Born in Zabok, northwest Croatia, his passion led him to Italy and then on to the Netherlands where he studied type design. Nikola now teaches at the University of Zagreb and the Academy of Art in Split. Among his types are Tempera, Tempera Biblio, Greta Display and Greta Grande (with Peter Bil’ak), and Amalia. He also designed DTL Porta for use in the newspapers of Dutch publisher Wegener. Nikola very kindly took time out of his busy schedule to answer some of my questions.
A Year in the Life of…
Thank you to everyone who sent birthday wishes. ILT is now one year old. During year two I plan to go up a gear, with more contributed pieces, more type history, more great typefaces and inspirational lettering, interviews, more type history, more type tips, book reviews, types in use, and a readers’ questions section. If you have suggestions for content, then let me know.
I mentioned Marian Bantjes’ work for Creative Review last week. Here she is again, with a stunning laser-cut poster:
One Candle on the Cup Cake
It’s a little premature to celebrate ILT’s first birthday, but August 7th marks the day. In the coming weeks I’ll be organizing some prizes and competitions as a way of celebrating and thanking you, the reader. I have numerous things planned for ILT in the coming year, so stay tuned.
Let’s get Sunday Type off to a flying start with some bones by Bjorn Johansson:
At the Press of a Button
Thanks to those who read and commented on Ben’s Letterpress from Scratch article. There appears to be something of a resurgent interest in letterpress. In fact, getting started is not particularly expensive. If you’re looking for more information on getting started, then be sure to take a look at the British Letterpress site, and the Briar Press Forums; and if you’re looking for equipment (metal type and the like), then even Ebay is a good place to start. If you know of local resources, or you’re a letterpress printer, then be sure to let me know, and perhaps I can then create a letterpress resources page.
By Benjamin Brundell
The letterpress printing process is one of the oldest ways of getting the printed word on to a page. It relies on a physical representation of each letter being inked and then pressed against the paper—and this is why it’s both interesting and expensive. Thinking a little further about it for each page the printer needs a piece of metal to represent every single character; a way of applying ink to each character and a machine to force the metal and paper together. It follows that changing from bold to italic, for example, will need a totally new set of metal characters rather than a few clicks of a mouse. Other printing processes like lithography or digital printing are more flexible, quick and less expensive. But while commercial letterpress is in decline there are many who are starting from scratch with this wonderful process.
The Bestest Type
Welcome to another Sunday Type. Thanks to all those who sent in samples of their handwriting. I’ll gather them together and post them some time. If you haven’t sent in your handwriting sample, then you can still do so.
Coffee Hot, Tea Cold
Who says House don’t make metal type. This looks like metal to me; though larger than your average type, and weighing in at 8kg. I love it. Unfortunately it’s sold out! [Have since heard from the Houses’s mouth that the Cast Iron Ampersands, pictured, are now available]. There are, however, a number of cast aluminium ones left. But I want need this one:
By Julia Kaestle
‘Arabic Calligraphy’ is a hybrid English term. ‘Calligraphy’, taken from the Greek kallos (beauty) and graphe (writing), is literally understood in the western perception as ‘beautiful (hand) writing’ of the Arabic language. Yet the Arabic term for what we call calligraphy invites closer inspection. Within the Arabic language the transliterated word ‘Khatt’ (خط) is derived from ‘line’, ‘design’, and ‘construction’. The philological connotations get lost in the translated term ‘calligraphy’. From a type design perspective I think this rather an astonishing difference.
First, I’d like to thank Matthew Buchanan for helping me with coding for my comments. Thanks too to everyone who commented on the Type Camp feature. I think there are places left. If you’re interested, or have questions, then mail Shelley—info[at]typecamp.org.
A lovely photo from a talented photographer:
The ultimate vacation
Are you interested in typography? Do you feel that you don’t quite know what you’re doing when it comes to letterforms and text? Do you want to know more? Or perhaps you just want to visit the ‘Typographic Archipelago’ (and get your company to pay)? TypeCamp is one of the few places in the world where you get to relax and talk shop while surrounded by some of the most beautiful scenery in the world.
roman, italic, rotalic
August marks iLT’s first birthday, and I’d like to ask you all for suggestions on how we might celebrate. I have begun organising some prizes, so if you can think of a competition or whatever, then let me know in the comments below. Don’t be shy.