TYPE DESIGN INFORMATION PAGE last updated on Mon Sep 22 11:17:13 EDT 2014

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Type design in Switzerland



[Drawing called Les Moches by Dick Ho in Geneva]

Luc Devroye
McGill University
Montreal, Canada
lucdevroye@gmail.com
http://luc.devroye.org
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123 Buero
[Timo Gaessner]

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.

In 2014, Timo designed Patron at Lilieu Grotesque, a typeface inspired by type designers Günther Gerjard Lange and Roger Excoffon. [Google] [More]  ⦿

2theleft

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]  ⦿

ABC Litera
[Roland Stieger]

Swiss typefoundry in Sankt Gallen of Jost Hochuli, Roland Stieger and Jonas Niedermann.

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 face 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.

Nicolas (2012) is a new serif typeface by ABC Litera. [Google] [More]  ⦿

Adicto

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]  ⦿

Adrian Englert

Swiss type technology expert of Russian origin. At ATypI 2005 in Helsinki, he spoke on Church Slavonic. [Google] [More]  ⦿

Adrian Frutiger
[OCR-B: Adobe]

[More]  ⦿

Adrian Frutiger

Famous type designer born in 1928 in Unterseen, Switzerland. He closely cooperates 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 now lives near Bern, Switzerland, and is primarily working with 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:

  • Président (Deberny&Peignot, 1954). Digitized by Linotype in 2003.
  • Delta.
  • Phoebus (Deberny&Peignot, 1953).
  • Element-Grotesk.
  • Federduktus.
  • Ondine (Deberny&Peignot, 1953-1954). The Bitstream version of this font is Formal Script 421. Adobe, Linotype and URW++ each have digital versions called Ondine. Bitstream's Calligraphic 421 is slightly different.
  • Méridien (Deberny&Peignot, 1955-1957). Digitized by Adobe/Linotype in 1989.
  • Caractères Lumitype.
  • Univers (Deberny&Peignot, 1957). About the name, Frutiger wrote I liked the name Monde because of the simplicity of the sequence of letters. The name Europe was also discussed; but Charles Peignot had international sales plans for the typeface and had to consider the effect of the name in other languages. Monde was unsuitable for German, in which der Mond means "the moon". I suggested "Universal", whereupon Peignot decided, in all modesty, that "Univers" was the most all-embracing name!. Univers IBM Composer followed. In 2010, Linotype published Univers Next, which includes 59 Linotype Univers weights and 4 monospaced Linotype Univers Typewriter weights, and can be rented for a mere 2675 Euros.
  • Egyptienne F (1955, Fonderie Deberny&Peignot; 1960, for the Photon/Lumitype machine).
  • Opéra (1959-1961, Sofratype).
  • Alphabet Orly (1959, Aéroport d'Orly).
  • Apollo (1962-1964, Monotype): the first type designed for the new Monotype photosetting equipment.
  • Alphabet Entreprise Francis Bouygues.
  • Concorde (1959, Sofratype, with André Gürtler).
  • Serifen-Grotesk/Gespannte Grotesk.
  • Alphabet Algol.
  • Serifa (1967-1968, Bauersche Giesserei). URW++ lists the serif family in its 2008 on-line catalog. Other names include OPTI Silver (Castcraft), Ares Serif 94, and Sierra. Bitstream published the digital typeface Serifa BT. But it is also sold by Adobe, Tilde, Linotype, URW++, Scangraphic, and Elsner & Flake. The slab serif is robust and is based on the letterforms of Univers.
  • OCR-B (1966-1968, European Computer Manufacturers Association).
  • Alphabet EDF-GDF (1959, Électricité de France, Gaz de France).
  • Katalog.
  • Devanagari (1967) and Tamil (1970), both done for Monotype Corporation.
  • Alpha BP (1965, British Petroleum&Co.).
  • Dokumenta (1969, Journal National Zeitung Suisse).
  • Alphabet Facom (1971).
  • Alphabet Roissy (1970, Aéroport de Roissy Charles de Gaulle).
  • Alphabet Brancher (1972, Brancher).
  • Iridium (1972, Stempel).
  • Alphabet Métro (1973, RATP): for the subway in Paris.
  • Alphabet Centre Georges Pompidou. The CGP typeface (first called Beaubourg) used in the Centre Georges Pompidou from 1976-1994 is by Hans-Jörg Hunziker and Adrian Frutiger, and was developed as part of the visual identity program of Jean Widmer. It is said that André Baldinger digitized it in 1997.
  • Frutiger (1975-1976, Stempel, with Hans-Jörg Hunziker). In 1999, Frutiger Next was published by Linotype. In 2009, that was followed by Neue Frutiger (a cooperation between Frutiger and Linotype's Akira Kobayashi). In fact, Frutiger, the typeface was made for the Charles De Gaulle Airport in 1968 for signage---it was originally called Roissy, and had to be similar to Univers. It was released publically as Frutiger in 1976. The modern Bitstream version is called Humanist 777. Frutiger Next Greek (with Eva Masoura) won an award at TDC 2006. Other digital implementations of Frutiger: M690 (SoftMaker), Quebec Serial (SoftMaker), Frutus (URW), Provencale (Autologic), Frontiere (Compugraphic), Freeborn (Scangraphic), Siegfried (Varityper). Poster by Devin Lindsay.
  • Glypha (1979, Stempel). See Gentleman in the Scangraphic collection).
  • Icône (1980-1982, Stempel, Linotype). Digitized by Linotype in 2003.
  • Breughel (1982, Stempel; 1988, Linotype).
  • Dolmen.
  • Tiemann.
  • Versailles (1983, Stempel).
  • Linotype Centennial (1986).
  • Avenir (1988, Linotype). In 2004, Linotype Avenir Next was published, under the supervision of Akira Kobayashi, and with the help of a few others. Lovely poster by Ines Vital (2011).
  • Westside.
  • Vectora (1991, Linotype).
  • Linotype Didot (1991). See also Didot eText Pro (2013, Linotype).
  • Herculanum (1989, Linotype): a stone age font.
  • Shiseido (1992).
  • Frutiger Capitalis (2006, Linotype): a further exploration in the style of Herculanum, Pompeijana and Rusticana. Linotype trademarked that name even though at least five fonts by the name Capitalis already exist.
  • Pompeijana (1993, Linotype).
  • Rusticana (1993, Linotype).
  • Frutiger Stones (1998, Linotype) and Frutiger Symbols.
  • Frutiger Neonscript.
  • Courier New, based on Howard Kettler's Courier, was one of Frutiger's projects he was involved in ca. 2000.
  • AstraFrutiger (2002): a new signage face for the Swiss roads. Erich Alb comments: With a Frutiger condensed Type and illuminated signs during night it is mutch better readable.
  • Nami (2008) is a chiseled-stone sans family, made with the help of Linotype's Akira Kobayashi.
  • Neue Frutiger (2009, with Akira Kobayashi) has twice as many weights as the original Frutiger family.
Bio by Nicholas Fabian. Erich Alb wrote a book about his work: "Adrian Frutiger Formen und Gegenformen/Forms and counterforms" (Cham, 1998). Winner of the Gutenberg Prize in 1986 and the 006 Typography Award from The Society for Typographic Aficionados (SOTA). Famous quote (from a conversation in 1990 between Frutiger and Maxim Zhukov about Hermann Zapf's URW Grotesk): Hermann ist nicht ein Groteskermann. A quote from his keynote speech at ATypI1990: If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page... When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.

Linotype link. FontShop link. Adrian Frutiger, sa carrière française (2008) is Adèle Houssin's graduation thesis at Estienne.

Klingspor link. Wikipedia link. View Adrian Frutiger's typefaces.

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]  ⦿

Adrien Moreillon

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.

Behance link. [Google] [More]  ⦿

Affolter und Gschwind AG
[Werner Affolter]

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 face 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 faces, some Victorian ornamental faces (F260 through F262), more art nouveau (MP418 through MP420) and blackletter faces (MP421)], Pierrot (psychedelic, groovy), Phydian (one of many Western style ornamental faces0, 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]  ⦿

Agenturtschi
[Ralf Turtschi]

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]  ⦿

Agenturtschi Buchtipps

Nice list of German language books on typography. [Google] [More]  ⦿

Aimée Hoving

Designer at FontNest (Switzerland) who made the lively pixel face Wellkrau (2010) with Jerome Rigaud and Pierre Terrier. [Google] [More]  ⦿

ala webstatt
[René Etienne Keller]

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]  ⦿

Alain Aebersold

Zurich-based creator of an experimental squarish 3d typeface (2013), tentatively called 360 Degrees.

Behance link. [Google] [More]  ⦿

Alban Schelbert

Originally from Zürich, he is currently studying graphic design at the Gerrit Rietveld Academie in Amsterdam. Creator of the playful slab face Albina Medium (2009). [Google] [More]  ⦿

Albert Hollenstein
[Studio Hollenstein]

[MyFonts] [More]  ⦿

Alberto Giacometti

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:

  • Giacometti Pi by Sine Bergmann, 1994. For this, Sine won an award in the Bukvaraz 2001 competition.
  • Together with Lenore Poth, Sine expanded her font family in 2008 with the handwriting face Giacometti Letter. She also designed Jump (2008, handwriting face, Linotype) and Linotype Festtagsfont (1999), a festive stick figure face in the style of Giacometti Pi.
  • Thomas Finke's handlettered face Bergell (Letraset, 1991). Letraset writes: The work of Alberto Giacometti inspired this spontaneous, calligraphic style created by German graphic designer Thomas Finke. Although somewhat abstract, this typeface is highly legible and benefits from generous letter spacing.
[Google] [More]  ⦿

Alessandro Volz
[Gemjm]

[More]  ⦿

Alex Meier

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.

Creator of Minora (2011), an organic contemporary sans family.

MyFonts link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Alex W. Dujet

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). [Google] [More]  ⦿

Alexander Aeschbach
[Idealphabet]

[More]  ⦿

Alexander Colby
[xyz.ch]

[More]  ⦿

Alexander Weis

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]  ⦿

Alexandre Pietra

Student-designer in Montreux, Switzerland, who created the display face Lombok in 2014. [Google] [More]  ⦿

Alice Kiwi

Or Alice Kelly. Vaud, Switzerland-based designer (b. 1999) of Kiwii (2014). Dafont link. [Google] [More]  ⦿

Altgriechische Zeichensätze
[Lucius Hartmann]

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]  ⦿

Amadeus Waltenspühl

Partner with Dario Hofstetter at Monom in Switzerland. Together, they designed 100 pixel and experimental fonts. [Google] [More]  ⦿

amb+
[André Baldinger]

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.

Klingspor link. Home page. Old URL. [Google] [More]  ⦿

AND
[Jean-Benoît Lévy]

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]  ⦿

Andrea Guarisco

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]  ⦿

Andrea Schweiger

Coauthor with André Gürtler of Die Handschrift, Comedia, edition 02-4, 2002. [Google] [More]  ⦿

André Baldinger
[amb+]

[More]  ⦿

André Gürtler

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.

Gürtler's typefaces:

  • Basilia (1978, Haassche Schriftgiesserei). This didone typeface family is available from URW and Linotype who has the date 2004 for its latest digital version.
  • The slab serif Egyptian 505 (1966, VGC). First Prize in the 1966 VGC National Type Face Design Competition, developed in cooperation with his students. This became Egyptian 505 at Bitstream and Linotype.
  • Media (1976, Bobst Graphic, with Chr. Mengelt and Erich Gschwind).
  • Signa (1978, Bobst Graphic).
  • LinoLetter (1978). A slab serif codesigned with Reinhard Haus. The digital version at Linotype is dated 1992. Adobe also sells this typeface.
  • ITC Avant Garde Gothic (1971-1977). With Edward Benguiat, Tom Carnase, Christian Mengelt and Erich Gschwind. ITC Avant Garde Gothic is a font family based on the logo font used in the Avant Garde magazine. Herb Lubalin designed the logo and its companion headline typeface. Lubalin and Tom Carnase, a partner in Lubalin's design firm, worked together to make a full typeface. The condensed fonts were drawn by Ed Benguiat in 1974, and the obliques were designed by André Gürtler, Erich Gschwind and Christian Mengelt in 1977.
  • Alpin Gothic (Compugraphic).
  • Cyrillic Gothic (Compugraphic).
  • Haas Unica (1980, Haas). Hrant Papazian writes: Unica is amazing. The only grot I like - although some people don't think it's a grot - which would explain my attraction! It avoids both the sterility of Univers and the... well, idiocy, of Helvetica. [...] art of it is Gurtler's mystique. Another is the amazing "rationalization" exercise Team 77 carried out in making it (elaborated just as amazingly in a small publication I have a copy of). I guess the main reason I can cling to is that it's not "naive". Most old grots (like Akzidenz) are like backwards villagers to me, and new grots (like FF Bau) are urbanites pretending to be villagers. In comparison, Unica is like an urbanite who has had to move in with his villager in-laws, but has decided to make the best of it. On the other hand, I suspect this is exactly why some people think Unica is not in fact a grot - it's a geo in grot's clothing. Stephen Coles writes: Scangraphics Digital Type Collection (which included Haas Unica) was purchased by Elsner + Flake in 2003, to which they added font-specific Euro and @ symbols in 2004. The revamped typeface was set to be sold by Scangraphic and its distributors, but Linotype is currently preventing the release, citing trademark violations. Although similarities to other typefaces often occur between foundries, it is rare that one finds typefaces that have been shelved indefinitely due to such resemblances. In truth, the real problem lies within a dispute over who owns the name Haas Unica, rather than any resemblance infringment. Haas Unica is commercially unavailable thanks to Linotype and Scangraphic. Linotype especially stands to lose a lot of Helvetica money if it ever appears. Michael Hernan digitized Unica Deux in 2006. PDF of Unica. The Ministry of Type calls it the ultimate archetypal sans serif face.

Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Andreas A. Lorenz
[dCTRL]

[More]  ⦿

Angela Bolliger

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]  ⦿

Angela Brancato

Type designer in Switzerland. [Google] [More]  ⦿

Angela Pestalozzi

Designer at burodestruct in Bern of the gorgeous font BD GalaQuadra (1999). [Google] [More]  ⦿

Anina Achermann

During her graphic design studies at Fachklasse Grafik in Luzern, Switzerland, Anina Achermann created a bold sans typeface (2014). Behance link. [Google] [More]  ⦿

Anja Gindele

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]  ⦿

Anna Jost

Product designer in Zurich. Creator at FontStruct (where she is known as Bananna) of the stitching font Stich Miss (2009). [Google] [More]  ⦿

Annatina Blaser

Designer of the hand-printed face Rooster (2004, Agenturtschi, Switzerland), which can be had for free with any order over 59 dollars from Agenturtschi. [Google] [More]  ⦿

Anne Cuneo

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]  ⦿

Annik Troxler

Swiss-born type designer Annik Troxler (b. 1979, Wolhusen) created the travel dingbat font Traffic (2002, Niklaus Troxler). [Google] [More]  ⦿

Anton Koovit
[Fatype]

[More]  ⦿

Anton Koovit

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).

Experimental faces by him include Kork Sausage, Boudo (collage alphabet), Planton, Velo (geometric).

Allan (2010) and Arvo are free at the Google Directory.

Fontsquirrel link. Behance link for Fatype. [Google] [More]  ⦿

Anton Studer
[Atelier Bubentraum (or: Nouvelle Noire)]

[More]  ⦿

Apsara Flury

Apsara Flury is a student at the School of Graphic Design in Luzern, Switzerland, where she created a grotesk typeface in 2012. [Google] [More]  ⦿

Arial: ein Nekrolog
[Ralf Turtschi]

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]  ⦿

Armin Haab

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]  ⦿

Armin Hofmann

Legendary Swiss type teacher at the Design Institute of Basel. His output includes many fantastic typographic posters. Example. [Google] [More]  ⦿

Artoftype
[Markus Ernst]

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]  ⦿

Atelier Bubentraum (or: Nouvelle Noire)
[Anton Studer]

Atelier Bubentraum is Anton Studer, a designer located in Zürich. We also find himn asssociated with Nouvelle Noire in Zurich.

His transitional slightly angular typeface Rekja (2011) won an award at TDC 2012.

For Neo2 magazine, he designed the (free) experimental paper-fold font The Folded Font (2008).

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).

Typecache link.

Klingspor link. Behance link. [Google] [More]  ⦿

Atelier Carvalho Bernau
[Kai Bernau]

Foundry and studio run by Susana Carvalho and Kai Bernau (see also his Letterlabor site), located in Den Haag, The Netherlands, and established in 2006. Has a blog.

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. Kai teaches type design in the Master in Art Direction program at ECAL in Lausanne, Switzerland. Susana Carvalho and Kai Bernau formed Atelier Carvalho Bernau, which is based in The Hague, The Netherlands.

Typefaces:

  • In 2010, they published the free titling grotesk Jean-Luc (Godard), inspired by the movie titling in (1967). Bernau writies: We did not find out who originally made the lettering for these two movies. Some speculate it could have been Godard himself. Godard's interest in graphic design and typography is clear, with many of his other films employing such strong typography-only titles and intertitles. They are almost a self-sufficient entity, another character in the movie, another comment. This style of lettering is so interesting to us because it is such a clear renunciation of the pretty, classical title screens that were common in that time's more conservative films. It has a more vernacular and brutishly low-brow character; this lettering comes from the street: We can not prove this at all, but we think it may be derived from the stencil letters of the Plaque Découpée Universelle, a lettering device invented in the 1870s by a certain Joseph A. David, and first seen in France at the 1878 Exposition Universelle, where it found broad appeal and rapid adoption. We think this style of lettering was absorbed into the public domain vernacular of French lettering, and that the 2 ou 3 choses titles are derived from these quotidien lettering style, as it would seem to fit Godard's obsession with vernacular typography. We learned about the PDU through Eric Kindel's article in Typography Papers 7. In 2009, then-Werkplaats Typografie student Dries Wiewauters surprised us with a revival of the Plaque Découpée Universelle. Below, the JeanLuc alphabet (white) and the PDU alphabet (blue), to show similarities and differences.
  • Lyon Text and Lyon Display (2005-2010). These are two text families done at Commercial Type. They say: Lyon is a suite of contemporary reading typefaces for modern publications, based on historical models of the 16th century punch cutter Robert Granjon. Lyon reflects our convictions about modern digital typeface design: A decisively digital outline treatment that reveals our modern repertoire of tools, and the typeface itself as a modern design tool, paired with a certain Times-like unobtrusiveness in the Text sizes, contrasts nicely with Lyon's 16th century heritage.
  • Neutraface Slab (2007-2009, art directed by Christian Schwartz and Ken Barber). The slab of the famous Neutraface family at House Industries.
  • Neutral (2005-2009). The Neutral typeface was Kai's graduation project from the KABK undergrad course. It is what one could call a basic sans. It first appeared as Neutral BP in the now defunct B&P Foundry. In 2014, Typotheque picked it up. Kai writes: Neutral was inspired by typefaces that seem ageless, remaining fresh and relevant even decades after they were designed. It was constructed based on a set of parameters derived by measuring and averaging a number of popular 20th-century Sans Serif fonts.
  • Custom typeface Munich Re (2008-2009) for the Munich Re Reinsurance group. MunichRe Sans takes roots in the grotesque types of the 1950s (among others, Dick Dooijes' Mercator for the Lettergieterij Amsterdam).
  • Custom face Harvard Museum Neutral (2008).
  • Atlas Grotesk (2012, by Kai Bernau, Susan Carvalho and Christian Schwartz, Commercial Type). A revival of Dick Dooijes's Mercator.
  • Custom face Proprio (2007-2009) for the Fabrico Proprio project. This is a willfully bare-bones grotesk family without any snootiness.

Klingspor link. [Google] [More]  ⦿

Attak Fonts
[Peter Korsman]

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 faces; 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:

  • Tim van de Kimmenade: AT AK-47 (2005), AT Helix (2004), AT Trash Bold (2003).
  • Peter Korsman: AT Babyfat (2006), AT Concours (2005), AT Korsakopf (2004), AT Ramseier (2004), AT Streeep (2005), AT TCB (2005), AT With Machines (2004).
  • Casper Herselman: AT Blaser (2005), AT FFW (2004), AT FFW Stencil (2004), AT Mepper (2005, old typewriter font), AT Mohawk (2006), AT Praktikum (2004), AT Promille (2005), AT Riot (2004, blood drip font), AT T'Atteljeej (2008).
  • Rutger Paulusse: AT Discipline (2008).
  • Rens vanden Berge: AT Hide and Seek (2006, a great poster font).
Typefaces not listed here include AT Baballero (2013, Western), AT De Palm (2012, logo font for Café De Palm), AT Dienstuhr (2010), AT Ginn (2012), AT Imperiale (2012, a hipster font), AT Timeline (2010, Trajan) AT Sirca (2005), AT Sang Noir (2012, blackletter), AT Muntel (2005, Dutch art deco), AT Snotnose (2010, ink splatter script). [Google] [More]  ⦿

Auguste Théophile 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. [Google] [MyFonts] [More]  ⦿

Aurélien Farina

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.

Creator of Boule de Gomme (2010), Planet (2011, Sans, Serif, Ultralight, Ruler), Dynamo Text (2012, a serif), and Dynamo Titling (2012, a Swiss sans). [Google] [More]  ⦿

Aurèle Sack

Aurèle Sack is a globetrotter graphic designer specialized in type design 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 face 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).

Klingspor link. [Google] [More]  ⦿

Basel School of Design (or: SfG, Schule für Gestaltung)

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]  ⦿

Bastien Aubry
[flag.cc]

[More]  ⦿

Bastien Conus

Student at ECAL in Lausanne who made Ciao (2008), a revival of Italian faces done by Caslon in 1821. He is working on a connected script face called Afterwork (2010). Scan of his poster called Foam. [Google] [More]  ⦿

Beat Stamm

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]  ⦿

Beate Limbach

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 2013: db Etroite, db Concierge (hairline serif), db Lineo, db Lucky, db Boxer III, db SIL.

Typefaces from 2014: 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]  ⦿

Benjamin Rauber

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]  ⦿

Benjamin Wyler

Swiss creator of the beautiful sketch fonts Elliot (2013) and Little Bird (2013). In 2014, he created Trash Mash and Cheeze Wine (connect-the-dots face). [Google] [More]  ⦿

Berliner Type

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]  ⦿

Bernd Baringhorst

German designer who has his own graphic design studio in Dortmund. Behance link. Creator of a great minimalistic logo face for the Swiss company Swyx (2009). [Google] [More]  ⦿

Bertrand Emaresi

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]  ⦿

Binnenland.Ch
[Nik Thoenen]

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), 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.

Klingspor link for Nik Thoenen. [Google] [More]  ⦿

Bobst Graphic

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]  ⦿

Boris Stoll

Swiss designer of the experimental geometric face Boris Light (2011). [Google] [More]  ⦿

Borys Liechti

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]  ⦿

B&P Typefoundry
[Maxime Buechi]

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.

IN 2013, the typefoundry morphed into Swiss Typefaces, which is jointly run by Ian Party and Emmanuel Rey. Maxime Buechi now mainly runs a big tattoo parlor in London. [Google] [More]  ⦿

Bruno Maag
[Dalton Maag]

[MyFonts] [More]  ⦿

Bruno Santinho

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]  ⦿

Bryan Decoppet

Based in Geneva, Switzerland, Bryan Decoppet created the free thin art deco typeface Levinia in 2014. [Google] [More]  ⦿

Burkhard Mangold

Swiss artist of the Viennese Secession era, 1873-1950. [Google] [More]  ⦿

burodestruct (or: Typedifferent.com)
[Lorenz Lopetz Gianfreda]

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).

Alternate URL. Dafont link. Behance link.

View the Typedifferent typeface library. [Google] [MyFonts] [More]  ⦿

Burri-Preis Graphic Design
[Stefanie Preis]

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.

Klingspor link. [Google] [More]  ⦿

Bussigny Serif

Workshop held at ECAL in Lausanne in 2008, which resulted in the communal creation of the serif face 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]  ⦿

Camille Perez

During her studies at IPAC Design in Genève, Camille Perez created the rounded typeface Tcho (2014). [Google] [More]  ⦿

Catharsis
[Christian "Cinga" Thalmann]

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 face Catharsis Bedouin (2004) (available here), 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 face 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.

Brillinace (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.

1001 fonts link. Yet another URL. Fontspace link. Behance link. Klingspor link. Dafont link. [Google] [MyFonts] [More]  ⦿

Celestino Piatti

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]  ⦿

Cesar Hernandez
[Design Factory]

[More]  ⦿

Cevi

Swiss nonprofit organization (Swiss branch of the YMCA) whose identity sans font, CeviBold (1997), can be freely downloaded. [Google] [More]  ⦿

Ch. Bircher

Swiss type designer who created Hydrargyrum, Bold&Round, Hopp, Ditter, Dreissiger, Effeu, Halifax1, Kissinger, Manhattan, Moood, Neunziger, Robbery, Rough G, Swirth. [Google] [More]  ⦿

Charles-Édouard Jeanneret

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 face Charrette. He also inspired many digital fonts: Jeanneret NF (2011, a stencil face by Nick Curtis), Le Corbusier (a stencil face by Philippe Desarzens, Lineto), Modular Stencil (1994, stencil face by Gregory La Vardera), and Le Corbusier (2000, stencil face by Nico Schweizer).

