In contemplating concepts of dimension, structure, and space–the precise, sharp letterforms, and unified word shapes of Anon Grotesk ultimately fall flat. This is the nature of formal typography, as it is bound by its own limitations within two dimensions. Envisioning a letterform as a tactile, three-dimensional object, such as one shaped from stone or metal, lends itself to details that counter this limitation. It is through this lens that details which ultimately define Arkitekt are manifest. Specifically, a reduction in horizontal contrast, beveled edges, and faceted interior intersections are most defining and prominent. Additionally, certain letterforms have received specific modifications, simplifying, balancing, or reinforcing their form structurally. Separately, these changes are rather limiting in their application, but together they combine to create a type that can function effortlessly in either dimension.

The process in realizing Arkitekt was rather arduous as it was entirely manual, iterative, and continuous. Although entirely digital, this process reflected the persistent hand of the sculptor, the ingenuity of the builder, and the craftsmanship of the punch cutter. Early on, adherence to the concept of the grid, and to restraint, led to numerical values designated for each bevel and facet, which was then applied to groups of styles divisionally. One set of values were applied separately to three groups which were split between the lightest, mid, and darkest styles. At a later point in the development process this rule was abandoned as its rigidity became limiting, but some of its formality remained. Arkitekt ultimately is the sum total of a process split between the manual shaping of each letterform (sculpture), and a more formalized, applied process of numerics and logic (architecture).

Arkitekt is recommended for display use only. It excels in settings where an architectural, technological, innovative, or process-oriented design sense is applicable. The lightest styles feel technical and structural, while darker styles are characteristically heavy, and imposing. Arkitekt shares with Anon Grotesk select contrasting punctuation and math symbols, which add to its inherent contemporary identity.