Peter Biľak


Peter Biľak (1973–) is a Slovakian graphic designer and type designer based in The Netherlands, founder of Typotheque and Dot Dot Dot magazine, designer of Fedra, Greta and Eureka typefaces.

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
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
Article on the process of designing Karloff typeface, showing just how closely related beauty and ugliness are.
Typeface stories · 25 September 2012 · English · 957 words
Peter Biľak speaks to Irma Boom about how her design practice developed over the past decade.
Interviews · 23 July 2012 · English · 2942 words
En este breve ensayo se evalúan las percepciones equivocadas acerca de la tipografía occidental en general y la pertinencia del uso de la terminología eurocéntrica en torno a los tipos.
Essays · 23 May 2012 · Spanish · 1012 words
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.
Typeface stories · 25 April 2012 · English · 1709 words
What is the value of type competitions? A brief reflection on the common practice of awards hunting.
Essays · 20 March 2012 · English · 620 words
Julien is a playful geometric display typeface loosely inspired by the early 20th century avant-garde. It is based on elementary shapes and includes multiple variants of each letter.
Typeface stories · 12 November 2011 · English · 630 words
Is 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.
Essays · 15 July 2011 · English · 492 words
Jürg Lehni and Peter Biľak in a conversation about the role of technology in type design, font formats and production tools, and Donald E. Knuth’s Metafont.
Interviews · 14 April 2011 · English · 1544 words
In November 2010 Peter Biľak was invited to give a talk at a one-day conference ‘Conceptual Type – Type led by ideas’ in Copenhagen about the underlying ideas behind typefaces. This lecture questions the possibility of conceptual type and compares type to other disciplines.
Essays · 24 February 2011 · English · 1738 words
Peter Biľak speaks with Mark Thomson about his beginnings, running a type foundry, magazines, print media in general, modern dance and typography. This interview appeared in Eye magazine No.75, Spring 2010 in the Reputations series.
Interviews · 27 September 2010 · English · 3447 words
A real-life situation that forced a type designer to evaluate his profession. One small typographic detail (an incorrect version of the diacritic over the letter L) caused troubles with the authorities. With a happy end.
Essays · 25 September 2010 · English · 1466 words
Third in the heavily subsidised series ‘Graphic design in the Netherlands’, Jan van Toorn, Critical Practice takes on the difficult task of exploring and striving to elucidate the work of Jan van Toorn (JvT), a designer who is not always clear about his intentions, who makes frequent use of inexplicable images and text, and whose work is often described with concepts such as ‘alienation’, ‘incomprehensibility’, ‘defamiliarisation’, ‘digressions’ and ‘intrusion’.
Reviews · 16 July 2008 · English · 896 words
An essay on the history and definition of type families, type design parameters, and the possibilities of creating larger type systems today.
Essays · 31 January 2008 · English · 2705 words
What do we mean by the term typography? Before starting any discussion it is useful to clarify the terminology and definition of the word. This is a first from the regular columns that Peter Bilak writes for online version of the Swedish magazine CAP & Design.
Essays · 13 May 2007 · English · 512 words
Essays · 11 April 2007 · Korean · 1501 words
Interview conducted by Luciano Perondi and Silvia Sfligiotti discussing issues of translation, languages, teaching, writing, organizing exhibitions, and having no answer to question about parallels between design and science.
Interviews · 20 December 2006 · English · 4209 words
Peter 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.
Interviews · 20 December 2006 · Italian · 3944 words
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.
Essays · 28 November 2006 · German · 3875 words
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.
Essays · 3 October 2006 · English · 3891 words
L'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.
Essays · 18 July 2006 · Italian · 3700 words
The 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.
Essays · 28 April 2005 · English · 4514 words
Rudy 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.
Interviews · 13 April 2005 · English · 4079 words
An epistemology of the word ‘experimental’ as it applies to design and type, contrasted with its scientific connotations. Examples of past and current design, type and reading/language, as well as scientific experiment, are taken into account.
Essays · 23 January 2005 · English · 2063 words
A brief look at Peter Bilak’s ‘synthetic’ approach to type design which examines both his earlier Eureka and more recent Fedra families.
Typeface stories · 1 December 2004 · English · 838 words
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.
Reviews · 29 November 2004 · English · 2013 words
A critical review of a new book featuring excerpts of Marshall McLuhan’s work, designed by David Carson. Tha author considers the complex task of illustrating McLuhan’s intricate work, and whether or not Carson’s visual devices are successful.
Reviews · 29 November 2004 · English · 675 words
An essay about the design culture which is specific to the Netherlands.
Essays · 29 November 2004 · English · 1989 words
Martin Majoor, known for his typefaces Scala and Seria, is interviewed by Peter Biľak. The origins of his type, book design and working methods are discussed.
Interviews · 29 November 2004 · English · 1219 words
The prolific founder of Werkplaats Typografie, Karel Martens focuses on the design of the Dutch architectural magazine OASE in his 1999 conversation with Peter Biľak.
Interviews · 29 November 2004 · English · 1412 words
Irma Boom, one of the world’s foremost book designers, discusses her working methods, preferences, and the nature of free-range design.
Interviews · 29 November 2001 · English · 1590 words