In 2013, Henry Valerian created a typeface that is based on the blocky construction of Le Corbusier's Cité Radieuse in Marseille. Villa Savoye (1929-1931) inspired Nicolas Jover to create the compass-and-ruler typeface Savoye Sans in 2013. [Google] [MyFonts] [More]  ⦿

Chhun Keo
[Khmercenter]

[More]  ⦿

Christian Bordeaux

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
[Catharsis]

[MyFonts] [More]  ⦿

Christian Mengelt

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 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:

  • 1976: Media (Bobst Graphic, Autologic).
  • 1977: Avant Garde Gothic Oblique (ITC).
  • 1978: Signa (Bobst Graphic, Autologic).
  • 1980: Haas Unica (Haas Typefoundry, Linotype, Autologic).
  • After a long hiatus, with the help of the Linotype staff, he created Sinova in 2011, a versatile humanist sans type family in ten styles, which has broad language support.
  • Mengelt Basel Antiqua (2014, Linotype). A relaxing Venetian text typeface family based on the Basel book typefaces from the 16th century. Linotype, its publisher, writes: The first edition of the anatomy atlas De humani corporis fabrica came out nearly 500 hundred years ago. It was published in 1543 in Basel by Andreas Vesalius. The work was published in multiple volumes and is extraordinary not only for its content and design, but also its typography. It excites philologists and typographers to this day. De humani corporis fabrica was printed in the workshop of Johannes Oporinus, who was considered one of the major printers and publishers in Basel in his time. He used one of the Venetian Antiqua-inspired fonts for the typesetting. This is a genre of fonts which was much loved by the Basel printers. The printer Johann Amerbach brought it to Switzerland from Italy a few centuries earlier. [Note: Is this a misprint?] The American philologist Daniel H. Garrison provided the initiative for Mengelt to explore the Basel Antiqua fonts from the 16th century. He is working on a re-edition of the De humani corporis fabrica and is looking for a fitting print font which has historical references, but the technical characteristics of a modern font. Mengelt takes on the challenge and designs his Mengelt Basel Antiqua font on the basis of the original Basel prints.

Typedia link. MyFonts link. Linotype link. Behance link. Interview by Linotype. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Christine Gertsch
[Modonomat]

[MyFonts] [More]  ⦿

Christof Gassner

Born in Zürich in 1941, Gassner is professor at the University of Kassel. He designed Vexier (1973), Leopard (1976), Knirsch (1976). [Google] [More]  ⦿

Claudio Barandun

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.

Klingspor link. [Google] [More]  ⦿

Clovis Vallois
[Nouvelle Noire]

[More]  ⦿

Colas Weber

Graphic designer in Lausanne, Switzerland, who created the sharp-edged typeface Angespannt (2014). [Google] [More]  ⦿

Combit

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]  ⦿

Comedia: Revue suisse de l'imprimerie

Comedia is a Swiss type magazine established in 2002. It has many interesting articles on typography and type design (in French and German). [Google] [More]  ⦿

Compress

[More]  ⦿

----copy----foundry
[Gregor Schönborn]

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]  ⦿

Corina Epage

Zug, Switzerland-based designer of the handwriting typeface Epa (2014). Behancve link. [Google] [More]  ⦿

Cornel Windlin
[lineto]

[MyFonts] [More]  ⦿

Cre8tor Artwork

Designer (b. 1994) in Bern, Switzerland of Broken n Weak (2011). Tag Tceoretic (2011) is a graffiti face. C8a Tajra (2012) is an experimental typeface. [Google] [More]  ⦿

CroCroTraUmAx Project

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]  ⦿

Cruze

Born in Zurich in 1973, this graphic designer created the graffiti fonts Keusta (2011), Cruze (2003) and Cruze2 (2011). [Google] [More]  ⦿

D. Wagener

Creator at FontStruct of the minimal Hofmann, in the style that (Swiss type teacher) Armin Hofmann used in one of his posters. [Google] [More]  ⦿

Dadaism

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]  ⦿

Dalton Maag
[Bruno Maag]

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 and fabio Luiz Haag have 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, Vienna and Hong Kong.

Bruno Maag designed these commercial fonts:

  • Aktiv Grotesk (2010) was published as an alternative to Helvetica, a face Bruno hates with a passion.
  • Co (2007): a rounded monoline minimalist sans codesigned by Bruno Maag and Ron Carpenter.
  • Cordale: a text family.
  • Dedica (2007): a didone face.
  • Effra and Effra Italic (2007-2009): sans family by Jonas Schudel and Fabio Luiz Haag. Followed in 2013 by Effra Corp.
  • Fargo (2004): a humanist sans in 6 weights.
  • Foco: sans family.
  • Grueber (2008): a slab serif.
  • InterFace (2007): an extensive sans family; one weight is free (2001). See also InterFace Corporate (2007).
  • King's Caslon
  • Lexia (1999, Ron Carpenter and Dalton Maag): a slab serif family.
  • Magpie (2008) is a serifed family---Dalton Maag was able to trademark the name Magpie despite the fact that Vincent Connare had created a face by that name in 2000. Well, as with so many of Maag's announcements, it took siome time before he gave credit to Connare---in fact, Magpie isConnare's font.
  • Pan (1996). A text family at 1500 US dollars per style.
  • Plume (2004): a display face inspired by calligraphy, co-designed with Ron Carpenter.
  • Royalty (1999): a stunning art deco display family.
  • Southampton.
  • Stroudley (2007): a sturdy large counter condensed sans by Bruno Maag, Ron Carpenter and Veronika Burian.
  • Tephra (2008): a collaboration with Hamish Muir. This is an experimental multi-layered LED-inspired family.
  • Tondo Corp (2007, at Dalton Maag): a rounded information design sans family designed by Veronika Burian for Dalton Maag.
  • Ubuntu (2010): this is a team effort---a set of four styles of a free font called Ubuntu. This font supports the Indian rupee symbol. Some work for the Ubuntu Font Family was done by Rodrigo Rivas Costa in 2010. Download via Fontspace.
  • Viato: a simple sans family co-designed by Bruno Maag and Ron Carpenter in 2007. This tapered terminal sans family includes Viato Corp (2007) and Viato Hebrew (2013).

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 faces: 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.

Typefaces at Dalton Maag from 2014 include Soleto (a simple sans) and Prometo (an organic stressed sans). Soleto (Bruno Mello, Fabio Haag, Fernando Caro, Rafael Saraiva and Ron Carpenter) won an award at Tipos Latinos 2014. In 2014, Bruno Maag, Ron Carpenter, Fernando Caro and Rafael Saraiva codesigned the rounded organic sans typeface Oscine (Dalton Maag).

Interview in 2012 in which he stresses that typefaces should above all be functional.

View the Dalton Maag typeface library. [Google] [MyFonts] [More]  ⦿

Dani Klauser
[Dani Klauser Grafik Design (or: DKGD)]

[More]  ⦿

Dani Klauser Grafik Design (or: DKGD)
[Dani Klauser]

DKGD stands for Dani Klauser Grafik Design. He is a Swiss designer from Luzern who made the free geometric sans face Circle (2007). He also made the headline faces 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]  ⦿

Daniel Bär
[Pyroglyphix]

[More]  ⦿

Daniel Lanz

Swiss designer (b. 1958, Schaffhausen) and type designer, who started out as a letter carver for 20 years. His typefaces:

  • Diverda Sans and Diverda Serif (which should be called Diverda Slab Serif), 2002-2004. He published both 10-weight font families with Linotype in 2004.
  • Katherina, 2004
  • Lamont, 2004
  • Pixot, 2006, a pixel face
  • Studio 5, 2006, after a neon sign. Published by Lafonts.
Klingspor link. Linotype link. [Google] [MyFonts] [More]  ⦿

Daniel Lüthi
[TambEdit]

[More]  ⦿

Daniel Schmid

Wil, Switzerland-based creator of a nice type poster of Jan Tschichold. [Google] [More]  ⦿

Daniele Catalanotto

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).

Behance link. [Google] [More]  ⦿

Dario Hofstetter
[Monom]

[More]  ⦿

Daryl Roske

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]  ⦿

Dave Haenggi

Basel-based designer of the square-spaced typeface Living Rooms (2013).

Behance link. [Google] [More]  ⦿

David Escurriola

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]  ⦿

David Héritier

Based in Yverdon-les-Bains in Switzerland, David Héritier created various display typefaces in 2014. Behance link. [Google] [More]  ⦿

David Pache

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 face Agnoti (2005) and the ballpoint/serif face 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 faces Interlaken and Avenches, the hand-printed faces Furna and Dalpe, the minimalist monoline sans face Surpierre, the geometric sans Duvin, and the display faces Glaris, Wildberg, Faoug, Carona, Marbach, Montagny, Coeuve, Kaisten (organic), Mathod (a construction face), Kloten, Calpiogna, Hirchberg, Plagne, Reute. [Google] [More]  ⦿

David Rust
[Optimo]

[More]  ⦿

David Ulm

Swiss creator of the fat finger typeface Dave Ulm (2013). [Google] [More]  ⦿

David Zumbrunn

Basel, Switzerland-based designer (b. Basel) of the poster typeface Buddy Font (2013) and of Minimal (2013). Behance link. [Google] [More]  ⦿

dCTRL
[Andreas A. Lorenz]

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.

Dafont link. [Google] [More]  ⦿

Deivz

Swiss designer (b. 1988) of Simon Script (2005).

Dafont link. [Google] [More]  ⦿

Dennis Moya

Typographer and graphic designer from Geneva. He created Minimalist Type (2011) and The Geometric Type (2012). Behance link. [Google] [More]  ⦿

Design Factory
[Cesar Hernandez]

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]  ⦿

Design reviver
[Mirko Humbert]

Links to 50 nice high quality free fonts. Collected by Mirko Humbert, a freelance designer from Switzerland. Behance link. [Google] [More]  ⦿

Dice
[Thomas A. Heim]

In 1998, Thomas A. Heim (University of Basel, Switzerland) created a metafont called Dice with dice in 2d. There is an accompanying Postscript package as well. [Google] [More]  ⦿

Dieu et mon droit
[Jas Rewkiewicz]

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 faces. 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]  ⦿

DigiType Service

Digital type software company headed by Ernest Imhof. Based in Switzerland. [Google] [More]  ⦿

Dimitri Bruni
[Norm]

[More]  ⦿

Dominic Huber

Partner in Moiré (Zürich) who designs typefaces at Grilli Type in Switzerland. His typefaces:

  • In 2012-2013, Grilli Type published Moiré's typeface family GT Pressura (with monospaced and proportional versions), which was inspired by type stamped on shipping boxes. GT Pressura was codesigned with 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. 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 type- face that works well in text, but not at the expense of character. GT Sectra strikes that balance.
[Google] [More]  ⦿

Dominik Borner

Swiss graphic designer. Creator of My First Font (2012, based on DIN).

Behance link. [Google] [More]  ⦿

Dominik Bueschi

Luzern, Switzerland-based designer of the poster typeface Chaplin Style (2006). [Google] [More]  ⦿

Dominik Huber

Codesigner, with Moiré in Zurich, of GT Pressura (2012-2013). Grilli Type published GT Pressura (with monospaced and proportional versions), which was inspired by type stamped on shipping boxes. [Google] [More]  ⦿

Dominik Junker

Designer from Sankt Gallen, switzerland, who created the copperplate typeface Arial Serif and the custom typeface Grill (based on Gill Bold) in 2013. Behance link. [Google] [More]  ⦿

Dominique Kerber

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]  ⦿

Dr. Philip Kraft

Swiss designer (b. 1969) who publishes his work with URW++. He created Bohemian (URW++, 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. [Google] [MyFonts] [More]  ⦿

Ecole cantonale d'art de Lausanne (ECAL)

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]  ⦿

Edgar Walthert

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.

Klingspor link. [Google] [More]  ⦿

Edouard Hoffmann

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).

FontShop link. [Google] [MyFonts] [More]  ⦿

Ein Tag der Typografie

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]  ⦿

El diseno del euro

Ives Zimmerman (Basel) on the design of the Euro. In Spanish. [Google] [More]  ⦿

Elektrosmog
[Valentin Hindermann]

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]  ⦿

Emil Alfred Neukomm

Swiss designer at Haas (1906-1948) who made the heavy broad pen script font Bravo (1945) and Chevalier (1946).

