Rethinking type experience
Our new website has been in the works for over a year, and rather than a simple redesign it is a complete repositioning of the foundry.
1 July 2014
Note on the new edition of Aisha
Titus Nemeth discusses innovation in type design and an unprecedented introduction of ranging numerals to Arabic typography he has made with the new edition of Aisha.
8 April 2014
The perils of harmonization
There is one thing particularly notable about our typefaces, and that is that they are designed with several writing systems (scripts) in mind. In other words, they are attempts to harmonise different scripts in typographic terms. However, a careful reader should stop and wonder what does it exactly mean to match scripts and why would one want to do that in the first place.
What is multi-script typography all about
In 2012 Jenny Stuttard, a Graphic Design student at Liverpool John Moores University, contacted David Březina with a few questions about how we create harmony between different writing systems, and how we determine its success. She also wanted to know to what extent Latin typography had influenced non-Latin type design.
The making of Skolar Beer
From the beginning, Skolar has been a type family that chose to cross boundaries – first of languages, then writing systems, and now it has been complemented, after Cyrillic, Greek, Devanagari, and Gujarati, with a beer! Providing typographers with an unprecedented tool fostering their expressive repertoire.
15 October 2012
The development of Skolar Devanagari
Skolar Devanagari aims to provide text typeface serious typography in Devanagari script. The typeface was designed and engineered by two professional type designers, Vaibhav Singh and David Březina, both of whom have experience with designing for Indian writing systems. Importantly, they undertook substantial research in the historical developments and current situation of the Devanagari and Gujarati letterforms.
26 June 2012