Typotheque is a type foundry from The Netherlands that develops new typefaces. Ran by Peter and Johanna Bil’ak, Typotheque seeks to create modern typefaces to aid in the history and evolution of typefaces. Typotheque bases type on a wide variety of languages.
Typotheque was the first commercial type foundry to license a type library for use on the web. This allows websites to break out of the standard group of “web-safe” fonts and have some creativity.
Typotheque’s studio work show the studios portrayal of meaning through typeface. From postage stamps to ballet performances, Typotheque challenges themselves with a a variety of cultural projects.
As shown here, the studio uses multiple languages to utilize their typefaces.
From the research I have conducted, I personally think that Typotheque is an excellent design firm with creative and boundless intentions. With their goal being to aid the history of type by modern day contributions, they are making history and doing their parts as artists – being creative and putting into the field,
The book Thinking With Type states right off that bat that type is an essential resource to graphic designers, and to use them effectively we must understand how they have evolved. Type is the struggle between the human and the machine, and continue to keep energy in typography. What this means to me is that as long as the human mind has creative ideas, the power behind typography and what it can convey in meaning is endless. Most typefaces we are familiar with today, for example Garamond and Bembo, are named after artists of the fifteenth and sixteenth centuries and are referred to as humanist typefaces. What I found to be ineteresting is that the italic type style, created in Italy, was used in cheaper printing shops, whereas straight type styles were more expensive and “fancy”. This was because the italic or cursive style was easier to produce quicker. The typefaces from the turn of the nineteenth century are what separated a vision of typography from that of calligraphy.