Bravo was revived in 2007 by ARTypes as Bravo AR (2007). There is also a free digital font by Richard William Mueller called Bravo MF (1994). Chevalier became Maurice at SoftMaker.

Klingspor link. FontShop link. [Google] [MyFonts] [More]  ⦿

Emil Ruder

Swiss typographer (b. Zürich 1914, d. Basel, 1970), and type guru in the 50s and 60s. 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 Ruders 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:

  • It is clear that those lucky enough to study under Ruder found him as exciting and demanding as they had expected. With a few exceptions these former students quickly and permanently fell under the sway of the charismatic and ambitious Ruder.
  • Ruder promised a new functionalism derived from the Bauhaus. His was a new approach to typography that went beyond the technical fundamentals of metal type composition to embrace modern art (especially that of Paul Klee and Piet Mondrian). Ruder focused on the point, the line, the plane, and the way in which typography activated space. His article Die Flache (the plane or the space), following lessons he had learned from The Book of Tea by Kakuzo Okakura and from modern art, stressed the activation and destruction of space as the goal of typography as well as of art and architecture.
  • Ruders typography is defined by asymmetry and an emphasis on counter, shape, and negative space.
  • Harry Boller writes that Ruder and his students were Puritans on a mission, serious, humorless. We had been led to a morality, and strong convictions remain. Banality, lack of imagination, and swiping of ideas were all ridiculed, while sincerity of expression was encouraged. Gottschalk says that Ruder taught courtesy, ethics, and modesty as much as he taught typography.

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).

Article on Ruder by Shane Bzdok, 2008. [Google] [MyFonts] [More]  ⦿

Emit Neuemedien

Swiss designers of the pixel font Large9 (2006). [Google] [More]  ⦿

Emmanuel Rey

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 faces 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.

Behance link. He worked as a freelance designer in Berlin, but is now an equal partner with Ian Party in Swiss Typefaces, their typefoundry. Another URL. [Google] [More]  ⦿

EPFL
[Roger Hersch]

Study typography, raster imaging, font recognition and related matters under the supervision of Roger Hersch at the Ecole Polytechnique Federale de Lausanne (Switzerland). [Google] [More]  ⦿

ERACOM Lausanne

ERACOM is the Ecole romande d'art et communication de Lausanne. The program has one course on typography and one half course on type design. [Google] [More]  ⦿

Eraldo Cuko

Lugano, Switzerland-based creator of the sharp-edged typeface Chiron (2013).

Behance link. [Google] [More]  ⦿

Eric Åhnebrink

Swiss designer of GT Lena (2009, Grilli Type), an elegant Peignotian geometric sans-serif with some stroke variation. [Google] [More]  ⦿

Eric Carlson

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]  ⦿

Erich Alb

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, Andrél Gürtler, H.E. Meier, Alfred Hoffmann and other important figures in Swiss typography who are also his close friends. [Google] [MyFonts] [More]  ⦿

Erich Gschwind

Designer 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). Linotype link. FontShop link. [Google] [MyFonts] [More]  ⦿

Erich Oswald

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]  ⦿

Ernst Friz

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.

FontShop link. Klingspor link.

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 BQBeaufort (Nick Shinn), Cyan (Wilton Foundry), Septimus (Scriptorium), Quattrocento (Pablo Impallari), Colosseum (Alan Meeks). [Google] [MyFonts] [More]  ⦿

Erwin Poell

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
[Giada Celine Ghiringhelli]

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.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Eugène Samuel Grasset

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 face 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 face was used in France for books).

Klingspor link. [Google] [More]  ⦿

Eugen Lenz

Swiss designer (b. 1916, Scherzingen) of Profil (Haas, 1946, with his brother Max Lenz). Associated in the late 40s and 50s with Haas. Profil is a set of inclined rimmed capitals and numbers.

Profil became Decorated 035 at Biststream.

FontShop link. [Google] [MyFonts] [More]  ⦿

Europa Type
[Fabian Leuenberger]

Fabian Leuenberger's foundry is called Europa Type. It is located in Zurich and London. Their typefaces include:

Personal link. [Google] [More]  ⦿

European Computer Manufacturers Association

Swiss outfit that published OCR-B in 1966, Adrian Frutiger's rounded and human readable counterpart to OCR-A. One of Frutiger's rare failures. [Google] [MyFonts] [More]  ⦿

Fabian Leuenberger
[Europa Type]

[More]  ⦿

Fabian Monod

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 face Montana at Optimo/Gavillet&Rust. [Google] [More]  ⦿

Fabian Widmer
[Letterwerk]

[MyFonts] [More]  ⦿

Fatype
[Anton Koovit]

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.

Behance link. Blog. Klingspor link. [Google] [More]  ⦿

Felix Arnold

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.

Klingspor link. Linotype link. [Google] [MyFonts] [More]  ⦿

Fermin Guerrero

Born in Carmelo, Colonia, Uruguay in 1983, and presently based in Geneva, Switzerland, where he studies Visual Communication at the Haute Ecole d'Art et de Design, this graphic designer created the counterless geometric face Circ (2011), and the triangulated experimental face 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).

Behance link. [Google] [MyFonts] [More]  ⦿

Fidel Peugeot
[Fontdesign by Fidel Peugeot]

[MyFonts] [More]  ⦿

Filippo Salmina
[FS Design]

[MyFonts] [More]  ⦿

flag.cc
[Bastien Aubry]

Zürich-based design firm of Bastien Aubry 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). Both graduated from HGK Zürich in 2002. [Google] [More]  ⦿

Flashjunior

Swiss designer of PixelFJ (2003). See also here. Now also pix PixelFJVerdana12pt (2003) and pix PixelFJDuke16pt (2004), pix-PixelFJDeath16pt (2004). Alternate URL. [Google] [More]  ⦿

Flo Weber

Flo Weber (b. 1994, Switzerland) designed PixXary (2010, FontStruct). Aka HeyHou. [Google] [More]  ⦿

Florian Wachter

Zurich-based designer of the modular geometric architectural display typeface family Agolia (2014). [Google] [More]  ⦿

Font Nest

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 face 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]  ⦿

FontConverter.Org
[T. Reinhardt]

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]

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.

FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

FONTSELF
[Pierre Terrier]

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.) It appears that one can create, with their software (not downloadable, not for sale--go figure), a bitmap font. This, in turn can be used to simulate handwriting. Fonts (format unclear, not downloadable) include grunge faces (Agrotesk, Linexspray), handwriting (Psycho, Mascara, Meriem, Bic, Ehcadnarac, Manu, Signo, Manuscript), and scanned text faces (Baskerville, Garabig, Franklin Multi, Sabon, Gothique, Dido).

This seems at first to a free font service, but do not waste your time. The created "fonts" cannot be downloaded. [Google] [More]  ⦿

Fontz.ch

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]  ⦿

Foundations of Typography B
[René Wanner]

A so-called web poster exhibition by René Wanner (Switzerland), who runs a quite complete poster page, on the theme of the letter B. [Google] [More]  ⦿

François Bonzon

Swiss boy scout and designer of MorseCode (1999), which can be downloaded here. [Google] [More]  ⦿

François Rappo

Swiss designer (b. 1955) located at Lake Geneva. Recipient of the 2012 Jan Tschichold prize. His typefaces:

  • The gorgeous revival family Didot Elder (published at Optimo, 2004), which is based on work by Pierre Didot from 1819.
  • The stylish typewriter family CEO (2005, Optimo): a typewriter style face.
  • At B&P Foundry, the serif family LaPolice BP (2007-2008).
  • The Theinhardt family (2010, Optimo), which was named after the (generally accepted) designer of the first sans.
  • At B&P Swiss Typefaces, he published New Fournier (2011) based on the typography of Pierre-Simon Fournier. It comes in 24 styles.
  • Genath (2011, Optimo). Erik Spiekermann twitters: Best Caslon alternative yet. The typeface is based on a baroque type from the Genath foundry in Basel, and is based on a specimen from 1720 that is most likely Johann Wilhelm Haas's first design in Basel.

Klingspor link. Swiss Type Design link. Pointypo piece on him. [Google] [More]  ⦿

François Robert

Swiss type designer (b. 1948, La Chaux de Fonds) who graduated in 1968 from the Kunstschule in Lausanne. He created the dot matrix/marquee face 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 face 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 face Trebor (1970).

Swiss type design link. [Google] [MyFonts] [More]  ⦿

Franco Bonaventura

Zürich-based creator of the dot matrix face called Bubbles (1996, Garcia Fonts) and of the curly typeface Loop (1996). [Google] [More]  ⦿

Franz Hoffman

Swiss typographer at Fontnest who designed Jawut (2002, with Pierre Terrier, Juerg Lehni, and Jérôme Rigaud: a face inspired by André Baldinger's Newut). He cofounded Fontself with Marc Escher and Pierre Terrier: this is a bitmap text engine. [Google] [More]  ⦿

Freed Schmitter

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.

Company web site (mainly ecological). Humane airport project. [Google] [More]  ⦿

FS Design
[Filippo Salmina]

Filippo Salmina (FS Design in Zürich) created the pixel fonts Atoxina, Btoxina, Ctoxina and Dtoxina in 2006, and Ytoxina, 70toxina and Stoxina in 2012.

Filippo was born in 1975 in Switzerland. His work is sold through MyFonts.

Mimix (2008) is an informal and playful italic serif family. He is massaging Mimix into a sans family that mixes various styles, old and new.

Sintesi (2010), Sintesi Sans (2012), Sintesi Semi (2013), and Sintesi SemiSans (2011) are sans faces 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 humanistic 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 2014: Xtoxina, , Ptoxina.

Italicfonts.com web site. Mimix web site. Klingspor link. [Google] [MyFonts] [More]  ⦿

Futura: Choice

A frequently asked question---which version of Futura should one buy? My personal favorite is the Neufville version, Futura ND. The answers by some type experts include:

  • Futura ND (Neufville): It is quite wide, as a family, but Stephen Coles warns that the kerning is suboptimal. It is quite close to the original. Image.
  • Futura by URW++. Slightly smaller family, but better kerned than Neufville.
  • Futura No. 2 by URW++. I quote Stephen Coles: It is wider [compared to Futura URW], the ascenders are shorter, the counters are larger, and the apertures are more open. On the other hand, the round glyphs (a, g, e,) are more true to the circle than the other URW version. This is especially apparent in the 'e' which looks like it was drawn by an engineer with a compass. This attribute doesn't make this a great text face, but if you want that strict geometry, No. 2 delivers more of that than most of the others. Only 5 weights---no Light, the thin Book weight fills that gap. The Extra Bold is unique and I think puts on the weight more successfully than the other Extra Bolds out there. Also a favorite of Tiffany Wardle.
  • Futura by Elsner & Flake. Close to the URW and Paratype versions.
  • Futura Book by Paratype: Similar to URW and Elsner & Flake with a wide range of weights and Cyrillic versions. No small caps.
  • Futura by Bistream. Stephen Coles about this major redraw of the original: This is the least true to the source but may be the most versatile Futura for contemporary design.
  • Futura by Scangraphic: This has separate version for headline (SH) and body (SB). Coles complains that the overshoots, particularly of the A and N, at large sizes are distracting.
  • Futura by Adobe. To be avoided. Coles points out that some of the round shapes are too oval, and sometiomes even egg-shaped.
  • Linotype's Futura. Is the same as Adobe. In fact, in early versions, the font files were identical.
  • Others, not called Futura, but designed to address the same market, include Neutraface No. 2 (House Industries), Twentieth Century, Superla, Sonar Sans (Kombinat Typefounders).
[Google] [More]  ⦿

Gabriel Weiss

Swiss creator of the hand-printed Gabriel Weiss' Friends Font (2002). [Google] [More]  ⦿

Gaël Goy
[Radis Noir]

[More]  ⦿

Gavillet&Rust
[Gilles Gavillet]

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]  ⦿

Geli Gutmann

Swiss type designer. [Google] [MyFonts] [More]  ⦿

Gemjm
[Alessandro Volz]

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

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).

Dafont link. [Google] [More]  ⦿

Giada Celine Ghiringhelli
[Essences of Design]

[MyFonts] [More]  ⦿

Gian Wick

German creator of the artistic ultra-fat face Lettres Carrées (2009) and of Mono (2009) and SupperzapperI (2010). Gian Wickj architecture, a site in Switzerland. [Google] [More]  ⦿

Gilles Gavillet
[Gavillet&Rust]

[More]  ⦿

Gilles Gavillet

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. Did 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. [Google] [More]  ⦿

GOCE

Swiss vendors of the "1000 NewDeal Fonts CD by GOCE 1000" for 40 Swiss francs. Reportedly, this contains the Optifont collection. [Google] [More]  ⦿

Gregor Schönborn
[----copy----foundry]

[More]  ⦿

Gret Mengelt-Mergenthaler

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.

