TYPE DESIGN INFORMATION PAGE last updated on Fri Feb 24 08:25:38 EST 2017
FONT RECOGNITION VIA FONT MOOSE
Type design in Switzerland
123 Buero is Timo Gaessner's graphic design studio, est. 2002 in Berlin. Gaessner studied at the Kunstacademie in Maastricht, at the University of Arts, Berlin, and at G. Rietveld Academie, Amsterdam. He was a founding member of Balcony Magazine in Paris in 2001. His typefaces include 123Naiv (2004), 123Queen (2004), 123Sweater (2005), 123Julia (2001). All of these are characterized by minimalist shapes. Fonts like 123Naiv can also be bought at Die Gestalten. Free font: Naiv-Fat (2007). Since 2010, partner with Alexander Meyer in Milieu Grotesque. At MilieuGrotesque (or: Meyer&Gässner, Zurich), his fonts Maison (2010, grotesque family) and Chapeau (2010, rounded) can be bought.
Original typefaces made in 2001: 2TheLeftDingbats, 3t (pixel font), DepthChargeSemiPhat, HKIMetropol, HKINightlife, LeftOvers, LeftOvers2, LeftOvers3, LeftOvers4, LeftOvers5, LeftOvers6, LeftOversII2, MrQuicke (nice futuristic font), Optimal (like Bank Gothic), Switzerland, YUMYUM, LeftOversII, LeftOversII31, Punavuori (2001). [Google] [More] ⦿
Roland Stieger was born in Kobelwald. After an apprenticeship as a typesetter at the daily newspaper of Rheintal, Altstätten, he studied type design at CAS Type Design at the ZHDK. Creator of the sans typeface Alena, about which he writes: It all started with the woodcut from Jost Hochuli, published in the year 1980. I found this woodcupt in a bookshop around 1992 and was fascinated by it for many years. Until my interest in type design became so huge that I took it as a starting point to design an own typeface, a sans serif, called Alena, which builds on the shapes and proportions of this woodcut.
Jost Hochuli is a book designer, successful author, and teacher. In 2011, he started work on the clean sans family Allegra.
Adicto Multichannel Agency is a studio located in Sankt Gallen, Switzerland. For the new restaurant Werk 1 in a renovated industrial building built in 1900 Adicto created the new typeface Werk1 (2014). For this typeface, they used the art nouveau font Quaint as a model. The font was developed by Nicolas Duran, Pierre Lippuner and Christian Woelk. Behance link. [Google] [More] ⦿
Famous type designer born in 1928 in Unterseen, Switzerland, who died in September 2015. He closely cooperated with Linotype-Hell AG, after having been artistic director at Deberny-Peignot in Paris since 1952. He established his own studio in 1962 with André Gürtler and Bruno Pfaftli. Art director for Editions Hermann, Paris 1957 to 1967. Frutiger lived near Bern, Switzerland, and was very interested in woodcuts. In 2009, Heidrun Osterer and Philipp Stamm coedited Adrian Frutiger Typefaces The Complete Works (Birkhäuser Verlag), a 460-page opus based on conversations with Frutiger himself and on extensive research in France, England, Germany, and Switzerland. Quote: Helvetica is the jeans, and Univers the dinner jacket. Helvetica is here to stay. He designed over 100 fonts. Here is a partial list:
View some digital versions of Avenir. Vimeo movie on Frutiger by Christine Kopp and Christoph Frutiger entitled "Der Mann von Schwarz und weiss: Adrian Frutiger". More Vimeo movies. [Google] [MyFonts] [More] ⦿
Ricola AG is the Laufen, Switzerland-based manufacturer (est. 1930) of popular herb-based cough drops. One of Adrian's friends told us one evening during the ATypI meeting in Sao Paulo that Ricola had asked Adrian to redo the script logo, to which Adrian agreed. When asked about remuneration, he declined any form of payment. A few days later, a truck arrived at Adrian's house and delivered 20,000 boxes containing Ricola cough drops. In one of the pictrures below, note the omnipresent of the box of Ricola drops (in red). [Google] [More] ⦿
Designer in Zurich. Creator of the custom typeface Val Mustair (2010), a stitch font: The shape of the font is inspired by the local handwork while the color system is a visualization of the sunrise and sunset and represents the rhythm of life in the valley. Award: ADC Nachwuchswettbewerb 2011.
Affolter und Gschwind AG
Werner Affolter ran a phototype and printing company in Basel, Switzerland, called Affolter und Gschwind AG, Fotosatz&Reprotechnik. In 1981, Affolter published an extensive catalog entitled Letterama that showed over one thousand alphabets. Few of those were original, so I suspect he acted as a vendor of sorts, but at least a couple seemed original, or were claimed to be original or exclusive: Guigoz, Moby Dick. Moby Dick was revived in 2014 by Nick Curtis as Call Me Ishmael NF.
Some examples of the types shown, in alphabetical order: Antique Wood MP363 (art nouveau), Antique Wood MP 364 (oriental simulation face) [the Antique Wood series is quite extensive, and is just numbered], B+T Classic (roman), Bernhard Fett, Beton Fine Line (typewriter), Burko (avant garde family), fonts starting with G, Gaston Fett (a squarish gothic typeface also called Gipsy), Gaston Halbfett (also called Grassy), Gemini Computer, Germanic Sans (more avant garde and Lubalin-style glyphs), Hollandse Mediaeval, Hollywood (a 3d decorative family), typefaces starting with K, Lineamarca (slabby), Linear (avant garde, geometric monoline), Melen (experimental, geometric), Meola Bookman swash (decorative), Metro (art nouveau, after the Metroploitaine font), Moraine (squarish), the Old Foundry sub-collection [another mysterious numbered collection; examples include some uncials, and some more art nouveau typefaces, some Victorian ornamental typefaces (F260 through F262), more art nouveau (MP418 through MP420) and blackletter typefaces (MP421)], Pierrot (psychedelic, groovy), Phydian (one of many Western style ornamental typefaces), Ronda, Roulette, Roulette Schattiert (=Rajah) (more Western fare), Ruby (shaded caps), Runic Small (condensed), Rustic (wood log look), typefaces starting with S, Spengler Gothik, St. Clair (ornamental), Zither (calligraphic script). [Google] [More] ⦿
Ralf Turtschi's Swiss site that specializes in type publications. A must-buy book for type classification: Schrift vergleichen, Schrift auswählen, Schrift erkennen, Schrift finden (Verlag Hermann Schmidt, Mainz, 1991): 430 pages! Author of TypoTuning (2006) and of Praktische Typografie (1999, Verlag Niggli AG). In 2004, Anatina Blaser made a handwritten style font called Rooster (after Peter Rooster's handwriting), which can be had for free with any order over 59 dollars. [Google] [More] ⦿
Digital media firm and pixel font site. You can buy the pixelfonts Baby and Screenie-Folio here. Alexandra Rimaldi and René Etienne Keller run this site. Keller teaches Screendesign at The Fachschule für Gestaltung (HFG) in St.Gallen, Switzerland. I guess, but am not sure, that Keller made the fonts. [Google] [More] ⦿
Zurich-based creator of an experimental squarish 3d typeface (2013), tentatively called 360 Degrees.
Swiss sculptor, painter, draughtsman, and printmaker, 1901-1966. He is known for his surrealist and expressionist work. His emaciated sculptures reflect a view that all modern life is empty and superficial.
Some typefaces were influenced by Giacometti's art:
Type designer living and working in Zurich, Switzerland, b. 1971, Männedorf. Alex Meier started out as a multimedia designer. From 2004 to 2006, he he studied typography. He studied type design (CAS Typedesign) at ZHdK in Zurich, where he graduated in 2008. After graduation, he started sharing a studio with his former fellow student Dominique Kerber.
Geneva-based designer who also does some type design. He is working on Rotative Mono (2012). He created the sans and mono family Rational (2012) in eight cuts. He also did the identity of Fonderie Kugler (2011).
Swiss graphic and type designer who lives in Duebendorf but was born in Arbon in 1982. In 2008, he graduated in Visual Communication from the School of Art and Design Zürich.He created the didone typeface Quick Black (2008). [Google] [More] ⦿
Lucius Hartmann (Hinwil, Switzerland) at the University of Zürich lists the main fonts that are useful to classicists and users of old Greek. Downloadable fonts include Aisa Unicode (by Hildegund Mueller&Stefan Hagel, 1997-1998). Hartmann himself created Sappho (2002) and Alkaios (2005). [Google] [More] ⦿
André Baldinger is the Swiss typographer and type designer (b. 1963) who made the Newut (1996, all letters of equal size, and thus a semi-unicase) and the B-Dot (pixel) families (1998). His outfit in Lausanne is called amb+. In 1994, he graduated from the Atélier National de Création Typographique (ANCT) in Paris. Since 1995, he teaches typography at the École supérieure d'arts visuels de Lausanne. He lives in Paris. Together with Philippe Millot, he heads the type design unit of the Creation and Innovation Research Centre (EnsadLab) at ENSAD Paris. He teaches typography and type design at the École Nationale Supérieure des Arts Décoratifs (ENSAD) and the Zurich University of the Arts (ZHdK). He was involved in projects such as the logotype for the Cité Universitaire and a custom type for the Eiffel tower. He also digitized the Frutiger-Hunziker typeface CGP (used in the Centre Georges Pompidou, originally designed in 1974) in 1997.
The full list of his typefaces: AB BaldingerPro Font, AB BDot Font, AB BLine Font, AB CiteInter Font, AB Eiffel Font, AB Newut Font.
Speaker at ATypI 2010 in Dublin where he introduced the Gering project. I cite: Based on a close analysis of typefaces created by Ulrich Gering at the Atelier de la Sorbonne and the Soleil d'Or workshop in the 1470s, the first typefaces produced in France, postgraduate students Timm Borg, Anthony Dathy, Perrine Saint Martin and Ok Kyung Yoon have been working on a versatile, modern font family for the last 2 years under the the guidance and watchful eyes of André Baldinger and Philippe Millot. Focusing on two of Gering's designs --- a sturdy roman font that closely imitates the texture of blackletter and a roman with blackletter influences --- the EnsadLab team has developed a complete family, reviving the work of the father of the printed word in France and bringing together aesthetics rarely seen in such an ensemble. Working only a few hundred metres from the original site of Gering's workshop they have thoroughly reworked the letterforms found in the extant incunabula available in the Bibliothèque Nationale, complementing the original characters with italics, small caps, and supplementary weights, as well as all of the glyphs necessary in a 21st century font.
Swiss design company, est. in Basel in 1987. It expanded in 2000 and created an office in San Francisco. MyFonts link. Jean-Benoît Lévy, Diana Alisandra Stoen, Sylvestre Lucia, Mike Kohnke and Joachim Müller-Lancé created the hand signal dingbat font H-AND-S. ocreator of TX Signal Simplifier (2002, Typebox), a hilarious information design dingbat face. MyFonts writes: Eight designers present a set of icons that indicate the fun and fantastic world of signage. Each collaborator's solution represents a completely different interpretations on signage vernacular. The designers are Erik Adigard, Cynthia Jacquette, Akira Kobayashi, Michael Kohnke, Patricia McShane, Joachim Müller-Lancé, Jean-Benoît Lévy, Kevin Roberson, Diana Alisandra Stoen.
The studio is run by Jean-Benoît Lévy (b. 1959, Pully, Switzerland). Lévy is a visual communicator who has been active since 1983 in Switzerland. After his studies at the Basel School of Design with teachers such as Wolfgang Weingart and Armin Hofmann, he opened his studio AND in 1987. Jean-Benoit received his green card in 2001 and is now sharing his time between United States and Europe. He designs logos, corporate identities, postage stamps, coins, posters, and books. [Google] [MyFonts] [More] ⦿
Manno, Switzerland-based creator of the tweetware typeface Monolith (2014). Monolith is an experimental all caps typeface inspired by a poster created by Noël Fontanet in 1946. It was designed for use in posters, headings and logotypes. Behance link. [Google] [More] ⦿
Andreas A. Lorenz
German-Swiss typographer. With Julien Saurin, she published the classic avant-gardist hand-drawn typeface Paris (2012, La Goupil). It comes with art nouveau ornaments called Paris Serif Ornaments. [Google] [More] ⦿
German illustrator and graphic designer who works at Keller Maurer Design in Munich. Born in Ravensburg in 1982, as a student in 2007, she created SQ 324, a slab serif, under the guidance of Hans-Jürg Hunziker und Rudolf Barmettler. In 2007, she designed interesting wayfinding symbols for the botanical garden of Zurich. [Google] [More] ⦿
Author of "Le maître de Garamond" (Editions Stock, 2002), a beautiful book on the life and death of Antoine Augereau, who was Claude Garamond's teacher and mentor. Anne Cuneo was born in 1936 in Italy and lives in Zürich. Comment by Guy Schockaert: Le 24 décembre 1534, place Maubert, accusé d'hérésie, Antoine Augereau est pendu, son corps et ses mains brûlées. Homme de lettres, érudit, théologien, Antoine Augereau était un grand imprimeur, éditeur et graveur de caractères typographiques. Il modela ceux dont nous nous servons encore aujourd'hui, et avec Clément Marot, inventa l'usage des accents et de la cédille. La publication du Miroir de l'âme de Marguerite de Navarre lui coûtera la vie. La Sorbonne, gardienne jalouse d'une orthodoxie figée, désapprouve la pensée de la soeur de François Ier, mais ne peut la condamner. Antoine Augereau paiera pour elle. Racontée par le plus célèbre de ses disciples, l'histoire passionnante et émouvante d'un humaniste prêt à mourir pour défendre ses idées. UN livre à lire absolument et à offrir. [Google] [More] ⦿
Anton Koovit was born in Tallinn, Estonia, in 1981, and studied graphic design at the Estonian Academy of Arts, ESAG Paris and at the Gerrit Rietveld Academy in Amsterdam. In 2006, he obtained a masters in type design at KABK in Den Haag. Anton set up his own company Khork OÜ in 2006. In 2007 he moved to Berlin, Germany. He is "extraordinary assistant professor" of typography/type design at the Estonian Academy of Arts.
In 2012, he and Yassin Baggar set up Fatype, a type foundry in Berlin and Neuchatel, Switzerland.
His most well known typeface design is Adam BP (2007, B&P Foundry), a 4-weight sans family. He also designed Aleksei (2010, unreleased serif face), GQ Slab, GQ Baton (b Anton Koovit and Yassin Baggar), U8 (2010: a grotesk family based on lettering in the Berlin underground), Arvo (2010: a free slab serif family at Google Font Directory, codesigned with Yassin Baggar).
Arial: ein Nekrolog
German article by Ralf Turtschi (Swiss, b. 1955) on the history of Arial from its genesis in 1982 as a Helvetica "clone" to its present status as most-used font. Ralf goes on to warn his readers that Microsoft is repeating history by pushing, very soon, its own Segoe, a Frutiger clone. Notable German quotes in which he performs a damning autopsy on Arial: Die Arial ist weder als Textschrift noch als Headlineschrift zu empfehlen, da fehlt einiges an Klasse. [...] Eine unausgeglichene Laufweite, also die Proportionen und der Abstand zwischen den Zeichen, gibt der Arial einem miserablen Grauwert. Das Verhältnis von schwarzen Linien und weissen Flächen lässt sie plump und charakterlos auf dem Papier kleben. Besonders hässlich sind die angeschrägten Endstriche bei a, e, s und t. Die Proportionen und die Form des t sind eine Zumutung und das a sieht wie nach einem Hagelschlag verformt aus. [...] Die Arial ist lieblos, unausgeglichen und verbeult, sie hat mir noch nie Freude bereitet. About the Segoe drama (Trauerspiel), he writes: Die Geschichte wiederholt sich hier, Die Segoe atmet den Geist der Frutiger von Adrian Frutiger, die sich in den 80er-Jahren zur Alternative der viel benutzten Helvetica anbot. Hier springt Microsoft 20 Jahre zu spät dem vermeintlichen Lifestyle nach, und statt eine eigenständige Schrift zu entwickeln, kupfert die Branchenführerin eine der erfolgreichsten und schönsten Schriften ab. Man könnte ja auch eine bestehende Schrift ordentlich lizenzieren. Ein Trauerspiel. So, why did Microsoft not properly license Frutiger from the man himself? After Adobe had to rip off Frutiger with its Myriad, now Microsoft joins the corporate theft business. Why not reward type designers properly? Fontshop joined Turtschi in his analysis. See also this brilliant piece by Fred Nader from 2003. [Google] [More] ⦿
Swiss designer and photographer, b. 1919, Baar, d. 1991, Oberwil. He studied typography in Zug, and photography from 1941 until 1943 first at Ecole Photographique de la Suisse Romande in Lausanne and then at the Kunstgewerbeschule Zürich. He was mainly into photojournalism from 1950 until 1957.
Codesigner with Walter Haettenschweiler of the famous condensed headline typeface Haettenschweiler (1954). This font was added to the standard Microsoft font library in 1995 and is sold by Ascender. [Google] [MyFonts] [More] ⦿
Legendary Swiss type teacher, b. 1920. Hofmann succeeded Emil Ruder as head of the graphic design department at the Schule für Gestaltung Basel (Basel School of Design) and was instrumental in developing the Swiss style of graphic design. His teaching methods were unorthodox and broad-based. He designed, and influenced the design of, books, exhibitions, stage sets, logotypes, symbols, typographical pieces, posters and sign systems. His work is recognized for its reliance on the fundamental elements of graphic form---the point, line, and shape. He retired in 1987. His output includes many fantastic typographic posters. Example.
Geneva, Switzerland-based designer of (a digital version of) Vierkant (2016), the experimental square typeface first proposed by Wim Crouwel. He also designed Maximaal (2016) and the Peignotian typeface Gank (2016). Behance link. [Google] [More] ⦿
Artoftype in Zürich is run by Swiss typographer Markus Ernst, b. 1966. Designer at URW of Deepspace (2002, writing that aliens would use?), Sepultura (2003, gravestone writing?), Courier-Variationen. Free fonts for Mac and PC: Screenhorn (pixel font), 1873 (erosion font, 2000). [Google] [More] ⦿
During his studies at Westerdals in Oslo, Arve Båtevik created the display typeface Toulouse (2014). Toulouse consists of a basic sans skeleton. Arve then added two weights, one in a 2 to 1 ratio, and one in a 1 to 2 ratio. This allows for some great designs for logos and posters. In 2015, from his new base in Zurich, he created Sagen Grotesk as an interpretation of Schelter Grotesk (after Schelter Breite Grotesk, 1886), and developed Passelig Sans from the bottom up.
Atelier Bubentraum (or: Nouvelle Noire)
Atelier Bubentraum is Anton Studer, a designer located in Zürich. We also find himn asssociated with Nouvelle Noire in Zurich.
Other typefaces: Frank (2007, a commercial grotesque blackletter sold by Die Gestalten Verlag), Motion (2008, experimental), Hausbau (2008, free, experimental), Minimeter (2008, free ruler-themed font, for Neo2), Archiv (2008-2010), Goodbye (2009).
Together with Clovis Valois, he set up Nouvelle Noire in 2012 in Zurich. At Nouvelle Noire, he published Rekja (2011) and Medien (2011).
Atelier Carvalho Bernau
Kai Bernau (b. 1978) studied graphic design at the University of Applied Sciences Schwabisch Gmünd in Germany before relocating to the Netherlands, where he graduated from the Design & Typography course of the KABK in The Hague in 2005 with his successful Neutral Typeface project. He continued in the KABK's Type and Media Master course where he graduated in 2006. Since 2011, Kai teaches type design in the Master in Art Direction program at ECAL in Lausanne, Switzerland. In 2005, Susana Carvalho and Kai Bernau formed Atelier Carvalho Bernau, which is based in The Hague, The Netherlands.
Attak is a two-headed graphic design firm formed in 2004 by Peter Korsman (b. 1982) and Casper Herselman. It is based in 's-Hertogenbosch, The Netherlands. They have some free and some commercial typefaces. Behance link. Their fonts, ca. 2009: AT AK-47, AT Babyfat, AT Blaser, AT Concours, AT Dienstuhr, AT Discipline, AT FFW, AT Helix, AT Hide and Seek, AT Hieronymus, AT Janus Kiep, AT Kerremus, AT Klaxon, AT Korsakopf, AT Litewriter, AT Mepper, AT Mohawk, AT Moker, AT Monoload, AT Muntel, AT Peetroleum, AT Praktikum, AT Promille, AT Ramseier, AT Riot, AT Sirca, AT Sirca alternate, AT Slyper, AT Snotnose, AT Streeep, AT Tabak, AT T'Atteljeej, AT TCB, AT Timeline, AT Trash Bold, AT Willi, AT With Machines, AT Zippora. Notable products: AK-47 simulates Cyrillic; Helix is a stencil face; Muntel and Concours are fat art deco typefaces; Practicum and Tabak are octagonal; Riot leaks blood; Sirca is based on arcs of circles; Streep is a multiline font. I presume that Peter is the main font designer in the team, as he already made fonts as early as 2003 for Burodestruct (see, e.g., BD Burner, BD El Max, BD Sirca, and BD Bardust, downloadable here). A more detailed breakdown per designer:
Or just Theo Ballmer. Swiss designer (b. Lausanne, 1902, d. 1955), who worked for Hoffmann-LaRoche before he went to work at the Bauhaus in Dessau in 1928. The URW font family Theo Ballmer (2000) is based on his ideas, and was digitized by Theo's grandson Thierry Ballmer. The family has many typical Bauhaus ingredients. Another digital revival of this is Architype Ballmer by The Foundry. [Google] [MyFonts] [More] ⦿
Swiss graphic designer who studied at the Haute École d'Art et de Design in Genève. Aurélien created a sketched typeface in 2012: Annual report for the Parisian section of the NGO Secours Populaire Français. A modular typeface was designed for the occasion. As always, the design is guided and inspired by the general identity created for the Secours Populaire Français by Grapus and Pierre Bernard.
Aurèle Sack is a globetrotting graphic designer specialized in type and editorial design. He focuses mainly on projects within the cultural field. After graduating from ECAL in 2004 (with a sans typeface called AS Gold) Sack worked in Zürich and New York. He currently lives and works in Lausanne, Switzerland.
Codesigner in 2006 with Maxime Buechi of a corporate type for NORM called Rhodesia . In 2009, he made AS Garamond in collaboration with Jonas Voegeli, Zürich for Das Magazine. In 2008, Fleurie (typewriter face) was published. Around 2006, he created Omega Bold (a sans, done with Norm in Zürich), Gallery, and Purple (Regular, Italic; a serif typeface published at Lineto).
Initiated as a collaborative type design project by Zurich-based designers Urs Lehni and Lex Trüb, LL Brown (2011, Lineto) has been drawn and developed by Aurèle Sack in the geometric style of Edward Johnston's Johnston (1915) and Arno Drescher's Super Grotesk (1930).
The graphic design studio Based is based in Lausanne, Switzerland. It was founded in 2014 by Michael Gaio and Robin Perret-Gentil. Based created the basic custom sans typeface Based and the ink-trapped Intrap in 2015. Behance link. [Google] [More] ⦿
The Basel School of Design (Basel, Switzerland) offers an English-language program called Basics in Design, which spans one or two semesters of study. It includes a letterform design course by Lisa Pomeroy, and Wolfgang Weingart's workshop Basics in Typography, and Layout. German page. Alternate link. [Google] [More] ⦿
Student at ECAL in Lausanne who made Ciao (2008), a revival of Italian typefaces done by Caslon in 1821. He is working on a connected script typeface called Afterwork (2010). Scan of his poster called Foam. [Google] [More] ⦿
Swiss typography expert at Microsoft who wrote Visual TrueType, a truetype font hinting program, and who helped out with Cleartype. He is also the author of The Raster Tragedy (1997, updated in 2011). Beat Stamm has a Ph.D. in Computer Science. [Google] [MyFonts] [More] ⦿
Gifted designer from Lausanne, Switzerland. One of the most talented creators of typefaces with FontStruct.
Typefaces made in 2009: DB72, DBColon, DBPoints Sans, DBCube, and DB13, mostly dot matrix or octagonal fonts.
In 2010, these were followed by db Outline, db Stickers, db Stick, DB Cube New, db MOKI (stencil), db Ciao, db Ticket Light, db 72, DBpoints (dot matrix), DBPoin2, and db Kopix (blackletter), db New Points Italic (dot matrix face).
In 2011, we find dB Stick, dB Sticker, dB Sticker Mono (a monospaced typewriter face), db Prague (fat sans), db Backjumps (an extraordinary fat poster stencil), db Perl, db Perl 1.2 (texture face), db Quarz (2011, +Mix), and db Nox and db Nox II.
Fonts made in 2012: db Como (a simple monospace sans), db Sticker (hairline sans), db Rocko v2 (stencil face), db Today v1 (a beautiful black slab face), db Today v2, db Etroite (2012, in several weights: constructivist), db N3, db Drops (fat counterless face), db Quarz Mix, db Soda, db Klacks, db NQ, db Boxer, db Como (monospaced), db Smoothie (fat stencil face), db Quick Cut (stencil), db Karton (stencil), db Frieda.
Typefaces from 2014: db Darling. db Oh Darling, db Melitta (a fantastic brush emulation typeface), db Sticker T, db Points Sans Oblique (dot matrix font), db Como Splitt, db Quirlo (fat rounded poster typeface), db Quirlo Mix, db Limo (angular angry anthroposophic sans), db Limo N, db Slow (a German expressionist typeface), db Bargo Condensed, db TwoLines (an inline font). [Google] [More] ⦿
Zürich, Switzerland-based designer (b. 1973) of the hexagonal typeface Darth Gonzo (2014), Uhura 2239 (2014), the bullet hole typeface Zuckerbrot (2014) and the slab serif typeface Pontifexica (2014). Dafont link. [Google] [More] ⦿
Type and graphic design competition, open to typefaces designed in Germany, Austria and Switzerland. Past winners were often selected for certain corporate projects, not for type design per se. The type awards since 2006 are on-line. The competitions are numbered. For example, 2013 is the 45th competition. [Google] [More] ⦿
Swiss designer at Font Nest of Miss Hardcore (a macho sans), Miss Suisse (revival of an old Swiss dot matrix passport type), Miss Monde, Miss Cosmos (monospaced didone), Miss Vesalis (revival font from the De humani corporis fabrica, written by Andrea Vesalis in 1555), and Miss Potatoe (grunge family, with Jacques Borel). [Google] [More] ⦿
Swiss foundry which made several (typically Swiss) techno-sans families, such as Regular (originally created by Norm (Dimitri Bruni and Manuel Krebs) as a lucidly structured and fully formulated headline typeface font back in 1999. In 2006 adapted and rounded out by Nik Thoenen to this current version), Relevant (Michael Mischler and Nik Thoenen, 2007; loosely influenced by 'Record Gothic', created by R. Hunter Middleton for the Ludlow Typograph Company in 1927), Areal BL, T-Star Pro, T-Star TW Pro (typewriter face, Michael Mischler, 2002), and Blender Pro (Nik Thoenen, 2002-2009: an octagonal sans face). Catalog (Michael Mischler and Nik Thoenen, 2005) is a serif family. FRAC (Nik Thoenen, 2003) is octagonal. Korpus (2012) is a text family designed by Mika Mischler and Nik Thoenen. It was followed by Korpus Grotesk (2014).
Swiss photo-typesetting company. Among their typefaces, we find the 1977-1978 effort leading to Signa (by André Gürtler, Christian Mengelt, Erich Gschwind), and Trinité (1981, Bram de Does, part Bobst Graphic, part Autologic). [Google] [More] ⦿
Boîte à lettres
Jean-Claude Siegrist is a Swiss type designer. He designed the text typeface Gradot in 2009 for his graduation work at the Haute école d'art de Zurich (or ZhdK: Z^uuml;rcher Hochschule de Künste). He is working on Béridier, Vorbourg, Brunchenal and Domont. [Google] [More] ⦿
Swiss type designer from Interlaken who offers one beautiful free script font of his own hand, Excellentia (2005), and, earlier, of Excellentia in excelsis (2000). For 100 Swiss Francs, he will make your handwriting into a font. Dafont link. [Google] [More] ⦿
Defunct type foundry in Lausanne, Switzerland, founded in 2005 by Ian Party and Maxime Buechi. From 2000 until 2004, Maxime Buechi studied graphic design&typography at the Ecole Cantonale d'Art de Lausanne (ECAL). His typefaces include Rhodesia , a private type designed with Aurèle Sack for the book African Sniper (for NORM) in 2003 (it was not used there, but was used instead in the book Periferic 7), and a corporate typeface for the Centre for Curatorial Studies Bard&Hessel Museum, New York (2006, with Ian Party). In 2007, the following BP fonts saw the light: Neutral BP (Kai Bernau, a supposedly neutral sans family), La Police BP, Romain BP and Romain BP Headline (as the creator, Ian Parry, states: Based on the Commission Jeaugeon's models and on Philippe Grandjean's classic character, the Romain BP celebrates the marriage of geometric rationality and elegance, of science and craftsmanship. The Romain BP Text is actually closer to the Commission's model than Grandjean's Romain du Roi. It is more synthetic in its structure, more radical, and thus, more modern. It is a contemporary text typeface based on a structure that was created in 1690, not a revival mimicking Greandjean's shapes.). In 2007, they released Esquire, an upright script headline face. Other fonts are listed on my site under the various designers' names.
