While we've created many Greek and Cyrillic custom fonts for clients, and many sans fonts in our library already include the script systems, Cordale is the first serif font family in our library to carry Greek and Cyrillic. These new scripts, like the Latin, are designed to be highly functional at body text sizes making Cordale especially suitable for magazines, newspapers, and corporate identities.

Greek and Cyrillic are really underserved when it comes to serif font designs, so although we researched many established design patterns we found that we had to base many of our decisions, for individual characters and how they work together, on comparative trials. In particular, the italic styles presented specific challenges as we felt that only a cursive treatment was appropriate, but as with Latin, a number of characters change their shape dramatically in an italic design. Throughout the design process we compared the two new scripts with the Latin to ensure that the overall texture on the page is maintained, and that key character design features are carried over across the script systems where appropriate.

Licences for the Cordale font family are available to buy online now for the Standard (Latin), Greek, Cyrillic and Corporate (Latin, Greek, and Cyrillic) Editions. As with all Dalton Maag Exclusives we are happy to discuss any modification or licensing requirements you may have.

"Can we do something with fonts?" was the first question Tobias Røder, founding partner at Artners, asked me. As we discussed the project it was clear that a simple typographic solution was required to ensure that the existing graphic brand elements, such as the logo, would sit comfortably with the changes in visual expression.

Tobias suggested the use of our Co Text font family, but with modifications to make it more distinct and distinctive for his client, Danish telecoms company TDC. After some initial typographic explorations we arrived at a font design that retained the original Co expression but subtly enhanced the existing visual assets. To allow for more flexibility we also developed an Extra Bold weight plus a set of true Italics.

The font is now a major pillar in TDC's updated visual identity – it was recently launched on the client's website and in print advertisement. You can read more about this project in our TDC case study, and if you would like to learn more about modifying a Dalton Maag Exclusive font for your brand please contact us.

It was about a year ago that my friend Fidel Peugeot asked me to contribute to an exhibition on type at his gallery Walking Chair. Of course, never one to shy away from a hearty challenge, I accepted his invitation and set about thinking what I could do – which turned out harder than I could have ever imagined.

With the exhibition, Fidel asked me to convey the ethereal beauty and diversity of letterforms to designers and laypersons alike, as well as the skill that is required to draw harmonious curves that follow through seamlessly into a straight line. As I have never regarded myself as an artist but as a designer and craftsman, I approached the exhibition concept very much as a commercial and graphic exercise instead of freeing myself mentally from those constraints. The initial idea was to create a number of banners showing off some typefaces and their details, but while drawing up some visuals I realized that this approach was inappropriate to the venue and spirit of the exhibition. This realization triggered a major art block.

Fortunately, my good friend Sanne Flyvbjerg, an art curator working in Copenhagen, in many patient emails gently encouraged me to see beyond my daily practice. Our discussions enabled me to disconnect type from its primary use of conveying thought in written communication into an intellectual environment that included the gallery space itself. Over a number of months I developed a number of conceptual ideas, none of which really worked, many of which were simply too expensive to realize. But the process of creating, assessing, and rejecting allowed me to crystallize my message to the exhibition, which opened on 4 March at the Walking Chair Gallery in Vienna.

I have always respected art in all its expressions, but I now understand how hard it is to create art that I can personally respect, and hopefully is respected by others. It was a long and arduous process during which I doubted my own abilities as a creative, but with the never-tiring help of my friends, Sanne and Fidel in particular, I have created a piece with which I am happy and also excited about – all I can say is that it is not type as one would expect to see it. For those who are not able to see the exhibition in Vienna, photographs are available on our Facebook page, on Flickr and on Fontshop's FontFeed page.