In 1963, Gret created Texpo with Walter Ballmer for the Schweizer Expo 1964. While this typeface is not generally available, Mindofone made a free version of it, called Hadley Stencil in 2013.

Klingspor link. [Google] [More]  ⦿

Greyscale Press

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

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 2010, their catalog had four type families: GT Walsheim, GT Haptik, GT Skeletor (monoline grotesk) and GT Lena (avant garde sans).

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.

In 2014, they added GT Sectra and GT Eesti. [Google] [More]  ⦿

Grotesk
[Kimou Meyer]

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
[Tobias Rechsteiner]

Grotesk cc is Tobias Rechsteiner, Reto Moser, and Simon Renfer in Bern, Switzerland. The former two designed GT Haptik (2009), which is a grotesk face in which the letters are optimized to be read blindfolded and by touching them. GT Haptik was published at Grilli Type. [Google] [More]  ⦿

Guerilla Grafik
[Thomas Ballmer]

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 face 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]  ⦿

Gürkan Sengün

Swiss designer of the pixel face Atari (2007). Alternate URL. [Google] [More]  ⦿

Haas'sche Schriftgiesserei

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:

  • Kompakte Grotesk (1893)
  • Steinschrift (1834). See also here.
  • Enge Grotesk (ca. 1870)
  • Commercial-Grotesk Halbfett (1940)
  • Altgrotesk halbfett (1880)
  • Haas gotisch schmal. This face was digitally revived by Gerhard Helzel.
  • Bodoni-Kursiv, Bodoni-Antiqua (Bodoni, 1780). The 1924 cuts of Bodoni formed the basis of Berthold Bodoni, which can now be had under that name in digital form.
  • Ideal-Antiqua (ca. 1880)
  • Caslon Antiqua and Caslon Kursiv (William Caslon, London, 1720)
  • Alt-Fraktur and Fette Alt-Fraktur (ca. 1840)
  • Fette Gotisch (ca. 1860)
  • Halbfette Normande (1850) and Normande fett (by Thorne, London, 1810)
  • Nürnberger Schwabacher (originally, ca. 1600, published in 1930)
  • E.A. Neukomm: Bravo (1945), Chevalier (1946). Digital forms of Chevalier can be found at Agfa and LetterPerfect. Elsner&Flake's Escorial is another digital form of it. And so is PrimaFont's Chauvinist.
  • A. Auspurg: Castor (1924), Pollux (1925).
  • Hermann Eidenbenz: Graphique (1941), Clarendon (1953). Clarendon became a Linotype face.
  • Adrian Frutiger: Ondine (1954), a calligraphic font done at Deberny et Peignot before it was taken over by Haas.
  • Walter J. Diethelm: Diethelm Antiqua (1945-1950).
  • M. Miedinger: Helvetica (1957), Horizontal (1964), Pro Arte (1954). Helvetica became Linotype's big prize face.
  • Eugen+M. Lenz: Profil (1943-1947). In the digital era, Profil became Decorated 035 at Bitstream.
  • P. Wezel: Constellation (1970).
  • H. Baumgart: Quirinale (1970).
  • Richard Gerbig: Riccardo (1941, a scrip face).
  • Edmund Thiele: Superba (1934), Normale Grotesk (1942), Troubadour Lichte (1931, script). Troubadour survives digitally as Rechtman Script (Intecsas). Superba was digitally revived by Red Rooster.
  • Anzeigen Grotesk (1943, Linotype) is a heavy condensed sans in the style of Impact.
In Chronik der Haas'schen Schriftgiesserei (2002), Hans Reichardt describes this timeline:
  • 1654: Johann Jakob Genath (1582-1654) runs a print shop and foundry in Basel.
  • 1708: His son Johann Rudolf Genath (1638-1708) leaves the foundry to his second son Johann Rudolf Genath II.
  • 1737: Johann Rudolf Genath II has no children and makes Johann Wilhelm Haas (1698-1764) his official heir. Haas had come from Nürnberg to Basel in 1718 to work with Genath.
  • 1745: Haas takes over, and dies in 1764. His son Wilhelm Haas Münch (1741-1800) then takes over.
  • 1772: Wilhelm invents a hand press, and in 1776 develops a system for printing maps.
  • 1800: Wilhelm is succeeded by his son, Wilhelm Haas Decker (1766-1838).
  • 1830: Wilhelm Haas Decker leaves the business to his son Georg Wilhelm Haas (1792-1853) and to Karl Eduard Haas (1801-1853).
  • 1852: Two employees, Jakob Haas and G. Münch take over. But in 1857, they sell the company to Otto Stuckert (1824-1874) who lived in Lörrach.
  • 1866-1895: The Basler Handelsbank was the main investor in the business, and sells it in 1895 to Fernand Vicarino.
  • 1904: Max Krayer becomes owner.
  • 1921: A new plant is built in Münchenstein.
  • 1924: Work on a new cut of Bodoni has started. Later, Stempel and Berthold would use this type, and it became well-known as Berthold Bodoni.
  • 1927: The company becomes an AG (Aktiengesellschaft) and strikes business cooperation deals with D. Stempel AG and H. Berthold AG.
  • 1940-1941: Caslon Antiqua and Kursiv (1940) and Riccardo (1941) are created.
  • 1944: Eduard Hoffmann becomes Director when Max Krayer dies.
  • 1945-1958: In the Post World War II boom, these faces were created: Bravo (1945), Graphique (1945), Chevalier (1946), Profil (1947), Clarendon kräftig and fett (1953), Pro Arte (1954), Neue Haas-Grotesk halbfett (1957), Neue Haas-Grotesk mager (1958).
  • 1968: Alfred Hoffmann succeeds Eduard Hoffmann.
  • 1972-1982: An expansion period follows. The company takes over Deberny&Peignot (Paris) in 1972, Fonderie Olive (Marseille) in 1978, and Grafisk Compagni (Copenhagen) in 1982.
  • 1989: Linotype takes over Haas and dissolves the company. Linotype itself keeps the name and the rights to the typefaces, and gives the foundry to Walter Fruttiger, who continues that part of the business as Fruttiger AG.
  • 1990: Società Nebiolo (Turin) is taken over.

View the Haas typeface library. See also here. [Google] [MyFonts] [More]  ⦿

Hannes Famira
[Kombinat Typefounders]

[MyFonts] [More]  ⦿

Hans Eduard Meier

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:

  • Barbedor (1984) and Barbetwo.
  • The school fonts BasisSchrift Eins EF (2002), ABCSchrift Drei EF (2001-2002), ABCSchrift Eins EF and ABCSchrift Zwei EF. See this school script web page.
  • The calligraphic family Elysa EF (2002).
  • Lapidar. Linotype Syntax Lapidar (1995). Syntax Lapidar Serif (2001).
  • Oberon (1992). Done as an OEM for Institut fuer Computersysteme in Zürich. Available from Elsner&Flake as OberonEF.
  • SNB Alphabet (1994). Designed for the Swiss National bank) as an adapted version of Helvetica Condensed. The notes themselves were designed by Joerg Zintmeyer.
  • Syntax, Meier's chef d'oeuvre, started in 1954. An inermediate version was called Ur-Syntax (1964). Syntax was first released in 1968-1972 by Stempel. The modern Bitstream version is called Humanist 531, and it is an example of a humanist sans serif. See also Saxony and S841 Sans on the SoftMaker MegaFont XXL CD, 2002. URW has its own version. Linotype Syntax, a reworking of his original Syntax, earned him a Bukvaraz 2001 award. Derived or related typefaces are Syntax Serif (1999), Syntax-Letter (1992), and Neue Syntax, all by Meier.
  • ITC Syndor (1988).
  • Elysa (2002).
  • Gestickte Antiqua (2004).

References: Superb analysis of his life and contributions by Roxane Jubert (in French). Linotype link. FontShop link. MyFonts link. Klingspor link.

View Hans Eduard Meier's typefaces. [Google] [MyFonts] [More]  ⦿

Hans Holbein The Younger

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:

Site dedicated to The Dance of Death. [Google] [More]  ⦿

Hans Rudolf Bosshard

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

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.

His iconic work influenced several type designs. Foremost among these is the work by Irina Batkova. In 2010, she commissioned Dick Pape to create an ornamental caps called Irina Batkova HRG [free].

Dick Pape created H R Giger Style Font [2010, free]. Rodrigo Araya Salas created Giger Free in 2013. [Google] [More]  ⦿

Hansjakob Fehr

Designed Deadtype (1999, dingbats consisting of metal parts of a typewriter, 1999) at lineto. Probably Swiss. Web page. [Google] [More]  ⦿

Hans-Jörg Hunziker

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.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Hans-Rudolf Lutz

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]  ⦿

Happypets

Happypets is an experimental lab of graphic designers based in Lausanne, Switzerland. Type experiments only. No fonts. [Google] [More]  ⦿

Harry Oesch
[Smart Chess]

[More]  ⦿

Harry Schendler

Bern-based creator (b. 1983) of Schuboise Handwrite (2013). [Google] [More]  ⦿

Hélène Zünd

Swiss/French graduate of Ecole Cantonale d'Art de Lausanne (ECAL), who designed Chiavari (2011), a typeface that won an award at TDC 2012. Hélène Zünd (b. 1983) lives in New York.

In 2014, she complained that Studio AnagramaGoogle] [More]  ⦿

Heidrun Osterer

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]  ⦿

Heiwid

Designer of BD Reihalle (2007, Burodestruct) and BD Halfpipe (2007, Burodestruct). [Google] [More]  ⦿

Helmut Schmid

Author of Japanische Typographie und Schweizer Typographie, published in Comedia, edition 03-1, 2003. [Google] [More]  ⦿

Helvetica clones

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):

  • Arial, Arial Narrow: well, clones is too nice a word. Matt McInerney (Savannah College of Art and Design): The fact that it [Arial] was commissioned by Microsoft to avoid paying royalties is not just morally questionable (to say the least), it's hypocritical. If anyone has championed the idea of intellectual property rights, it's Bill Gates and Microsoft. We now know that this is factually wrong---Arial is based on Monotype Grotesque.
  • Aristocrat
  • CG Triumvirate (Agfa/Compugraphic, now Monotype)
  • Claro
  • Corvus
  • Europa Grotesk
  • Geneva 2
  • Hamilton
  • Helios/II
  • Helv
  • Helvetica Compressed: clone of Helvetica Inserat.
  • Helvette
  • Tex Gyre Heros (2007): an extension of URW Nimbus Sans L, totally free.
  • Holsatia (Hell): bought by Linotype
  • Impact: Clone of Helvetica Inserat.
  • Megaron/II
  • Newton
  • Nimbus Sans URW: great free clone that comes with GhostScript. Note that URW now sells an OpenType version as Nimbus Sans and Nimbus Sans Novus for 300 and 400 Euros, respectively.
  • Placard Bold: Clone of Helvetica Inserat.
  • Sans DTC
  • Sans URW
  • Sonoran Sans Serif. Well, this is the original Arial, actually, with the name used on the IBM 3800 laser printer. Arial is based on Monotype Grotesque, and is in fact not a clone of Helvetica at all. The fact that it matches the metrics of Helvetica is explained by the practical need on the part of IBM, which hads licensed Helvetica for its laser printers, to have matching metrics.
  • Spectra
  • Swiss 721 BT: Bitstream's infamous clone of the Linotype original.
  • Switzerland
  • Swiss 911 BT: Bitstream's clone of Helvetica Compressed.
  • Swiss 921 BT: clone of Helvetica Inserat.
  • Vega
Check also Howard Bear's list of Helvetica styles. [Google] [More]  ⦿

Helvetica in subways

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]

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.

Personal web site. Behance link. [Google] [More]  ⦿

Henning von Vogelsang

Designer based in Zurich. 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. [Google] [More]  ⦿

Hermann Eidenbenz

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 face 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.

Digital revivals:

Pic. MyFonts link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

HGKZ (Hochschule für Gestaltung und Kunst Zürich)

School in Zürichwhere one can study typography. [Google] [More]  ⦿

Hi
[Megi Zumstein]

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.