Illustrator who was born in Lisbon and lived in the Northeastern part of the USA for seven years before returning to Lisbon for a few more years and finally settling in Geneva, Switzerland. Behance link. Cargocollective link. He created the typeface Wrong (2010). The lettering in his poster Glassjaw (2010) is also worthy of being turned into a font. [Google] [More] ⦿
Based in Geneva, Switzerland, Bryan Decoppet created the free thin art deco typeface Levinia in 2014. In 2016, he designed the alchemic typeface Cherokee (2016) that is based on native American Indian patterns. [Google] [More] ⦿
burodestruct (or: Typedifferent.com)
Lorenz Lopetz Gianfreda's foundry in Bern, Switzerland, est. 1994, called Burodestruct and Typedifferent.com.
Free fonts include(d) the gorgeous GalaQuadra (by Angela Pestalozzi, 1999), Eject Katakana (1998), Dippex (1995, grunge font), Ticket (1995), Rocket 70 (1996), Ratterbit (1995, pixel font), Plakatbau (1995), Lodel Fizler (1996), Flossy (1995), Faxer (1995), Console Remix (1998), Cravt (1998, by "Katrin"), Stereotype (1998, by M. Brunner), Brockelmann (1995, free), Kristallo (1997, very original display face) and Billiet (1996).
Other fonts: Acidboyz (1998), Alustar (1999), BD Asciimax (1999, ascii art font), BD Billding, Bdr_mono (1999), Brick (1996, like Kalendar), Cluster (1996), Console (1997), Doomed (1998), Eject (1998), Electrobazar (1995), Elside (1995), Globus (1996), Fazer (1996), Lofi (1997), Medled (1995), Paccer (1995), Solaris (1998), Spicyfruits_brush_rmx (1998, a nice high-contrast face), Spicyfruits_rmx, Wurst (free, by Heiwid, 2000), Relaunch (2000), Relaunch Katakana (2000, free), Rainbow (2000), DeLaFrance (2000, free, by Heiwid), Electronic Plastic (2000), Colonius (2001), Cash (2001), Cashbox (2001), Bilding (2001), Meter (2001), Mustang (2001), Bankwell (2001), BD Alm (2001), Balduin (2001), Tatami (2001, oriental look font), Hexades (2001, free), Nippori (2002, techno), Jura (2002), Bonbon (2002, free), Band (2002, free), Navyseals (2002, kitchen tile font), Ritmic (2002), BDR Mono (1999, OCR-like font), Mann (2003, ultra fat stencil), Aroma (2003), Zenith (2003), Nebraska (2003), BD Equipment (2004), BD El Autobus (2004), BD Unexpected (2004), BD Wakarimasu (2004, free kana face), BD Bernebeats (2004, futuristic), BD Deckard (2004), BD Spinner (2004), BD Victoria (2004), BD Designer (2004), BD Kalinka (2005, a curly ultra-fat display face), BD Equipment (2004), BD El Autobus (2004), BD Unexpected (2004), BD Varicolor (2005, stencil), BD Chantilly (2005), BD Memory (2005), BD Emerald (2005, beveled), BD Kalinka (2005, Cyrillic simulation), BD Extrwurst (2005), BD Aquatico (2005), BD Mandarin (2005), BD Polo (2005), BD Beans (2005), BD Tiny (2005, pixel face), BD Times New Digital (2006), BD Panzer (2006), BD Jupiter, BD Jupiter Stencil (2006), BD Pipe (2006), BDR Mono 2006 (2006), BD Fimo Outline (2007, free, by Nathalie Birkle), BD Bermuda (2007, experimental and geometric), BD Smoker (2007, psychedelic), BD Radiogram (2007), BD Mother (2007, exaggerated black Egyptian), BD Fimo Regular (2007, free), BD Demon (2007), BD Reithalle (2007, free), BD Halfpipe (2007, free), BD Broadband (2008, free; not to be confused with the much older fonts BroadbandICG or FLOP Design's Broadband), BD Viewmaster and BD Viewmaster Neon (2008), BD Electrobazaar (2008), BD Motra (2008, stencil), BD Virtual (2008), BD Spacy 125 (2008), BD AsciiMax, BD ElAutobus (2004), BD Equipment (2004), BD Ramen (2003), BD Retrocentric (2009), BDR A3MIK (2009, virile Latin and Cyrillic slab), BD HitBit (2009), BD Unicorse (2010, unicase and techno), BD Telegraph (2011), BD Schablone (2012, stencil face), BD Pankow (2013, stencil), BD Algebra (2014), BD Hiragana Kuro (2014), BD Qualle (2014, a fat poster typeface), BD Tribler (2015, a tribal font). <>Alphabetical listing of their pre-2015 free typefaces: Algebra, Alm, Apotheke, AsciiMax, Baldrian, Band, Bankwell, Bardust, Beans, Billding, Billiet, Bonbon, Brockelmann, Burner, Cash, Cashbox, Chantilly, Circo, Console, Console Remix, Cravt, Delafrance, Designer, Destination, Dippex, Eject Katakana, ElAutobus, Elmax, Elside, Equipment, Faxer, Fazer, Fimo, Flossy, Fluke, Galaquadra, Geminis, Halfpipe, Hexades, Hiragana Kuro, Jayn Fonta, Kristallo, Lodelfizler, Lofi, Medled, Meter, Mustang, Outline, Paccer, Pipe, Plakatbau, Plankton, Polo, Ragout, Ramen, Ratterbit, Reithalle, Relaunch, Relaunch Ktna, Rocket70, Sirca, Sirca Rmx, Solaris, Spacy125, Spicyfruits, Spinner, Stella, Stencler, Stereotype, Ticket, Times New Digital, TinyFont, Tribler, Unfold, Wakarimasu.
Alphabetical listing of their pre-2015 commercial typefaces: A3mik, Acidboyz, Alustar, Aquatico, Aroma, Balduin, BDR Mono 2006, Bermuda, Bernebeats, Breakbeat, Brick, Broadband, Calamares, Central, Cluster (Corporate), Colonius, Deckard, Demon, Discount, Doomed, Edding850, Eject, Electrobazar 2008, Electronicplastic, Elk, Emerald, Endless, Extrawurst, Fontabello, Globus, Good Wood, Hell, Hitbit, Jupiter, Jura, Kalinka, Kameron, Kinski, Las Palmas, Mandarin, Mann, Memory, Mother, Motra, Naranino, Navyseals, Nebraska, Nippori, Nokio, Orlando, Pankow, Panzer, Qualle, Radiogram, Rainbow, Retrocentric, Ritmic, Robotron, Schablone, Showlong, Smoker, St.Moritz, Stalker, Stonehenge, Sweethome, Tatami, Telegraph, Unexpected, Unicorse, Varicolor, Victoria, Viewmaster, Virtual, Wotka, Wurst, Wurst Directors Cut, Zenith.
In 2015, Gianfreda designed BD Barbeaux (a condensed typeface with the fashionable chic of the French art nouveau or film noir).
Typefaces from 2016: BD Kickrom Mono (LED emulation type).
Burri-Preis Graphic Design
Graphic design bureau in Zürich run by Susanne Burri and Stefanie Preis. Brezel Grotesk (2011, Milieu Grotesque) by Stefanie Preis of Burri-Preis is a sans serif typeface, inspired by the character of classic ninetheen-century grotesques, an unpretentious typestyle, completed by the regular, yet organic shape of a Bavarian pretzel. Readable in small point sizes, yet remarkable at larger sizes, the letters have distinctive terminals. Designed in four weights to function in all text settings, Brezel is suited for a wide range of applications. Unlike most sans serif typefaces of the 19th century Brezel Grotesk comes with a true italic.
Workshop held at ECAL in Lausanne in 2008, which resulted in the communal creation of the serif typeface Bussigny. The contributing participants were Bertrand Emaresi, Carina Frohburg, Dinh Nguyen, Dominique Boessner, Emmanuel Rey, Fabian Widmer, Jean-François Porchez (the leader and supervisor), Mathieu Meyer, Natacha Kirchner, Nicolas Eigenheer, Sarah Kläy, and Sébastien Fontannaz. [Google] [More] ⦿
Sankt Gallen, Switzerland-based studio with seven participants: Anna Furrer, Andrea Nolli, Moni Rimensberger, Joa Schmied, Sascha Tittmann, Jürg Waidelich, Amanda Züst. Designers of these free typefaces: Lietz Block (2008, heavy poster sans), Hedge Flow (2008, floriated), Nordstern (2004, a simple organic sans family in Hell, Normal and Dunkel, designed by Rolf Benjamin Fleischmann), Marsmonster (2005, rounded techno style by Affenprinz Belmondo).
Catharsis is located in Leiden, The Netherlands. Before that, Christian Thalmann's page Cinga.ch was run out of Switzerland, when he was a student at ETH Zürich. It had free typefaces such as the great Arabic simulation typeface Catharsis Bedouin (2004), CatharsisCircular, CatharsisRequiem (a unicase pair), CatharsisRequiemBold, CatharsisCargo, Cirnaja Bookhand and Cirnaja Calligraphy (made for his artificial language, Obrenje), Catharsis Macchiato (2005), CatharsisEspresso (2005).
As Catharsis, the commercial foundry, he published Octant in 2013: Octant is an original steampunk display typeface drawing inspiration from Victorian-age steel and brass engineering, as well as from blackletter typography. Gryffensee (2013, in styles called Eins, Zwei and Drei) is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. It also covers Cyrillic.
Backstein (2013), baked brick, took its inspiration from the broken antiqua lettering in Berlin's old subway stations.
Volantene Script (2013) is a (free) uncial display typeface inspired by the penmanship of Lady Talisa Maegyr-Stark as seen on HBO's Game of Thrones. Numina (2013, Glamour and Glory substyles) is an extensive condensed fashion-oriented typeface family related to Skyline and Corvinus.
Maestrale (2013) adds calligraphic and flamboyant extenders to a decorative text typeface for a dramatic effect. Choose between Maestrale Manual (swashy) and Manuale Text.
Blumenkind (2013) is inspired by an instance of metal-strip lettering found on the Bürgermeister Kornmesser Siedlung residential building complex in Berlin from the 1960s.
Brilliance (2013) is a glamorous contemporary display blackletter combining the rich tapestry of Textura with a hint of the airy lightness of Spencerian script. Let's say that it is a light-hearted Textura.
In 2015, he made the free 45-style classic serif typeface family Cormorant, which includes several unicase fonts. This typeface started out in 2014 as Paramond, a light, contrasted, space-taking Garalde with impossibly tiny counters and long extenders. Links to the Google Font directory: Cormorant, Cormorant Garamond, Cormorant Infant, Cormorant SC, Cormorant Unicase, Cormorant+UprightCormorant Upright. See also . In 2016, he created the humanist geometric sans typeface family Quinoa for Latin, Cyrillic, Greek and Hebrew.
In 2016, he created the humanist geometric sans typeface family Quinoa for Latin, Cyrillic, Greek and Hebrew.
Swiss graphic designer, typographer and illustrator (b. Wangen, 1922). From 1959 on, he designed many postage stamps for the Swiss post office. He does the corporate identity (including type) for Deutscher Taschenbuch Verlag (1960-), and is best known for murals, posters and over 500 book covers. [Google] [More] ⦿
Swiss designer of Affolter Grotesque (1945), aka Ouvrière. That typeface was digitally revived by Alex W. Dujet, Dylan Sauty and Hugo Marucco in 2011 (League, Genève). I have been unable to verify this information which was seen on an image shown by Hugo Marucco. [Google] [More] ⦿
Aka Le Corbusier. Swiss architect, designer, urban planner, sculptor, writer, modern furniture designer, and painter. Born in La Chaux-de-Fonds, Switzerland, in 1887, he died in Roquebrune-Cap-Martin, France, in 1965. His lettering inspired the Letraset rubdown dry transfer typeface Charrette. He also inspired many digital fonts:
Swiss type designer at Fontnest who designed these fonts: Neuro (2006), Lubmin (2008). He writes: The Lubmin typeface is a product of adaption of a standard character set (by VEB Typoart, Dresden) that was applied on roadname signs in the former Democratic Republic of Germany. It is, as far as documented, a production of early Prussian standard typefaces, which were also pattern for nowadays DIN font. The type went into action in many ways: Road signs, railway and military signals and also car plates; so almost anywhere a functional, easy reproduceable type was needed. The original letters were often different from road sign to road sign, because the signpainters had a variable elaborateness in painting the letters; some shapes are much more angular than others. So it had been a way of finding a compromise in this case. Also some points were interpreted in a new way, curves had been changed a little bit to accord readability aspects; but all in all, the Lubmin type is as original as in the time of the #Iron Curtain#. His future site. [Google] [More] ⦿
Christian "Cinga" Thalmann
Swiss artist Christian Goetz designed the labyrinthine typeface Linotype Minos in 1997. He named it after King Minos of Crete (in the Bronze Age). Typical of scripts of that era were the ornamental borders around the characters, found in the palaces of Knossos, Phaistos and Mallia.
Christian Mengelt (b. 1938, St. Gallen, Switzerland) is a graphic designer, type designer, and teacher. He studied graphic design under Armin Hofmann and Emil Ruder at the School of Design, Basel. In 1964, he set up his own graphic design studio together with different partners, and has cooperated with various design and advertising agencies, such as GGK (Gerstner, Gredinger und Kutter) Basel, Switzerland, and Mendell&Oberer Munich, Germany. With Karl Gerstner and Günter Gerhard Lange, he was briefly involved in the Gerstner program at H. Berthold AG. Early type designs include Univers Compugraphic (1972, Compugraphic) and Cyrillic Gothic (1974, Compugraphic), both realized in cooperation with André Gürtler. From 1972 until 2001, he taught graphic and type design at the Basel School of Design, which he headed from 1986-2001. With André Gürtler and Erich Gschwind, he formed Team 77 in Basel and became deeply involved in most aspects of letterform design and application, which led to these type designs:
During his studies at the Schule für Gestaltung Basel, Christoph Ruppli created a hexagonal typeface (2014) and a bicolored geometric solid font called Duplex (2014). In 2015, still exploring the geometry of type design, he created Blox and Square. [Google] [More] ⦿
Swiss type designer, b. 1979, Winterthur. He studied graphic design at the Hochschule für Gestaltung und Kunst Luzern. His typefaces:
Together with Megi Zumstein, he set up Hi.
Site run by five guys from the Zürcher Hochschule der Künste. They designed CombitBox, a modular font of basic blackletter pieces. These pieces fit together to make nice blackletter fonts. Included are André Apel (Zürich), Jan Schöttler (München), Kim Hensler (Villingen), Thomas Wimmer, and Tom Prochnow (Dresden). [Google] [More] ⦿
I was told by Philippe Cuendet (the "fondator" (sic)) that this is a foundry established by Laurence Jaccottet, Gregor Schönborn and Niels Wehrspann, and that more fonts will be arriving soon. Font preview. Gregor Schönborn, who is based in Lausanne, made the Rolecks font based on the Rolex logo. Jaccottet and Wehrspann are the designers of the inline AGIP font (2001) based on the logo of AgipPetroli, digitized for the book "Benzin: Junge Schweitzer Graphik". [Google] [More] ⦿
Tauted as an entreprise graphique et utopique, CroCroTraUmAx (the font) was developed in December 1997 during a workshop at écal, école cantonale d'art de Lausanne, Switzerland, organized and headed by Michael Amzalag, Mathias Augustiniak, M/M (Paris) and Cornel Windlin (Zürich). The CroCro Team consists of Angelo Benedetto, Alexandre Bettler, Sara Bochicchio, Anne-Catherine Boehi, Philippe Cuendet, Loic Delcroix, Philippe Desarzens, Ligia Dias, Nicolas Duc, Thomas Egger, Barbara Ehrbar, Aisha Enz, Vincent Greset, Bettina Hempel-Schuster, Cédric Henny, Ivan Liechti, Patrick Monnier, Violaine Pont, Claudia Roethlisberger, Alexandra Ruiz, Dominique Scholl, Gilles Turin, Vincent Turin, Jean-Thomas Vanotti, Niels Wehrspann. Free, Mac only. PC version. [Google] [More] ⦿
Cyril Bays (Zekiko) is a graphic designer in the Vevey-Lausanne-Genève area of Switzerland. He designed a vector format decorative caps typeface in 2016 that mimics the caps used in the new Larousse Illustré. The letters were designed by A. Bosson. Creative Market link. [Google] [More] ⦿
Dada or Dadaism is a cultural movement that began in Zürich, Switzerland, during World War I and peaked from 1916 to 1922. The movement primarily involved visual arts, literature-poetry, art manifestoes, art theory-theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. For many participants, the movement was a protest against the bourgeois nationalist and colonialist interests which many Dadaists believed were the root cause of the war, and against the cultural and intellectual conformity - in art and more broadly in society - that corresponded to the war. Dada was anti-art. It is believed that Dadaism started in October 1916 in Zurich where Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber, along with others, discussed art and put on performances in the Cabaret Voltaire expressing their disgust with the war and the interests that inspired it. In the Netherlands the Dada movement centered mainly around Theo van Doesburg, most well known for establishing the De Stijl movement and magazine of the same name. The dadaists developed some art techniques such as collages, assemblages (3d collages), photomontages, and readymades. Another encyclopedia. German page on Dada's history. Summary. [Google] [More] ⦿
Swiss designer Bruno Maag (b. Zürich) founded Dalton Maag in 1991, and set up shop in Brixton, South London. He serves the corporate market with innovative type designs, but also has a retail font line. Ex-Monotype designer Ron Carpenter designs type for the foundry. In the past, type designers Veronika Burian worked for Dalton Maag. A graduate of the Basel School of Design, who worked at Stempel and was invitedd by Rene Kerfante to Join Monotype to start up a custom type department. After that, he set up Dalton Maag with his wife Liz Dalton. He has built the company into a 40-employee enterprise with offices in London, Boston, Brazil (where the main type designer is Fabio Luiz Haag), Vienna and Hong Kong.
Fonts sold at Fontworks, and through the Bitstream Type Odyssey CD (2001). At the ATypI in 2001 in Copenhagen, he stunned the audience by announcing that he would never again make fonts for the general public. From now on, he would just do custom fonts out of his office in London. And then he delighted us with the world premiere of two custom font families, one for BMW (BMWType, 2000, a softer version of Helvetica, with a more virile "a"; some fonts are called BMWHelvetica), and one for the BMW Mini in 2001 (called MINIType: this family comprises MINITypeRegular-Bold, MINITypeHeadline-Regular, MINITypeHeadline-Bold, MINITypeRegular-Regular).
Other custom typefaces: Tottenham Hotspur (2006), Teletext Signature (by Basten Greenhill Andrews and Dalton Maag), Skoda (Skoda Sans CE by Dalton Maag is based on Skoda Formata by Bernd Möllenstädt and MetaDesign London), UPC Digital, BT (for British Telecommunications), Coop Switzerland (for Coop Schweiz), eircom, Lambeth Council, Tesco (2002), PPP Healthcare, ThyssenKrup (Dalton Maag sold his soul to these notorious arms dealers; TK Type is the name of the house font), Co Headline (2006), Co Text (2006, now a commercial font), Telewest Broadband, Toyota Text and Display (2008), TUIType, HPSans (for Hewlett-Packard, 1997). His custom Vodafone family (sans) (2005) is based on InterFace. In 2011, Dalton Maag created Nokia Pure for Nokia's identity and cellphones, to replace Erik Spiekermann's Nokia Sans (2002). The Nokia Pure typeface has rounder letters, and is simultaneously more legible and more rhythmic.
In 2010, the Dalton Maag team consisted of Bruno Maag and David Marshall as managing and operations directors, and Vincent Connare as production manager. The type designers are Amélie Bonet, Ron Carpenter, Fabio Haag, Lukas Paltram and Malcolm Wooden.
In 2015, Kindle picked Bookerly by Dalton Maag for their typeface.
Interview in 2012 in which he stresses that typefaces should above all be functional.
View the Dalton Maag typeface library. Speaker at ATypI 2016 in Warsaw and at ATypi 2015 in Sao Paulo, where he gave an electrifying talk on type design for dyslexics (with Alessia Nicotra). Speaker at ATypI 2016 in Warsaw. [Google] [MyFonts] [More] ⦿
Dani Klauser Grafik Design (or: DKGD)
DKGD stands for Dani Klauser Grafik Design. He is a Swiss designer from Luzern who made the free geometric sans typeface Circle (2007). He also made the headline typefaces Odeon (2007), Clinkerstone (2007) and Clinkerstripes (2007). His first commercial type family is Planeta (2009), which is made in the style of Underground, Gill Sans and Futura. [Google] [More] ⦿
Graphic designer in Sierre and Lausanne (Switzerland). During his studies at ECAL (Lausanne), he made a cinematographic signage typeface called Geraldine (2011, named after Geraldine Page). Baskervilaine (2013) is a tweaked version of Baskerville. Severine (2013) is an ornamental caps typeface. Le Moche (2012) is a grotesk typeface. Sugarnir (2013) is a rune font.
In 2014, he designed the sans typeface Fryda (free beta version).
Web designer in Lugano, Switzerland (and before that, Catania, Sicily), who created the didone typeface Rachel and the partly tweetware sans typeface family DDM in 2014. With Meedori Studio in Catania, he created the tweetware Futura-inspired caps-only typeface Meedori Sans (2015).
In 2017, he designed the wayfinding sans typeface Agané, which is based on Adrian Frutiger's Frutiger and Avenir, FF Transit by Erik Spiekermann and Bob Noorda's Noorda. Behance link. [Google] [More] ⦿
Italian llustrator rom Fermignano. Graduate of Istituto Tecnico Commerciale Giovanni Calo (Francavilla Fontana, 2008) and Accademia di Belle Arti di Urbino (2015), who is currently (in 2017) based in Geneva, Switzerland. Designer of the free textured typeface Materia (2016). Behance link. [Google] [More] ⦿
Daryl Roske is a British and German national studying and working in Montreux, Switzerland and Hamburg, Germany. He studied visual arts at the College Voltaire in Geneva, graduating in 1991. He has carried out identity designs for Buitoni, The Art Center (Europe), the IDRH, and the Federal Office of Civil Aviation. Fobia is his first typeface (Font Bureau). A fun and exciting font, it is also in Robin Williams' book "A Blip in the Continuum" (Peachpit Press). Bauklotz (2010) are letters made from building blocks. Behance link. shr communication GmbH is his art direction and graphic design business in Hamburg. [Google] [MyFonts] [More] ⦿
Basel-based designer of the square-spaced typeface Living Rooms (2013).
Freelance motion designer and art director who grew up in Valencia, Spain, and was born in 1976. He now lives and works in Zurich. Creator of the free geometric font Cubop (2009). Behance link. Dafont link. [Google] [More] ⦿
Multimedia designer, creative consultant, a brand and identity designer in Saint Cergue, Switzerland, b. 1983. He runs (ran?) a brand design company called Dache. Creator of the grunge typeface Agnoti (2005) and the ballpoint/serif typeface Hurt Majesty (2006). Abstractfonts link. He created some free fonts using iFontMaker in 2010: Sion is a striped typeface, and Hinwil is an informal script face. Another link. Dafont link.
Fonts planned for 2011: the pixel / modular typefaces Interlaken and Avenches, the hand-printed typefaces Furna and Dalpe, the minimalist monoline sans typeface Surpierre, the geometric sans Duvin, and the display typefaces Glaris, Wildberg, Faoug, Carona, Marbach, Montagny, Coeuve, Kaisten (organic), Mathod (a construction face), Kloten, Calpiogna, Hirchberg, Plagne, Reute. [Google] [More] ⦿
Andreas A. Lorenz is the Zürich-based designer at dCTRL of the pixel fonts Large (2000) and Fat (2000). For now, available in Mac and PC formats at the HI-TYPE site.
Swiss designer (b. 1988) of Simon Script (2005).
Cesar Hernandez is a Peruvian designer who studied in England and makes custom type in Brugg in Switzerland, where he founded Design Factory. A screen font, Loft 04-06 is shown on his home page. [Google] [More] ⦿
Dieu et mon droit
Jas Rewkiewicz ("Dieu et mon droit") was a Swiss graphic design student at ECAL (Lausanne) who made Armstrong (a revival of Letraset Neil Bold), Didot MAT (serifless Didot tailored for Man About Town magazine), Didot Builder, Eugenie (a didone), LOL (a clean sans), Miranda Sans, Miranda Serif and Roma 1560. He lived in Lausanne but is now in London, where he works as a graphic designer. Normandia Bold (2007) is in the spirit of the extra-black high contrast Didot caps typefaces. Fournier RD (2007) is his interpretation of the famous Fournier typeface. Doop (2007) is a basic sans made for a client in London. Ultra (2007) is based on a Clarendon, inspired by Beton and finally its borrowing certain details from more extreme fonts like the Gill Sans Ultra Bold and the Maple from Process Type Foundry. Bonbon (2009) is a stylized headline font designed for the unique typographic style of Bon magazine. Industria (2009, Light Italic, Light, and Medium) is a corporate font family of the Saturday Group. Neo Futura Book (2009, in progress) is a contemporary interpretation of Paul Renner's classic. [Google] [More] ⦿
Dinamo is a Swiss type foundry in Heiden established by Johannes Breyer and Fabian Harb after graduation from schools in Zurich, Basel and Amsterdam. Johannes and Fabian are visiting teachers at the Estonian Academy of the Arts, Tallinn. Johannes is teaching type design at University of the Arts Berlin (UDK) and HfG Offenbach. Fabian is lecturing typography at the School of Design St. Gallen. Their typefaces:
Partner in Moiré (Zürich) who designs typefaces at Grilli Type in Switzerland. His typefaces:
Swiss graphic designer. Creator of My First Font (2012, based on DIN).
Cast was conceived in 2007 during Dominique Kerber's type design studies at the ZHdK in Zurich (Switzerland). After graduation, Dominique Kerber continued working on this project to complete this humanist sans family in March 2011. His foundry, also called Dominique Kerber, is located in Winterthur. Klingspor link. [Google] [MyFonts] [More] ⦿
Ecal Typefaces is an online typefoundry established in 2015. Related to the ECAL/University of Art and Design Lausanne, it sells designs created by its BA graphic design and MA art direction students. The site was created in collaboration with Swiss Typefaces, which consists of ECAL alumni Ian Party, Maxime Büchi and Emmanuel Rey.
A brief description of the school can be found in the article écal-typografie restart (Comedia, edition 04-5/6, 2004). It was headed by Pierre Keller. The Masters program is headed by Philippe Egger. Teachers include type designers such as Ian Party (who runs Swiss Typefaces with Emmanuel Rey), Ludovic Balland and François Rappo. Courses are also taught by Frederik Berlaen and Kai Bernau, among others. The visiting staff has included people such as Paul Barnes, David Bennewith, Peter Bilak and Gilles Gavillet. [Google] [More] ⦿
Type and graphic design pages by Edgar Walthert, b. Sursee, Switzerland. In 2007, he graduated from the TypeMedia program at KABK in Den Haag. Since then he is free-lancing. He completed TazIII in 2008 for Lucas de Groot in Berlin. In 2008, he moved to Amsterdam to work as an independent graphic and type-designer.
His typefaces include Agile (2007, a sans family done at KABK), Grosse Pläne, Instant Schrift (2000: Redesign of Isonorm 3098 matching the radical restrictions of the Instant design-manual), and Sonic Waves.
Agile was further developed in 2011 with weights ranging from hairline to fat, and appeared in 2013 as a retail typeface at Incubator / Village.
Swiss typefounder who made the Haas Typefoundry as the center of the Swiss movement in the design of typefaces in the 1950s. He directed Max Miedinger in the development of Helvetica, and Hermann Eidenbenz in Clarendon> (1953).
