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Standard Form | @ideefixerecords | @ansibleeditions | @perisheditions | @mazing.radio | @perishpublishing
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Recent posts
The @t3al_4real Love Comes Tru (out next Friday) LPs are straight up stunning!!! ✨✨✨@rossproulx & @alexdurlak we’re instrumental in bringing this concept to life. The idea was to play on the “thru” by using font-based embossing treatments (not to mention a custom font by @alexdurlak). The end result is a beautiful object that creates intrigue and invites physical touch. I could not be more happy with how these turned out!!
(There is also a double-sided insert but the lighting changed before I could capture it. Ha! More photos soon.)
Pre-orders are shipping now. 📮
Available through @rubadubgla @insheepsclothinghifi @forcedexposure2 @laramarecords @listenhalifax @dubwisevinyl @tobirarecords @jelly_records @vinyl__hunter @invisiblecity_ @playderecord @sonicboommusic
25 Sep 2026
Announcing Spiritual World Audio Devices. In collaboration with @hale_modular & @alexdurlak. More details coming soon! Sign up to the newsletter to get updates & news. 🔗 up top.
16 Sep 2026
Typext is my revival project for the first term of @typewest and was equal parts affection for the forms and skepticism of the dogma.
The primary reference source was a Linotype publication from 1935 entitled The Legibility of Type. The booklet features both a poem and an editorial treatise repudiating the display typeface indulgences of the era, espousing the company’s dogmatic and self-righteous pursuit of simple, unobtrusive letterforms, a position very much aligned with Beatrice Warde’s “The Crystal Goblet” lecture.
Other articles in the publication include technical assessments of why historical typefaces were ill-suited to the printing processes of the time, guidance on laying out text for legibility in various formats of publication, scathing rebukes of typewriters as tools for mechanical reproduction, and an extraordinarily detailed walkthrough of the engineering process of producing matrices for Linotype machines told from the perspective of a single glyph: the capital B.
Typext is a digital translation of Textype, a member of Linotype’s Legibility Group of typefaces developed from 1926 onward. While the other typefaces in the series were designed specifically for maintaining high legibility under the challenging conditions of newspaper printing of the time, Textype was a variation intended for books and magazines. The aforementioned Linotype booklet’s body copy was itself set in Textype, which speaks to the high regard in which the company held the typeface.
Typext aims to remain as faithful as possible to the original quirks of the letterforms. Some details, such as the lower serif of the lowercase a and the ear of the lowercase g, varied considerably between sources, so decisions were made to bring them in line with the broader character set. Considerable effort went into finding a weight that preserved the original lively colour of the typeface. The spacing honours the openness of the original while also taking advantage of the tighter negative-spacing possibilities of contemporary digital type.
Many thanks to @sahafshar @michele.ptn @floradecarvalho @edgar_capula @letterformarchive and all the node pushers in the online cohort. And Rod.
15 Jun 2026
Never thought I’d do the sticker over logo thing, but there was something special about the @letterformarchive one in my admissions package.
I’ve been so deep in the weeds that I forgot to share something big: I’m enrolled in the online cohort of @typewest, the post-graduate certificate program in type design offered by the Letterform Archive out of San Francisco. It’s opening up more pathways than I know what to do with. Term 2 starts next week, original typeface design, excited to hang with my node & handle pusher pals again. Lots to share, more coming soon!
Ugh, that /f isn’t working at all. Ha!
28 May 2026
Packaging notes for BLKTRKS:
A black/black compact disc with plotter-drawn album title housed in a custom keep case with a tipped-on bookboard tray featuring inkless artwork; stencil cuts, kiss cuts, and debossing only.
Made to order. Flat rate international shipping is included in the price. No extra shipping fees.
EP/Music by @natsmusic999 (aka @nonparallel). Design and packaging by @alexdurlak.
PE007: Nats “BLKTRKS”
Vassa celebrations in the habitat module surge past the crew’s rest period as they approach M87’s event horizon.
Published on @bandcamp. Link in bio.
17 Mar 2026
#wip Letraset 3000. Vector export.
