Typographer Focus: Peter Biľak

written by:
photos by:
January 26, 2009
Originally published in The Craft of Design
as
Letter Perfect
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  NDT, Due a due
    NDT, Due a due
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  Bil’ak’s designs for the 39- and 78-eurocent stamps were inspired by the patchwork of the Dutch landscape as seen from the air. The width of each letter, set in Bil’ak’s Fedra Serif, determines the width of the surrounding color block, echoing the centuries-old art 
of metal typesetting. Bil’ak sees the stamps as an homage to Dutch traditions.
    Bil’ak’s designs for the 39- and 78-eurocent stamps were inspired by the patchwork of the Dutch landscape as seen from the air. The width of each letter, set in Bil’ak’s Fedra Serif, determines the width of the surrounding color block, echoing the centuries-old art of metal typesetting. Bil’ak sees the stamps as an homage to Dutch traditions.
  • 
  Bil’ak takes a meticulous approach to Arabic type design, although he is unaware of the words’ meaning.
    Bil’ak takes a meticulous approach to Arabic type design, although he is unaware of the words’ meaning.
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  A cover graphically riffs on the magazine’s title, Dot, Dot, Dot.
    A cover graphically riffs on the magazine’s title, Dot, Dot, Dot.
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  Bil’ak designed the NDT Choreography Workshop poster using dancers to spell out “workshop.”
    Bil’ak designed the NDT Choreography Workshop poster using dancers to spell out “workshop.”
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  Bil’ak collaborated with Mark Thomson, art director at HarperCollins, on a new set 
of dictionaries that exclusively employ the Bil’ak-designed font Fedra.
    Bil’ak collaborated with Mark Thomson, art director at HarperCollins, on a new set of dictionaries that exclusively employ the Bil’ak-designed font Fedra.
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  Bil’ak conceived of the dance performance Due a due, in which what appears 
to be a dancer’s shadow is in fact a projection of another dancer.
    Bil’ak conceived of the dance performance Due a due, in which what appears to be a dancer’s shadow is in fact a projection of another dancer.
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  In Bil’ak’s studio, he and his staff assemble and hand-draw the cover for issue #7.
    In Bil’ak’s studio, he and his staff assemble and hand-draw the cover for issue #7.
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