Type meeting on November 25, 2006, held at Technopark, Zürich. Speakers: Michel Poffet, Lucas Stähli, Mats Küpfer, Claudia Wildermuth, Félix Müller and Stephan Rappo, Johanna and Peter Bilak, Daniel Janssen, and Yves Zimmermann. [Google] [More] ⦿
Elektrosmog in reality is a design studio in Zürich, run by Valentin Hindermann and Marco Walser. They designed Storno (1999) at lineto. Still at lineto, they published Brauer in 2000, based on a design by Max Miedinger. I was informed that Brauer was at least partially made by Max Miedinger's nephew, Pierre Miedinger. Marco Walser of Elektrosmog and Philippe Desarzens later developed this typeface further into the six weights of LL Brauer Neue. [Google] [More] ⦿
Luzern, Switzerland-based designer of the straight-edged monospaced Mexican-themed typeface Mixcoatl Mono (2016, FontForum URW++). This typeface was developed as a part of a course at the Lucerne School of Design and Art in 2016. Based on the book The Empire of the Inca, Mixcoatl Mono is inspired by the graphic language of the South American Empire of the Incas. Behance link. [Google] [MyFonts] [More] ⦿
Swiss designer at Haas (1906-1948) who made the heavy broad pen script font Bravo (1945) and Chevalier (1946).
Swiss typographer (b. Zürich 1914, d. Basel, 1970), and type guru in the 50s and 60s. Ruder taught at the Basel School of Design (Kunstgewerbeschule), and founded the International Center for the Typographic Arts in New York, 1962.
Author of Typographie: Ein Gestaltungslehrbuch - A Manual of Design - Un Manuel de Creation (Teufen: Niggli, 1967), and Typographie. Ein Gestaltungslehrbuch. Mit über 500 Beispielen (7th edition in 2001, Niggli). The Road to Basel (Helmut Schmid) is an homage to Emil Ruder by Helmut Schmid, one of Ruder's students, who headed a group of other ex-students and organized their contributions. The former students who participated are Harry Boller, Roy Cole, Heini Fleischhacker, Fritz Gottschalk, André Gürtler, Hans-Jürg Hunziker, Hans-Rudolf Lutz, Fridolin Müller, Marcel Nebel, Åke Nilsson, Bruno Pfäffli, Will van Sambeek, Helmut Schmid, Peter Teubner, Wolfgang Weingart, and Yves Zimmermann. Karl Gerstner and Kurt Hauert also contributed. Paul Shaw reviews this book and Ruder's contributions.
Quotes from Shaw's piece:
IDEA Mag's special issue #332 entitled Ruder Typography Ruder Philosophy (2009), with articles by Leon Maillet (Tessin), Armin Hofmann (Lucerne), Karl Gerstner (Basel), Kurt Hauert (Basel), Lenz Klotz (Basel), Wim Crouwel (Amsterdam), Adrian Frutiger (Paris), Hans Rudolf Bosshard (Zurich), Andre Gutler (Basel), Juan Arrausi (Barcelona), Ake Nilsson (Uppsala), Fridolin Muller (Stein am Rhein), Harry Boller (Chicago), Maxim Zhukov (New York), Taro Yamamoto (Tokyo), Fjodor Gejko (Düsseldorf), Helmut Schmid (Osaka), and Susanne Ruder-Schwarz (Basel).
Partner of Ian Party in Swiss Typefaces. Swiss ex-student of Ian Party at ECAL in Lausanne, who created Tabloid (2007), a contemporary condensed sans serif font family, specifically designed to be used in big size for newspaper headlines. It comes in ten weights from UltraLight to UltraBlack. Other typefaces include Euclid (2010, squarish), Urbaines Medium (2009, grotesk caps), Simplon and Simplon Mono (2010, B+P Swiss Typefaces), and Untitled (2010).
See a version of Euclid in use by the city of Stockholm [called Stockholm Type], and read the (mostly negative) reactions of the typophiles. On Flickr, upon seeing that umlauts were replaced by macrons, Hrant Papazian writes: Pissed androgynous royals rule.
Lugano, Switzerland-based creator of the sharp-edged typeface Chiron (2013).
Designer at You Work For Them who created Victrola, Metal Face, NYMN, DropBit Rnd, DropBit Hrzn, DropBit 50, HLLVTKA (a grungified Helvetica: see here), HLLVTKA Round, Connery, OffHand, Adderley, Offhand Round (simple handwriting), OffHand Sharp, and OffHand Script, ca. 2007-2008. [Google] [More] ⦿
Born in Zürich, 1945. Trained as compositor (lead) and as Monotype keyboard operator. Studied Typography and Type from 1969-1971 at the Basel Gewerbeschule under Robert Büchler (the director was Emil Ruder) and André Gürtler. Instructor for type apprentices in Basel, and free-lance book designer in Zürich and Cham/Zug since the 80s. Owner and publisher and editor at Syntax Press (which he founded in 1964) and later at Syndor Press Cham/Switzerland from 1996-2002. He sold Syndor Press in 2002 to Niggli Verlag Sulgen. Editor of several books by Adrian Frutiger, Hans Ed. Meier and René Groebli (a photographer). Author of "Adrian Frutiger Formen und Gegenformen/Forms and counterforms" (Cham, 1998), "Adrian Frutiger Lebenszyklus/Life cycle" (Cham, 2000), and An Introduction to the History of Printing Types (London, 1998; the original publication was in 1961). He continues to spend much of his time assisting Frutiger, André Gürtler, H.E. Meier, Alfred Hoffmann and other important figures in Swiss typography who are also his close friends. [Google] [MyFonts] [More] ⦿
Designer (b. 1947) based in Basel of ITC Avant Garde Gothic Book Oblique, one of many Oblique weights made by Gschwind in 1977 for ITC. Forms Team 77 with André Gürtler and Christian Mengelt. At Autologic, those three designers published Media (1976) and Signa (1978). part of Team 77 with André Gürtler and Eric Gschwind. From 2012-2014, Christioan Mengelt of Team 77 revived Haas Unica (1974-1980) as Unica 77 at Lineto. Linotype link. FontShop link. [Google] [MyFonts] [More] ⦿
Erich Oswald at ETH Zürich developed several pieces of software, such as OType (free open source), "a package for loading and rendering TrueType fonts within Oberon, comparable to the Freetype project." Also, Gfx, a high-level graphics library that allows one to create EPS files. [Google] [More] ⦿
Swiss designer (b. 1932, Zürich) who studied at the Kunstgewerbeschule under Rudolf Bircher and Walter Käch. He created his own graphic art studio in Zürich where he practiced typography, symbol and logo creation, and packaging design.
Creator of Friz Quadrata (1965, Visual Graphic Corp). It was released by ITC in 1974. The bold weight was added by Vic Caruso. Two italics were created by Thierry Puyfoulhoux in 1994. Finally, a Cyrillic version was developed at ParaGraph in 1997 by Alexander Tarbeev. Friz Quadrata is part of the Linotype library, but Adobe, Bitstream and ITC all have versions.
Friz Quadrata lookalikes: Friz Quadrata (1965, Ernst Friz for VGC, and 1974-1978, Victor Caruso for ITC; equivalent digital versions by Adobe, Linotype, ITC, URW++ and Scangraphic) include semi-clones like Flareserif 816 (Bitstream), France (Corel), Fremont (Softmaker), Quadrat Serial (Softmaker), OPTI Diamond (Castcraft), and Fremont (Infinitype). Friz Quadrata relatives include Elan BQ (Berthold), FF Angie (FontShop), Icone LT (Linotype), Poppl Laudatio BQ (Berthold, also simply called Laudatio BQ), Vendetta, Alexon (Red Rooster), Beaufort (Nick Shinn), Cyan (Wilton Foundry), Septimus (Scriptorium), Quattrocento (Pablo Impallari), Colosseum (Alan Meeks). [Google] [MyFonts] [More] ⦿
Swiss type designer. As Canada Type puts it, Tuba started with a reconceptualization of a somewhat flawed '72 alphabet idea by Swiss graphic designer Erwin Poell. During the back-and-forth of the custom project, other ideas seeped into the design, mostly from other Canada Type fonts, like Fab, Jonah, Jojo and Teaspoon. The end result was what the client called a "sugar circuit trigger alphabet". This now is the retail version of that project. Tuba has art nouveau influences. [Google] [MyFonts] [More] ⦿
Essences of Design
Great commercial dingbats by Swiss designer Giada Ghiringhelli (b. 1981): Nav2000v1, JustFrames, Buttons Galore, Interfaces (borders). Linkware: Essbuttons, Essornaments, Esssolare, Essgem, EssInterfaces, EssFrames, EssNav1, WWW Trinkets.
Swiss decorative artist, poster designer of the art nouveau era, and type designer (b. Lausanne, 1841, d. Sceaux, 1917) who made Étrusque (Fonderie Gustave Peignot&fils, 1900), Grasset (Fonderie Gustave Peignot&fils, 1898-1899), Grasset Initialen (Peignot), Grasset Italiques (Peignot), Grasset Antiqua (1900, Genzsch&Heyse) and Römisch Grasset (1913, Genzsch&Heyse). McGrew: Grasset was designed by Eugène Grasset, French [note: McGrew is wrong...] decorative artist, in 1898 for Deberny&Peignot, French typefounders, and cut by ATF in 1904. It was advertised as a chic, up-to-date typeface of the day, but has mannerisms that later became quite dated. The Monotype cutting in 1912 was modified and reproportioned to fit the early restrictions of that machine, but retains the quaintness of the foundry originals. His ex libris.
In 2012, Dick Pape created a few typefaces based on Grasset's alphabets. These include LFD Asian Stencilling 205 (original oriental-looking art nouveau drawings by E. Grasset and M. Verneil) and LFD French Printed Type 189 (this warm serif typeface was used in France for books). In the book Divertimento (Editlivre, Paris), Albert Legault (UQAM, Montreal, Canada) published the decorative art nouveau caps alphabet Eugene Grasset (2015).
Profil became Decorated 035 at Biststream.
Fabian Leuenberger's foundry is called Europa Type. It is located in Zurich and London. Their typefaces include:
Dinamo is a Swiss type foundry established by Johannes Breyer and Fabian Harb after graduation from schools in Zurich, Basel and Amsterdam. Johannes and Fabian are visiting teachers at the Estonian Academy of the Arts, Tallinn and regularly teach at UDK Berlin and University of Applied Sciences, St. Gallen. Their typefaces:
During his studies, Schaffhausen, Switzerland-based Fabian Korn (b. Zurich) designed the free circle-based sans typeface Rostock (2015), the free rounded sans typeface Goldin (2015), the free hipster typeface Quito (2015), the free rounded sans typeface Quest (2015), the free modular typeface Tempete (2015), the free hipster typeface Beyno (2015) and the free pixacao-inspired typeface Gabo (2015).
Swiss typographer at Fontnest who designed MonoBD (monospaced sans), Kagi Mono (mini-serifed stencil), Concrete, Puzzle, Museefont (octagonal), Relief (experimental) and Helveliga (with Jerome Rigaud and Sylvain Aerni). He created the stencil typeface Montana at Optimo/Gavillet&Rust. [Google] [More] ⦿
Fabrica / Basel Roman
The roman pre-Garamond font used by Jacob Herbst (a.k.a. Oporinus) to publish Andreas Vesalius's On the Fabric of the Human Body [De humani corporis fabrica] in Basel in 1543. It has strong affinities with the type used by Swiss printer Johann Froben in Basel in 1526. Stanley Morrsion wrote in 1924 about this typeface: Johannes Froben (1460-1527) was Erasmus's host in Basel for several years and published a number of his books. Updike describes this Roman as "massive and monumental." However, Updike describes the 1543 Fabrica as "a volume not at all of the Froben order, but reminiscent rather of Plantin or some Italian printer. Its noble old style type and delicate italic, delightful initial letters and the careful anatomical engravings . . . make up a remarkable volume." Warren Chappell added in 1970: Johann Froben, the printer, had as his scholar-editor Erasmus, and as his illustrator-decorator the young Hans Holbein. Froben was one of the most renowned publisher of humanist literature, and in the pre-Tory days managed to exert significant influence on European printing, including that of Paris and Lyons... Among the important books printed in Basel was Froben's own New Testament in Greek, with a Latin translation by Erasmus. It appeared in 1516. From the printing office of Michael Isengrim, also of Basel, a large botanical work by Leonhard Fuchs was issued in 1543...An outstanding work on anatomy was brought out by Oporinus in 1568. The author was Andreas Vesalius and the Title De Humani Corporiu Fabrica."
Metal font revivals include one by Charles Whittingham of the Chiswick Press called Basle roman. It was cut by William Howard of Great Queen Street, London, soon after the middle of the 19th century. A.F. Johnson writes in 1934: his type was much too exotic to appeal to printers in general, but its antique flavour attracted William Morris. In 1889 he had his prose romance, A Tale of the House of the Wolfigs, set in Basle roman. In another romance, The Roots of the Mountains, 1890 (the book actually appeared in 1889), Morris used the type again, but had a different e cut, one with the bar nearly, but not quite, horizontal.
For digital revivals, one should look at P22 Basel by P22, developed bewteen 2008 and 2015, with various type designers, including Colin Kahn and Paul Hunt, contributing to the final set of fonts. The old in-house version of P22 Basel was called P22 Fabrika. [Google] [More] ⦿
Fanny Geiser (Biel, Switzerland) graduated from l 'École d'Arts Appliqués de La Chaux-de-Fonds and is now doing a Masters in Communication Design at Hochschule der Künste Bern. She designed the thin sans typeface Ovana in 2015. [Google] [More] ⦿
Foundry, est. in 2012 by Anton Koovit and Yassin Baggar in Berlin, and in Neuchatel, Switzerland. Fatype has designed typefaces for GQ France (such as GQ Baton), Derzeit (2012, Fashion Week Berlin Daily: a typeface by Yassin Baggar and Manuel Schibli), Google and Journal B. Their typefaces include U8 (2010, Anton Koovit: named after the ghost stations underground that were closed in the good old days of the GDR), Aleksei (Anton Koovit) and Adam BP (2008, Anton Koovit).
U8 started out as a Berlin subway system signage project based on found lettering. Some glyphs had to designed from scratch. The result is an early modernist typeface with elements of DIN and Bauhaus.
Typefaces from 2012 include Adam Serif (a book and magazine typeface family).
In 2013, Anton Koovit and Yassin Baggar codesigned the low x-height typeface family Baton.
In 2014, he created Aleksei.
A Swiss designer and type designer (b. 1970, Basel), who studied at the Basel School of Design. He created Cisalpin [also called Cassini in its earlier grotesque life, 1999-2000], a typeface for cartography, which was published it with Linotype in 2004. Pic.
Born in Carmelo, Colonia, Uruguay in 1983, then based in Geneva, Switzerland, where he studied Visual Communication at the Haute Ecole d'Art et de Design, and now back in Montevideo, Uruguay, this graphic designer created the counterless geometric typeface Circ (2011), and the triangulated experimental typeface VIGA (2011). Fermin has a Bachelors degree in Industrial Design (2009). At his foundry, also called Fermin Guerrero, one can buy VIGA and MANIFESTA (2012, a De Stijl typeface).
For his Bachelors thesis at HEAD in Geneva, he created the typeface Genève (2014): In developing Genève I was inspired by the typeface used by French printer/editor/publisher Henri II Estienne in his famous book Thesaurus Linguae Graecae, published in Geneva in 1572. This typeface was brought to Geneva by Henri's father, Robert Estienne, who, before settling in Geneva and working as Calvin's printer, was the printer of France's King, François I. This typeface highly influenced the typographers and printers in Geneva at that time. Henri and Robert Estienne's work in Geneva helped it to become one of the most important cities in Europe for print and typography in the sixteenth century. Genève consists of four styles: Classique (humanist serif), Austère (geometric serif), Spontanée (humanist sans-serif) and Alternative (stencil, display version).
Graduate of the MATD program at the University of Reading, class of 2015. His graduation typeface was Exentra which was was conceived for publications promoting forward-thinking through a contemporary and experimental vision of modern culture and trends. It supports Latin, Gurmukhi and Greek. In addition, Fermin added the fat face didone / gothic mixture mixture font Black Display for applications in fashion, and the super-angular and scary Franky as sub-styles of Exentra.
In 2017, he published Thesaurus, the renaming and outgrowth of Genève, at Typotheque.
Zürich-based design firm of Bastien Aubry (a graduate of Schule für Gestaltung, Biel, Switzerland) and Dimitri Broquard, who designed interesting fonts (no sales or downloads though): Bundesrat (2006, octagonal), Macaroni (2006: letters from circles), Courier Fleurie (2006), Flop (2006), Fleurie (2009, by Aurele Sack, Bastien Aubry and Dimitri Broquard). Both graduated from HGK Zürich in 2002. Klingspor link. [Google] [More] ⦿
A collective of mostly Swiss type designers who showcase their designs. The designers are Aimée Hoving, Franz Hoffman, Jacques Borel, Harry Bloch, Matthias Gehri, Sylvain Aerni, Jacques Dousse, Thomas Eberwein, Juerg Lehni, Fabian Monod, Émilie Renault, Jérôme Rigaud and Pierre Terrier. No downloads yet. The list of fonts: Jawut (2002, Franz Hoffman, Juerg Lehni, Jérôme Rigaud, Pierre Terrier): a typeface inspired by André Baldinger's Newut / Puzzle (Fabian Monod) / Troyd (Sylvain Aerni) / Encoda MM (Sylvain Aerni): sans serif / Encoda Anfang (Sylvain Aerni): sans serif / Absinthia (Sylvain Aerni) / Punebot (Sylvain Aerni) / Alchemia (Sylvain Aerni) / Basicrounded (Sylvain Aerni) / Bacted_Flagada_Trigger (Sylvain Aerni): a dirty look font / Crux (Jacques Dousse): a gothic bitmap font / Frankental (Jacques Dousse): a dot matrix font / Multitool (Jacques Dousse): a dingbat font with firemen's tools / Hexagonipus (Jacques Dousse): a kitchen tile font based on lettering on Spitfires / TGV (Jérôme Rigaud) / Lafrui (Jérôme Rigaud): a connected lettering font / Plan De Paris (Jérôme Rigaud): lettering from an old plan of Paris / ScriptedPix (Jérôme Rigaud): a connected screen font / Rhizompix (Jérôme Rigaud): a screen font / Pix2x (Jérôme Rigaud): an experimental screen font / Condpix (Jérôme Rigaud): a screen font / handled_Matrix (Jérôme Rigaud): a dirty screen font / Soul&Funk (2002, Jérôme Rigaud) / Russian (2002, Jérôme Rigaud): a cyrillic simulation font / mtrxs (Sylvain Aerni and Jérôme Rigaud): a dot matrix font / wellKrau (Pierre Terrier and Jérôme Rigaud): an irregularly tiled font / Minaco (Thomas Eberwein): a screen font family / Tilt (Thomas Eberwein): a dot matrix font. Blog. [Google] [More] ⦿
Free on-line font format converter from these formats (as input): TrueType, PostScript (Type 1 font), TeX Bitmap Fonts, OTB (X11 bitmap only sfnt), BDF (Glyph Bitmap Distribution Format), FON (Windows), FNT (Windows), OTF OpenType font, SVG, TTC, ABF (Adobe Binary Screen Font), AFM (Adobe Font Metrics File), BDF (Glyph Bitmap Distribution Format), DFONT (Mac OS X Data Fork Font). The output is one of these: TTF TrueType, OTF OpenType, FON Generic font, PFB Printer font binary, dfont Mac OS X data fork font. By T. Reinhardt, Switzerland. [Google] [More] ⦿
Fontdesign by Fidel Peugeot
Fidel Peugeot, a Swiss type designer, ran RGB107,6-International (or Radioglaibasel) in Vienna. He also offers some fonts made by his friends at DIE GUTE FUER ALLE. A partial list of Fidel Peugeot's creations: Neue Eurostyle, Peek+Cloppenburg (1999), Sack-Mehl and Sack-Kaffee, Line (very thin-lined geometric font), T-Fon and Telepong (screen fonts), On-Off (dot matrix font), Telepong-Copy, Lying (fun curly font), Mokka (like a child's handwriting), Herr Klee (brush font), and the multitude of screen/pixel fonts at Lomofonts [dead link]. The 37-style pixel set Lomo (2003) is now sold by Linotype and Fontshop.
Free on-line tool for applying effects such as 3d, morphing and outlining to any truetype or opentype font. Developed by Swiss software engineer Tobias Reinhardt. These are the same people who created Paintfont. The internal engine uses Fontforge. I tried it on a sketched font. The 3d effect had errors (see attached file). The outline feature also gave suboptimal results. [Google] [More] ⦿
Lausanne-based type site related to a project conceived and designed by two graphic designers, Franz Hoffman and Pierre Terrier from studio koilinen, and a software developer, Marc Escher. A quote: It provides the ability to create fonts that preserves the gestures of a given handwriting and the original look of the drawing appliance (ball-point pen, pencil, ink, paper, etc.)
Fontself allows one to make fonts directly in Adobe Illustrator and Adobe Photoshop. It appears that one can create, with their commercial software an Opentype font by simple dragging and dropping an image with the individual letters. It works on both Mac and Windows. This, in turn can be used to simulate handwriting. Fonts (format unclear, not downloadable) include grunge typefaces (Agrotesk, Linexspray), handwriting (Psycho, Mascara, Meriem, Bic, Ehcadnarac, Manu, Signo, Manuscript), and scanned text typefaces (Baskerville, Garabig, Franklin Multi, Sabon, Gothique, Dido). [Google] [More] ⦿
Dario Nuevo's big and well-organized font archive. It is very careful about what is posted, so don't expect to find commercial goodies here. Alternate URL. Still another URL. One more URL. [Google] [More] ⦿
A project started by Stephan Müller (Lineto's founding partner_, Reymund Schröder and Pierre Pané-Farré in 2017. they wrte: The three designers met at HGB Leipzig, the Academy of Fine Arts where Müller co-directs the type design course, and where their inevitable discussions about the witnessed inflation of digital typefaces led them to explore alternative strategies for the practice of type design, the study of typeforms, their development and their future existence in rapidly developing digital environments. Are there any more challenging and more rewarding methods of publication than the mindless race to discover, scan, trace & refit for a panicked release? That's one of the questions Forgotten Shapes aims to find answers for.
As a preamble, Stephan Müller digitized Karl Gerstner's Gerstner Programm in 2008. They write: [Gerstner Programm is] Gerstner's conceptual take on the most classic of German grotesques, Akzidenz-Grotesk, a commercially ill-fated attempt to transform and re-position it with the Berthold type foundry for photo-type, the prevailing typesetting technology of the 1960s and 70s. Stephan Müller was fascinated by Karl Gerstner's rigorous conceptual approach, outlined in a detailed analysis published in 1963. After contacting him, Müller digitised it with his approval in 2008. Extensive additional research at the Swiss National Library, which holds Gerstner's archives, led him to rework and extend it in the years to follow. He also consulted with Christian Mengelt, who had originally drawn the typeface under Gerstner's guidance in the 1960s. The resulting font family remained unreleased until now [2017, the year of Gerstner's death], but has been used on a number of projects throughout the years. [Google] [More] ⦿
Foundations of Typography B
Swiss designer (b. 1955) located at Lake Geneva. Recipient of the 2012 Jan Tschichold prize. He is Head of the Master in Art Direction at ECAL/University of Art & Design Lausanne. His typefaces:
Swiss type designer (b. 1948, La Chaux de Fonds) who graduated in 1968 from the Kunstschule in Lausanne. He created the dot matrix/marquee typeface Mecanorma Chicago (1969, Huerlimann Medien AG), which was published as Chicago MN by Mecanorma and can be bought from URW.
He won a Letraset type competition in 1973 for the starred dot matrix/marquee typeface Astra in 1969, codesigned with Natacha Falda. Some have his name as François Robert Falda [I think he was married to Natacha Falda]. He also designed the bold headline sans typeface Trebor (1970).
Swiss typographer at Fontnest who designed Jawut (2002, with Pierre Terrier, Juerg Lehni, and Jérôme Rigaud: a typeface inspired by André Baldinger's Newut). He cofounded Fontself with Marc Escher and Pierre Terrier: this is a bitmap text engine. [Google] [More] ⦿
Dutch calligrapher and designer in Amsterdam, who created the Letraset font Aura Script (1982-1994) and Aura Sanscript (1973-2008). He studied at Grafische Fachschule Aarau. From 1968 until 1973, he was type compositor apprentice and graphic designer at Ringier & Co AG, Zofingen (Switzerland). Freed writes: Although the typeface Aura Script was digitized by URW in Ikarus as one of the first, it was never published besides their catalogues during 1982 to 1992. Several illustrations by Mark Kelly use Aura Script.
Filippo was born in 1975 in Switzerland. His work is sold through MyFonts.
Sintesi (2010), Sintesi Sans (2012), Sintesi Semi (2013), and Sintesi SemiSans (2011) are sans typefaces with personality---the former has Peignotian contrast, while the latter two are almost monolined and eem little bit angry with the world.
In 2012, he published the humanist italics only sans family Stile.
In 2013, Filippo created Pixwar, a typeface in which an opentype feature is used to create a grunge effect.
Typefaces from 2016: Geometrico (geometric sans).
Graphic designer in Lausanne, Switzerland, b. 1984, who teaches at ECAL and EPFL. With Raphaël Verona, he designed the commercial typeface Thames Capsule (2015-2016), which is based on the Doves Type whose letterpress blocks were thrown into the Thames in 1917 by T.J. Cobden-Sanderson. [Google] [More] ⦿
Gavillet&Rust is a design company based in Geneva. It was founded in 2002 by Gilles Gavillet and David Rust, two ECAL (University of Art&Design Lausanne) alumni. Now a four people studio, they develop projects for a range of institutional and private clients such as JRP|Ringier, Zürich and the EPFL (Ecole polytechnique fédérale de Lausanne). Their type, poster and book designs have been awarded numerous times at the Swiss design awards. In 2006, they received the Jan Tschichold Prize from the Swiss Federal Office for Culture. Type designs include Executive, Cargo (Optimo: a stencil family), Hermes, Index, Montana and Politics. Associated with Optimo in Lausanne. They are doing custom type such as the gorgeous bi-line deco face for the Saks Gallery in Geneva (2010). [Google] [More] ⦿
Young Swiss designers Alessandro Volz and Jona Mantovan made some freeware/shareware fonts in 1997/1998: Joal, Gemypt, Sephiroth, HiSky, Pinkpixel, LaScrituraDalMeNono (5USD), SmartHand (10USD). [Google] [More] ⦿
Georg Sommeregger runs the Swiss site Schreibmaschinen. He made two free typewrter emulation fonts, L.C. Smith 5 Typewriter (2010), and Urania Piccola II (2009, made with Fontcapture).
Giada Celine Ghiringhelli
Ex-student of the University of Art&Design Lausanne (Ecal) and the Cranbrook Academy of Arts. Geneva-based designer at the Lausanne-based foundry Optimo. With Cornel Windlin at lineto in Zürich, he co-designed these fonts in 1999: Pixel Crude, Vectrex, GravurCondensed, Pixel World, Vectrex World (skyline dingbats), Liquid Crystal and Supermax. He designed Autologic (1997, created as a shortcut to make logos), DetroitMM (1997), Kornkuh, Lineto (2001, an octagonal font), Kabin, Chip at Optimo. With David Rust, he cofounded Gavillet&Rust in Geneva in 2002, and co-created these fonts in 2003: Cargo (a stencil face), Hermes (a typewriter family), Index and Politics. In 2004, he created the stencil family Montana (Optimo). In 2005, he and Rust added Hermes Sans to the Hermes family. In 2007, this was followed by Executive, a simple sans family. Klingspor link. [Google] [More] ⦿
Born in Rheinfelden in 1941, Gret Mengelt-Mergenthaler studied at the famous Schule für Gestaltung (Kunstgewerbeschule) Basel. Since 1962, she works as a graphic designer. She taught at her alma mater from 1975 onwards, and set up an atelier in Blauen, Baselland, in 1987.
An open source font archive. Located in Genève and Neuchâtel, Switzerland, this project is led by Manuel Schmalstieg and groups mostly students of the Haute École d'art et de design in Genève. It intends to show specimens of most open source fonts. [Google] [More] ⦿
Grilli Type is Noël Leu and Thierry Blancpain, graduates of the University of the Arts in Bern, Switzerland. Grilli Type is an independent Swiss type foundry, founded in 2009, and located in Zürich. They offer a range of display and text typefaces, based either on historical sources or with an experimental background.
In 2013, that number decreased to three, GT Walsheim, GT Haptik and GT Pressura. GT Pressura was designed in 2013 by Moiré and Dominik Huber.
