The Nara typeface was completed more than 20 years after the initial design. This is the story of the search for gaps in type classification.

Dieser Artikel basiert zum Teil auf meiner Forschung für die Ausstellung über das tschechische und slowakische Schriftdesign mit Schwerpunkt auf der Entwicklung der Typografie in den letzten zwanzig Jahren, die ich zusammen mit Alan Záruba 2004-2006 kuratierte. Die Ausstellung mit dem Titel 'Experiment And Typography' wurde erstmals 2004 an der International Biennale of Graphic Design in Brno gezeigt und zog später weiter nach Prag, Den Haag, Bratislava, Cieszyn, Ljubljana, Warschau und Budapest.

This article is partly based on the research for the exhibition on Czech and Slovak typeface design that we co-curated with Alan Záruba in 2004-2006 focusing on the last twenty years of typography development. The exhibition entitled 'Experiment And Typography' was first presented at the Biennale of Graphic Design in Brno in 2004 and later travelled to Prague, The Hague, Bratislava, Cieszyn, Ljubljana, Warsaw and Budapest.

Dan Reynolds reviews a travelling exhibit of Czech and Slovak type design from the past two decades, and compares this exhibit to the Fresh Fonts exhibit of Swiss design shown in Zurich until July 2004.

Nara Sans is an energetic sans serif version of Typotheque’s Nara family, echoing the original concept of dynamic, upright cursives and slanted italics.

We are proud and excited to announce Fontstand, a new Mac OS X application that lets you test fonts for free and rent them for a fraction of their retail price.

Nara explores gaps in traditional type classification. It exhibits characteristics of humanist typefaces, such as an oblique axis of contrast between the thick and thin strokes, but also characteristics of modern typefaces.

Andrej Krátky was born in Czechoslovakia, studied in Prague (now Czech republic) and USA. After starting his career as a graphic designer he co...