House faces include New Elante (2007), Roxy (2008), and Countdown (2008, experimental). [Google] [More]  ⦿

Ian Party
[Swiss Typefaces]

[More]  ⦿

Idealphabet
[Alexander Aeschbach]

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 (humanistic sans family), Element (monospaced typewriter face), Eckig (experimental), Optional. [Google] [More]  ⦿

Imre Reiner

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:

  • Bazaar or Bazar (1956, D. Stempel; this brush face was revived in 2005 by Patrick Griffin, Canada Type, as Boondock).
  • The brush script Contact (Deberny&Peignot, 1952; Ludwig&Mayer, 1968 (according to Jaspert), and 1963 according to others).
  • Corvinus (Bauersche Giesserei, 1934; Swisstypedesign mentions 1932-1935). See also here. Corvinus Skyline (1934). Digital typefaces derived from this include Corvinus Skyline (1991, Group Type), Skyline (1992, Jane Patterson, Font Bureau).
  • Figaro (1940).
  • Florides Initiales (Deberny&Peignot, 1939, 3d horizontally shaded caps).
  • The Gotika fraktur font (Bauersche Giesserei, 1933), revived as Gotika by Petra Heidorn (2005, no downloads) and as Leather by Canada Type (2005). Manfred Klein created Gotika Buttons (2005) based on Petra Heidorn's Gotika. Gotika discussion on Typophile. Eric West intends to do a digitization as well, and Neufville is not cooperating.
  • London Script (1957). This was digitized twice at Canada Type, once by Phil Rutter in 2004 as Almanac, and once in 2007 by Rebecca Alaccari as Reiner Hand.
  • Matura MT (1938, Monotype), Matura Swash (1938).
  • Mercurius MT (1957).
  • Meridian (1930, Klingspor: a fat display face). Swisstypedesign says 1929.
  • Mustang (1956, D. Stempel, a brush script revived in 2005 by Canada Type as Hunter).
  • Pepita MT (1959).
  • Reiner Black (1955, Berthold, a brush script).
  • Reiner Script (1951, Amsterdam). Digitizations of this brush script under the same name include those of Dieter Steffmann and Tobias Frere-Jones (Font Bureau, 1993).
  • Sassa (1939).
  • Stradivarius (1945, identical to his Symphonie; Bauersche Giesserei, 1938), a formal script font with a compressed straightened lower case alphabet. [Note: Neufville copied it in its Sinfonia later, and in 2005, Petra Heidorn made a digitized version called Symphonie.] Martin Z. Schröder discusses its origins here. Also called Neue Symphony (1938). Digitizations include one by Group Type in 1993 also called Stradivarius.
  • Amsterdam Primula Ornaments. A digital version by Ari Rafaeli is called Ornaments 5 (2010).

In 1992, Manfred Klein made Tokay-MK after one of Reiner's ideas. In 2004, he added VariationsForImre, a playful face 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).

Linotype page on him. FontShop link. Klingspor link.

View Imre Reiner's typefaces. [Google] [MyFonts] [More]  ⦿

in the habit
[Tiziana Haug]

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 faces: Built (2005), Home Sweet Home (2005, stitching face), Trace (2004, Neon light simulation). [Google] [More]  ⦿

Ingrama
[Peter Henninger]

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. SoftMaker claims that its art deco family Expressa (1994), its text family Lingwood (1994), its Accolade family, its Leamington roman serif family (based on Adrian Williams' Leamington, 1978), its Pasadena (1994), its Helium RR (1994), its Digital Serial (1994), its square sans family Diamante (1994) and its Casablanca family (1994) were also made by Ingrama. However, Lingwood EF (Elsner&Flake) has a date of 1974 associated with it, so I do not know who made the first Lingwood! [Google] [MyFonts] [More]  ⦿

Interbrand Zintzmeyer&Lux

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]  ⦿

International Standards Organisation

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:

  • Isonorm D by URW.
  • Isonorm by Linotype.
  • Isonorm MN by Mecanorma.
  • Isonorm EF (Elsner & Flake).
  • Isonorm SB (2004, by Scangraphic).
  • FF Isonorm by Robert Kirchner (1992-1993). In four weights and with a monospaced option.
  • Isotope (2012) by Fabio Duarte Martins (Scannerlicker). This is the largest collection. While all others have one or at most two weights, Scannerlicker offers 18 weights.
  • Iso Metrix NF (2012) by Nick Curtis.
  • Instant Schrift (2000) by Edgar Walthert. This is a redesign of Isonorm 3098 matching the radical restrictions of the Instant design-manual.
  • Isonorm by Infinitype.
  • PF Isotext Pro (2005, Panos Vassiliou, Parachute). A Latin / Greek family based on Isonorm.
View some digital fonts based on Isonorm. [Google] [More]  ⦿

Isabelle Stutz

Swiss designer. Third prize at the 3rd International Digital Type Design Contest by Linotype Library for Linotype Belle (1999), a casual script typeface.

Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

J. Mach Wust

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]  ⦿

Jacques Borel
[Rollergirl]

[More]  ⦿

Jacques Dousse

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]  ⦿

Jakob Straub

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.

Klingspor link.

View the typefaces of Jakob Straub. [Google] [MyFonts] [More]  ⦿

Jam Saver

Lausanne-based designer who is working on this triangularly-serifed gothic face (2006). [Google] [More]  ⦿

Jamie Oliver Aspinall

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]  ⦿

Jan Tschichold

Born in Leipzig (1902), died in Locarno, Switzerland (1974). Influential German type designer whose typefaces include these:

  • Sabon (for Stempel, 1964). The most famous digital version of Sabon is Linotype's Sabon Next. See also Sabon eText Pro (2013, Linotype).
  • Transit and Transito (1931). Transito has been remade by Nick Curtis in 2009 as Waddem Choo NF, and by Paulo Heitlinger in 2008 as Transito.
  • Zeus (1931). Pleks Zeus (2008) is a revival of Zeus by Hans Munk.
  • Saskia (1931, Schelter&Giesecke).
  • Uher Standard Grotesque.
  • Between 1926 and 1929, he designed a "universal alphabet" to help with non-phonetic spellings in the German language. For example, he devised new characters to replace "ch" and "sch". Long vowels were indicated by a macron below them. The alphabet was presented in one typeface, which was sans-serif and without capital letters. Leicht und schnell konstruierbare Schrift (1930) is a Bauhaus-style geometric revived in 2008 by Sebastian Nagel as Iwan Reschniev.
Links about him: Textism site. Nicolas Fabian's page on him. Links to his work. Bio at Linotype. Wikipedia site. Publications include:
  • Die neue Typographie (Berlin, 1928). Quote from this book: Type production has gone mad, with its senseless outpouring of new types. Only in degenerate times can personality (opposed to the nameless masses) become the aim of human development,
  • Typographische Gestaltung (Basel 1935).
  • Geschichte der Schrift in Bildern (Basel 1941).
  • Schriftkunde, Schreibübungen und Skizzieren (Basel 1942, Berlin 1952).
  • Schatzkammern der Schreibkunst (Basel 1946).
  • Meisterbuch der Schrift (Ravensburg 1953).
  • Erfreuliche Drucksachen durch gute Typographie (Ravensburg 1960).
  • Willkürfreie Maßverhältnisse der Buchseite und des Satzspiegels (Basel 1962).
  • Ausgewählte Aufsätze über Fragen der Gestalt des Buches und der TypographyJan Tschichold, Leben und Werk (Dresden 1977).
  • Jan Tschichold. Schriften 1925-1974 (Berlin 1991).
  • Recommended is this short essay entitled Consistent Correlation Between Book Page and Type Area.
[Google] [MyFonts] [More]  ⦿

Jannuzzi Smith

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]  ⦿

Jas Rewkiewicz
[Dieu et mon droit]

[More]  ⦿

Jérôme Rigaud

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]  ⦿

Jean Jannon

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 faces, 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 face came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type face and italics, derived from the shapes of Garamond's type faces. As late as the start of the 20th century Jannon's type face was mistakenly called Garamond, because it looked like that type face 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.

Commercial digital typefaces based in Jannon. Klingspor link. [Google] [MyFonts] [More]  ⦿

Jean-Benoît Lévy
[AND]

[MyFonts] [More]  ⦿

Jean-Marc Wettach
[Synergie Ltd]

[More]  ⦿

Jeremia Adatte

Lausanne, Switzerland-based type designer. He created Swissa Piccola (2012, an old typewriter font).

Behance link. [Google] [MyFonts] [More]  ⦿

Jeremy Tourvieille

Art director and photographer in Geneva, who created The New Black Typeface in 2012. [Google] [More]  ⦿

Jerome Viguet

Based in Lausanne, illustrator Jerome Viguet created the hilarious caricatural alphabet Alphabet 01 in 2013. Behance link. [Google] [More]  ⦿

Jessica Goodwin

Designer from Fribourg, Switzerland, b. 1976. Home page. In 2010, she designed the bold monoline sans face Reason System. [Google] [More]  ⦿

Jessica Tapolcai

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
[Joe Scerri Design]

[More]  ⦿

Joe Scerri Design
[Joe Scerri]

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 face Kassette (2006). In 2005, he made the experimental face Faena (no download). [Google] [More]  ⦿

Joel Roth

Basel-based graphic designer, who created nice typographics for an Aston Martin promotion in 2012.

Behance link. [Google] [More]  ⦿

Johan Mattsson

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.

All old links for Mattsson are dead. These include Beteckna, Kernerst, Linuks, ETH, OFL, and Debian. [Google] [More]  ⦿

Johann Terrettazz
[warehouse type foundry]

[More]  ⦿

Johann von Amerbach

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]  ⦿

Jonas Niedermann

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.

Cofounder of the Swiss typefoundry ABC Litera together with Jost Hochuli and Roland Stieger. [Google] [More]  ⦿

Jonas Williamsson

Jonas Williamsson (Reala) is the designer associated with Lineto who created Biff (1999, a 3-d face 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]  ⦿

Joshua Eberli

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]  ⦿

Jost Hochuli

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 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).

Klingspor link. [Google] [More]  ⦿

Juerg Lehni

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]  ⦿

Julia Rajnak

During her studies at IPAC Design Genève, Switzerland, Julia Rajnak created the elegant thin sans typeface Flotte (2014). [Google] [More]  ⦿

Julian Bittiner

Swiss-American designer who won an award at Bukvaraz 2001 for the slab serif face Tourist. He works at MetaDesign in San Francisco. [Google] [More]  ⦿

Julien Gaillardot

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.

Designer of PharmaFont (2001) while he was a student at ECAL. Now available as (2007, Optimo). [Google] [More]  ⦿

Julien Mercier
[Julmeme]

[MyFonts] [More]  ⦿

Julien Mercier

Swiss type design student at ECAL. Creator of the techno face 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]  ⦿

Juliette Schack

Graphic designer who made the geometric experimental face Tangram (2011). Juliette is now based in Geneva, Switzerland, after previous jobs and training in Paris and Montreal. [Google] [More]  ⦿

Julmeme
[Julien Mercier]

Foundry in Tokyo. Creator of the techno faces 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.

YWFT link. Behance link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Juri Zaech

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 2012, he designed Frontage, a layered type system that includes the shadow face Frontage 3D.

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.

MyFonts link. Foundry link. You Work For Them link. Creative Market link. Klingspor link. Behance link. [Google] [MyFonts] [More]  ⦿

K. Pensaya

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]  ⦿

Kai Bernau
[Atelier Carvalho Bernau]

[More]  ⦿

Kalligraphie Award 2000 Gallerie

Swiss calligraphy awards with beautiful work by Helga Ladurner, Annikki Rigendinger, Gabriella Garbognani, Annemarie Grunder, and Elisabeth Megnet. [Google] [More]  ⦿

Karl Gerstner

Born in Basel in 1930, Gerstner designed Gerstner Programm (1967), Privata, and Gerstner Original (1987, Berthold; see Gerling on the SoftMaker MegaFont XXL CD, 2002), as well as the Akzidenz-Grotesk family (1962, Berthold) and Akzidenz-Grotesk Buch (see Atkins on the SoftMaker MegaFont XXL CD, 2002). In the 1980, he designed a didone for IBM's identity. That typeface is now available from URW++ under the name IBM Bodoni.

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 the advertising agency GCK which 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).

BERTLib now sells his KG Privata and KG Vera type families (Vera is a new name). Berthold markets his extensive sans family Gerstner Next (2007, with Dieter Hofrichter), which is based on Gerstner Original BQ (1987).

Klingspor link. [Google] [MyFonts] [More]  ⦿

Karl Rottweiler

Swiss designer at RGB107,6 of the handwriting font Omen. [Google] [More]  ⦿

Katrina Marie

Swiss designer of Teacher's Pet (2008), a kid's handwriting font. [Google] [More]  ⦿

Khay Redd

Swiss designer of the techno typefaces Progress (2014), Progress Ordin (2014) and Progress Caps (2014). Monolyth Mono (2014) is a grungy typeface. Facebook page. [Google] [More]  ⦿

Khmercenter
[Chhun Keo]

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]  ⦿

Kichang Kim
[Kikichi Factory]

[More]  ⦿

Kiener+Wittlin AG

Kiwi (1998) is a family of type 1 fonts that used to be available at this Swiss company. At the parent directory, we could find the FlumRoc fonts. All that seems to be gone now. [Google] [More]  ⦿

Kikichi Factory
[Kichang Kim]

Kichang Kim (Kikichi Factory, Basel, Switzerland) created the high-contrast sans typeface Snello (2014). [Google] [More]  ⦿

Kimou Meyer
[Grotesk]

[More]  ⦿

Kinobrand Design
[Nelio Barros]

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 family called Nixin.