Design bureau in Geneva, Switzerland. Here, Kimou Meyer and Vincent Sahli made Cointrin (1998), a font based on the old arrival boards at Geneva's airport. Other fonts: Synchrovision, Tricot, Sumo. [Google] [More] ⦿
Grotesk cc is Tobias Rechsteiner, Reto Moser, and Simon Renfer in Bern, Switzerland. The former two designed GT Haptik (2009), which is a grotesk typeface in which the letters are optimized to be read blindfolded and by touching them. GT Haptik was published at Grilli Type.
Tobias rechsteiner is a graphic designer/type designer working freelance. Together with Daniel Eytan Schneider he co-founded prolog.work, a small digital agency based in Basel. In 2009 he graduated from the Bern University of Arts and worked for three years part-time at the University and part-time under the name grotesk.cc together with Reto Moser.
In 2012 he moved to Zurich to join Eclat a branding/communication agency for three years. In 2015, he started to work freelance again, and is now living part-time in Berlin where he is also doing a Master of Business Administration in Management and Innovation.
From Biel, Switzerland, Thomas Balmer's outfit, Guerilla Grafik, offers a few free fonts for download. The page is extremely dangerous (it will take over your screen!), with pop-ups and uncontrollable things happening left and right. Be prepared for a reboot. Anyway, if you risk it, you may find these mostly pixel fonts: GG-Motor, GG-Realpx, GG-Nintendo, GG-Digitalareal, GG-KGB. Working on the simple sans serif typeface GGrapidograph (2002). Non-free fonts: GG-Modul, GG-Formular, GG-Vektor, GG-Eckhardt, GG-Info, GG-Zike, GG-Balmer, GG-Sanchezclone. Mac fonts only. [Google] [More] ⦿
German/Swiss foundry established in 1790 (however, see timeline below) and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. Linotype takes over Haas in 1989. Their collection includes:
Swiss type designer in Obstalden, Switzerland, born in 1922 in Horgen am Zürichsee, who was associated with ETH Zurich for a long time. He died in 2014. In his obituary, Meier's long-time friend and former publisher Erich Alb wrote: He was a tireless, quiet craftsman, alone in his room, away from everything, who worked with endless stamina. The high quality of his calligraphic work, his sure eye in drawing letterforms, his teaching skills, his drawing, painting and graphic work distinguish him as a unique international figure. Meier created these typefaces:
His books include Die Schriftentwicklung (published in 1995 by Syntax Press in Cham, Switzerland). This teaching book contains over sixty of Meier's calligraphic specimens, as well as a historical survey of scripts from ancient Greece to today. One of Meier's specimens, entitled Roman Lapidary 1st Century, was worked into a digital typeface family by Elsner and Flake as Meier Kapitalis (2013).
References: Superb analysis of his life and contributions by Roxane Jubert (in French). See also Swiss Typographic Magazine Nr 3: Hans Eduard Meier 1922-2014, by Erich Alb, Cham, Switzerland, 2014 [Erich Alb, who knew Meier quite well, spoke about Meier's life at ATypI 2015 in Sao Paulo]. Linotype link. FontShop link. MyFonts link. Klingspor link.
Painter and drawer born in Augsburg in 1497, who died in 1543. He is most famous for his woodcut alphabet produced in Basel between 1522 and 1526 entitled The Dance of Death. At the Psymon site, we can find several initial cap alphabets of his in GIF format: these include The Alphabet Of Children (1527-1532) and The Dance Of Death (or: Danse Macabre) of Hans Holbein the Younger (circa 1523).
Digital versions abound:
Born in 1929 in Balm/Lotstetten, Germany. He studied typefounding in Schaffhausen from 1944-1948, and worked as typesetter in printing shops in Zürich and Stockholm from 1951-1959. From 1959 until 1994, he taught typographic design in various schools, and from 1993-1998, he was a free-lance book designer associated with Niggli. Author of "Der typografische Raster The Typographic Grid" (Zürich, 2000), and "Typografie Schrift Lesbarkeit" (Verlag Niggli AG, Switzerland, 1996). The latter (highly recommended) book surveys legibility issues in type choices, and closes with a classification of post-1945 typefaces. [Google] [More] ⦿
Hans Rudolf Giger (b. 1940, Chur, Switzerland) is a Swiss surrealist painter, sculptor, and set designer. He studied architecture and industrial at the School of Applied Arts in Zurich, class of 1970. His books of paintings, particularly Necronomicon and Necronomicon II (1985) and the frequent appearance of his art in Omni magazine continued his rise to international prominence. In 1998 Giger acquired the Château St. Germain in Gruyères, Switzerland, and it now houses the H. R. Giger Museum, a permanent repository of his work.
Type designer (b. 1938, Switzerland, based in Paris) who studied typesetting in Zürich from 1954-1958. Later he studied with Emil Ruder and Armin Hofmann in Basel (1965-1967). From 1967 until 1971, he was a type designer with Mergenthaler Linotype in Brooklyn, NY, where he worked with Matthew Carter. From 1971 until 1975, he worked with Frutiger in Paris, and became a freelance designer in 1976. From 1990 until 2006, he led some labs at the Atelier de Recherche Typographique, NRT, in Nancy. From 1998 until 2002, he had his own design bureau together with Ursula Held: Atelier H. He has also taught at the Hochschule für Gestaltung und Kunst in Zürich.
He codesigned CGP (used in Centre Georges Pompidou; 1974-94, with Jean Widmer, and Adrian Frutiger), Centre Pompidou Pictograms (1974, for the same project in Paris), Cyrillic (in 1970 with Adrian Frutiger for IBM Composer), Frutiger (in 1976 with Adrian Frutiger at Stempel), Gando Ronde (a formal script, with Matthew Carter in 1970; Linotype; called French 111 at Bitstream), Helvetica (with Matthew Carter in 1970; Linotype), Helvertica Compressed (with Matthew Carter, ca. 1974?), Iera Arabic and Iera Roqa Arabic (1983, Institut d'étude et de recherches pour l'arabisation; Honeywell Bull), Metro (in 1970 with Adrian Frutiger; used in the RATP), Univers and Univers Cyrillic (in 1970 with Adrian Frutiger; Linotype), and the Siemens custom type family (in 2001, a cooperation with URW).
Siemens (2001-2007, URW++), the project he is best known for, won an award at the TDC2 Type Directors Club's Type Design Competition 2002. Siemens Sans, Siemens Slab and Siemens Serif are here. Siemens Sans Global (4000 Euros) covers Turkish, Baltic, Romanian, Cyrillic, Greek, Chinese Simplified, Chinese Traditional, Japanese, Korean, Thai, Vietnamese, Arabic, and Hebrew.
Swiss typographer (b. Zürich, 1939, d. 1998). He had his own studio, Lutz Verlag, in Zürich. He published books such as "Typoundso" and "Ausbildung in typografischer Gestaltung". He taught at the schools of design in Zürich and Luzern for over thirty years, and founded the typography department in Luzern in 1968. [Google] [More] ⦿
Heidrun Osterer (b. 1966, Switzerland) is a graphic designer and CEO of Feinherb Visuelle Gestaltung. She is also the co-founder of the Swiss Foundation Type and Typography. In addition, she is a part-time lecturer of screen typography at the Vocational School of Design in Zürich. Consultant of the Swiss Typographic Magazine STM. Since 2001, she carried out research on the professional career of Adrian Frutiger. Her book, coauthored with Philipp Stamm, on Frutiger's life is Adrian Frutiger - Typefaces The Complete Works (2009, Birkhäuser). She spoke about this work at ATypI 2008 in Petersburg. [Google] [More] ⦿
Linotype's Helvetica, itself derived from Haas Grotesk, has a large number of clones, some of which I will attempt to list here (see Jacci Howard Bear's list for other fonts as well):
Maxim Zhukov gives a non-exhaustive list of subways that have adopted Helvetica, Helvetica Neue or a custom Helvetica for their signage: Barcelona, Budapest, Chicago, Helsinki, Madrid, Melbourne, Milan, Tehran, Toronto, Vienna, Washington. Others point out additional subway systems, such as the one in Tokyo, and even JR (Japan Rail). [Google] [More] ⦿
Helveticfonts (or: The Swiss Type Foundry)
Lionel Bovet (Geneva, Switzerland) founded Helveticfonts ca. 2012. He created the Peignotian typeface family La Collongeoise (2012). The following typefaces are being planned: Geometria, Geofil, Geofil Slab, Elbé.
Designer who was based in Zurich and is now in London. In 2013, he started work on the sans family Hikari. He writes: Before the Haas Type Foundry released Helvetica in 1957, constructivist sans serif fonts were classified as Grotesk, a term that reflected the dismissive notion of typesetters in previous times. It was Art Deco and the Bauhaus movement, along with modernist architecture, fresh ideas and stricter shapes in interior design, a style influenced by industrial and technological developments, that made Grotesk fonts more popular over time. Ever since the introduction of Helvetica Neue, classicistic sans serif fonts have been domineered by this Swiss style. Over the last six decades, typesetters, designers and typographers remembered and used other constructivist sans serif styles, like Futura and Neuzeit. In the late 1980s, American classics like Trade Gothic and Franklin Gothic were used again in Advertising, so the American newspaper title style has been a second strong influence on sans serif fonts and Adrian Frutiger’s typeface for the Parisian airport, Frutiger, sparked a rennaissance of humanist sans serif fonts. It seems impossible to reimagine a constructivist or classicistic sans serif without taking one of these previous styles in account. However, its tone of voice can still be different. [..] We interpret new things with the language we learned from existing things. It's interesting to see how typefaces like Helvetica Neue gained popularity in Japan, a country and culture that in the last century stood for discipline, strictness, but also beauty and simplicity in design and architecture. But it was used for English words, an inspill of Western influenced cultural elements, or the Japanese interpretation of those elements. Hikari is a font with a Japanese touch. It is primarily a Latin font with no relations to Hiragana, Kanji or Katagana. And yet, the sense for proportions, a strict architecture and its overall feeling transmits a faint memory of Japanese post war culture assimilating and accumulating Western typography.
In 2014, he created the monospaced programming font Bot Mono.
Swiss type designer (b. Cannanore, India, 1902, d. Basel, 1993). He was associated with the Haas type foundry, where he made Clarendon Roman (1952-1953, together with Edouard Hoffmann, after the 1845 English classic Clarendon; see also Clarendon BNo. 1 Stencil, 1965, URW), LA 39 Alphabet, and the shaded outline all caps typeface Graphique (1946).
Eidenbenz designed numerous posters, logos, and Swiss and German bank notes. From 1932 until 1953, he and his brother Reinhold and Willy ran a graphics studio in Basel. From 1955 until 1967, he was art director at the Reemtsma company in Hamburg.
Hi is the foundry of Swiss type designer Megi Zumstein, b. 1973, together with Claudio Barandun. Megi is the creator of Albis (2005, squarish, Bringolf Irion Vögeli), Dorfbeiz (2009, HI), Idol Stencil (2004, Bringolf Irion Vögeli), V&A-Outline (2003, Graphic Thought Facility). All her typefaces are in the orbit of DIN and VAG Rounded.
Idealphabet was founded in 2008 by Alexander Aeschbach (Zurich, Switzerland). It sells these typefaces: Arc (a minimalistic hairline sans), Encyclo (slab serif), Wurst, Equilibrium (serif face), Signalo (humanist sans family), Element (monospaced typewriter face), Eckig (experimental), Optional. [Google] [More] ⦿
Typographer, architect, designer and type designer, b. Versec, Hungary, 1900, d. Lugano, Switzerland, 1987. He emigrated from Hungary, and studied at the Staatliche Bildhauerschule Zalatua, the Kunstgewerbeschule Frankfurt, and the Kunstgewerbeschule in Stuttgart, where Prof. F. H. Ernst Schneidler was his teacher. After a brief stint (1923-1925) as a graphic designer in London, Paris, New York and Chicago, he returned to study with Schneidler, and from 1931 onwards, he worked in Ruvigliana near Lugano as painter, graphic designer and illustrator. His list of fonts includes:
In 1992, Manfred Klein made Tokay-MK after one of Reiner's ideas. In 2004, he added VariationsForImre, a playful typeface based on Reiner's lettering, and this was followed in 2005 by Magyarish.
Reiner wrote several books, including Modern and Historical Typography An Illustrated Guide (1946, Paul A. Struck, New York, and 1948, Zollikofer and Comp., St. Gallen).
in the habit
Design firm of Tiziana Haug, a Swiss designer who lives in New York. Tiziana has made some custom type such as Typographica (2001, a circle and crosshair dingbat face) and a folded paper-theme alphabet font in 2007 called ADC Paper Expo. Other typefaces: Built (2005), Home Sweet Home (2005, stitching face), Trace (2004, Neon light simulation). [Google] [More] ⦿
Ingrama stands for International Graphic Marketing. Defunct foundry in Vevey (Switzerland) which produced Raleigh (1977, now a Bitstream font family) and Seagull (1978, Adrian Williams, Bob McGrath; now also a Bitstream font). Raleigh's story as told by MyFonts.com: Started by Carl Dair. After Dair's death, David Anderson redrew the design for Typsettra, where it was renamed Raleigh. Adrian Williams at Fonts added three weights as a display series for Conways, while Robert Norton drew the text series. Ingrama was run by Peter Henninger out of Vevey, Switzerland.
Modern digital typefaces based on the original Ingrama types include Raleigh Serial (SoftMaker), Digital Serial (SoftMaker), Lingwood Serial (SoftMaker), Expressa Serial (SoftMaker), Pasadena Serial (SoftMaker), Worcester Serial (SoftMaker), Diamante Serial (SoftMaker), Leamington Serial (SoftMaker: based on Adrian Williams' Leamington, 1978), Stratford Serial (SoftMaker), Seagull (Bitstream), Seagull Serial (SoftMaker), Accolade Serial (SoftMaker), Casablanca Serial (SoftMaker), Helium Serial (SoftMaker), Raleigh (Bitstream). The Softmaker typefaces were made in 1994.
Zürich-based corporate identity and branding company. Designers of the Telekom corporate fonts Tele Antiqua, Tele Grotesk, Tele Logo. These fonts were done in cooperation with URW++, where you can also purchase them. [Google] [More] ⦿
Swiss organization which in the type world is best known for its simple monoline rounded typeface Isonorm proposed in 1980. The font is appropriate for drafting and architectural purposes, as well as for technical charts and graphics. This typeface was digitally implemented by many, including:
Switzerland-based designer of the free font Unicook (2010, OFL; possibly renamed Unifraktur Cook), about which he writes: Unicook is based on Peter Wiegel's OFL font Koch Fraktur which is in turn based on Rudolf Koch's Fette Deutsche Schrift (1908-1910). Unlike Wiegel's font, this font is Unicode-compliant. Similarly, UnifrakturMaguntia (2010) is based on Peter Wiegel's OFL font Berthold Mainzer Fraktur which is in turn based on a 1901 typeface by Carl Albert Fahrenwaldt. Entiumgay (2010) is based on J. Victor Gaultney's Gentium font. It uses Apple Advanced Typography for scrumbling normal text into Pig Latin. It features various dialects of Pig Latin, including Bernese Meadow English (Mattenänglisch). Fontspace link. Google Directory link.
Wust is also involved in the Free Tengwar Project: The Free Tengwar Font Project aims at developing a family of general purpose fonts that cover J. R. R. Tolkien's tengwar script and that are compatible with the Unicode standard. [...] Johan Winge's Tengwar Telcontar font already existed previous to this project. Indeed, it has been an important inspiration, aiming at Unicode compatibility in a tengwar font. Johan's joining in has been a giant leap for the Free Tengwar Font Project. [Google] [More] ⦿
Swiss type designer at Fontnest who designed these fonts: Crux (a gothic bitmap font), Keytype, Frankental (LED simulation), Padsans (dot matrix), Padtype (dot matrix), Multitool (a dingbat font with firemen's tools), Hexagonipus (a kitchen tile font based on lettering on Spitfires), Code. Cofounder of Home Clothing in Switzerland and Canada. [Google] [More] ⦿
Swiss [T-26] designer of Broken Screen (2004, blackletter pixel face), Diphtong (2003), Blockletter (2009, arched letters), Tivoli (2006, sans family in four styles), Hive (2000, dot matrix face), Ruota (2003, two wheel dingbat fonts), Yr-72 (2000), Jakone (2000, a fantastic techno headline face), DPI (2001, dot matrix font). Home page. MyFonts claims that he was born in Berlin in 1975.
Jamie Oliver Aspinall (Schnuppe Designbureau, Basel, Switzerland) created several designs using typefaces such as FF DIN in 2013. Most of his portfolio consists of illustrations. Behance link. [Google] [More] ⦿
Born in Leipzig (1902), died in Locarno, Switzerland (1974). Influential German type designer whose typefaces include these:
Jannuzzi Smith is a cross-media design consultancy based in London and Lugano. It made a sans out of the slabby MT Calvert (by Margaret Calvert, 1936) called Cal (2010) for the wayfinding system and identity of The Royal College of Art, London. Behance link. [Google] [More] ⦿
Swiss typographer at Fontnest (which he cofounded in 2002 with Pierre Schmidt&Fritz Menzer while studying at ECAL) who designed these fonts at Font Nest: Wellkrau (pixel face, with Peirre terrier and Aimée Hoving), TGV, Lafrui (a connected lettering font), Plan De Paris (lettering from an old plan of Paris), ScriptedPix (a connected screen font), Rhizompix (a screen font), Pix2x (an experimental screen font), CPC (screen font), Condpix (a screen font), Angula (angular face), Thin Flower, P-Text (sans; with Pierre Terrier), Handled_Matrix (a dirty screen font), Soul&Funk (2002), Russian (2002, a Cyrillic simulation font), After The Rain, mtrxs (with Sylvain Aerni: a dot matrix font), Helveliga (with Fabian Monod and Sylvain Aerni), Jawut OT (with Pierre Terrier, Franz Hoffmann, and Juerg Lehni), Circulaheute, Courrierbitmap. He is a digital editor and designer. With Pierre Schmidt and Fritz Menzer he created Electronest (a company). In 2008, he created the experimental type family Futura Domus. Alternate URL. Currently, Rigaud is a London-based artist, designer, digital editor and technologist producing both design and art work for companies, collectors, and institutions. He has a continuing interest in going beyond the traditional boundaries of the art, business, science and technology fields through hybrid collaborations. His type design blog. [Google] [More] ⦿
French type designer and punchcutter, 1580-1658, who has some typefaces named after him. Frantisek Storm writes this: The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. He was born in 1580, apparently in Switzerland. He trained as punch-cutter in Paris. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult. The other reason was that not only the existing type typefaces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type typeface came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type typeface and italics, derived from the shapes of Garamond's type typefaces. As late as the start of the 20th century Jannon's type typeface was mistakenly called Garamond, because it looked like that type typeface at first sight. Jannon's Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannon's italics rank among the most successful italics of all time ? They are brilliantly cut and elegant.
Many of today's Garamond style typefaces are in fact due to Jannon. The headline of this page is set in New G8 (2012, Michael Sharpe), which in turn is a digital descendant of URW Garamond No. 8.
Jeff Kichang Kim
Lausanne, Switzerland-based type designer. He created Swissa Piccola (2012, an old typewriter font).
In 2014, he designed the multicolor layered typeface Bron and Bron Shadline. Bron is based on Zelek, designed in the early 1970s by Polish type designer Bronislaw Zelek at Mecanorma. This typeface was originally made for dry transfer lettering sheets. It is has been redrawn and refreshed by Adatte. Also in 2014, he created Day and Collins Logotype (2014, based on catchwords and fists fond in a 1910 wood type catalog by Day & Collins, London).
In 2015, he designed Marcel, an angular upright script typeface that was inspired by Jacno (1948) by French type designer Marcel Jacno.
In 2016, Jeremia designed Script Typewriter Rough, which is the very first complete cursive digital typewriter font ever made after the original 1960 Smith-Corona Electra 210 typewriter.
Jessica Tapolcai was born in America, grew up in Switzerland and moved to London to get a BA (hons) s typographic and graphic design at London College of Communication. She created the experimental typeface Picasso (2012). [Google] [More] ⦿
Joe Scerri Design
Joe A. Scerri is a British born Maltese-Australian graphic designer based in Zürich Switzerland. Since graduating with a diploma from Central Metrolpolitan College of Visual Art in Perth Western Australia in 1990, he has worked in publishing, multimedia, advertising and design, both in Sydney and in Basel. For the Spanish magazine Neo2, Joe Scerri created the free experimental dotted line typeface Kassette (2006). In 2005, he made the experimental typeface Faena (no download). [Google] [More] ⦿
Basel-based graphic designer, who created nice typographics for an Aston Martin promotion in 2012.
Swiss or Swedish designer of OCR-A (2008), Atari Small (2007), and Beteckna (2007), which is modeled after Paul Renner's Futura. He had help of Gürkan Sengün. Supported by the Free Software Foundation license, it comes in these styles: Beteckna, BetecknaLowerCase, BetecknaLowerCaseBold, BetecknaLowerCaseCondensed, BetecknaLowerCaseItalic, BetecknaSmallCaps.
Johann Froben [in Latin: Johannes Frobenius] (circa 1460-1527) was a famous printer and publisher in Basel, Switzerland. Froben established a printing house in that city about 1491, and this soon attained a European reputation for accuracy and taste. Froben was friends with Erasmus, who lived in his house when in Basel, and had his own works printed by him from 1514 onwards. Froben employed Hans Holbein the Younger to illustrate his texts. He passed his printing business on to his son Hieronymus, and grandson Ambrosius Frobenius.
Digital typefaces directly influenced by the Frobens include Froben Antiqua (2015, Ueli Kaufamnn at the University of Reading), and P22 Basel by P22, developed bewteen 2008 and 2015, with various type designers, including Colin Kahn and Paul Hunt, contributing to the final set of fonts. [Google] [MyFonts] [More] ⦿
Printer in Basel, Switzerland, who had a foundry in his shop, which he ran from 1477 until 1513. He issued over a hundred (mainly religious) books. One of his rotunda typefaces, simply known today as Veröffentlichungen der Gesellschaft für Typenkunde des 15. Jahrhunderts Typ.1:184G GfT883, was digitally revived in 2013 by Shane Brandes as Amerbach 883. [Google] [More] ⦿
Swiss-born MATD University of Reading graduate, class of 2013. He describes his graduation typeface Caligula as follows: The roman emperor Gaius Julius Caesar, also known as Caligula is described as a noble and moderate ruler during the first six months of his rule. After an illness, the sources focus upon his cruelty, extravagance, and sexual perversity, presenting him as an insane tyrant and maniac with a split personality. Caligula is a typeface family originally intended for both magazines in print as well as on screen. Styles for highly legible bodytext are accompanied by various and distinctive display styles for expressive headlines. The Latin has an angular character which makes it readable. It is harmonized with an Armenian style.
Jonas Williamsson (Reala) is the designer associated with Lineto who created Biff (1999, a 3-d typeface inspired by New York graffiti) and Tablettenschrift (1999, a 3-d blocky face, based on the logo of PEZ candies). Jonas graduated in graphic design and illustration from Konstfack University College of Art, Crafts and Design, Stockholm 1999. He is a founding member of "reala", an art and poetry collective based in Stockholm. [Google] [More] ⦿
Swiss designer (Zofingen, b. 1996) of Elbisch (2013), described as the Elbisch letters for the German language In 2014, he made Handwriting Schwabacher and the runic typeface Zwerge (based on Herr der Ringe by J.R.R. Tolkien). [Google] [More] ⦿
Swiss typographer and book designer, b. 1933, Sankt Gallen. After study at the Kunstgewerbeschule St.Gallen, he trained as a compositor with the printer Zollikofer and at the Kunstgewerbeschule Zürich; his education as completed in 1959 in Adrian Frutiger's class at the École Estienne. Since then he has practised as a freelance graphic designer, eventually specializing in book design. In 1979 he co-founded the co-operatively run publishing company VGS Verlagsgemeinschaft St.Gallen, for which much of his book design work has been done. He has taught at the schools at Zurich and then St.Gallen since 1967.
His publications include Book Design in Switzerland, "Book Design: Theory and Practice", Detail in typography (Agfa Compugraphic, Wilmington, 1987), Designing Books: Practice and Theory (with Robin Kinross, 1996), "Book typography" (Agfa Compugraphic, Wilmington, 1990), "Jost Hochuli's Alphabugs" (Agfa Compugraphic, Wilmington, 1990), "Jost Hochuli: Printed matter, mainly books", Buchgestaltung in der Schweiz, "Kleine Geschichte der geschriebenen Schrift" (Verlag Typophil, St. Gallen, 1991, Agfa Compugraphic-Reihe), Das Detail in der Typographie. Buchstaben, Buchstabenabstand, Wort, Wortabstand, Zeile, Zeilenabstand, Kolumne (Compugraphic Corp., Wilmington, 1987), "Bücher machen. Eine Einführung in die Buchgestaltung, im besonderen in die Buchtypographie" (Compugraphic Corp, Wilmington, 1989). Winner of the Gutenberg Prize in 1999.
He is part of the type foundry ABC Litera together with Roland Stieger and Jonas Niedermann. At ABC Litera, he designed the sans family abc Allegra (2011). Earlier in his career, he designed quite a few typefaces, including a Trajan woodcut that served Roland Stieger as model for his typeface Alena (2012).
Swiss co-designer with Urs Lehni and Rafael Koch of Lego (1999) at lineto. He studies in Lausanne. His projects such as Vectorama and Scriptographer combine graphic design with programming. Scriptographer provides a scripting language as an aid to and an extension of Adobe Illustrator. About the Lego font, he writes: "I was not involved in the creation of the font itself. I wrote the lego font creator as a sort of a interactive font specimen for the lineto site. Later, the tool grew to a real little application with eps vector output." [Google] [More] ⦿
Born in the Grésivaudan valley in France, Julien Gaillardot went to Lausanne to study graphic design at the University of Art & Design Lausanne (Ecal). He now lives and works in Avignon, France.
Swiss type design student at ECAL. Creator of the techno typeface Kreislauf (OFL, 2010) and Dumbo (OFL, 2010). Some of the typefaces he is working on got started under the direction of Ed Benguiat during Julien's exchange semester at the School of Visual Arts in New York. Not to be confused with the other Swiss type designer called Julien Mercier. Open Font Library link. [Google] [More] ⦿
Foundry in Tokyo. Creator of the techno typefaces Naname Kun (2010, a 3d octagonal family), Otsuki Sama (2011, a delicate high-contrast geometric fashion mag font), Julmeme Kun (2009) and Kaminari Kun (2009).
The foundry is run by Swiss-born Julien Mercier (b. 1983), who works as a graphic designer in Tokyo.
Swiss art director (b. Empoli, 1979), currently living and working in Paris. His type family Telemark (2011) is a monolinear slab serif influenced by the wide serif typefaces of the 19th century. Telemark is suitable for headlines and logotypes and complements script typefaces as well as any neutral grotesque.
In 2014, he published the 3d multiline layered type system Bend, that has its letters on a 14 degree slope and a perspective view from above---a tour de force well worth seeing.
In 2015, he published Realtime, Realtime Stencil, Realtime Rounded, Realtime Stencil Rounded, Realtime Text, Realtime Text Rounded, a series of fonts specially created for information design and semi-technical use.
During his/her graphic design studies at ECAL, University of Art and Design Lausanne, Switzerland, K. Pensaya created the high-constrast monospace typeface Konsrukt (2012). Finnection (2012) is similar. [Google] [More] ⦿
Gerstner is best known for his eccentricity in design, and his use of equally eccentric type (often Grotesk) to accompany his designs. The designer as programmer Karl Gerstner Review of 5x10 Years of Graphic Design is a book on Gerstner's influence as a designer, edited by Manfred Kröplien Hatje Cantz. He was trained under Armin Hofmann and Emil Ruder at the School of Design in Basel. He co-founded GGK (Gerstner Gredinger und Kutter), a leading Swiss advertising agency in 1963. GGK has been responsible for a number of promotional campaigns and corporate identities.
His books include Integral Typography (1959), The New Graphic Art (1959), Designing Programs (1963), and Compendium for Literates (1970). In 1972, an entire issue of Typografische Monatsblatter was devoted to Gerstner. Also in 1972, he wrote Kompendium für Alphabeten (last edition: 2000, Verlag Niggli AG).
