German über-type designer (b. 1965, Memmingen) who studied graphic design in Augsburg (Germany) and Preston (England). His degree project dealt with the history of the italic type of the renaissance and the relationship between roman and italic. In 1998 he moved to London to work for Henrion, Ludlow and Schmidt in corporate branding. He worked at one point for Frank Magazine in London. Today Hubert Jocham is a freelance designer located once again in Memmingen, Germany. He develops brandmarks and logotypes for leading brand agencies like Interbrand, Landor, Enterprise and Futurbrand. He designs text and headline systems for international magazines like GQ London, Vogue Moscow, Vogue France (2010), Vogue Turkey, L'Officiel Paris, and New York and German publishers like Milchstraße and Gruner&Jahr. He is responsible for the corporate type of Bally in Switzerland, the Kunsthaus Graz and Agfa Photo. He set up Hubert Jocham Type in 2007. MyFonts link. FontShop link. His typefaces:
- The ecccentric serif families Alida Text and Display (2007).
- Becca (2018). An extensive slab serif family.
- Bent (sans family).
- Bravery. A curvy wedge serif. Accompanied by Bravery Sans.
- The Contra Sans and Contra Serif families.
- Contura. Inspired by Jakob Erbar's Feder Grotesk, and designed with the fashion industry in mind.
- The Crema family (2012) has various flowing thick signage script styles.
- Debra. A modern grotesque.
- Elsner&Flake fonts: EF Havanna (1996), EH Herbert (1996), EF Panther, EF Sahara, EF Keule and EF Tabard.
- Esquina. An open and attractive sans.
- The TV-screen-curved Fernseher family.
- The signage brush script typeface Flavour (2004).
- Flow. A sharp-edged sans.
- Glanz (2018). A high contrast fashion mag typeface family.
- Glenda (2009). A script face.
- Granat (2009). A 14-style rounded sans family related to Jocham's own Teleplu and Teleneue.
- Jocham (2012). A fat connected signage script family that won an award at TDC 2013.
- June, New June and New June Serif (1999, after the large x-heighted June, used in W-magazine and Harvey Nichols magazine).
- Keks (2009). A broken angular type.
- The industrial sans family Konsens (with related Konsens Stencil).
- Leaf. A playful serif.
- Legau (2007). A sans with lots of stroke modulation.
- Libris, Bally Libris.
- LTA Identity.
- Madita (2011). An upright connected script family.
- Matrona (2010). An ultra fat rounded family, awarded at TDC2 2011.
- The display serif typeface Mighty.
- Mommie (2006) was originally designed as a display typeface for L'Officiel magazine in Paris in 2003. It won a display typeface award at TDC2 2008, and was followed in 2008 by MommieBrush. Boris Bencic, the art-director asked Jocham to design a script with high contrast in the stroke, in the tradition of Spencerian Hand.
- The wide basic sans family Monday.
- Motora Sans (2011). A simple sans family which according to Hubert is pure gasoline and sweat.
- Narziss (a beautiful high-contrast ornamental didone headline typeface, winner at TDC2 2010). Followed in 2012 by Narziss Pro Cyrillic. See also Narziss Grotesk and Narziss Text.
- Neopop (2009). A circular type experiment.
- New Libris Sans. This is a multi-weight extension of Libris, the corporate typeface of Bally, Switzerland, designed by Jocham in 1999. New Libris Serif.
- Other Sans, Other Oldstyle.
- Perfetto (2008). A classic serif family based on a typeface penned by Giovanni Francesco Cresci with an x-height of 8 mm, and published in his book Il perfetto Scrittore in 1570 (also seen in Tschichold's Meisterbuch der Schrift).
- Polia (2014).
- Ramon (2014).
- Riccia (2010). A grotesk family with schizophrenic "a" and "g".
- The angular serif typeface Rudolph.
- Safran (2009). A solid 18-style sans family.
- In 2005, he made the brush script headline typefaces Schoko and Drop.
- In 2008, he added the brush signage families Schwung and Milk.
- Spring Sans (2008).
- Susa (2009). A connected script face.
- Tantris Sans (2014). Created for the book about the famous restaurant Tantris in Munich.
- The comic book family Tasty (2005).
- Televoice (2018). A sans with elliptocal curves.
- Venturio (50s diner face).
- Verve Sans and Serif (2006-2007) are a pair of fun birds, especially the frivolous serif originally planned for a women's psychology magazine called Emotion. A few days after their publication, they were renamed Verse Sans and Verse Serif, probably because the name Verve clashed with Adobe's VerveMM font made in 1998 by Brian Sooy (by the way, there is also a Verve type family by Dieter Steffmann, dated 2000).
- Vivid (2009).
- Voice (2004-2005, elliptical sans). Subfamilies include Voice Edge, Voice Sans and Voice Shoulder, all done at URW. In 2007, Voice was removed from URW and is solely available at Hubert Jocham Type&Design. The family was extended and now includes many styles, subdivided in Voice (sans), VoiceEdge, VoiceShoulder, VoiceSerif, Voice Heavy, Voice Medium, Voice Ultra Bold, and TeleVoice.
- The very interesting asymmetrically rounded Volt (2007), a sans family he claims improves on similar typefaces such as Bernhard Gothic, Barmeno, Dax, Prokyon, Voice Shoulder, and Phoenica.
- Work ahead: this serif face (2005).
- Xmas Rudolph (2006). A free display serif face.
- Yuri (2017). A predominantly didone typeface with gently sloped serifs.
View Hubert Jocham's typefaces. Another view.
Klingspor link. MyFonts interview. Volcano Type link.
Fontspring link [Buy fonts]
Klingspor Museum page
Type designers ⦿
Type designers ⦿
Commercial fonts (small outfits) ⦿
Sites with only a few free fonts ⦿
German type scene ⦿
Stencil fonts ⦿
Comic/cartoon fonts ⦿
Brush script typefaces ⦿
Type design in the United Kingdom ⦿
Experimental type ⦿
Signage typefaces ⦿
Modern style [Bodoni, Didot, Walbaum, Thorowgood, Computer Modern, etc.] ⦿
Fashion mag typefaces ⦿
Ronde (Rondo, Rundschrift): Upright scripts ⦿
Cyrillic type design ⦿
Corporate typefaces ⦿
Dieter Steffmann ⦿