Designers have an important role in the streamlining of communication. A badly designed message does not reach its target group. The designer acts in the interest of the customer by making the design and production process more efficient, while at…
About TYPETRTypetr: A new type publisher with 35 years of experience
After some decades of publishing through Font Bureau, Petr van Blokland co-founded Type Network, exclusively publishing new typefaces under the name Typetr. Expect new families to be released on a regular basis and also educational blogposts about graphic design, typography in general and how to use type in particular.
Petr van Blokland
Born in Gouda, The Netherlands, in 1956, Petr van Blokland graduated in 1980 Cum Laude from the graphic arts program at the Royal Academy of Fine Arts (KABK) in the Hague.
Together with partner Claudia Mens, he worked in their design studio for over 35 years, as designer, spanning from sketching and model making to programming in various languages. He specialised in systematic design – corporate identities, forms systems, online publications and tools for type design.
He has taught graphic design, typography, and type design for many years at the Royal Academy of Fine Arts (KABK) in The Hague and at the Academy of Fine Arts, Arnhem. His first typeface was Proforma, a large series commissioned by Purup, Danish manufacturer of forms preparation systems, now released for general use by Type Network. His work brought him ATypI’s coveted Charles Peignot Prize in 1988.
Currently he is teaching at the Master Graphic Design St.Joost in Breda and at TypeMedia, the type design Master at KABK in The Hague.
As co-founder and partner of Type Network, he is a dedicated contributor and developer of new type and tools for type design.
His statements on typeface design are well-known.
On Experience “To be accomplished in all aspects of the design process is the fundamental demand on the designer. Experience and talent counts, not the availability of equipment.”
On Quality “The same bottomline that applies to typography also applies to typefaces: when no one notices the hidden qualities, the aim has been accomplished.”
On Digitisation “By carrying out the digitization as an integral part of the design process, maximum control is exercised over the eventual reproducing of the typeface, thereby avoiding any errors of interpretation.”
On New Typefaces “Why design a new typeface? After all, there are so many. There is a misconception that typefaces are not designed. They are simply here. Yet new typefaces are designed and this need is increasingly present in view of the current technological advances.”