Klingspor link. Short video on Gerstner by Melanie Hofmann. Obituary at Swissinfo. Gerstner's work is now available in the Helvetica Archives thanks to his own donation (in 2006) and that of his daughter (after his death). [Google] [MyFonts] [More] ⦿
Bern, switzerland-based designer of the techno typefaces Progress (2014), Progress Ordin (2014) and Progress Caps (2014). Monolyth Mono (2014) is a grungy typeface. In 2016, he designed the sans / hipster typeface family Hrglph. Facebook page. Behance link. [Google] [More] ⦿
Free Khmer Unicode/Opentype fonts by Chhun Keo, dated 2004: Khmer-Tonlesap, Khmerbattembang-704, Khmertakeo-A705, Krong-Phnompenh. In 2008, he added Ang DaunKeo, Ang DaunPov, Anf Daunsok, Ang DaunTeav, Ang DaunTep, Ang TaPich, Ang Taso, Ang Tasom. He is somehow associated with the Khmer Culture Center in Switzerland. Download here. [Google] [More] ⦿
Nelio Barros is part of Kinobrand Design in Geneva (and now Lausanne). While they are mostly occupied with graphic and brand design in general, they found the time in December 2011 to design a geometric monoline fashion mag typeface family Nixin: A nixie tube is a technology from the 50s used to display numerals that are composed by metal filaments that light up much like a lamp bulb. Due to their beauty these little numerals (0-9) are a love case for any designer, and formally it's where the inspiration for the Nixin typeface came from.
This Dutch-Swiss foundry (est. 2001 by Hannes Famira, b. 1966, Buchholz in der Nordheide) offers interesting font families: Feisar (Paul van der Laan), N&M Hornet (Neeser+Müller), N&M Punkt Schrift (Neeser+Müller), Blocker, InterPol Sans (1992), InterSerif, InterForm (dingbats), H-Stamps, Tieshy, Bubblejet on Steroids, Plantijn (Legib, Legib Small Caps, B-Form, Paradox), and Kugelkopf Letter. Another designer is Hannes Famira, who founded Kombinat. The initial crew also contained Martijn Rijven, but his name is longer there. The current team in 2012 includes Martin Wenzel, Thomas Lehner and Roland Dill.
With a BFA in 1989 from the Basel School of Design and an MFA from the California Institute of Arts in Valencia in 1996, she became art director of the USC School of Architecture in Los Angeles, and she is now working as a designer and art director for institutional publications and she teaches at the University of Houston in the graphic communications program. Cholla won at Bukvaraz 2001. She also won an award at Granshan 2008. Kontour joined Type Network in 2016.
She designed these typefaces:
Swiss calligrapher in Basel who made and sells various medieval and historically important script fonts. These included the paleographic (PAL) series and the KPS series. He lives in Ühlingen--Birkendorf, Germany. His fonts are uniformly of high quality and are usefl for illustrating historical alphabets.
His early commercial collection: KPS Anglaise (calligraphic script), KPS Antiqua (+Kapitälchen), KPS Capitalis (classic Trajan caps), KPS Cicero, KPS Epona (calligraphic), KPS Fein (hand-printed), KPS Hand (calligraphic), KPS Horaz (calligraphic), KPS Iris (calligraphic), KPS Petit (calligraphic), KPS Plinius, KPS Spitzfelder, KPS Vitruv (calligraphy), PAL Bastarda, PAL Cancellaresca, PAL Carolina, PAL Gotisch, PAL Humanistica, PAL Lombarden, PAL Quadrata, PAL Rotunda, PAL Rustica, PAL Textura, PAL Uncialis, PAL Uncialis Roemisch, Weissranken Initialen, Ranken Initialen (Celtic capitals).
Since September 2013, all of his fonts are free. They were renamed and have conveniently the date of original creation in the font name. The fonts dated in the 1990s and 2000s are new typefaces or creative revivals by Klaus-Peter. The list of revivals: 0100DeBellisMacedonicis [Pre-uncial letters from the fragment "de bellis macedonicis", ca. 1st century], 0300Petros [Greek hand from the oldest surviving copies of St. Peter's epistles, dated 3th / 4th century], 0362Vitalis [Roman Minuscule Cursive from the so called Vitalis letter, written before 362 on papyrus (Strasburg)], 0480VergiliusRomanus [Capitalis Rustica from the Vergilius Romanus written in Rome, ca. 480], 0500VergiliusSangallensis [Capitalis Quadrata from the Vergil fragments in Stiftsbibliothek St.Gallen], 0512Dioskurides [Greek Uncials from the Vienna Dioskurides (about 512)], 0746Beda [from Beda Venerabilis: Historia ecclesiastica gentis Anglorum, Northumbria, dated 746], 0800Kells [Half Uncials from the Book of Kells], 0800Remedius [So called "Lombardic-Raetic Minuscule" from Codex 348 of the Stiftsbibliothek St. Gallen], 0800 Theophanes [Greek Hand after a 9th century Theophanes manuscript], 0850CarolinaTours [Carolingian Minuscule], 0850Carolinaundulata [Carolingian Minuscule from the Scriptorium of Tours], 0864Folchart [St. Gall Carolingian from the Folachart Psalter], 1012Otto [Late Carolingian Minuscule from the Perikopes of Heinrich II, written at the Reichenau, donated to the dome of Bamberg in 1012], 1258FridericusII [Gothic Rotunda from the falcon book of Emperor Friedrich II, Southern Italy 1258-1266], 1400Wenzel [Bohemian Textura from Vienna], 1450Sebastos [Humanistic Greek hand from Homer, Ilias, Vatican Library], 1455GutenbergB42 [Gothic Textura types from the 42 line Gutenberg Bible], 1458GutenbergB36 [Gothic Textura types from the 36 line Gutenberg Bible], 1470Jenson [an antiqua by Nicolas Jenson], 1475HumanisticaCursiva [Humanistic Cursive of the kind Bartolomeo Sanvito of Padua wrote, after Cod. Pal. Lat. 1508], 1480Humanistica [Humanistic Book Hand from Valerius Maximus: Facta et dicta memorabilia, ca. 1480-1485. The calligraphy is attributed to Antonio Sinibaldi from Florence and the titling capitals to Bartolomeo Sanvito from Padua], 1483Koberger [Incunabula type from the Koberger Bible, printed in Nuremberg in 1483], 1485Grueninger [Incunabula type from the Grueninger Bible, printed in Strasburg in 148], 1493SchedelRotunda [Incunabula type from the Latin edition of Hartmann Schedel's World Chronicles, printed by Koberger at Nuremberg in 1493], 1501Manutius [First printed Italic Antiqua by Aldus Manutius (Venice 1501)], 1513Gebetbuch [Fraktur from Emperor Maximilian's Prayer Book, printed in Augsburg in 1513], 1517Gilgengart [Fraktur type from Emperor Maximilian's 1517 private print "Gilgengart"], 1517Teuerdank [Fraktur type from Emperor Maximilian's "Teuerdank", printed at Augsburg in 1517], 1519NeudoerfferFraktur [Fraktur alphabet from a woodblock model in Johann Neudoerffer the Elder's Calligraphy book "Fundament", Nuremberg 1519], 1739Bickham [Copperplate or running hand after models from "The Universal Penman" by George Bickham, printed in London 1743], 1741Bickham [Bickham's round hand from Universal Penman], 1782Thurneysen [Baroque Antiqua Type of J. Jacques Thourneysen fils, Basel 1782].
Original versions by Schaeffel, with date of design in the font name: 1999Anglaise1, 1999Anglaise2, 1999Cancellaresca, 1999Carolina (Carolingian minuscule), 1999Livius, 1999LiviusBold, 1999LiviusItalic, 1999LiviusSmC, 1999LiviusTitel, 1999Ovidius, 1999Stylus, 1999Textualis, 2000Bastarda, 2000Cicero, 2000Humanistica, 2000Plinius, 2000PliniusItalic, 2000Seneca-Italic, 2000Seneca, 2000TextualisFormata, 2000Uncialis, 2001RotundaFormata, 2002Cato, 2002Horatius, 2002Vitruvius, 2003Epona, 2003Lombarden, 2004CapitalisQuadrata, 2004CapitalisRustica, 2004Iris, 2004UncialisQuadrata, 2004UncialisRomana, 2008-Noeuds-1 [for making Celtic knots], 2008-Noeuds-2, 2008-Noeuds-3, 2009Xenophon, 2010Filigrane, 2010Gouttes, 2010Labyrinthe [squarish], 2010Pointu [a calligraphic blackletter], 2010Vergilius [a great calligraphic face].
Swiss type design mag, started in 2016. Issua A (2016) has these articles:
Lafonts is Marc Rudin's commercial typefoundry in Schaffhausen, Switzerland. Marc was born in 1945 in Solothurn, Switzerland. He is a graphic designer and teaches at a design school in Zurich. His typefaces include Trifill and Triface (2013, a purely geometric 3d monospaced font).
In 2014, he made Monocto (monospaced octagonal modular typeface).
Based in Bern, Nicolas Kunz and Michael Flückiger developed the multiparameter family Laika in 2009. It has five parameters, italic angle, weight, serif radius (at the heel), serif length, and contrast. A fun applet lets you play with this multiple master font in the five-dimensional space. [Google] [More] ⦿
Laurence Jaccottet works at //copy// in Lausanne. Laurence Jaccottet and Niels Wehrspann are the designers of the inline AGIP font (2001) based on the logo of AgipPetroli, digitized for the book "Benzin: Junge Schweitzer Graphik". Laurence studied at ECAL in Lausanne. Klingspor link. [Google] [More] ⦿
Swiss-born London-based designer at Lineto of LL Akkurat (2004), a 3-weight sans family (Leicht, Normal, fett). He also made LL Circular (2011), a geometric sans typeface in the tradition of Futura and Neuzeit Grotesk. In 2014, it spawned a corprate branding typeface, Circular Air Pro, designed for AirBNB.
Fabian Widmer is a Swiss type and graphic designer in Basel and Zürich, b. 1981. He graduated in 2006 from the Schüle für Gestaltung Basel, and runs Letterwerk, which he cofounded with Dominique Bößner in 2008.
His (free) fonts: Mister Pix&Junior (2004, pixel font), BlackPearl (2005, not finished), Jungle (2005, experimental) and Kreuzfahrt (2005, religious dingbats).
His main work in 2012 is the six-layer stacking display family Modular Roman and Slab.
In 2014, they made Stencil Allround.
Typefaces from 2015: Nord (a typeface family with Inline, Form, Black and Sun styles; the beveled subfont is especially wonderful).
Typefaces from 2016: Fab Figures (several sets of decorative numerals).
Since 1994, Swiss type designer Cornel Windlin (b. 1964, Küsnacht) heads "lineto" in Zürich, with Stephan "Pronto" Mueller. Lineto is based in Küssnacht am Rigi, Switzerland. The foundry has grown in size and influence and includes work by many type designers. Windlin hiomself made these typefaces:
(German or Swiss) creator (aka Fuex) of the free calligraphic font Miama (2009, Open Font Library), based upon the handwriting of his (then, girlfriend) wife. Dafont link. Romer is interested in Latex and mathematical typesetting and designed Miama in the spirit of Zapfino and Scriptina. An updated version, Miama Nueva (for Latin and Cyrillic), was developed in 2014, and published by Open Font Lirary.
In 2014, he created the free Metafont (and also, Opentype and truetype) typeface, Fetamont. This parametric typeface extends Knuth's roundish elliptical logo font for Metafont. Additional CTAN link. [Google] [More] ⦿
Lorenz Lopetz Gianfreda
Lorenz Lopetz Gianfreda
Lorenzo Geiger Typewerk
Swiss designer who made the commercial typeface families Bastard (6-weight grotesk), Dinomono (typewriter, monospaced) and Trans-Am (octagonal).
Born in 1982 in Bern, Geiger studied visual communication at the BFH Haute Ecole des Arts de Berne from 2002 until 2007 and did an internship with Philippe Apeloig in Paris. He works in Bern.
Talented type and graphic designer based in Morgins, Switzerland. After obtaining a BFA from the Academy of Art University of San Francisco, he started a Masters in the TypeMedia program at KABK in Den Haag, graduating in 2015. After the KABK, he started working from Geneva on editorial identity, branding, editorial, graphic and type design.
At KABK, Loris Olivier designed the large text typeface family Lemanic (2015) [with accompanying decorative blackletter typeface], about which he writes: The different weights and styles are made for magazine or newspaper environements. The entire family is constructed in order to decrease the usage of images next to the text. The shapes of the book weights and its inspiration are taken from the fluidity and the rhythm of the work of Fournier and certain shapes of the Romain du Roi.
Other type designs by him include Fournier (2014, a revival), Katchka (2014, an all caps typeface for Latin and Cyrillic), Milwaukee (2014, a text typeface, + Stencil Bold), Groo (2014, a bold grotesk), Scarpelli (2012, an étude in ball terminals), Tuilots (2014, a gorgeous calligraphic text typeface), Fanny (2014, an exquisite display family). Behance link. [Google] [More] ⦿
Luca Pellegrini (Lugano, Switzerland) studied industrial design from 2010 to 2012 and Visual Communication from 2013 to 2016 at SUPSI (Scola universitaria professionale della Svizzera italiana). In 2016, Luca Pellegrini designed Xanti32, a high-contrast ball terminal-laden typeface that revives a font from 1932. Xanti32 is related to his graduation thesis, Forgotten typeface, Xanti Schawinsky designer di caratteri (2016). He explains: This is the story of a designer, photographer and artist who has done many things in his life and has enriched the history of the graphic design with significant contributions. But very few people remember him, and most of his work has come to be forgotten, as in the case of his alphabet, found on a dusty page of a delicate magazine dated 1935, found on a shelf in the midst of thousands of other periodicals, in an archive that is rarely open to the public. [Google] [More] ⦿
Swiss typographer and graphic designer, b. Geneva, who creates new typefaces out of old ones. He graduated from the Basel School of Design, and set up Ludovic Balland Typography Cabinet in Basel in 2006. Since 2003, he has been teaching at ECAL in Lausanne. Ludovic Balland created some retail typefaces as well as many corporate typeface families. His typefaces include:
Zug, Switzerland-based designer of the brush typeface Blemished (2008), the ornamental caps typeface Polar Shift (2010), the didone stencil typeface Femoralis (2010), the hand-printed typeface Camille Javal (2012, named after Brigitte Bardot in Le Mépris by Jean-Luc Godard), and the athletic lettering typeface Limbus (2015).
Lukas Schiltknecht (was: Lucas Gardener) is a designer from St. Gallen, Switzerland, b. 1982. He created the blackletter typeface Helvedding (2009), the graffiti typeface Hinterwelt (2011), Goodwill (2011), Malice (2011, more graffiti style), and the sans typeface Phat Otto (2010). Until 2011, his typefaces were free.
Graphic design studio in Geneve, Switzerland, founded by Pedro Julien and Gabriel Comym. Typefaces created by them include Era 21 (2013: a fashion mag high-contrast didone), Quantum (2013: futuristic liquid typeface), She Is Typo (2012: another fashion mag display typeface), Vani (2012).
Luzi Gantenbein (Luzi Type, Bern, Switzerland) is a type designer, b. 1988, Fläsch, Switzerland. He created the vernacular all caps wall paint typeface Valparíso (2010, Volcano). At the Hochschule der Künste Bern, he designed the angular family Rijeka (2011, Volcano), the Avenir/Futura-genre typefamily Buenos Aires (2011), and the multilayer family Lisboa (2011).
In 2014, she created the masculine wedge serif typeface Beirut.
In 2015 she finished the titling sans typeface Faro which has two sub-versions, Lucky and Sad. She also published Faro (a typeface that by virtue of stroke curvature emulates sadness or hapiness), Messina Modern, Messina Sans and Messina Serif.
Typefaces from 2016: Nantes (transitional text typeface), Koper (a rough woodcut typeface with polygonal outlines that were inspired by Vojtech Preissig).
Maelle Keita is the second identity of Thomas Boucherie (Montpellier, France, b. 1977). The Maelle persona is a prolific Swiss creator of many free fonts, which are mainly calligraphic or connected scripts.
Typefaces from 2017: Adventure of the Old Giant, The Curious Incident, The Fabulous Orchestra, The Butcher factory, Dancing in the Moonlight.
Typefaces from 2016: La Bataille du Sanctuaire, The Quest of Discoveries, Sentimental Beach, October Quotes, Hercule vs Goliath, Band of Reality, Street Gathering, Alicia on the Enchanted Highlands, Adventures on the Mountains, League of Giant, Richard True Crime, Dragons and Chickens, The Elves And The Secret Garden, Pokerface, Gentleman on the Rainbow, La Pantoufle en Or (tattoo font), Bulles de Chocolats, Atlantide Starlight, The Golden Flower, Mr Fisherman and the Shoemaker, Catherine de Beaumont.
In 2015, Maelle made Gravity of Love (white on black letters), Incredible Angel (beatnik style), The Red Horse, The Spaghetti Movie (Western font), The Hundred King, The King of Lost Towel, les Soeurs Samurai, Mr. Jackson Rankenstein, Mathilde Castleland (calligraphic script), Question and Love (calligraphic script), Chateaux des Olives (calligraphic script), Le Cachalot du Grand Nord (a hilarious funky font), Le Grimoire du Bonheur, The Constellation of Heracles, The Citizens, Secret of the Octopus, Fabulous Vikings, King Arthur (ribbon font), Mademoiselle Catherine, Alfred La Moule, Jackie Talks to You, Les Carottes Sont Fraiches, Claudette aime le Chocolat (connected dessert script), LA-CHAMBRE-77, LACHAMBRE67, LE BAL DES COCHONNES, LE BAL DES COCHONS, LE CABARET DES FOUS, LE SILENCE DES CAFARDS, La Tortue, Le-Jardin-de-Calista (strong brush typeface), ONLY IN THIS CASE, Stink on the Death (signage script).
Before 2015, Maelle designed Black December (2014), Une Grenouille Le Soir (2014), La Kame A Leon (2014, heavy brush), The Best Things In Life Are Free (2014), Caviar De Lapin Blanc (2014), La Truite à Papa (2014), Mougatine (2014, a needle thread script), Chicken Chorizo (2014), Ventilla Stone (2014), Mademoiselle Camille (2014, swashy), Authentic Hilton (2014), Olympic Branding (2014), Le Laboratoire du Docteur Steak (2014), The Chicken Love Story (2014), Les Sorcières de la Lune Noire (2014), La Compagnie des Ombres (2014), Les Sensations de Cerise (2014), La Chatte à Maman (2014, a creamy script), Aligot de Mirabelle (2014, a great delicate calligraphic script), L'Antre du Corniche (2014, thin script), Caviar de Diane (2014, thin script), Karine Aime Les Chocolats (2014: a connected script), Death in the Shadow (2014: brush script), Akhenaton (2014: brush script), Mayumi Gumi (2014), Font For Children Indo (2014: dingbats), Anabelle Script (2014, a heavy brush script), Mademoiselle K (2014, a cursive typeface), Anacondas (2014, an upright connected script), Walker on the Moon (2014, connected script), Angelique ma douce Colombe (2014), Pomerole (2014), Paper For Your Ass (2014), Paper Towel (2014), Wolf in the City (2014), Dragon is Coming (2014), J'aime bien le dimanche (2014), Camelia (2014, grungy signage script), Kosmo Cat (2014, a stone age script), Ophelia Script (2014), Monkey Snake (2014), Ventilla Script (2014), Slow Motion (2014), Ail et Fines Herbes (2014: hairline script), Mister Fish : upright curly script (2014), Elephant (2014), Nemo One (2014), Royal Chicken (2014, signage script), Nenuphar of Venus (2013), There Can Only Be One Breaver Im It (2013: flourishes), Ruskof (2013, grunbgy Cyrillic simulation face), Kawaii Food Font (2013, dingbats), Chouette Alors (2013, owls), Eglantine (2013, upright script), Zentai Itacha (2013), Magnolia (2013), God Bless America (2013), Jack And The Beanstalk (2013, upright connected script), Halloween Trick (2013, dingbats), Noyeux Joel (2013, Christmas dings), Angel of Blood (2013), Matriochkas (2013), My Princess Likes A Frog (2013), Skate or Die (2013, dingbats), Chouette Alors (2013, owls), Sleep on the moon (2013), Animox (2013, teddy bear dingbats), It Was A Good Day (2013, ornaments and filets), Ordre de Depart (dot matrix face), Diane de France (2013, calligraphic), Serval (2013, script), Chicago Eskimo (2013, fat outlined signage face), Quality Street (2013, vintage signage script), From The Moment (2013, frames), Arabia (2013, upright connected script), Hector Le Dragon (2013), Fantom Better (2013), Mont Royal, Coccinelle, Ponctuation, Miel & Abeille, La Petite Puce, Yo te amo pero en secreto, Conjecture (a sketch font), Coloscobik (2013, a marquee face), Ejaculator, This Is Not A Font, Tell Me A Secret (2013), Chocolate Cake (2013, plump outline face), Eglantine (2013), Ornamind (2013, floral dingbats), La Grosse Cochonne (2013), Toyzareux (2013, bubblegum font), Oliver Tue Les Fourmis (2013), Two Fingers King (2013, an ornamental blackletter), Piragniac (2013), Marguerite (upright connected script), Gulliver, Arakphobia (2013, a spiderweb font), Gelatina Elemente (connected script), Zenzai Itacha (oriental simulation), Atlas Eternal 78 (2013), Serial MKV 1 (2013), The Black Manba (2013), Gang Bang Crime (2013, a dripping paint font), La Grenouille Verte Qui Devient Toute Rouge (2013), Aracme Waround (2013), Zoa Elephantesque (2013), Estrela Fulguria 1748 (2013, calligraphic), Cirus Quantum Solace (2013), Paint All Time (2013), Jumbo Burn (2013), Allo t'as pas de shampoing, Helene Queen K (2013, script), Not Only The Quake (2013, script), One Day Before Rain (2013), Bullet Campus (2013), Eternal Call (2013, swashy calligraphic font), Kill The Panda (2013, a textured blackletter face), Trash Butterfly (2013, ornamental caps) and In Secret I Love You (2013, hand-printed), A Sweet Melody My Lady (a circular font), Lady Solarus Queen 1789.
Norm is a graphic design studio in Zürich, run by Dimitri Bruni and Manuel Krebs. They designed Simple (2000), Normetica (1999, a monospace font family) and Prima (1999) at Lineto. Regular (1999, Binnenland) was also done with Dimitri Bruni, but extended later by Nik Thoenen. [Google] [More] ⦿
Freelance Swiss designer (b. Bern, 1978) who graduated in 2004 in visual communication from the Hochschule de Künste in Bern. Creator of the typefaces 3x3-block, 3x3-flat, 3x3-italic, 3x3-outline, 3x3 (2001) and Rotor (2003, sans). He also made Radion (2006), a minimalist futuristic typeface. Dafont link. [Google] [More] ⦿
Marc Droz's studio is called dreh GmbH. Designer at Nouvelle Noire in 2014 of Colroy. The creation of Colroy started in 2009 during the CAS Typedesign at the Zurich University of the Arts and was completed as a font family with six cuts by 2014. Colroy is vaguely related to Clarendon. [Google] [More] ⦿
Marc comes from Liechtenstein and Switzerland, but works in London as Marc Weymann Design. Graduate from the type design program at the University of Reading in 2010, where his graduation project included the Formal typeface for Latin and Devanagari. The face is strong and meant to be used for texts. It will survive in most environments.
At Dalton Maag in 2007, he codesigned Kings Caslon with Ron Carpenter. In 2008, he collaborated with Ron Carpenter and Bruno Maag on the humanist sans typeface Aller. Still at Dalton Maag, in 2007, he created the Horus pictogram set. In 2008, he created the sans typeface Toyota, and the hand-printed typeface Globus. In 2009 at Dalton Maag, he did Metrolink Manchester, McDonalds. [Google] [MyFonts] [More] ⦿
Now, Mano really is Avantis BQ, and Veto is a replica of Evo BQ, both Berthold fonts, but Marco does not wish to be associated in any way with Berthold any further, hence the switch.
Cofounder with Valentin Hindermann of the design bureau Elektrosmog in Zürich. They designed Storno (1999) at lineto. Still at lineto, with Philippe Desarzens, they published LL Brauer Neue in 2000, based on a design by Pierre Miedinger. [Google] [More] ⦿
During her studies at Schule für Gestaltung Biel, Switzerland, Neuchatel-based Marie-Morgane Adatte created Brandhair (2014, watercolor script) and Garage (2014, a wayfinding minimalist sans). [Google] [More] ⦿
Graduate of ECAL (Ecole Catonale d'Art de Lausanne) in 2012 and RISD (Rhode Island School of Design) in 2011. With Jack Jennings, she codesigned the avant-garde typeface Pixineo in 2013 for a Boston-based start-up company. [Google] [More] ⦿
Markus Ernst Typografischer Gestalter
Swiss graphic and type designer Markus Ernst did an internship with Bruno Maag in London in 2003, and set up Artoftype, where he created Screenhorn (free pixel face), 1873 (free eroded face), Deep Space (2002, URW, writing that aliens would use?), Sepultura ((2003, URW, gravestone writing?), and Courier-Variationen. He also made corporate type for K-Tipp and Blick. Ernst is based in Zürich. URW++ link. [Google] [More] ⦿
Swiss graphic designer. In 2010, his graduation work led to the bicycle-inspired typeface La Guidonne.
Born in 1925, died in 2008. Former president of ATypI who was also a board member of a Swiss chocolate company. Unknown to most, he supported many ATypI meetings privately, behind the scenes. I quote a text written by Erich Alb in 2008 which describes part of the history of ATypI:
[...] There was never an official language [at ATypI]. But since it was a Swiss based society/association with international focus it was clear and normal, language would be English, French and German. I have a programm from the Budapest congress 1992 in hand, which is printed both in english and German. - Lectures and the General Meeting in the Annual Congress was mostly in english, and has been simultaniously (!!) translated by Gertraude Benöhr, Secretary for Walter Greisner at Stempel Foundry (she worked later in the Gutenberg-Gesellschaft Mainz for decades). I remember in the 70's, when John Dreyfus organized lectures and speaking in the General Assembly, he did that in english and french himself. This was the same when Martin Fehle (also a former President) organized the Meetings. - During the Paris congress mid 80's we all visited the National Museum, when I was translating infos from the guide simultaneously into English and German.
Big changes came with Type'90, when a huge load of Americans attended the congress, and from then on suddenly english became the "official language". From that year onwards no translations were done anymore. (Occasionally some professsional simultan-translators have been organized like at Rome, but this has cost a fortune).
Sponsoring: It never has been said in public, that prior to Type'90 mostly Type foundries (Haas'sche, Linotype, Agfa et.al) paid/sponsored the congress, and reasonable congress fees were payable by some 100 to 150 attendees. The financer and Board member of a Swiss chocolate company, Mr Fehle, was sponsoring congress' to a large amount from his own pocket, when Foundries closed one after the other. Fehle never wanted people to know that he was helping out, but by being quiet it probably led many guys to think, that the type companies were paying for all of ATypI. Only insiders knew the truth. And that gave a false perspective to the new people taking over ATypI about how the finances were. (BTW: The word "sponsoring" started in late 80's I think, and if one had an idea, he was looking for sponsors first. But earlier we've had an idea and just did it (!), looking afterwards how we maybe could raise some money). Changes came early 90's when the organization needs lots of members to be able to afford fancy conferences. And to get lots of attendees they have to do entertainment ...
Earlier Mr Fehle helped bankroll ATypI for many years. An incredible story. But no one knew it (except the Swiss) and so he was treated very rudely. An embarrassment. - Around Christmas '07 his wife died after many years of illness, and Mr Fehle looked after her for a long time. He is now in bad health himself. I always wanted to see him for an interview re early years in ATYPI, but he was too busy as "nurse". I still feel bad for what happened to him at ATypI. That is the reason I'm not member anymore since a few years. Beside that, I didn't like the fancy conferences (in contrast to the serious ones we've had with 100 engaged attendees). After Fehle's death, Alb wrote this to the type board: Mr. Fehle was a very gentle person. He was a long standing member of the Board for Lindt&Sprüngli chocolate company in his home town Kilchberg/Zürich (Switzerland). With his great know how on finance and organisation he was an important consultant. Furthermore he worked for Haas'sche Schriftgiesserei (Type foundry) for almost 30 years, being responsible for the whole licening business and financial consulting. For about 8 years he was President of ATypI end of 80s to early 1990s. He spoke German/French/English, but his English was a bit funny to listen. American members (many joining because of Type 87 and Type90) did not take him seriously and got a bit suspicious who Fehle was. Martin Fehle had been generously financing ATypI. He organized with his close friend Alfred Hoffmann the congress at Basle which was mainly sponsored by Fehle, but also many congresses have been paid by Martin Fehle - probably not many knew that. He wasn't the man to make a big fuss about his own public relation. Sadly he never was accepted much at ATypI, but his big involvement was for Sprüngli chocolate, Haas'sche, and also for the liberal Party in his home town. At his time for ATypI the organization seemed sclerotic and he got voted out. The old board probably never believed they would be booted out. It was a real shame. I have felt very bad for Martin Fehle. He was a great man, very important for ATypI. I was going to visit him last summer but he was ill. I will miss him - he was one of those great sample of the "old generation". [Google] [More] ⦿
Graduate of the KABK in Den Haag in 2008. Originally from Geneva, he created the (serifed) Nelly family as a student at KABK. He writes: I wanted a simple typotoolbox with only a few cuts and substantial differences between them. The initial family tree contained 4 cuts: Text, Italic, Bold&Display (later dropped due to time). Nelly, as a small type family, also explores the boundaries of unity. [...] I felt strongly attached to an elegant high contrast, even for a text typeface. I chose to draw according to my fantasies without following a design concept of style evolution from cut to cut. For example, I started the Text cut with a transitional contrast, concerned with legibility issues. Along the road, encouraged by my classmates, I decided to choose a "strict" pointed pen contrast because of the fun I had writing with it. [Google] [More] ⦿
Swiss type designer. He created the serifed text typeface Florin (2012).
