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.

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.

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.

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.

Hinting, or screen optimising, is the process by which TrueType or PostScript fonts are adjusted for maximum readability on computer monitors. This text compares different ways of hinting (black & white, grey-scale, ClearType, DirectWrite), and explains the behaviour of fonts under different rasterisers.

The best design is often one that addresses a very specific need, something both straightforward and personal.

Georgi Sztojanov, a composer from The Hague, matched visual parameters of Greta Sans type system to musical parameters to create a musical composition.

Analysis of the evolution of typographic technology and the nature of digital fonts, and introduces Donald E. Knuth’s groundbreaking TeX and Metafont systems. An essay complemented by interviews with Peter Biľak, Erik Spiekermann and Dimitri Bruni (NORM).

Nowadays ‘New and Improved’ often mean just tiny irrelevant changes, so we thought it might be good to talk about the development process that led up to the seventh “new and improved” version of our calendar.