates?2Reviews by Peter BiľakA critical review of the London-based design group’s second collection of work, published in 2004. Peter Biľak’s review, first appearing in Items magazine, poses questions about the role of self-promotional design publishing as he describes the visually stimulating work of a contemporary design studio.
Don Norman, Usablity ExpertInterviews by Steven HellerDesign errors in academic design curricula, the 2000 presidential ballot and aviation and nuclear accidents are considered, the concept of human error is called into question, and a call for human-centered design for the fallible user is put forward in this discussion from 2001.
Conversazione modulareInterviews by Silvia SfligiottiPeter Biľak, grafico e type designer slovacco attivo a L’Aia, con la sua fonderia digitale Typotheque e la rivista Dot Dot Dot si è fatto conoscere come voce originale e indipendente nel campo della tipografia e della riflessione critica sul design. Due anni fa ha iniziato una collaborazione con il Nederlands Dans Theater e il coreografo Lukáš Timulak, con il quale progetta e mette in scena performance di danza contemporanea. Lo abbiamo intervistato a Milano, nel cortile della nuova sede Aiap, il 30 maggio di quest’anno, il giorno dopo la sua conferenza all’Istituto Europeo di Design.
We don’t need new fonts…Essays by Peter BiľakIs 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.
Typographica Mea Culpa, Unethical DownloadingEssays by Steven HellerSteven Heller describes the guilty revelation experienced when he learned that typeface software licenses are sold for use on specific, not unlimited numbers of CPUs. He calls for the ethical treatment of type designers, i.e. respect for their copyrights.
New Faces (Chapter Four: London)Essays by Emily KingThe fourth chapter of Emily King’s doctoral thesis which focuses on typeface design in the United States, England and the Netherlands between 1987 and 1997.
Microtypography, Designing the new Collins dictionariesEssays by Mark ThomsonThe art director of Collins describes the process of designing the new set of dictionaries, their history, layout and choice of type. Due to the scale at which a dictionary’s content is expressed and the particular way in which the content is read, microtypographic decisions have an unusually large effect.
Parmigiano Type System, a tribute to BodoniTypeface stories by Massimo GonzatoRiccardo Olocco and Jonathan Pierini’s Parmigiano is a reinterpretation of the work of Giambattista Bodoni (1740–1813) commemorating the bicentenary of his death.
Notes on Designing and Producing the Typeface WindTypeface stories by Peter BiľakIt 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
About Uni Grotesk, a Central European geometric SansTypeface stories by Peter BiľakUni Grotesk is a modern adaptation of the ubiquitous but awkward Universal Grotesk, a typeface that dominated communist Czechoslovakia.
Notes on the development of Charlie typeface familyTypeface stories by Ross MilneThis article was written to coincide with the launch of the new Typotheque website and the release of Charlie, a slab serif typeface designed by Ross Milne. An in-depth record of the design process is documented below, including some personal notes on the design process and its historical roots in the slab serif traditions of the nineteenth century.
History of a new font (notes on designing Fedra Serif)Essays by Peter BiľakType design as accumulated knowledge and continuity: a look at the role of type designers, history and technology, revivals and invention.