In 2016, he graduated from the MATD program in Type Design at the University of Reading. His graduation typeface is Amikal, a multi-script (Latin / Greek / Sinhala) typeface with an amicable atmosphere inspired by primary italics from the Renaissance. Drawing on this rich heritage, the typeface comes with a modern look satisfying your sense of current typeface design. Reading a text set in Amikal is like listening to a story told to you with a warm and agreeable voice while sharing a comfortable chair with a purring cat on your lap in front of the fire place. [Google] [More] ⦿
Mauro Paolozzi is Swiss designer and web artist who runs Buildshape. He designed LL Prismaset"> (2006-2013, Prismaset, with James Goggin, Alex Rich, and Raphael Koch, based on Rudolf Koch's Prisma done at Klingspor in 1930).
In 2015, Raphael Koch and Mauro Paolozzi codesigned GT Cinetype at Grilli Type. This typeface has outlines consisting of many short straight line segments, thus mimicking the now obsolete pre-digital age technique of laser printing subtitles in movies. At small sizes, the font looks very smooth, but at larger sizes, the straight segments become apparent.
Influential Swiss graphic designer, sculptor, painter and architect, b. 1908, Winterthur, d. 1994. He studied at the Bauhaus from 1927 until 1929 under Josef Albers, Paul Klee and Oskar Schlemmer, and moved to Zurich after that. In 1944, Bill became a professor at the school of arts in Zurich. In 1953, along with Inge Scholl and Otl Aicher, he founded the influential Ulm School of Design, which closed in 1968. Bill was a professor at the Hochschule für bildende Künste Hamburg and chair of Environmental Design from 1967 to 1974. He lived in Zurich in the later years of his life and died at the Berlin Tegel airport of a heart attack. Max Bill created the typeface Bill (1949-1950) which is characterized by straight-edged glyphs (the o excepted).
Digital typefaces based on his work include the geometric Max Bill (2014, Jack Harley Szukalski), Architype Bill (The Foundry), Bill Corporate Narrow (2015, Oliver Jeschke), Bill Corporate (2015, OGJ Type Design), and Bill Display (2015, Oliver Jeschke: Greek simulation style).
Swiss type designer and calligrapher, born in Winterthur in 1916. He died in 2004. Designer of Columna (Bauersche Giesserei, 1952-1955, originally a private typeface of the Benteli publishing house in Switzerland; revived in 2006 by Ari Rafaeli, and in 2011 by URW), a slightly-serifed roman capitals face. His teachers included Jan Tschichold and Imre Reiner. Trained as a compositor (1932-1936), het set some jobs from 1936-1943. In 1941-1942, he taught typography at the Allgemeine Gewerbeschule in Basle, and was art director of the Benteli printing works in Bern from 1943-1962. From 1962 until 1981, he was head of the graphics department and typography teacher at the Kunstgewerbeschule in Zürich He consulted on type design for IBM in New York from 1962-1966, for the Bauersche Gießerei in Frankfurt am Main from 1965-1966, and for the Dr. Rudolf Hell company in Kiel from 1972-1989. He worked as type consultant at Adobe since from 1990. Adobe published Caflisch Script (designed by Robert Slimbach). Columna is available from Elsner&Flake (as ColumnaEF), Linotype and URW. Linotype bio.
Max Caflisch, Albert Kapr, Antonia Weiss and Hans Peter Willberg published F.H.Ernst Schneidler Schriftentwerfer, Lehrer, Kalligraph (SchumacherGebler a.o., München, 2002). This publication was thoroughly mangled by SchumacherGebler, to the dismay of Caflisch. This story was written up in "Die Chronologie der Schneidler-Monographie 1985-2002: Die 16 Jahredauernde, mühselige Entstehungsgeschichte" (Max Caflisch, 2002, Theo Leuthold Press). Other publications include: "William Morris, der Erneuerer der Buchkunst", Bern 1959; "Kleines Spiel mit Ornamenten", Angelus-Druck, Bern, 1965; "Fakten zur Schriftgeschichte", Zürich1973; "Schrift und Papier", Grellingen 1973; "Typography braucht Schrift", Kiel 1978; Schriftanalysen, Band 1 + 2, St. Gallen 2003. Also see the book by A. Berlincourt et al: "Max Caflisch. Typographia practica", Hamburg 1988.
Swiss high school teacher. Author of Von der Basisschrift zur persönlichen Handschrift, (Lehrmittelverlag des Kantons Aargau, Swizerland, Buchs, 2003). His Basisschrift, proposed in that book and developed together with Hans Eduard Meier, is now used in some Swiss cantons (such as Luzern (since 2010), Basel and Bern) for use in schools, replacing the Schnürlischrift that was officially in use in Switzerland since 1947.
Erich Alb describes the history of Basisschrift, which I quote here in German: Zusammen mit Max Schläpfer entwirft Hans Eduard Meier vorerst die Basisschrift. Grotesk oder Steinschrift genannt, hat sie keine Bögen und wird in der ersten Primarklasse eingesetzt. Später wird sie in ABC1 umbenannt und in Zusammenarbeit mit Elsner+Flake durch die ABC2 und die ABC4 ergänzt. Der Schriftschnitt ABC3 wird nach den ersten Anwendungsjahren als pädagogisch nicht sinnvoll verworfen. Die ABC2 hat Bogenansätze und wird im zweiten Schuljahr geübt. Die ABC4 ist verbunden geschrieben und wird auch im zweiten Jahr geübt. Alle drei Schriften gibt es aufrecht und kursiv, als Druckfont bei E+F Schriftenvertrieb. Zu diesen Schriften hat Meier Lehrbücher und Übungsbl&aauml;tter gestaltet. In 2016, Elsner and Flake published the entire family as ABC Basisschrift. [Google] [More] ⦿
Maximage Société Suisse
Maximage Société Suisse, established in 2008 by Julien Tavelli and David Keshavjee, is based in Lausanne and Berlin, and works in the fields of corporate, type, book and furniture design. Since 2008, Maximage has been teaching typography and graphic design at the University of Art and Design Lausanne (ECAL). Since 2015 located in Zurich.
In 2013, Maximage published the sans typeface family Programme at Optimo. Free typefaces at Dafont include Maximage ZhiLong (Chinese simulation font), Maximage Jululu (Chinese emulation), and Maximage Gimbadong (oriental brush simulation). Dafont link. [Google] [More] ⦿
German commercial school font outfit. Free demo fonts. The categories: Lateinische Ausgangsschrift, Vereinfachte Ausgangsschrift, Schulausgangsschrift, Druckschriften, Druckschriften Bayern, Pädagogische Zeichensätze, Zeichensätze für die Mathematik, Weihnachtsfonts, Sekundarfonts, Sekundarfonts. Of the many fonts, here are some made by Manfred Klein: KreuzWort, Norddruck, Sdfett, Vahalb, Veraus, Verfett. Ralf Lohuis (from Hünxe) made these fonts: Adam, Atlas, Bausteine, Blackwhite, Boxquestion, Domino, Eisenbahn, FlaggenABC, Geheim, Guitar, KreuzWort, Lapunkt, Lineatur, MatheRechner, MatheTangram, Meteo, Musik, Norddruck, Nordspur, Saspunkt, Sdfett, Sport, Telegraf, Trainee, Vahalb, VeenPikto, Veraus, Verfett, ZahlenABC. Subpage on school fonts. Christmas fonts made between 1999 and 2002, also by Lohuis: Fichten, Lichterglanz, Osterei, Schnee, Tannen, Verschneit, Weihnacht. Sub-page on Swiss school fonts where one finds CH Schrift 1 through 4, and Stein and Stein 1-Linie, Stein 2-Linie and Stein 4-Linie. At the Austrian school font sub-page, we find Druckschrift and Schulschrift 95. [Google] [More] ⦿
Detailed listing of medieval fonts on the web, by Peter Keel (Switzerland), with downloads. Categories:
Alexis Reigel (b. 1980) is a co-founder and developer of Metaflop. He is a software developer and has his main focus on web applications, and contributes in his spare time to several free and open source projects and organizes the Pantalks at Colab Zurich.A the other cofounder is graphic designer and Metafont specialist Marco Müller (b. 1979). Simon Egli and Linus Romer are participants in the free software project.
The Metaflop site offers the source code of Metaflop (2012-2016) and several of their Metafonts. They created three metafonts, Fetamont, (MF Fetamont (2014) by Linus Romer is an extended version of Knuth's rounded elliptical logo font), Bespoke (sans) and Adjuster (octagonal, techno), both with about fifteen parameters. Visitors can adjust the parameters to generate Opentype fonts that can be downloaded. [Google] [More] ⦿
Font editor project by Simon Egli (initiator, Switzerland), and Lasse Fister, Reuben Thomas and Ben Martin (core developers). Metapolator will be a web-based parametric font editor, providing a GUI for designing with UFO fonts and Metafont technologies. Metapolator is intended for type designers to design large font families faster, and for typographically sensitive graphic designers to adjust their libre fonts for their exact needs. For example, expanding a single style design into a family of weights and widths, or fine-tuning the weight and width of a font for your exact needs. Metapolator first provides a typical 'super' interpolation system that works with unlimited numbers of masters and axes, and will load and save normal UFO fonts. Github link.
Open source software guru Dave Crossland wrote this opinion in 2015: In early 2013 I'd met Simon Egli, who later that year made an initial PHP prototype for a successor to metaflop, and then a second prototype with Python called mfg. This led in early 2014 to a third project, with Simon and Lasse and Peter Sikking: Metapolator. Today I'm sad to say that I'm not all that happy with how Metapolator turned out; for myself, I think I was too ambitious, and tried to make the project go fast. By the end of 2014 we had a lot of pieces, but not a joined up product: a lot of great ideas from Simon and the other designers he invited (Wei and Nicolas) that went into a detailed UX design from Peter; and a powerful CPS engine led by Lasse all up and running, entirely web based; but not a product useful for type designers. So over this year, that product has been taking shape, mainly thanks to the implementation efforts of Jeroen Breen, and now there's a demo online. But the demo is not (yet) compelling... and I'm not sure when it will be. Maybe never. Github link. [Google] [More] ⦿
Art director in Bern, Switzerland. Creator of the poster typeface Rio 68 (2013).
Designer at Die Gestalten of Brother (stencil) and T-Star Mono Round (monowidth). In 2002, he coedited Los Logos, a 444 page book of logos (with Robert Klanten and Nicholas Bourquin). In 2007, the typewriter typeface Generell TW was added.
At Binnenland, he has Relevant (Michael Mischler and Nik Thoenen, 2007; loosely influenced by 'Record Gothic', created by R. Hunter Middleton for the Ludlow Typograph Company in 1927), T-Star Pro, T-Star TW Pro (typewriter face, 2002), Korpus (2012, with Nik Thoenen), Korpus Grotesk (2014), and Catalog (Michael Mischler and Nik Thoenen, 2005).
In 2010, designers Timo Gaessner (a graduate of Gerrit Rietveld Academy, Amsterdam) and Alexander Meyer started MilieuGrotesque (or: Meyer&Gässner) in Zurich, an independent platform for designers and editors, publishing and distributing a growing collection of typefaces and related publications. MilieuGrotesque reflects our ongoing interest and involvement with all things typographical in work and thought. The page features mainly typefaces designed by themselves:
The Modonomat typefoundry was founded in 2011 by Christine Gertsch (b. 1984, Bubendorf, Switzerland), a Swiss graphic and type designer living in Berlin. Christine studied in Basel, Québec, Berlin, Kolding and The Hague, where she was part of the TypeMedia class 2011/2012. Her typefaces:
Zurich-based graphic design studio that often work for art and architecture clients. It is run by Marc Kappeler, Markus Reichenbach and Ruth Amstutz. Font subpage. Regina (2008) is a custom rounded typeface in Latin and Cyrillic for Regina Gallery in London and Moscow. Balkankaravan (2008) is a layered typeface custom-designed for Balkankaravan. In 2010, they made an ornamental caps typeface consisting of building demolitions.
In 2012-2013, Grilli Type published their typeface family GT Pressura (with monospaced and proportional versions), which was inspired by type stamped on shipping boxes. GT Pressura was codesigned by Ruth Amstutz and Dominik Huber.
In 2014, Dominic Huber, Marc Kappeler and Noel Leu published the extensive text family GT Sectra (Grilli Type), which, in view if its breadth and angular design will prove to be one the world's major releases of 2014. GT Sectra won first prize in the TDC 2015 Type Design competition. Their blurb: GT Sectra was originally designed for the German-language magazine Reportagen, a bi-monthly publication specializing in literary reporting. Its long-form stories require a typeface that works well in text, but not at the expense of character. GT Sectra strikes that balance. [Google] [More] ⦿
Swiss outfit involved in type design. Run by graphic students at the HGKL, Amadeus Waltenspühl and Dario Hofstetter. They made 100 free truetype/opentype fonts: 001_monograf, 002_drei, 003_itchi, 004_tschiipoint, 005_dock, 006_molekular, 007_dart, 008_retne, 009_deuxtrois, 010_spacetab, 011_profil, 012_fumer, 013_sarger, 014_palcode, 015_chemic, 016_password, 017_river, 018_quader, 019_drugs, 020_cageone, 021_kravall, 022_tabs, 023_secret, 024_mops, 025_gitter, 026_a.dur, 027_fugu, 028_setball, 029_mars, 030_meteor, 031_code, 032_norm, 033_moses, 034_nonono, 035_raserblade, 036_rufio, 037_sugus, 038_xenix, 039_trace, 040_pepper, 041_collaps, 042_groove, 043_trickshot, 044_machine, 045_balk, 045_wood, 046_holeinone, 047_RZ, 048_blocktab, 049_raffel, 050_plaid, 051_bensen, 052_sargo, 053_window, 054_shavetab, 055_ruine, 056_dotsperinch, 057_amenon, 058_ment, 059_darttwo, 060_pointless, 061_skyline, 062_fett, 063_core, 064_enter, 065_arche, 066_screendesign, 067_chemicout, 068_b.dur, 069_korn, 070_salzstreuer, 071_archrune, 072_minim, 073_elloco, 074_opera, 075_fatcap, 076_flash, 077_manson, 078_upper, 079_render, 080_etage, 081_invader, 082_sagur, 083_korsett, 084_nagasaki, 085_mugge, 086_read, 087_macro, 088_amenam, 089_roomate, 090_worms, 091_wirbel, 092_please, 093_keyboard, 094_actop, 095_pina, 096_m.1280, 097_c.dur, 098_bens, 099_insider, 100_cagetwo. These are mostly pixel fonts, or basic shapes for ornaments. None of them are complete, but that is not the point---they are experimental. [Google] [More] ⦿
MyFonts lists the most popular Swiss style typefaces. A longer list of Swiss typefaces. Most of these are Helvetica clones, but there are also a few typefaces merely made by Swiss type designers. Even so, most of them only designed cold-blooded sans typefaces. [Google] [More] ⦿
Maybe the third try is the good one. Fontifier and Fontcapture were two free font services in which scanned alphabets could be converted instantly into truetype fonts. Both went commercial after a short trial period. Now, in October 2010, we have another taker, MyScriptFont, which was developed by T. Reinhardt in Switzerland. It uses Fontforge for part of the work. I tried it out, and it first failed for me, returning an empty file. Then it worked but cut off some letters and had problems with letter spacing. I guess one can train oneself to make this tool useful. [Google] [More] ⦿
Swiss designer in Zurich who made Souper3 (2009) and Soupleaf (2009, a fun decorative hand-printed typeface for gourmet illustrations).
Nicolas Eigenheer grew up on the shores of Lac Neuchatel. He graduated from the University of Art&Design Lausanne (ECAL) in Visual Communications. He works as a graphic and type designer in Switzerland. He created the absolutely gorgeous wood-inspired slab titling typeface Material (2006, Optimo) and the pixelish family Px Grotesk (2013, Optimo). [Google] [More] ⦿
Swiss designer of Constructa (2013, a free constructivist all caps typeface). He lives in Bern and was studying graphic design there in 2013.
Niels Wehrspann works at //copy// in Lausanne. He designed Ingenieur (1998), a geometric face, and Rubdown (1999, 6 weights), digitized from a transfer sheet. The latter font was revamped as Gravostyle Basic (2007, Optimo), a VAG Rounded relative. Laurence Jaccottet and Wehrspann are the designers of the inline AGIP font (2001) based on the logo of AgipPetroli, digitized for the book "Benzin: Junge Schweitzer Graphik". Niels Wehrspann is the co-founder of Schönwehrs (Schönherwehrs) design studio in Geneva. He studied graphic design at the University of Art&Design Lausanne (Ecal). Klingspor link. [Google] [More] ⦿
Designer (b. 1947, Willisau, Switzerland) of several multicolored type experiments, such as one called Children are the rhythm of the world (2004, stencil letters). The pictures below are taken from the thesis of Thomas L'Excellent.
Noël Leu is one of the cofounders of Grilli in Bern (while studying at the University of the Arts Bern in Visual Communication and Literature Writing). Leu designed GT Walsheim (2009) based on the Walsheim Neger poster by Swiss poster designer Otto Baumberger (1889-1961). It is a stunning geometric grotesk with a bouquet of art deco. Thierry Blancpain dedicated a page to Baumberger and GT Walsheim, and points out that for the Cyrillic portion, Noël Leu was assisted by Mirco Schiavone.
In 2014, Dominic Huber, Marc Kappeler and Noel Leu published the extensive text family GT Sectra (Grilli Type), which, in view if its breadth and angular design will prove to be one the world's major releases of 2014. GT Sectra won first prize in the TDC 2015 Type Design competition. Their blurb: GT Sectra was originally designed for the German-language magazine Reportagen, a bi-monthly publication specializing in literary reporting. Its long-form stories require a typeface that works well in text, but not at the expense of character. GT Sectra strikes that balance.
In 2016, Seb McLauchlan and Noel Leu codesigned GT America at Grilli Type. They write: GT America builds a bridge between the American Gothic and European Grotesque typeface genres. It combines design features from both traditions and unites them in a contemporary family. The versatile system consists of eighty-four styles across six widths and seven weights. It has tapered stems and subtly angled spurs, and a very useful monospaced GT America Mono subfamily.
Nonpareille (was: Chastellun.net)
Matthieu Cortat was born in Délémont (Switzerland) in 1982. After a degree in graphic design in 2005, at the University of Art&Design Lausanne (Ecal), he obtained a Masters at the Atelier National de Recherche Typographie in Nancy (France). He now works in Lyon, France, where he set up Nonpareille. He lectures at the Printing Museum of Lyon, France
Designer of Bentham (transitional),Bonesana (2009, Gestalten, an elegant text family straight out of the 18th century), Brett (2004, a rounded pixel face), Chastelmail (a modification of ITC Officina), Goupil (2008, by Regis Tosetti), Ecstrat (2009, ornamental 18th century type in the style of Fournier or Rosart), Fairplay (transitional newspaper face), Glovis (2007, a monospaced typewriter typeface with ball terminals; with Régis Tosetti), Hans (a Koch-style blackletter), Liberté, Tartan, Monolith, and Stockmar (2007, Optimo: a 12-style baroque family inspired by by Johann Rudolf Genath II (1679-1740)).
At Nonpareille, he designed Stuart Pro and Stuart Standard in 2008. These almost Venetian low-contrast text type families come in 18 styles each, and have three optical choices for the ranges below 8pt, 8-12 pt and above 12pt.
Typefaces from 2013:
Nootype (Nico Inosanto) is a Swiss typefoundry in Neuchatel. Typefaces made in 2013 include Merry Scriptmas (free didone), the geometric sans family Radikal, and Selfico, which is characterized by a symmetric g and y. Selfica (2013) is the sans companion of Selfico.
Fitigraf (2013) is a mix between a classical serif font and graffiti street art.
Dorica (2013) is a 14-style sturdy stocky serif family optimized for small point sizes.
Felice (2013) is a classic text family that defies classification.
Retrostar (2013) is a sans typeface that mixes some humanism wirth art deco.
Typefaces from 2014: Kleide (a scriptish typeface family).
Typefaces from 2016: Primera (a wide sans), Stratic Script, Solanel (sans), Devinyl (a potpourri of all caps styles with Inline, Acier, Fold, Inline, Line, Vinyl and Stencil versions), Rubiesque (a mix of humanist and grotesque elements in a sans), Rubis (the serifes companion of Rubiesque).
Norm is a graphic design studio in Zürich, run by Dimitri Bruni and Manuel Krebs. They designed Replica (2008, a strictly gridded sans family), Simple (2000, a monospaced font family), Normetica (1999, a monospace font family), Purple (2006, a didone family) and Prima (1999) at lineto. They also made the monospace font Tetra B (1999).
Corporate typefaces by Norm include Omega and Swatch.
Normal-Grotesk was released around 1943. According to Indra Kupferschmid and Stephen Coles, it was reworked by Haas from Haas's Akzidenz-Grotesk (based on a Wagner & Schmidt design, ca. 1909). It is not the same as the Berthold Akzidenz-Grotesk, but both designs, along with Französische Grotesk, were models for Neue Haas-Grotesk (later Helvetica). [Google] [More] ⦿
Type and graphic design studio in Zurich, run by Clovis Vallois and Anton Studer.
Clovis Vallois (b. Vitry-sur-Seine, Paris) graduated in 2006 after studying visual communication in Freiburg, Germany. He worked for six months at the Studio Philippe Apeloig in Paris and subsequently set up his own design business. Clovis continued his studies in type design at the Zurich University of the Arts and graduated in 2008. Since then he has been working part-time at the Zurich University of the Arts while is running his design studio. In 2009 he was awarded with the Tokyo Type Directors Club 'Prize Nominee Work' for the Unknown Alphabet poster.
Anton Studer (b. Zürich, Switzerland) graduated as a graphic designer in 2006 and has since been working in the field of visual communication and type design. Anton Studer teaches part time at the Zurich University of the Arts in Zurich and at the Swiss college of textiles in Wattwil. He is the founding member of the Atelier Bubentraum which is an interdisciplinary design collective. Besides working extensively on several experimental font projects he has also worked on typeface projects with André Baldinger in Paris and developed the font Frank which is available at die Gestalten in Berlin and the Archiv Family which won Bronze at the European Design Award in Rotterdam in 2010. Anton was also awarded the Tokyo Type Directors Club 'Prize Nominee Work' for the Archiv typeface he created.
In 2012, the people at Nouvelle Noire in Zurich helped produce several of Apeloig's typefaces:
The Nouvelle Noire typefaces:
In October 2016, Nico Inosanto led a type design workhop which led to the development of a communal wedge serif text typeface lovingly called Nino by its participants. The following people were involved (but probably many more): Manuel Schaller (Salzburg, Austria), Gaetan Meyer (Fribourg, Switzerland), Camille Brodard (Fribourg, Switzerland), and Valentine Humbert (Fribourg, Switzerland), Aurélie Ayer. Free download of Nino. [Google] [More] ⦿
Adobe's version of OCR-B, which was originally designed by Adrian Frutiger in 1966 for the European Computer Manufacturer's Association. It is rounded and easier to read than the rounded octagonal OCR-A font, which was designed for machine readability. OCR-B is ugly, malformed and quite useless nowadays. Quoting Linotype: Additional acclaim came after Frutiger was approached to come up with a more pleasing design for the optical character recognition typefaces used for computers. The result was OCR-B, which became the worldwide standard in 1973. Quoting Spiekernmann: The work was commissioned by the European Computer Manufacturers Association ECMA in Geneva. They didn't want to adapt OCR A, which was already used in the USA. Frutiger's job was to make a machine-readable type that was acceptable to the human eye as well. He started in 1963 and designed it on a finer grid than OCR A with its 5x9 squares. Apart from the font for machines he also designed a version for letterpress printing that had lower case characters and subtle stroke variations. The original OCR B was monospaced and had round stroke endings. The second version was proportional and had straight stroke endings. [Google] [More] ⦿
OGJ Type Design
Aka OGJ, Oliver Jeschke is based in Berlin. With Oliver Mayer (Tatin, Basel), he created the avant garde linear grotesk typeface family Version 1 International (2013). The typeface family, characterized by upward diagonal strokes in the f, h, m, n and u, was published by Volcano. Volcano writes: The Version 1 font family is a mannered geometric linear-grotesque, hand-drawn and developed by Oliver Jeschke and Oliver Mayer at Tatin Design Enterprises in Basel, Switzerland and Berlin, Germany. It was created in a three-month training and was further developed in the later stages as OpenType font.
In 2015, influenced by the work of Swiss master designer Max Bill, Oliver Jeschke created the Greek simulation typeface family Bill Display, the sans typeface Bill Corporate, and Bill Corporate Narrow. See aso Bill Corporate Mx (2016) and Bill Display Lowercase.
Oliver Tatin (Tatin, Basel, Switzerland) codesigned the avant garde linear grotesk typeface family Version 1 International (2013) with Berlin-based Oliver Jeschke. The typeface family, characterized by upward diagonal strokes in the f, h, m, n and u, was published by Volcano. [Google] [More] ⦿
Oliver Schneebeli (b. 1969, Lugano, Switzerland) studied graphic design at the School of Applied Arts in Lugano (1990-1992) and sociology at the University of Lausanne UNIL (1993-1995). In 1999 he became an independent designer in the collective Strates photographers in Lausanne. From 2006 to 2009, he designed and created graphics for the Swiss cultural and social environment. Behance link. In 2008, he dipped his toes in FontStruct as rasmusolli, and created AggloTypoA, ErvibismeTypoG, IconTypoA, and ErvibismeTypoF. Extremely iconic and geometric, his letters could be icons, and his icons could be letters. [Google] [More] ⦿
Visual identity designer working mostly for the fashion industry, who is studying towards a Masters in type design at ECAL in Lausanne, Switzerland. Creator of the extended sans typeface Exil 71 (2014). [Google] [More] ⦿
Optimo is a Lausanne-based foundry established in 1997 by Stéphane Delgado, Gilles Gavillet and David Rust: Aerial, Chip, Flexo MM (1998, David Rust), Circuit (2002, David Rust; on the CD in Nathan Gale's type 1 book), Didot Elder (2004, a true revival of a family by Pierre Didot, 1819; it has devil-tailed S's and is similar in many places to Porchez's Ambroise. It was designed by François Rappo), Kornkuh, Nova MM, Steiner, Autologic, Detroit MM (1997), Kabin, Normal, 2000, Optimal (a kitchen tile font), Politics (squarish typeface by Gilles Gavillet), Montana (stencil by Gilles Gavillet), CEO (typewriter style by Rappo), Veglia, Zero. Most fonts are futuristic or experimental, with a few sans serif fonts thrown in at well. Interesting web page, which in 2003 stopped being accessible to many browsers (UNIX people can never get in, for example). In 2003, David Rust and Gilles Gavillet co-designed Cargo (stencil), Hermes (typewriter type), Index and Politics. In 2006, Philipp Herrmann created the slab serif typeface Piek. [Google] [More] ⦿
Typefounders in Zürich since the mid 18th century. One of its founders was the artist Johann Caspar Füssli, 1706-1782. Their work can be found in Épreuves des caracteres de la fonderie de Orell, Gessner, Fueslin&compagnie. A Zuric (Zurich, 1781). This book already shows some didone influences, but its main typefaces are all Fraktur, with sizes in Sabon, Grosze Missal, Kleine Misaal, Grosze Canon, Kleine Canon, Mignone, Garmond and Petit. It offered a Garmond Schwabacher too.
