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

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?

November, October and November Stencil Tamil are a family of low-contrast, monolinear Tamil typefaces. Following a rigorous overhaul of the original, they have now been redesigned for better reading and unambiguous communication in text and display sizes.

Emily King briefly looks at visual artists use of type, and their collaboration with designers in their work.

Two books are reviewed and compared: one, a Phaidon book by Steven Heller on the history of avant-garde publications from the early 20th century on, the other, a glossier Taschen book featuring the recent design work of some 100 studios. Read on as Stuart Bailey puts the two in a ring together and hands Heller a very large pair of gloves.

Lars Müller is taken to task for his religious reverence for and faith in the omnipresent Helvetica, and the book he produced which is described as a sort of universalist, modernist gospel but several decades misplaced. What one might come away with from the book and review is the possibility that type preferences are simply individualistic... so what does it matter anyway?

Nocturno, a popular typeface for long reading, now has a stencil version. With a little twist.

Inspired by industrial signage, November Stencil gives a unique flavour to short texts and also provides surprising possibilities for colour typography and motion graphics.

New stencil styles of the extensive Parmigiano Typographic System

Stencil version of the typeface inspired by the work of Giambattista Bodoni

An organically created stencil typeface that follows the logical contrast principles of letter construction until the shape is fractured at its narrowest point.