Typophile link. [Google] [MyFonts] [More]  ⦿

Klaus-Peter Schaeffel
[KPS Fonts]

[More]  ⦿

Kombinat Typefounders
[Hannes Famira]

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.

FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Kontour
[Sibylle Hagmann]

Swiss designer Sibylle Hagmann (b. 1965) runs Kontour, est. 2000.

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.

She designed these typefaces:

  • Twin Cities (2002, Kontour: an octagonal face).
  • Cholla (a large rounded sans family, a slab family, a wide family and a unicase subfamily; in 1999 at Emigre). She writes: The Cholla typeface family was designed in 1998-99 and named after a species of cactus indigenous to the Mojave Desert. Cholla was originally developed for Art Center College of Design in Pasadena, California. Denise Gonzales Crisp, then art director of the college's design office, collaborated with Sibylle Hagmann to design a family of typefaces that would include a vast variation of font weights.
  • Odile (2005, Kontour, also released at Village). Odile is based on an experimental typeface of W.A. Dwiggins called Charter. Sybille writes: Dwiggins contemplated Charter as the italic companion to Arcadia, Experimental No. 221. The Charter project progressed sporadic stalled during the Second World War and came to a halt in 1955. Charter remained incomplete and was never commercially released. Assessing Charter's whimsical design, its fragments were rethought and developed into a comprehensive text family.
  • Elido (2013). She writes: Elido follows Odile's proportions and matches the weight and typographic color of its serif twin. Elido is a sans with classical proportions. A slight geometric hint and open counters convey an airy feel.
  • Axia (2013, a sans serif family with several stencil styles). Originally designed for the Rice University School of Architecture in 2011, this contemporary sans found some inspiration in the TwinCities typeface family created by Sibylle Hagmann for the University of Minnesota in 2003.

CV. Bio at Emigre. FontShop link. Behance link. Interview by MyFonts. [Google] [MyFonts] [More]  ⦿

KPS Fonts
[Klaus-Peter Schaeffel]

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].

Old URL. [Google] [More]  ⦿

La Roselière

The Group Scout La Roselière (Switzerland) created a free TrueType Morse font and a free hieroglyphs (sic) font. [Google] [More]  ⦿

Lafonts
[Marc Rudin]

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 desgn 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).

Klingspor link. [Google] [MyFonts] [More]  ⦿

Laika
[Nicolas Kunz]

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]  ⦿

Lars Müller

Lars Müller edited the book HELVETICA---Homage to a typeface (Lars Müller Publishers, Baden, Swtzerland, 2002). Alternate URL. [Google] [More]  ⦿

Lauren Pelfini

Lauren Pelfini (Venus Design, Geneva, Switzerland) created a sketched typeface in 2014. [Google] [More]  ⦿

Laurence Jaccottet

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". [Google] [More]  ⦿

Laurent Benner

Designer at Lineto of fonts such as Pez, a block letter font (1999). He lives and works in London, after graduating from the Royal College of Art in London in 2000. [Google] [More]  ⦿

Laurenz Brunner

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.

His tudio BrunnerKlingspor link. [Google] [More]  ⦿

Lausanne type workshop

Workshop held in Lausanne in December 2005, in which Porchez supervised the development of three typefaces, Bussigny, Ligats and Regina (modular). [Google] [More]  ⦿

Leo Rimensberger

During his studies in Genva, Leo Rimensberger created a (virtual) set of icons for Geneva's airport (2014) and a bold round display typeface called Vivino (2014). [Google] [More]  ⦿

Letteralmente Mediterraneo Giornata della tipografia 2007

Type workshop held on November 17, 2007 in Lugano. Speakers: Andreu Balius, Patrick Thomas, Alessandro Segalini, Tarek Atrissi. [Google] [More]  ⦿

Letterwerk
[Fabian Widmer]

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 Nomad (2006, a sans family) and Carrosserie (2009, a display sans influenced by the 1930s; in 2011, new styles were added) are not free.

Carrosserie showcased.

His main work in 2012 is the six-layer stacking display family Modular Roman and Slab.

MyFonts link. Behance link. Klingspor link. [Google] [MyFonts] [More]  ⦿

lineto
[Cornel Windlin]

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:

  • The old typewriter family FF Magda (1995) and its smooth versions, FF Magda Clean (1995) and FF Magda Clean Mono (1995). Noteworthy is the white-on-black FF Magda Cameo. See also Mono (2004, Lineto).
  • Airport (FontFont).
  • Dot Matrix (FontFont).
  • Experimental typefaces: In FUSE 10, Windlin designed the symbol font Robotnik, and at FUSE 7, he made Mogadishu. He alsi created FUSE Classic 1.
  • FF Watertower (1998-1999, stencil font).
  • Screen Matrix (1995, with Stephan Mueller, FontFont).
  • ThermoNuclear (1999).
  • Mono-book (1998).
  • Autoscape-Regular (1998).
  • Alpha Headline (1997, based on the British license plates).
  • FF Chernobyl (1998, from stenciled letters on the Chernobyl plant).
  • Lutz Headline (1997, derived from the lettering on British license plates).
  • Luggage Tag.
  • Gravur Condensed (1999, with Gilles Gavillet).
  • Cobra: a phenomenal geometric font combining ideas of kitchen tile and stencil fonts, made in 1996.
  • FF Moonbase Alpha (1991, part of FUSE 3).
  • With Gilles Gavillet, dated 1999: Pixel Crude, Pixel World, Vectrex (1999), Vectrex World (skyline dingbats), Liquid Crystal (1999), Supermax (1999). Pixel World and Vectrex World are free.

FontFont write-up. Fonts by designers. The Lineto collection has many beautiful trend-setting digital-look typewriter faces. From other designers:

  • Stephan Mueller: Regular (typewriter family), Valentine (typewriter family), Aveugle (Braille font, 1995), Parking, FF Gateway (1997), Grid (1996), Paragon, Batarde Coulee, Shuttle, FE Mittelschrift and FE Engschrift (1997), 104 (nice geometric font), FF Container, Bitmap-Condensed and Bitmap-Regular (1998), Office (Eurostile-like monospace, 1999).
  • Norm: Normetica (1999), Prima (1999), Simple.
  • Elektrosmog/Pierre Miedinger: Storno (1999, an interpretation of the numerals of an old Sharp cash register), Brauer. This was later developed into the six weights of LL Brauer Neue by Marco Walser and Philippe Desarzens. The Brauer Neue family (2006) has a copyright notice that refers to Elektrosmog, Valentin Hindermann, Marco Walser and Pierre Miedinger.
  • Nico Schweizer: Albroni (1992), Hoboken-High (1998, a US sports jersey font), Typ1451 (1999, sans family), Gigaflop (1999), Ultrateens (1999).
  • Martha Stutteregger: Number Two (1996), Lord (1996).
  • Jonas Williamsson: Biff (1999).
  • Urs and Juerg Lehni and Rafael Koch: Lego (1999).
  • Laurent Benner: Pez (1999).
  • Hansjakob Fehr: Deadtype (dingbats consisting of metal parts of a typewriter, 1999).
  • Masahiko Nakamura: Terminal One (1999).
  • James Goggin: Courier Sans (2001).
[Google] [MyFonts] [More]  ⦿

Linus Romer

(German or Swiss) creator (aka Fuex) of the free calligraphic font Miama (2009, Open Font Library), based upon the handwriting of his girlfriend. Dafont link. Romer is interested in Latex and mathematical typesetting and designed Miama in the spirit of Zapfino and Scriptina.

In 2014, he created the free Metafont (and also, Opentype and truetype) typeface, Fetamont. This typeface extends Knuth's roundish elliptical logo font for Metafont. Additional CTAN link. [Google] [More]  ⦿

Lionel Bovet
[Helveticfonts (or: The Swiss Type Foundry)]

[More]  ⦿

Logoglyph

Swiss logo type service outfit located in Winterthur. Makes truetype fonts for money. Free demo font Logo (1997). [Google] [More]  ⦿

Lorenz Lopetz Gianfreda
[Type for type]

[More]  ⦿

Lorenz Lopetz Gianfreda
[burodestruct (or: Typedifferent.com)]

[MyFonts] [More]  ⦿

Lorenzo Geiger
[Lorenzo Geiger Typewerk]

[MyFonts] [More]  ⦿

Lorenzo Geiger Typewerk
[Lorenzo Geiger]

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.

MyFonts link. Behance link. [Google] [MyFonts] [More]  ⦿

Luca Basilio Ricossa

Geneva-based professor of Gregorian chants. Home page. He placed two of his medieval blackletter fonts on the web, for free: Dufay (2006), and Oldprint (2006). [Google] [More]  ⦿

Luca Serventi

Swiss graphic designer in Lugano. Creator of these alphabets in 2010. [Google] [More]  ⦿

Lucien Marandola

Designer in Vissole, Switzerland, who created the free painted display typeface Huis Clos (2011) and of the experimental typeface DIN LAPS (2013). [Google] [More]  ⦿

Lucius Hartmann
[Altgriechische Zeichensätze]

[More]  ⦿

Ludovic Balland

Swiss typographer and graphic designer, b. Geneva, who creates new typefaces out of old ones. iHe 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:

[Google] [More]  ⦿

Lukas Binggeli

Bern, Switzerland-based designer of the triangular typeface Diagonal (2014). Behance link. [Google] [More]  ⦿

Lukas Gerber

Zug, Switzerland-based designer of the brush face Blemished (2008), the ornamental caps face Polar Shift (2010), the didone stencil face Femoralis (2010), and the hand-printed typeface Camille Javal (2012, named after Brigitte Bardot in Le Mépris by Jean-Luc Godard).

Fontsy link. Home page for his illustrations and graphic design. Dafont link. Behance link. [Google] [More]  ⦿

Lukas Hartmann

Basel-based designer at Hartmann Bopp. Editor of Typografischen Monatsblätter and typography professor at the Haute École des Arts du Rhin in Mulhouse, France. [Google] [More]  ⦿

Lukas Schiltknecht

Lukas Schiltknecht (was: Lucas Gardener) is a designer from St. Gallen, Switzerland, b. 1982. He created the blackletter face Helvedding (2009), the graffiti face Hinterwelt (2011), Goodwill (2011), Malice (2011, more graffiti style), and the sans face Phat Otto (2010). Until 2011, his typefaces were free.

In 2013, he set up his own commercial typefoundry in Luzern Lukas Schiltknecht. His first typeface is a basic sans, Shinokai (2013), which was inspired by FF DIN and ITC Officina.

Dafont link. Home page. Another home page. [Google] [MyFonts] [More]  ⦿

Luvburn
[Pedro Julien]

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).

Behance link. [Google] [More]  ⦿

Luzi Gantenbein
[Luzi Type]

[MyFonts] [More]  ⦿

Luzi Type
[Luzi Gantenbein]

Luzi Gantenbein (Luzi Type, Bern, Switzerland) is a type designer, b. 1988, Fläsch, Switzerland. He created the vernacular all caps wall paint face 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).

Luzi made the sans typeface Cadiz in 2013. Cadiz Italic was finished in 2014. Livorno (2013) is a sturdy round-serifed text typeface.

Klingspor link. Behance link. Home page. Behance link for Luzi Type. Fontdeck link. Volcano Type link. [Google] [MyFonts] [More]  ⦿

Madeleine Matter

Graphic designer and digital artist in Lausanne, Switzerland. Creator of the fashion mag high-contrast typeface Mad Matter (2013). [Google] [More]  ⦿

Maelle Keita
[Thomas Boucherie]

Maelle Keita is the second identity of Thomas Boucherie (Montpellier, France). The Maelle persona is a Swiss creator of the free fonts 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.

Fontspace link. Dafont link. [Google] [More]  ⦿

Manuel Krebs

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]  ⦿

Marc Beekhuis

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 Brunner

Designer at burodestruct in Bern of Stereotype (1998). Klingspor link. [Google] [More]  ⦿

Marc Kappeler
[Moiré]

[More]  ⦿

Marc Rudin
[Lafonts]

[MyFonts] [More]  ⦿

Marc Weymann

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 face Toyota, and the hand-printed typeface Globus. In 2009 at Dalton Maag, he did Metrolink Manchester, McDonalds. [Google] [MyFonts] [More]  ⦿

Marco Ganz

Swiss designer (b. Zürich, 1961) of the successful sans serif families Linotype Mano (1988) and Linotype Veto (1994). He works as an artist in Zürich.