Oskar Kokoschka (b. 1886, Pöchlarn, Austria, d. 1980, Montreux, Switzerland) was an Austrian artist, poet and playwright best known for his expressionistic portraits and landscapes. Deemed a degenerate by the Nazis [Kokoschka had commissioned a life-sized sex doll in 1918 which he destroyed during a party], he fled to the United Kingdom in 1938, and lived in Ullapool, Scotland during the war. He became a British citizxen in 1946 and would only regain Austrian citizenship in 1978. He settled and died in Switzerland though.
Typefaces based on his lettering include Grafiker (2013, a brush typeface loosely based on the work of designers Oskar Kokoschka (1886-1980) and Jean Carlu (1900-1997)), and Kokoschka (2012, Ricardo Marcin and Erica Jung).
Page Studio Graphics (or: Pixymbols)
The fonts (grouped under the name PIXymbols) include ADA symbols v.2.0, Africa, Alphabox, Alphacircle, Ameslan (ASL), Antorff (blackletter), Antorff Fractions, Apothecary, Arrows, Astrology, Backstitch, Boxkey, BoxNLines, Braille grade 2, Casual, Chalk Casual, PIXymbols Chess, Command Key, Courex (typewriter family), Crossword, PIXymbols Deco Glass (2001), Digit&Clocks (+LED symbols), Dingbats&Online, DOSScreen, Fabric Care, FARmarks (Federal Aviation Regulations lettering), Flagman (semaphore), Fractions, Gridmaker, Highway Gothic (U.S. Department of Transportation's Standard Alphabets for Highway Signs), PIXymbols Highway Gothic 2002, Highway Signs (U.S. Department of Transportation), Hospital&Safety, LCD, Linea (2002, prismatic), Luna, Malkoff (calligraphic font), Marina, Meeting, Mejicana (2001, a Mexican party font), Menufonts, Morse, Musica (instruments), Newsdots, Orchestra, Passkey, Patchwork, PCx, Phone, PIXymbolsMusica, Prescott (2001, Western), Penman (2001, connected script), PrimerD (letters with lines), Recycle, Roadsigns, Shadowkey, Signet (family), Signet Shadow, Squared, Strings, Stylekey, Tolerances&Datum, Travel&Hotel, TV List, Unikey, US Map, Vershen (2001), Xcharting, Xstitch. They also sell EPS files of all Arms of Swiss cantons, and many nice initial caps. Look also for Faux Hebrew (simulated Hebrew), as part of the Faux package that also includes Faux Sanskrit, Faux Runic, Faux Hebrew, Faux Japanese, Faux Arabic, Faux Chinese and Faux Chinese Sans.
Free font generation service based on a template that must be submitted on-line. The service itself is convenient and fast. Paintfont's software uses Fontforge as an engine. Developed by Swiss software engineer Tobias Reinhardt. I tried it on a 60-second sketched font, called Eric Garner to support a good cause. The results were fine, given the limitations of the medium. [Google] [More] ⦿
Paul Klee (b. 1879, Münchenbuchsee, Switzerlan, d. 1940, Locarno, Switzerland) was a Swiss-German artist. His style was influenced by movements in art that included expressionism, futurism, cubism, and surrealism. Wikipedia: Klee was a natural draftsman who experimented with and eventually deeply explored color theory, writing about it extensively. His lectures "Writings on Form and Design Theory" (Schriften zur Form und Gestaltungslehre), published in English as the Paul Klee Notebooks, are held to be as important for modern art as Leonardo da Vinci's "A Treatise on Painting for the Renaissance". He and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus School of Art, Design and Architecture. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality.
As often happens with influential artists, some typefaces were either named after him or influenced by his style. These include work by Anna Postum (2016), Alba Calderon (2013) and Rmbo Dsgn (2012). Commercial typefaces include Klee (Timothy Donaldson, ITC), Klee Print (K-Type), Swiss 921 (Bitstream), bill display (OGJ Type Design), and Octin Vintage (Typodermic).
During her studies at ECAL in Lausanne, Switzerland, Thai-born Pensaya Khurewathanakul created the fun typeface Kunstrukt (2013): Kunstrukt is a monospace typeface with high contrasts. It is inspired by childhood fairytales. She also designed the modular typeface Finnection (2013).
Born in Basel in 1940, Peter Bartl taught typography, graphic design, photography and computer graphics at the University of Alberta. He retired in British Columbia, where he and Jane Merks run PB+J Press. [Google] [More] ⦿
Swiss type designer and teacher (b. Basel, 1944). Since 1989, he heads the Atelier national de recherche typographique (ANRT) in Nancy. Before that, he ran type courses at ENSAD (École nationale supérieure des Arts Décoratifs) in Paris (1969), had his own studio in Paris (1970), taught courses at ESAG (École supérieure d'Arts Graphiques) in Paris (1972), and worked as a type consultant for Roger Tallon in Paris (1974). [Google] [MyFonts] [More] ⦿
Swiss designer (b. 1969) who published his type designs with URW++. He created Bohemian (2002), Parametra, Bavaroir, Organicon, Phenotype. These display fonts have a nice "je ne sais quoi" and lots of oomph. Philip has a Ph.D. in chemistry. Bio at URW. Klingspor link. [Google] [MyFonts] [More] ⦿
Zurich-based illustrator. While grocery shopping, a sign about a sale of asparagus led to the inspiration and the Spargel typeface (a humanist sans available from The Type Foundry) was born. [Google] [More] ⦿
Creator (b. Münich, Germany) of a great blackletter typeface called Diek while he was studying at the Hochshshule für Gestaltung und Kunst in Zürich.
Graduate of the Vorkurs program at the Basel School of Design and of Academy of Art and Design Basel, class of 2014. Basel, Switzerland-based designer of the modified and mollified didone typeface Pedal (2014). Behance link. [Google] [More] ⦿
Zürich-based French designer at Optimo of Editor (2005), modeled after the Swiss typewriter brand Hermes. Creator at Lineto of the stencil typeface Le Corbusier. With Marco Walser of Elektrosmog, he worked on the six weights of LL Brauer Neue (1999-2006), after and original typeface called Brauer by Pierre Miedinger, nephew of Max Miedinger, who created it in 1974 for the Züriuch-based brewery called Brauerei. [Google] [More] ⦿
Swiss designer educated in Basel who lives in Aarau and/or Zofingen. Creator of Eva (2011, sans) and Franks (2012, monoline geometric sans; Franks Pro followed in 2017). At Ten Dollar Fonts, one can buy Rosco & Salvia (2013).
His straight-edged typeface Lakey (2014) can be bought here. The pixel font family Pixie (2015) is at You Work For Them. The pixel / video game typefaces Masaaki (2014, based on the Super Mario games), Sabo Inline and Sabo Filled (2014) are free.
Nephew of Max Miedinger, the creator of Helvetica. He co-designed Brauer at Elektrosmog, a design studio in Zürich, run by Valentin Hindermann and Marco Walser. Brauer was published by lineto. This was later developed into the six weights of LL Brauer Neue by Marco Walser and Philippe Desarzens. [Google] [More] ⦿
Swiss typographer at Fontnest who designed these fonts: Jawut (2002, with Franz Hoffman, Juerg Lehni, and Jérôme Rigaud: a typeface inspired by André Baldinger's Newut), WellKrau (with Jérôme Rigaud: an irregularly tiled font). [Google] [More] ⦿
Swiss outfit run by a group of five out of Bern. Type design is done by Simon Küffer. I can't find any fonts on their home page, but you can always try here: Pixelfarm Pets (2005, free). [Google] [More] ⦿
Daniel Bär (Pyroglyphix) is a talented Swiss designer in Lausanne. Type subpage. Creator of the monoline grotesk typeface GT Skeletor (2009, Grilli Type). This typeface can be stretched and compressed at will without losing its effectiveness. While studying at ECAL in Lausanne, he made the gorgeous fat didone display face Pyrose (2008), the all caps sans headline typeface Pyroplastic (+Fat). At ECAL in 2010, he made the Bauhaus-inspired PYROhbau (a scripted font system based on a skeleton). Behance link. [Google] [More] ⦿
Developers of the free slab serif typewriter style font Nadia Serif (1999-2002, Nadia Knechtle). Nadia graduated in graphic design in Zürich, Switzerland. She was an apprentice in magazine and type design with Bruno Maag. She is presently located in Bäch, Switzerland. In 2011, she resurfaced at Die Gestalten with another typewriter-style family called Quister.
Or Rafael Koch. Raphael Koch (Blokes.ch, Switzerland) graduated in 1999 from Schule für Gestaltung Luzern, Switserland. His Diploma work there, Transport, involved the development of several typefaces, and was part of a team effort by Urs Lehni, Peter Körner, Markus Wohlhüter and Rafael Koch. Koch designed the very original multiline / prismatic typeface family LL Prismaset"> (2006-2013, Lineto, with James Goggin, Alex Rich, and Mauro Paolozzi) and codesigned Lego in 1999 at Lineto with Urs and Juerg Lehni.
In 2015, Raphael Koch and Mauro Paolozzi codesigned GT Cinetype at Grilli Type. This typeface has outlines consisting of many short straight line segments, thus mimicking the now obsolete pre-digital age technique of laser printing subtitles in movies. At small sizes, the font looks very smooth, but at larger sizes, the straight segments become apparent. [Google] [More] ⦿
Designer in Sankt Gallen, Switzerland, who created an origami typeface for the Rioskilde Festival in 2013.
Editorial and graphic designer and art director based in Lausanne, Switzerland, who graduated from ECAL in 2009. Since 2012, he teaches typography and type design at Eracom Lausanne---École romande d'arts et communication---and ECAL. He designed Celstine (a school project typeface at ECAL in 2009), Super Achachi (2013, a text typeface), Dominicale Medium (2012, an expressive text typeface originally designed for the book Sacré), Millionaire, Rounded, Renard (2014, sans), Thames Capsule (2015-2016), Kirsch Rund Grotesk, ThreeThousand and Monaako (2016, an angular poster typeface).
In this list, the Thames Capsule project stands out because of its historic relevance. A feud between founder T.J. Cobden-Sanderson and partner Emery Walker of the Doves Press culminated in Cobden-Sanderson stealthily hurling the last of the Doves Type letterpress blocks off London's Hammersmith Bridge into the River Thames in 1917. In 2014, Robert Green (Doves Type) managed to recover 150 original metal letterpress blocks with the help of divers from Port of London Authority, updating a digital facsimile of the typeface he had first issued in 2013. With Gaël Faure, he designed the commercial typeface Thames Capsule (2015-2016). Twitter link. [Google] [More] ⦿
Mirco Schiavone (Switzerland) set up Razziatype. His fonts at Razziatype include RT Alias (pixelish) and Bowie. He codesigned the Cyrillic version of GT Walsheim (2009-2014) with Noël Leu (Grilli Type, Switzerland). In 2016, he created RT Dromo, which is based on double-gothic typefaces used for impact printing concert tickets during the 1980s. [Google] [More] ⦿
Rechenzentrum Universität Zürich
PostScript information and sample programs at RZU. Site by Peter Vollenweider with a ton of information. There is a crash course on Bezier curves, a type 1 version of Frutiger 47, and a random type 3 font, with line by line explanations. In German. [Google] [More] ⦿
Fictitious Swiss designer and type designer whose fonts, Chalet New York, Chalet Tokyo, Chalet Paris, Chalet London, and Chalet Comprimé (2002) are offered at House Industries. The Chalet persona was invented by the good people at House Industries as a marketing ploy (chalet means house in French). Chalet (1996) was in fact designed by Ken Barber and Andy Cruz [Poster by Celia Yann]. [Google] [More] ⦿
René Etienne Keller
Grotesk cc is Tobias Rechsteiner, Reto Moser, and Simon Renfer in Bern, Switzerland. The former two designed GT Haptik (2009), which is a grotesk typeface in which the letters are optimized to be read blindfolded and by touching them. GT Haptik was published at Grilli Type.
In 2015-2016, Reto Moser designed the sans typeface family GT Eesti at Grillitype. GT Eesti has Soviet roots: It is a free-spirited interpretation of the Soviet geometric sans serif Zhurnalnaya Roublennaya, first released in 1947 and designed by Anatoly Shchukin. Another URL. [Google] [More] ⦿
RGB is Radio Galibasel. The site carried DIE GUTE FUER ALLE font collection by Fidel Peugeot (Vienna), Karl Rottweiler (Basel), Peggy Boon, Robi Watt, Hermine Demoriane, Quentin Magnus, Christian Anders, Betti Sauter, Feit F. Stauffer, Nadja Z, Cosima v. Gestern and the RGB107,6 crew (Vienna-based outfit): nice handwriting fonts for general use. It seemed like it was a free collection, but the download page was not operational. All this is moot now, as the original font site disappeared.
The list of typefaces: Omen (Karl Rottweiler) is great, Gabel (by Fidel Peugeot) is a grunge font, Stukkie (by Peggy Boon) is normal handwriting, Ling (by Fidel Peugeot) is curly handwriting, Cuisinette (by Hermine Demoriane) is childish handwriting, Kanguruh (by Robi Watt) is hurried, HerrKlee (by Fidel Peugeot) is for graffiti, Mokka (by Fidel Peugeot) is for 8-year olds, the Waldmeister family (by Veit F. Stauffer) is for writing with chalk on trees, Sticker (by Christian Anders) is a disaster, Quentin Magnus der Wilde (by Fidel Peugeot) is so-so, Pirona (by Babette) is open and inviting hand-titling, BettisHand (by Betti Sauter) and Dr. R (by Dr. R) are regular handwriting fonts, Erdbeere (by Cosima von Gestern) is a doodling food-based dingbat font, Nadja's Trolle is so-so, and Trompete is Fidel Peugeot's Trumpet dingbat font. [Google] [More] ⦿
Swiss typographer who spoke at the Typocircle in London about Cuban typography on January 23, 2003. Author of Satztechnik und Typografie (GDP Verlag, coauthored with Christine Graber, Renata Minoretti, Martin Sommer), and Plakatkunst der kubanischen Revolution (RiFri-Edition). [Google] [More] ⦿
Studio in Balerna, Switzerland. Designers of the custom Eascher-style impossible typeface Utopia / Utopie [never mind that Utopia already exists as a name of an Adobe typeface] as part of an overall graphic system and identity for Eventi Letterari---a festival of Literary Events in Monte Verità in Ticino.
Born in 1938, From 1965 until 2000, he was typography professor at Porrentruy, Genève and Lausanne. Author of Rencontres typographiques (2003, Editions Eracom, Lausanne), coauthor of "Guide du typographe" (1993 and 2000). Author of "Dossier photocomposition" (1976) and "la Typo du journaliste" (1991, 1996). Coauthor of "L'imprimé" (1991), "Le livre à Lausanne, Cinq siècles d'édition et d'imprimerie" (1993), "En français ... dans le texte" (1994), "La lutte continue, 125e anniversaire du Gutenberg" (1997), "Empreintes 25e anniversaire de l'Ecole romande des arts graphiques" (1997). Ex-editor of Revue suisse de l'imprimerie. [Google] [More] ⦿
Password Hamburgefonstiv. Graduate of the KABK in Den Haag in 2008. Originally from Switzerland, he created the connected signwriter script typeface Caballero as a student at KABK. He also did a revival of Pierpont's Horley Old Style. Alternate URL. [Google] [More] ⦿
Swiss outfit now located in Amsterdam, est. 2003 by Jacques Borel and Harry Bloch, two Swiss graphic designers who graduated from ECAL, the University of Art and Design, Lausanne. At Fontnest, one can ogle their font creations: Pink (semi-stencil), Planp (Swiss sans), Franks (rounded sans headline), and Rudolf (rounded sans with fill-in bowls). [Google] [More] ⦿
Designer in Luzern, Switzerland, who ran Holztypenfabrik Roman Scherer. He created Bananatype (ca. 1910). One of their catalogs, ca. 1920, is entitled Schriften in Holz & Hartmetall Einfassungen Vignetten. [Google] [More] ⦿
Born in 1976 in Germany, Roman Wilhelm graduated in 2004 with a diploma related to a German-Chinese book project. He studied visual communication at the Burg Giebichenstein University of Art and Design Halle (Saale) in Germany and type design at the Academy of Visual Arts Leipzig under Fred Smeijers. He briefly taught type design at the Hochschule für Grafik und Buchkunst in Leipzig. He specializes in multilingual typography, which includes Chinese and Korean. A frequent visitor of Asia, he has taught at various academies such as the Central Academy of Fine Arts in Beijing, the Hong Kong Polytechnic University School of Design, as well as the Seoul National University College of Fine Art. He is primarily a web, book and magazine designer, but in 2009, he did create Sung New Roman, a typeface for Latin-Chinese typography, for which he received the award Ars Lipsiensis in 2009.
In 2013, he designed a wonderful hand-drawn Chinese typeface, Laowai Song. It has over 28,000 Chinese ideographs, supported by a perfectly matched hand-drawn roman.
Currently, he is a doctoral candidate at the Braunschweig University of Art, and is a member of the Multilingual Typography Research Group at the Geneva University of Art and Design.
Speaker at ATypI 2012 in Hong Kong on multicultural typography. Speaker at ATypI 2016 in Warsaw on Code Switching, Multi-Style, Diglossia. His typeface Koex Text (2016) aims to meet the requirements of style-switching typography, i.e., the use of a different style for imported words or special context material [examples of this include katakana in Japanese, or roman letters in blackletter text in 16th century Prussia for words of Latin origin]. [Google] [More] ⦿
Swiss graphic and type designer, b. Schaffhausen, 1937. She works at Odermatt&Tissi in Zurich. and is/was affiliated with Linotype. FontShop link. Typefaces, all published at Engler Text-Bild-Integration AG: Mindanoa (1975), Sinaloa (1972), Sonora (1972). [Google] [MyFonts] [More] ⦿
Swiss type designer. Author of "The Printer's Terms", designed by Jan Tschichold. And of Technical Terms of the Printing Industry (5th edition was printed in 1995) and Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography, Epitaph für Rudolf Hostettler (St. Gallen: Typotron, 1993). Selected shots from his 1949 text. [Google] [More] ⦿
Co-founder in 2000 of the Zurich-based design studio Moiré. With Dominik Huber at Grilli Type, she designed GT Pressura (+Mono) in 2013. In 2008, she made the corporate typeface Regina for Regina Gallery in London and Moscow. [Google] [More] ⦿
Swiss designer from Aarau (b. 1986) who used Fontifier to make Sasu's Handwriting (2009), and Scanahand to make FatoftheLand (2009), Initialized (2009, children's hand), Outlines (2009), and Blurry Handwritting (sic) (2009). Outlines (2009) was made with Scanahand. Home page. Dafont link. Alternate URL. Aka Sasu. [Google] [More] ⦿
Sandra Carrera (b. 1986), originally from Spain and Switzerland, has a Masters in art direction and type design from ECAL, Lausanne, Switzerland, and holds a BA in Visual Communication from HEAD, Geneva. Her degree project was a typeface called Gandarela typeface, a personal interpretation of of Baroque Spanish types.
Sandra interned at Commercial Type during the summer of 2013, where she worked on Marian Text 1554 and Marian Text 1880. Type designer at Production Type since 2014. In 2014, she made the elegant type system Picara with subfamilies for Text (serifed), Text Sans, Display (modern, fashion mag styles), Stripes and Dual (semi-striped). She writes: Pícara is a bookish typeface family, a tool for graphic designers, which takes its roots into the Spanish 18th type design century, while being a free interpretation of a specimen showing the letters of Antonio Espinosa de los Monteros. Its "cut with a knife" shapes and tight curves, give Pícara a digital and contemporary texture as well as a singular identity, while being readable and functional.
At Production Type, she cooperated on Countach in 2014: Countach, the tough compact sans supercharged with brawn & brains. Developed for The Crew, a critically acclaimed auto racing video game, Countach evokes the muscular and mechanical dynamics of fast cars and urban adventure. . Countach was developed by Superscript2, J.-B. Levée, Sandra Carrera and Irina Smirnova.
Marian Text (2014-2016) is a grand collection of ultra thin typefaces designed at Commercial Type by Miguel Reyes, Sandra Carrera, and Paul Barnes. Marian Text 1554 depicts the old style of Garamond & Granjon; John Baskerville's transitional form becomes Marian Text 1757; the modern of Bodoni, with swash capitals and all, becomes Marian Text 1800, and the early Moderns of the Scottish foundries of Alexander Wilson & Son of Glasgow, and William Miller of Edinburgh, become Marian Text 1812. And like the original, a black letter: Marian Text Black, referencing the forms of Hendrik van den Keere. [Google] [More] ⦿
Schaffner & Conzelmann AG (or: Designersfactory)
Basel-based design company, est. 1976, led by Jean-Jacques Schaffner (b. 1954) and Silvana Conzelmann (b. 1955). Silvana Conzelmann studied in Basel with people such as Armin Hofmann, Donald Brun and Hermann Eidenbenz. She has been an illustrator, design studio manager, and type designer. Alternate page. Check out Alphanumerix. [Google] [More] ⦿
Images of two Schreibbuechlein, one by Urban Wyss (Basel, 1549) showing an antiqua versal alphabet, and one by Wolfgang Fuggers (Nuernberg, 1553) that shows a paragraph of blacklettered text. [Google] [More] ⦿
A 122-page artcle (PDF file) by Valentin Blank about font protection in Switzerland. Written in 1999 in German, its full title is "Schutz typografischer Schriftzeichen und Schriften im schweizerischen Immaterialguter- und Lauterkeitsrecht". [Google] [More] ⦿
Type designer in Sankt Gallen, Switzerland. Graduate of HBK in Bern, and the Typemedia program at KABK, class of 2016. Her KABK thesis typeface, Junior, is lapidary and flared. She seems to claim that she codesigned BeausiteGoogle] [More] ⦿
Swiss creator of the free squarish techno (futuristic) typeface Xolonium (2011, Open Font Library), which covers Latin, Greek and Cyrillic. The typeface was updated in 2016.
Sion, Switzerland-based designer of the high contrast fashion mag typeface Shamery (2016) and the free monospaced monoline typeface Goldberg (2017) while studying at the University of Art and Design (HEAD) in Geneva. Behance link. [Google] [More] ⦿
Swiss type designer, b. 1926, Neuheim. Creator of Antiqua Classica (1971, a high-contrast didone; Engler Text-Bild-Integration AG), and Marabu (1972, a counterless octagonal display face; Engler Text-Bild-Integration AG). [Google] [More] ⦿
Luzern, Switzerland-based graphic designer (b. 1973) who worked with Bosch&Butz in Zollikon, and was art director and principal at Planet in Luzern. He created SeebadLTStd (2003), a family that is part of Linotype's Taketype 5 collection. Creator of Mager (2008), a sans face.
Swiss art director who has done substantive typographic work for some clients. For Tess model agency in London, he custom-designed a typeface and logo in collaboration with Mind Design. Sea Ark Sheep (2010) is a contextual typeface that was started as a project at Central Saint Martins, and ended up being released by Die Gestalten in collaboration with Stian W. Bugten in Norway.
In 2012, he was based in New York City.
In 2016, Simon published the free superfamilies Sean Slab and Sean Sans. The typeface is about to be renamed Canola. Github link for Metapolator: Canola is the first typeface created using Metapolator. It includes Sean Devanagari.
Speicher, Switzerland-based creator of the commercial vector format fonts Bodoni-X (2014, a modification of Bauer Bodoni Bold) and Spatium-X (2014, squarish and bilined).
Graphic designer from Zurich who works in the fields of illustration, lettering and fine arts. He studied architecture at the Swiss Federal Institute of Technology (German: Eidgenössische Technische Hochschule or ETH) in Zurich during three years. He also studied law at the University of Zurich, graduating as a Master of Law, specializing in intellectual property rights.
Lots of original (truetype) fonts by Swiss psychologist Timm Suess, ca. 1997: AScratchedRemix, BarnettDevice, Catwalk, CoercionNaked, CoercionRegular, ContactNeedsDB, Creaminal.TTF DecibelDingbats, DerangedTabloid.TTF ElGoat, Flyman (1997), Glooper, Harvey, HighTide, IGing (horizontally striped), KoCity, MataHari (erased Arnold Boecklin), Naked Monk, Narcotix (1997, futuristic), PointBrackett, QuoVadis, QuoVadisUltrabold, Screeplot, SevenPoints, SevenPointsFAT, Shattered, SickPostman (1997), Strontium90, Strontium99 (1997), ThoughtPolice, ThoughtPoliceunarmed, TouristEater, Ygnorant. Fonts are free for personal non-commercial use, but cost 10 dollars otherwise.
Swiss graphic designer who works in Berlin. His fonts can be obtained at lineto and FontFont. These include: Aveugle (Braille font, 1995), Berlin-Schnefeld and Berlin-TegelSmallSizes (1995), Parking, FF Gateway (1997 a triangulated font family done with Cornel Windlin), and Grid (1996), FF Chernobyl (1998, from stenciled letters on the Chernobyl plant), Paragon, Batarde Coulee, Shuttle, FE Mittelschrift and FE Engschrift (1997, modeled after the impossible-to-counterfeit German license plate font), 104 (nice geometric font), FF Container, Bitmap-Condensed and Bitmap-Regular (1998), Office (Eurostile-like monospace, 1999), Regular (2004, Lineto, a typewriter family), SMonoHand (2009, a handwritten monospaced Latin font with support for German). FF Screen Matrix (1995) was done with Cornel Windlin. In 2003, he created the Numberplate series covering Belgium, France, Italy and Switzerland.
This Swiss outfit sells Opal barcode fonts. Very very expensive. They cover Code 39, Code 128, UCC-128, Code 93, Interleaved 2 of 5, UPC-A, UPC-E, EAN/JAN-8, EAN/JAN-13, Codabar, MSI Plessey and PostNet. [Google] [More] ⦿
Albert Hollenstein is a Swiss type designer, b. Luzern, 1930, d. Vernazza, 1974. He ran Studio Hollenstein, which specialized in photographic display typefaces. It closed ca. 1978.
Hollenstein designed Pointille (1975, VGC), Siris (Hollenstein Phototypo, 1972), Tivi (Hollenstein Phototypo, 1968), Brasilia (ABM Hollenstein, 1960, with Albert Boton), Primavera (ABM Hollenstein, 1963, with Albert Boton), Rialto (ABM Hollenstein, 1960, with Albert Boton). With Albert Boton, he designed ITC Eras (1976). ITC Eras was copied by many: Ennis (Infinitype), E820 Sans (Softmaker), Incised 726 (Bitstream), ER (itek), Erie (Corel).
Zurich, Switzerland-based designer of the all caps geometric sans typeface family Lore (2016), which has one free weight, and several hatched styles.
Sébastien Théraulaz from Lausanne lives in Montreal since 1997. There, he started his type foundry Subtitude (as part of Sub Communications Inc). The first fonts: Subix (2005, bitmap font), Subedge (2005), Subamera (2005, free), Subaccuz-Bold, Subaccuz-Light, Subaccuz-Regular (2003, all free), Subinter (2003, with Valérie Desrochers), SubinterLightCondensed (2003), Subelair (2005), Subeve (erotic outlines, free), Subroyal (2005, octagonal), Subalde (2005, Valérie Desrochers), Subikto_one (2005, a beautiful hand sign dingbat font), Subikto Two (2007, flowers and leaves), Subikto Tree (2010, tree silhouettes), Subyep (2005, pixel face), Subzoete (2005, cultural calendar icons), Subelek (2009, heavy geometric face), and Suboel (2005, Christmas icons pixelized; by Theraulaz and Desrochers). Working on Subytro (2006) and Subima (2006).
The Peripheral Systems Laboratory develops new software and hardware technology for advanced displays, printing devices, phototypesetters and information servers. They have several pages relating to smooth font technology. [Google] [More] ⦿
Swiss Legacy is about Swiss design and Swiss type. The page is run by Xavier Encinas, a French Art Director who lives in Paris. He is also known as Rumbero Design. In 2000, he started business school studies at l'Institut Supérieur du Commerce. Since 2004, he works as a freelance Art Director specializing in print, logotype and web design.