11 Mar 2026
Found this wild 3D construction in the @letterformarchive ’s online archive (highly recommended perk of membership!) in a French sign painting book. Figured I’d use it as an excuse to learn @glyphsapp ‘s layered color font tools. Admittedly, I can’t get it to export 🤣 but looks pretty rad otherwise!
05 Mar 2026
Vassa celebrations in the habitat module surge past the crew’s rest period as they approach M87’s event horizon.
PE007: Nats “BLKTRKS”
EP/Music by @natsmusic999 (aka @nonparallel). Design and packaging by @alexdurlak.
Published on @bandcamp.
🔗 in 👤
03 Mar 2026
Highlighting the incredible work from our Display Type class, Fall 2025!
🔥🔥🔥
Egredi by Alex Durlak @alexdurlak
Egredi is an experimental, bold display typeface for headlines and titles that embodies its name: a Latin verb meaning “to step out”, “disembark” or “to go beyond”. It lives up to its promise with angular letterforms inspired by broad-nib pen strokes and refined through a geometric, grid-based modular system. Its structure is deliberate, yet subtle calligraphic gestures break through the rigidity. Each form, like its namesake, “deviates” and “ascends” from convention, resulting in a distinctively progressive, forward-leaning aesthetic.
✨✨✨
Alex Durlak is a Toronto-based artist, designer, and publisher with 20+ years working at the intersection of music, art, and publishing. He has art-directed 100+ album and artists’ book releases through his various imprints, developed identity systems for cultural projects and publishers, and collaborated with a range of creative clients. Alex foolishly operates his own print and bindery equipment and has presented work at international art book fairs and experimental music festivals from New York to Rio de Janeiro. He brings a hands-on understanding of both concept and craft to every project.
💙 Each Friday we’ll be highlight two projects from our class and you can check out the whole showcase on our website and instagram @displaytypedesign (Link in bio)
Huge thanks to our students for their dedication and creativity!
Special thanks to our Fall 2025 instructors Juan Villanueva @juan_kafka and Corinne Ang @corinne_ang_
We’re grateful to our office-hour guests Noah Lee @sokehstudio and Mariana Navarro @mariananavarro.lettering, and our guest critics Betsy Schuster @queertype.co and Bea Korsch
And thank you to everyone supporting our scholarship program! Your generosity helps open doors for more emerging type designers.
30 Jan 2026
Here’s my latest font, made while participating in the Foundations of Display Type Design workshop @displaytypedesign from @typeelectives. Many thanks to @juan_kafka and @corinne_ang_ for pushing me through it, deeply grateful! Thanks to all my new homies (inside joke) from the class for the conversations and insights, miss y’all!
Egredi is an experimental, bold display typeface for headlines and titles that embodies its name: a Latin verb meaning “to step out”, “disembark” or “to go beyond”. It lives up to its promise with angular letterforms inspired by broad-nib pen strokes and refined through a geometric, grid-based modular system. Its structure is deliberate, yet subtle calligraphic gestures break through the rigidity. Each form, like its namesake, “deviates” and “ascends” from convention, resulting in a distinctively progressive, forward-leaning aesthetic.
If you wanna give it a spin (very much a beta WIP), just shoot me a line!
02 Dec 2025
I made my first font! Many thanks to @keltroughton and @adriana.garciduenas for leading the @letterformarchive workshop and all of the guidance. And thanks to all my new pals from the class for sharing your process! I might be fully hooked on type design…
Oile has the flow and viscous feel of a marker typeface while simultaneously maintaining the consistency and rigor of a medium contrast sans serif. Stroke endings have a subtle rounding and flair that allude to the entrance and exit of the pen, but with a systematic approach to letterforms that prioritizes their utility over novelty. It’s not exactly a Casual typeface, but neither is it formal. It’s fun and comfortable!
Any designer pals that are interested in playing around with the beta .otf, just shoot me a line and I’d be happy to share!
16 Sep 2025
Got a plotter/cutting machine, more fun with inkless printing incoming…
02 Jun 2025
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