Ondrej Chory

The current technology of font creation makes it possible to put into digital operation even completely instant and improvised fonts. And then also fonts distributed within a visual style, i.e. fonts tailored for a single project. And then experimental fonts, on the edge of art or scientific research. These typefaces can react quickly to a change of atmosphere, are quickly created and quickly consumed, thrown on the scrapheap, but they can also define new spaces for the typographic mainstream, which gradually (sometimes quickly) takes over formerly indigestible shapes and makes them the new fashion. Can a font that struggles to maintain a relationship with the alphabet and language be turned into a marketable product that is occasionally usable and also works flawlessly as software?