Most designers mean by Swiss style the forms and ideas that made Sitzerland a dominant force in graphic and type design starting in the 1950s, as characterized by typefaces such as Helvetica (Max Miedinger), Haas Grotesk, Univers (Adrian Frutiger), Frutiger (Adrian Frutiger) and Folio (Konrad F. Bauer and Walter Baum). [Google] [More] ⦿
Swiss Typefaces is a foundry run by Ian Party (Territet, Switzerland, b. 19777, Lausanne) and Emmanuel Rey. It evolved from B+P Swiss Typefaces and BP Type Foundry, where BP stands for Buechi et Party. Maxime Buechi is still loosely affiliated with Swiss Typefaces but is now spending more time in London. Ian Party studied first at ECAL in Lausanne and then at the KABK in The Hague. In 2004, he cofounded B&P Type Foundry with Maxime Buechi. Since 2005, he teaches type design at ECAL in Lausanne. Home page of Ian Party. The new site B+P Swiss Typefaces was born in 2011, and it was renamed just Swiss Typefaces at the end of 2013. Their fonts:
Swiss type designer at Fontnest who designed these fonts: mtrxs (with Jérôme Rigaud: a dot matrix font), Troyd, Encoda MM (sans serif), Encoda Anfang (sans serif), Absinthia, Punebot, Alchemia, Basicrounded, Bacted_Flagada_Trigger (a dirty look font), Helveliga (with Jerome Rigaud and Fabian Monod). [Google] [More] ⦿
Sylvestre Lucia (b. 1985, Dornarch, Switzerland) studies graphic design at the "Le Corbusiers Art School" in La Chaux-de-Fonds, Switzerland. At AND in 2006, he created the hand signal dingbat font H-AND-S together with Jean-Benoît Lévy, Diana Alisandra Stoen, Mike Kohnke and Joachim Müller-Lancé. [Google] [MyFonts] [More] ⦿
Jean-Marc Wettach (Synergie Ltd) is the Genève-based designer (b. 1969) of Tsarine Anastasia Script (2002), Moskovia Script (2003, a revival of Phil Martin's Viant), BostonLibraryBook, CanyonElDiablo, EgretteLight, EgretteLightFlourish, FeatherThin, FortLaramie, LunarMoon, LyndaCursiveBold, LyndaScriptBold, LyndaScriptRegular, MarisaBook, MarisaBookBold, MarisaBookItalic, NabokovBook, SaintPetersburg, Kalinka Brush, Morocco Express, SanaaScript, SaphireLightScript, SepteraCoreScript and Anatol Hotel (2003). EgretteLight was removed at the request of Rian Hughes (Device)---too close for comfort? [Google] [More] ⦿
Born in 1936 in Basel, Switzerland's André managed the design office at Deberny&Peignot in the late fifties and early sixties. He taught production letter design at the Künstgewerberschule in Basel from 1965 onwards. He started Team 77 with Christian Mengelt and Erich Gschwind in order to make a correct grotesk improving over past grotesks, including Helvetica.
Pixel fonts (not downloadable) here include T-Gigafon, T-Megafon, T-Babyfon, T-Mikrofon, Telepong Regular, Telepong Bold, On-Off Condensed. "Telepong Inc. is a telecom start-up based in Pfaeffikon/Zürich, Switzerland and Vienna, Austria. It's main shareholders are UCP AG and the Lomographic Society, the camera maker." [Google] [More] ⦿
Swiss designer (b. 1965, Basel) who with the help of URW created the font family Theo Ballmer (2000), based on his grandfather Theo's ideas from the Bauhaus era. Thierry balmer teaches type design at Haute Ecole des Arts du Rhin in Mulhouse, France. [Google] [MyFonts] [More] ⦿
Thomas A. Heim
Graduate of Biel's School of Design, and now based in Bern, Switzerland. Designer of Lunica (2014, Die Gestalten), a monoline serif font available in four styles, plus italics: thin, light, regular and medium. Inspired by the basic letterforms of the cinema subtitles during his years in Stockholm, Thomas Hirter was compelled to add serifs to reflect the charm of the Swedish language. The serifs are abstracted with a geometric quarter circle leading to a highly individual typeface with poetic character. Home page. [Google] [More] ⦿
Tina Roth Eisenberg
Tina Roth Eisenberg
Brazilian/Swiss design student and freelancer in Barcelona. In 2014, during his studies, Tino created the free modular typeface family Paragon (or Paragon Cleaners). Behance link. Home page. Dafont link. [Google] [More] ⦿
Swiss type designer (b. Papua New Guinea) who created the fat finger typeface Geli (2010, Volcano). Behance link. Tobias Gutmann designed the font in 2009-2010 at the Typoclub, which is part of the Hochschule der Künste Bern.
Tobias Sommer ("Shasta") is the Geneva, Switzerland-based designer (b. 1986) at FontStruct in 2008 of Great Depression (influenced by headline fonts from 1929), Brutto (headline slab serif), Lame Dude (dripping paint), Toytype (an interesting Indic simulation typeface based on an earlier block font by him called Block On), Teatral and Teatral Fill (gorgeous Western circus style decorative typefaces), Fickle Mickle, Hard Light (shadow face), Tangram, Tangram Grid, Tangram Grid Rounded (kitchen tile), and Tangram Rounded (octagonal/kitchen tile). In 2009, he added Stylita, Vasyugan, Block On, Cupra, Disparador (mechanical octagonal: +Stencil, +Filled), Exempla Slab Serif, Exempla Sans (Strict, Medium, Ultra Light, Stencil: octagonal family), Stitched Outline, Escheresk (impossible outlines), Capitalia (+Rounded), Vjatka (constructivist), Punched Out (+Fill: pixelish), Cupra.
Additions in 2010: Punchline Filled (athletic lettering), High Voltage, Punchline (ultra heavy octagonal slab; +Filled), Nicotiana (slab serif), Exempla Slab Medium, Punched Out, Exempla Sans Medium (fat octagonal), Pixel Pandemonium, Tradita, Frostletter (blackletter), Scrambled Script (blackletter), Circle Cult (circle-themed sans).
Typefaces made in 2012: Apodosa (octagonal).
Swiss developer of a four-glyph font with boxes, called Ahem (1999). Apparently, it is used for browser testing. The font was updated by Paul Nelson in the mid 2000s. Most characters are the em square, except É and p, which show ascent/descent from the baseline. Useful for testing composition systems. IW (2009) is a similar test font. See also here. [Google] [More] ⦿
Advertised as Mark Jamra's Portland, ME-based digital type foundry and an academic resource. There is an extremely useful research directory, a great jump point for learning about type and its history. The site also has useful articles such as Jamra's article on optical image support and his article on form and proportion in a typeface. Mark Jamra (b. 1956) lives in Portland, Maine, where he designs type and teaches letterform and graphic design at the Maine College of Art. He did postgraduate work at the Basel School of Design, Switzerland, 1980-83, then worked for URW in Hamburg (where he lived for 12 years), and set up Jamra Design there. He left Germany in 1995. Brief bio. Speaker at ATypI 2006 in Lisbon. FontShop link. Fonts by Jamra:
Swiss and/or Italian foundry, est. 2013, located in Campione d'Italia, Italy. Their 14-style sans family, Pieta (2013), which is advertized as a modern wide sans, has the openness and geometry of Avant Garde, but deviates in the details, making it more humanist, more lettered. The hairline weight is especially attractive.
In 2013, they published the clean nearly (but not quite) monoline slightly tapered 6-style sans typeface family Larsseit.
Typefaces from 2014: Sailec (a neutral sans), Elysio (a condensed minimalist humanist sans, with weights ranging from Hairline to Black), Celias (a geometric sans with sharp corners), Revisal (humanist sans), Predige (a modular sans family promoted for use in scientific publications), Predige Rounded, Sarine (a technical sans family), Lasiver (a sans family from Hairline to Black).
Type for type
I believe, but am not sure, that this site exists to showcase the black blocky typeface Edding (2012). They write: Buro Destruct from Switzerland has developed the first edding typeface. And they go: as soon as you have written something here, the typeface will be made available for download. Yes, that is all nice but I could not figure out how this download might work. [Google] [More] ⦿
Swiss foundry which offers several free techno fonts made from 1999 until 2004: Break, Buster, Eva, Fatt, Liner, Quadrron, Quer, Querround, Round, Subby, Tektrron-Regular, Tv, Cake, Fluster, Onky, Racer, Titan, Tektrron-Regular, Zone. Alternate (old) URL. Really old URL. Dafont link. Abstract Fonts link. [Google] [More] ⦿
Typogama is the personal foundry of Swiss designer Michael Parson (b. Geneva, Switzerland, 1979), who published these fonts in 2003 as part of Linotype's Taketype 5 collection: Anlinear LT Std Bold, Anlinear LT Std Light, Anlinear LT Std Regular, Arabdream LT Std (Arabic simulation face), ClassicusTitulus LT Std, Hexatype LT Std Bold, Morocco LT Std, Jan LT Std, Ned LT Std, Pargrid LT Std Cross, Pargrid LT Std Regular, Pargrid LT Std Trash, Piercing LT Std Bold, Piercing LT Std Code, Piercing LT Std Regular, Raclette LT Std.
Most of Parson's fonts cover both Latin and Cyrillic.
In 2004, he made Clans (T-26, blackletter) and Boulas (T-26).
In 2007, still at T-26: Heraldry, Thunderbolt 73 through 76 (from techno stencil to techno sans).
In 2008, at T26: Ealing (geometric sans family, with a hairline), Bauhau (6 weights), Jane (a rounded sans in 12 weights), Quean, Halja (blackletter), Faddish (a high-contrast vogue family), Big Boy (11 styles, a slab family from grunge to regular, accompanied by BigSigns, a hand sign font).
Fonts from 2010: Tinsel (condensed), Rusty (Latin / Cyrillic constructivist typeface inspired by snowboarding), Vindaloo (+Outline, T26), Kimbo (octagonal slabby family), Cyrus (for Latin, Greek and Cyrillic), Calvin (a monoline sans family, +Hairline), Checkpoint (rounded display sans that won an award at Modern Cyrillic 2014),Fuera (2011, bilined face, T26).
In 2013, he published Selecta (an organic rounded sans, T26), Thunderbolt (an octagonal army style typeface family with a military stencil, T-26), Xcetera (2011), Ignorance (a calligraphic typeface), Psalta (an octagonal blackletter typeface), Nadsat (a geometric display sans with some interlocking letters), Cobono (organic sans), Prox (sans face), Zurika (a wonderful crazy script face), Faddish (T26: a fashion mag typeface), Heraldry (T26), Cedi (YWFT: a hand-printed typeface family with huge multi-character ligature set to simulate real handwriting), Tcho (T26: a soft rounded sans family that covers Latin, Thai, Arabic, Greek and other scripts), Dejecta (a striking scratched titling face, T26), Nedo (2011, a bold prismatic display typeface inspired by the work of Nedo Mion Ferrario in Venezuela), Quam (2012, an elliptical sans family), Pictypo (2012, a useful icon typeface).
In 2014, he updated the interlocking poster display typeface Tinsel (T26---original from 2010) and published the fantastic cartoon / comic book typeface family Bangbang. Siggy (2014) is a funky typeface. Lale (2014), which won an award in the TDC 2015 Type Design competition, uses the opentype features to set up a font system for flowers. Jane (2014) is a rounded sans typeface family. Vulgat (2014) is a vibrant display typeface based on uncial letterforms. Elsuave is a free fat rounded stencil typeface.
Typefaces from 2016: Auro (rounded sans), Dejecta (rough and ragged), Apollonius (a swashy didone), Rosengarten (vintage type influenced by Lucian Barnhard), Deleplace (influenced by didones), Halja (modular blackletter with illuminated caps), Furius (Tuscan style).
Graphic, multimedia and type designer from Basel, Switzerland, b. 1978. Her first degree was from Burg Giebichenstein HKD Halle (Germany). She was a freelance graphic and multimedia designer in Basel. Graduate of the Type & Media program at KABK in Den Haag in 2014, were her graduation typeface was Mica. She set up Typologic in Den Haag, The Netherlands, and started working as senior designer at Frere Jones Type in the summer of 2016.
Nina Stoessinger designed her first font in 2001, and obtained a degree in multimedia design in Halle, Germany, in 2008. She created a family of bitmap typefaces called Svenja (2004). Blog. Her funny FF Legato illustration.
In 2010, she and Hrant Papazian set up Armenotype.
In 2011, Nina published FF Ernestine (extensions by Hrant Papazian), and writes: FF Ernestine was born from the search for a versatile monoline text typeface that would feel warm yet serious, feminine yet rigid, charming yet sturdy. Its rather large x-height and wide, open shapes enable it to work well down to small sizes; ligatures, stylistic and contextual alternates, a selection of arrows, and two sizes of small caps enrich its typographic palette. Nina Stössinger first drew the Roman as a study project at the postgraduate Type Design programme in Zurich, and the Italic in dialogue with Hrant Papazian's Armenian design. Both the Roman and the Italic (which doubles as a harmonious companion to the Armenian component) are available in four individually drawn weights.
In 2013, she published the free dotted typeface Sélavy together with Paul Soulellis: Sélavy is the result of a serendipitous collaboration with Paul Soulellis. For his project Library of the Printed Web, Paul was looking for a dotted typeface reminiscent of the punched-out caps on Marcel Duchamp's 1934 Green Box. As he could not find a typeface close enough, I [Nina] was spontaneously tempted to make one. This is it. Sélavy (named after Duchamp's pseudonym Rrose Sélavy) is a dotted typeface that does not follow a non-dotted model.
Mica (2014, KABK) is an attempt to create a serif text typeface with horizontals that are thicker than the verticals. It later was renamed Nordvest, which was published in 2016 by Monokrom.
Swiss vendor of Berthold, Bitstream, Galla, Ingram and Jack Yan fonts. Includes a logo/signature service, and font conversion consulting. Swiss type pages by Peter H. Singer, the Berthold man in Zürich. Commercial links, mainly to Berthold. They provide some corporate identity font services as well as font conversions with Fontmonger (??). They also sell a 300 handwriting font collection. Alternate URL. List of type designers. [Google] [More] ⦿
Type meeting at the Schule für Gestaltung in St. Gallen, Switzerland, held from 20-22 September 2013. Speakers include Mathieu Lommen, Jost Hochguli, Erik Spiekermann, Veronika Burian, John Boardley, Willi Kunz, and Florian Hardwig. [Google] [More] ⦿
Swiss graduate of the MATD program at the University of Reading, class of 2015. His graduation typeface, Froben Antiqua, covers Latin, Cyrillic and Greek: Froben Antiqua is a versatile serif typeface family intended for characterful communication, editorial and book design. Details and proportions, which bring character to both small and large sizes, are inspired by the works of famous Basle Renaissance printers Johann and Hieronymus Froben. Froben Antiqua won an award at TDC 2016. Ueli Kaufmann is based in Zürich. [Google] [More] ⦿
Urs and Juerg Lehni (from Zürich, Switzerland) and Rafael Koch (from Luzern) designed Lego (1999) at lineto. They now go under the name "Blokes". Urs Lehni created the dngbats Linotype Freak Cabinet (1997) and Linotype Space Balls (1997). [Google] [MyFonts] [More] ⦿
Urs Oswald: Bezier Curves
Swiss graphic and type designer who studied first at Ecole des Arts Décoratifs de Genève (2000) and then at the University of Reading (Masters in type design, 2007). He lives and works in Geneva. He created Tiina (2007) at the University of Reading, a Latin/Cyrillic type family, which won an award at TDC2 2008. Tiina was completed with the help of Fred Smeijers in 2010, and was added to the OurType collection. He also did the identity design for the Kingdom of Bahrein Pavilion at the Venice Architecture Biennale 2010. [Google] [More] ⦿
Swiss foundry which made SNV Extra Condensed (1972), a font later distributed commercially by URW. This is a license plate font used by various U.S. states and Canadian provinces. Not only is this font family quite ugly, it is also rather unreadable. A Ralf Herrmann explains that it can still be found on older Swiss traffic signs and also in Belgium where it is still the main font on road signs. Since 2003, the swiss use a new font called ASTRA Frutiger, which is based on Frutiger 57 Condensed with slight changes. [Google] [More] ⦿
Viviane Jalil was born and raised in Geneva, Switzerland. She studied at the University of Geneva and then the Rhode Island School of Design in Providence, RI. While at RISD, she created the propaganda poster typeface Dystopia (2014). Behance link. [Google] [More] ⦿
Swiss graphic designer, b. 1923. iWe quote Answers.com: Well known for his advertising, graphics, and industrial design for the Italian office equipment manufacturer Olivetti, Swiss-born Ballmer studied graphic design at the Kunstgewebeschule in Basel from 1940 to 1944. He worked in publishing before moving to Italy in 1947 to join Studio Boggeri in Milan (established 1933). An established and successful graphic design office, Studio Boggeri executed a number of graphic design commissions for the office equipment manufacturer Olivetti and, from 1956, Ballmer went on to work as a graphic designer in Olivetti's advertising department where he remained until 1981. The visual clarity and deceptive simplicity of his graphic design work revealed something of his Swiss training and informed much of his publicity design for the company. Amongst his work for Olivetti was the coordination of a number of exhibitions shown in Italy and abroad, including Olivetti-Style (1961), Olivetti Innovates (1965), and Olivetti Image (1968). He was made a member of Alliance Graphique Internationale (AGI) in 1970 and, in 1975, received a Gold Medal for Olivetti-Image at the Ljublijana Bio 5.
Toto's K22 Stile Ballmer (2011) is a free art deco typeface modeled after Walter Ballmer's typeface designed for Olivetti. The Olivetti logo from 1960 by Ballmer also led to Interno (2004), a type family created by Eli Carrico and Ian Lynam at Wordshape. The Olivetti logo was also extended by Serena Petraglia into a full font (in 2016).
In 1963, together with Gret Mengelt-Mergenthaler, he created Texpo for the Schweizer Expo 1964. This custom typeface is not generally available. However, Mindofone made a free version of it, called Hadley Stencil, in 2013. [Google] [More] ⦿
Swiss type designer, b. 1933, Zug. He created Schmalfette Grotesk (1954). He is most famous for the black headline typeface Haettenschweiler (1954)---a renaming of schmalfette Grotesk by Photoscript in the photo font era---, which made it to the Microsoft library in 1995 as part of Microsoft Office. Haettenschweiler was used by Paris Match for headlines. The soccer team Nottingham Forest has a logo based on it as well.
Unpublished typefaces: Africaine, Breifette Etienne, Busride (1969), Coal (1975). Eleanora (1970), Haetti-Antiqua (1972), Haettenschweiler Face (1970), Halbstarke Pica, Oberoy (1971), Schmale Mediäval, Timeless (1971).
Further typefaces accredited to him: Breitfette Unziale, Roaring Twenties, Unziale, Happening, Chelsea Type, Flat Letter, Knock Out, Strada, Yardley, Sezession, Carnaby, Op-Letter, Allshadow, Subway, End, Wornout, The Ugly American, Expo, Ellington, Boris Vian, Blues, Ella for ever, Wir Wunderkinder, Calder, Tropic, Polyp, Maotse, Aleman con Adorno, Alphabet Art Nouveau, Alphabet Capitales de Fantasie, Alphabet Majeur d'Anglaise Rubannee, Alphabets Capiale&Romain Penches en...., Arnold Boecklin, Eckmann-Schrift, Edelgotisch-Initialen, Fantail, Favorit, Fraktur-Bastard, Jugendstil-Unziale, Kalligraphia, Lettres Ombrees, Lichte Italienne-Kursiv, schraffiert+abschattiert, Lima, Metropolitaines, Mira, Ornamentale Antiqua, Romantique, Siegfried, Smoke, Soutache, Thalia, Verzierte Unziale, Wotan, Walhalla, Teutonia, Lichte, Abschattierte, Umrandete, Schraffierte Etienne, Alphabet de L'Amour, Historismus, Plastische Verzierte Italienne Toscanienne, Audrey Hepburn, Cocteau, Leslie, Disney, Caron, Klee, Picasso, Mondrian, Bauhaus, Marino Marini, Congo, Schenk ein Buch, Beggarstaff, Black'n White, Broad, Für das Alter, Gaité, Girlish Face, Green Leaves, Halbstarke Pica, Lawless Type, Lettre coupée, Maidenform, New Fashion, Nouvelle Vague, Schmale Mediaeval, Sacral Letter, That bad Eartha, Vanishing Letter.
Revivals of his typefaces include Capital Ideas 2 NF (2012, Nick Curtis), which is based on Breitfette Unziale (1958). Schmalfette CP (Jason Walcott and Rob King) revives Walter Haettenschweiler's original titling sans from 1954.
Born in Zürich, 1913. Died in Zürich, 1986. Designer of Diethelm Antiqua (Haas, 1948-1950; Linotype, 1957), Sculptura (1957), Arrow (1966, VGC, a Peignotian or lapidary face), Abacus, Aktiv, Capitol, and Gloriette.
Teacher of Adrian Frutiger, b. 1901, Ottenbach, Switzerland. Pic. Here, you can find wonderful advice for making well-adjusted alphabets. In this wikipedia, we read: At the age of 16, Frutiger was apprenticed as compositor to a printer in the nearby town of Interlaken for four years and attended classes at the Zürich School of Arts and Crafts. (Rauri) Under the tutelage of Walter Käch from 1949 to 1951, students learned type design by rubbing forms from Roman inscriptions. The students then applied the knowledge learned from these ancient letterforms to their own type creations. The students came to realize that the way the inscriptions were made was an outline applied with a pen, and then chiseled into the rock. When students were first learning to design typefaces, they used pens to create flowing letterforms. Then students moved on to work with pencil. No instruments, such as rulers were used- everything was done by eye, and corrections had to be made by scraping the markings off with a knife. Frutiger respected Käch, and felt he was a fine teacher who allowed many different views to be prevalent. However, the young student disagreed with his teacher on how technical and defined forms should be. Käch was a calligrapher, and thought because punch cutters used a grid their forms were too harsh and technical. His typefaces are all dated 1949 and were published by ZHdK Zurich:
Author of the lettering manual Schriften/Lettering/Ecritures (1949), which, according to Peter Bain, establishes a conversation between typeface designers, typefounders, and those who were drawing letters in a typographic age. [Google] [More] ⦿
warehouse type foundry
From Switzerland, about 20 new designs for Mac and PC, at about 25 USD a piece. Faces: StinkyRat, San Francisco, San Jose, Sharky, Strike, Spacelab, BaseAlpha, RondaXero. All fonts by Johann Terrettazz who lives in Geneva where he runs the twice2 design studio. Page has become a Flash site. Now also Uppercut, Superclub, Gas Station, Dancefloor. WTF New Strike has been lauded as the best futuristic font of all time. [Google] [More] ⦿
Wilhelm Haas the younger (1766-1838) led the Haas typefoundry in Basel around 1800. Son of Wilhelm Haas the elder (1741-1800), who led the Haas typefoundry before him. Before that, his grandfather Johann Wilhelm Haas took over a foundry in 1737 from Johann Rudolf Genath II. [Google] [MyFonts] [More] ⦿
Author of Typography: Formation and Transformation (2003) and Typography: Macro and Microaesthetics. Kenneth Frampton published an article entitled Willy Kunz Typography: Formation and Transformation in Comedia, edition 04-4, 2004. Amazon link. [Google] [More] ⦿
Swiss typography teacher (b. 1941) at the Basel School of Design/Switzerland since 1968. Interview. Brief CV. Author of Wolfgang Weingart: Typography (2000), a text called arrogant by Stuart Bailey. I bought the book, and must say that the ratio of message to volume is rather small. Adam Rotmil comments on his exceptional teaching capabilitis just before Weingart's retirement from HGK Basel in 2004. A famous Weingart quote, cited in Revival of the Fittest, Digital Versions of Classic Typefaces (Philip B. Meggs&Roy McKelvey): Four typefaces are enough to address every typographic problem. Every digitization of an old typeface is, for me, a fake. Another quotation: Anyone who uses Helvetica knows nothing about typefaces. [Google] [MyFonts] [More] ⦿
Alexander Xanti Schawinsky was born in 1904 in Basel, Switzerland, to a Jewish family of Polish descent. He died in 1979 in Locarno, Switzerland. He worked for three years in Theodor Merrill's Köln architecture office before enrolling at the Bauhaus in 1924 where he studied with Walter Gropius, Wassily Kandinsky, Paul Klee, Josef Albers, Oskar Schlemmer and Laszlo Moholy-Nagy. Schawinsky had a significant presence at the Bauhaus in Weimar and Dessau. He was particularly active in the theater department and strongly inspired by Schlemmer, whose position as teacher he took on and developed further. Photos from the early years of the Bauhaus show Schawinsky as a dynamic personality in many of its experimental extra-curricular activities. Among them was the influential Bauhaus Jazz Band where Schawinsky introduced his Step Dance versus Step Machine style of mechanical music and dance to pounding rhythms coupled with dramatic lighting effects and performance elements. At the Bauhaus Schawinsky began developing his ground-breaking concept of Spectodrama. Spectodrama represented an early idea of total theater where all aspects of the stage become independent agents. Schawinsky continued the work on Spectodrama at the Black Mountain College in the United States after his immigration, and he revisited this work in the 1960s and 70s in Europe. The original concepts and scripts are located in the archive of the Estate of Xanti Schawinsky in Zurich, as well as an extended body of work of stage photographs and sketches.
Anke Kempkes provides a full biography, from which I quote this passage: When the Bauhaus closed in 1933 Schawinsky first went to Italy. In Milan he worked for [Antonio Boggeri's] Studio Boggeri, the newly founded state-of-the art advertising studio. He designed outstanding poster and product designs for Motta, Illy coffee and Cinzano. He also co-designed for Olivetti the typewriter Studio 42. Schawinsky's posters and products were to become classics of commercial design of the 1930s. Philipp Johnson gave his collection of Schawinsky posters in later years as gift to the Museum of Modern Art in New York. In Nothern Italy the artist met Marinetti and Giorgio de Chirico, whose work co-influenced the growing Surrealist tendency in Schawinsky's work of the 1940s. During this time Schawinsky remained in close exchange with Walter Gropius. He actively promoted the Bauhaus ideas and planned to bring out a book about the Bauhaus years, which remained unpublished. In 1935 the political situation in Italy forced him to leave once more. Schawinsky went to London where he married Irene von Debschitz, the daughter of the director of the Debschitz-School in Munich, an art school having anticipated some of the Bauhaus ideas. In 1936, Hans Albers secured Schawinsky and his wife safe passage to the United States to teach at the later legendary Black Mountain College in North Carolina. In charge of theater arts, Schawinsky expanded his ideas for experimental theater to a multi-media "total experience." His production of Spectrodrama and Danse Macabre at the Black Mountain College demonstrated these ideas and importantly laid the foundations for the work of John Cage and others at the College in the post-war time. It can clearly be argued that Schawinsky brought the radical and avant-garde Bauhaus theater to the United States, a relation that has been receiving special attention recently. Irene Schawinsky also contributed to the College. She collaborated with Anni Albers on clothes designs and she create paper sculptures which became iconic props of Xanti’s Spectodrama plays (in the following years Irene used these paper sculptures for shop window designs in New York).
He designed a high-contrast ball terminal-laden typeface in 1932 that was revived in 2016 by Luca Pellegrini as Xanti32 in his graduation thesis, Forgotten typeface, Xanti Schawinsky designer di caratteri.
Alexandfer Meyer is the Zürich-based designer (b. 1977) who started publishing his typefaces at Die Gestalten. In 2008, he set up xyz.ch where he sells his own creations. Some typefaces have recently been released under the name Alexander Colby. Designer of these typefaces:
Yassin Baggar (b. 1985, Switzerland) studied graphic design at School of Applied Arts, La Chaux-de-Fonds and MA in type design from the TypeMedia, KABK, in The Hague. Since 2007, he worked freelance on identities, books and other printed matters for various studios in Switzerland and Berlin. Before joining TypeMedia KABK (where he obtained a Masters in 2011), he worked for different studios in Berlin.
A collaboration with Anton Koovit on custom typefaces for GQ France led in 2012 to the founding of Fatype, a digital type foundry for retail and custom typefaces.
Codesigner with Anton Koovit of the slab serif family Arvo (2010). His graduation work at KABK included the development of Bois (2011): Bois is a Roman Antiqua flirting with Gothic influences. The design, based on calligraphy and craftsmanship, was inspired by the works of Villu Toots, Rudolf Koch, Oldrich Menhart, and William Morris. The name Bois, French for wood, stands for the natural and solid aspect of the typeface.
In 2012, he created the custom typeface family Derzeit for Derzeit, the Berlin Fashion Week Daily. It was designed in collaboration with art director Manuel Schibli.
Yassin designed the high-contrast Peignotian sans family Beausite in 2014 at Fatype. It comes with subfamilies called Grotesk, Grad and Slick, and has fashion mag appeal.
Technical college in Zürich where one can obtain two type design degrees, a CAS in Schriftgestaltung (type design) and an MAS in Type Design and Typography. Headed by Rudolf Barmettler, its staff includes Hans-Jürg Hunziker, André Baldinger, and Katharine Wolff. [Google] [More] ⦿