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. [Google] [MyFonts] [More]  ⦿

Marco Walser

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]  ⦿

Marija Radisavljevic

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]  ⦿

Mark Jamra
[Type Culture]

[MyFonts] [More]  ⦿

Markus Ernst
[Artoftype]

[More]  ⦿

Markus Ernst
[Markus Ernst Typografischer Gestalter]

[More]  ⦿

Markus Ernst Typografischer Gestalter
[Markus Ernst]

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]  ⦿

Martin Cramatte

Swiss graphic designer. In 2010, his graduation work led to the bicycle-inspired typeface La Guidonne.

Behance link. [Google] [More]  ⦿

Martin Fehle

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]  ⦿

Mathieu Christe

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]  ⦿

Matthias Gehri

Swiss type designer at Fontnest who designed these fonts: Ligatura Regular (2004) and Ligatura Expert (2004). [Google] [More]  ⦿

Matthias Pauwels

Swiss type designer. He created the serifed text face Florin (2012). [Google] [More]  ⦿

Matthieu Cortat
[Nonpareille (or: Chastellun.net)]

[MyFonts] [More]  ⦿

Max Bill

Influential Swiss graphic designer, painter and architect, b. 1908, Winterthur. Designer of Bill (1949-1950, geometric) and ArchiType Bill. [Google] [More]  ⦿

Max Caflisch

Swiss type designer and calligrapher, born in Winterthur in 1916. He died in 2004. Designer of Columna (Bauersche Giesserei, 1952-1955, originally a private face 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. A Berlincourt et al "Max Caflisch. Typographia practica", Hamburg 1988. MyFonts page. Rudolf Bosshard's article about Caflisch's life (Comedia, 2004, vol. 2). Linotype link. [Google] [MyFonts] [More]  ⦿

Max Lenz

Swiss designer of Profil (Haas, 1946-1947, with his brother Eugen Lenz). Associated in the late 40s and 50s with Haas. Profil is a set of inclined rimmed capitals and numbers.

Profil became Decorated 035 at Biststream. [Google] [MyFonts] [More]  ⦿

Max Miedinger

Swiss designer, born and died in Zürich, 1910-1980. His typefaces, all produced for the Haas Foundry in Basel, Switzerland:

  • Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre.
  • Helvetica (1956/57), Helvetica Rounded (1956/57). Helvetica was in fact first called Neue Haas Grotesk, and was only named Helvetica in 1960 by Stempel AG, because it wanted to appeal to an international market. Erik Spiekermann says that it was coined by a Stempel salesman, Heinz Eul, although credit for the invention of the name later went to Eul's boss, Schultz-Anker, the managing director of Stempel. Linotype published Neue Helvetica in 1983, with weights denoted by two digits, ab, where a goes from 2 to 9 (ultra light to black), and b from 3 to 7 (extended to condensed)---example: 75 is Bold Regular. A total of 51 weights were produced in 1983.

    The Bitstream version of Helvetica is called Swiss 721. See also "Sans" and "Hegel" on the SoftMaker MegaFont XXL CD, 2002. URW's version of Helvetica, free with the Ghostscript font package, is Nimbus Sans.

    Most famous for Meta, Spiekermann is quoted as saying: Neue Haas Grotesk was a redesign of (surprise!) Haas Grotesk, which in turn was partly based on Scheltersche Grotesk from Schelter&Giesecke in those days, type was also quickly assimilated, copied, emulated, ripped-off; the success of Akzidenz Grotesk had alerted Haas to the fact that they were missing sales because all the Swiss designers were specifying AG from Germany. People are always reminded that Miedinger was in fact a salesman, not a true type designer. Nick Shinn: Here is a document showing the working process of plagiarizing Akzidenz Grotesk that Miedinger oversaw.

  • Horizontal (1964). Digitally revived in 2007 by Patrick Griffin (Canada Type) as Miedinger. Canada Type writes: The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces a new lighter weight alongside the bold original.
Biography by Nicholas Fabian. Linotype link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Maximage Société Suisse

Maximage Société Suisse, established in 2008, 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).

In 2013, Maximage published the sans typeface family Programme at Optimo. [Google] [More]  ⦿

Maxime Buechi
[B&P Typefoundry]

[More]  ⦿

MaZiSOFT Informatik AG

A free original Christmas font, MaZiSOFT-Christmas (1998). Truetype and type 1. By MaZiSOFT Informatik AG (Solothurn, Switzerland). [Google] [More]  ⦿

Medienwerkstatt Mühlacker
[Ralf Lohuis]

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]  ⦿

Medieval Fonts
[Peter Keel]

Detailed listing of medieval fonts on the web, by Peter Keel (Switzerland), with downloads. Categories:

  • Roman fonts used until the 7th century: Justinian and justinian2 (Iconian), JGJ Roman Rustic (Jeffrey Glen Jackson), CelticHand90.
  • Early medieval fonts: InsularMinusculeNormal-6th, LatinUncialNormal-1st, RomanHalfuncialNormal-1st, RomanRusticaNormal-1st, CarolingianMinuscule (all by Jack Kilmon), Beowulf1 and AngloSaxonCaps (Peter S. Baker), AngloSaxon-8th, BattelAbbey-8th, VaticanRoughLetters-8th, LibraryOfMinerva-9th, BritishBlockFlourish-10th (all by Robert Anderson), JGJUncial (Jeffrey Glen Jackson), GeschlossenGotikKaps (Jim Fordyce), Gothic1.
  • Medieval fonts: BritishOutlineMajuscules and FloralMajuscules-11th (by Robert Anderson), Pontifica-12th (Michael Scarpitti), GothicTextureQuadrata-13th and EarlyGothicbold (by Jack Kilmon).
  • Late medieval fonts: MAGotic-14th (Will Software), GothicLeaf, BritishMuseum-14th, DecoratedMajuscules-14th, ItalianCursive-14th and GermanBlackletters-15th (all by Robert Anderson), GoodcityModern-15th (A.S. Meit), MABastarda1-15th (Will Software), BastardaPlain.
  • Renaissance and later: JGJDuererGothic-1535 (Jeffrey Glen Jackson), ElegantCapitalsII-16th (Paul Lloyd), MAGKursiv1-16th (WillSoftware), GothicStraightFaced-16th, SpanishRoundBookhand-16th, CurvedManuscript-17th, TraditionalGothic-17th, EnglishGothic-17th (all by Robert Anderson), JohnSpeedDemo-17th (Scriptorium), BuccaneerRegular-18th, CourthandPlain, Fraktur BT, ILShakeFest.
[Google] [More]  ⦿

Medieval fonts

Archive of medieval truetype fonts by Peter Keel from Switzerland. [Google] [More]  ⦿

Megi Zumstein
[Hi]

[More]  ⦿

Meik
[Michael Baumeler]

A free font by Michael Baumeler with the emblems of the 26 Swiss cantons: Kantonswappen CHFL (1997). [Google] [More]  ⦿

Michael Baumeler
[Meik]

[More]  ⦿

Michael Kammermann

Zurich-based graphic and web designer, who created the display face Niederdorf (2011). [Google] [More]  ⦿

Michael Parson
[Typogama]

[MyFonts] [More]  ⦿

Michael Wenssler

Michael Wenssler or Michael Wennsler, operated a press at Basel betweeen 1472 and 1490. A typeface from 1482 by him was digitized in 2013 by Shane Brandes as Michael Wenssler. [Google] [More]  ⦿

Michael Ziska

Art director in Bern, Switzerland. Creator of the poster typeface Rio 68 (2013).

Behance link. [Google] [More]  ⦿

Michel Casarramona

Graphic design, posters, flyers, logos and type by Michel Casarramona from Zürich. [Google] [More]  ⦿

Mika Mischler

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 face 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), and Catalog (Michael Mischler and Nik Thoenen, 2005).

Klingspor link. [Google] [More]  ⦿

MilieuGrotesque
[Timo Gaessner]

In 2010, designers Timo Gaessner 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:

  • Maison (2010) is a four weight proportional and a four weight monospaced aligned grotesque, based on a constructed principle to achieve an industrial flavour with a minimum of details and optical corrections. Originally designed for the use in the corporate design of Thomas Bendel Architect, Berlin, Maison evolved to a typeface that can be used for a large range of applications. By Gaessner.
  • Chapeau (2010): a rounded face.

    They write: The Chapeau Typeface has been inspired by a letter printed on the back of a Johnny Cash cover, that he had a addressed to his fans in Germany. Apparently, this record - released sometime mid seventies - contained most of Cash's songs he had composed during his time at the air-force in Landshut, Bavaria, during the american occupation shortly after World War II. However, this poor offset reproduction of an original typed letter worked as a base of this geometric drawn, proportional aligned typeface. By Gaessner.

  • Lacrima (2010, Alexander Meyer): an attractive typewriter type. Meyer writes: Lacrima is a rounded slab-serif typeface family with a classic modern, industrial charm. The whole family is based upon a typewriter specimen of the so called IBM Golfball Typeface, Light Italic. A handwritten inspired italic, with swash elements and characteristic ink-drop endings. The new digital interpretation is featuring two corresponding upright versions: Lacrima-Serif and Lacrima-Senza - each version is available in three distinctive weights; Light, Regular and Bold.
  • Generika (Alexander Meyer, 2008): a rounded display sans. Meyer writes: Generika is inspired by an old Adler typewriter specimen. As an artefact of using a flaky carbon ribbon onto not-so-great paper, the actual outcome when used on the typewriter was badly printed with blurry corners. These blurry letterforms influenced the contemporary reinterpretation of this condensed and quite unusual typewriter face with its slightly rounded corners. The different weights are proportionately designed, making them useful for a diverse range of applications. Generika is also available as a monospaced version.
  • Brezel Grotesk (2011) by Stefanie Preis/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.
[Google] [More]  ⦿

Mirco Schiavone

Codesigner with Noël Leu (Grilli Type, Switzerland) of the Cyrillic version of GT Walsheim (2009-2014). [Google] [More]  ⦿

Mirko Humbert
[Design reviver]

[More]  ⦿

Mirko Humbert

Fribourg, Switzerland-based designer of the decorative caps alphabet Elefont (2013). [Google] [More]  ⦿

Modonomat
[Christine Gertsch]

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:

  • Allonghata (2012). A cursive text face. Her graduation project at KABK.
  • Kleukens Antiqua (Regular and Titling, 2011-2012). A revival of Kleukens Antiqua (1910, F.W. Kleukens, Bauersche) done while studying at KABK.
  • Modono (2012). A layered typeface family.
[Google] [MyFonts] [More]  ⦿

Moiré
[Marc Kappeler]

Zurich-based graphic design studio that often work for art and architecture clients. It is run by Marc Kappeler, Markus Reichenbach and Rith 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 face 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 with 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. 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]  ⦿

Monaco Grafico
[Paolo Monaco]

Zürich-based design studio run by Paolo Monaco which created the free cigarette-box inspired font Case (2005). [Google] [More]  ⦿

Monom
[Dario Hofstetter]

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: Haas Grotesk

Typefaces that implement Haas Grotesk, or are derived from it. [Google] [More]  ⦿

MyFonts: Swiss type

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]  ⦿

MyScriptFont
[T. Reinhardt]

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]  ⦿

Nadia Knechtle
[Quersicht]

[More]  ⦿

Nadine Pilet

During her studies at Eracom in 2014, Nadine Pilet (Switzerland) created an untitled Peignotian sans typeface with a few teardrops strategically added to some lower case letters. [Google] [More]  ⦿

Natalie Birkle

Designer of BD Fimo (2007, Burodestruct) in regular and outline versions. Free fonts. [Google] [More]  ⦿

Nathalie Stotzer
[SwissMad S.A.]

[More]  ⦿

Nelio Barros
[Kinobrand Design]

[MyFonts] [More]  ⦿

Nevin Goetschmann

Basel-based designer of the renaissance antiqua typeface Actrice (2014). Behance link. [Google] [More]  ⦿

Nic Ripz

Swiss designer in Zurich who made Souper3 (2009) and Soupleaf (2009, a fun decorative hand-printed face for gourmet illustrations).

Dafont link. Alternate URL. [Google] [More]  ⦿

Nico Inosanto
[Nootype]

[MyFonts] [More]  ⦿

Nicolas Eigenheer

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 face Material (2006, Optimo) and the pixelish family Px Grotesk (2013, Optimo). [Google] [More]  ⦿

Nicolas Gafner

Swiss designer of Constructa (2013, a free constructivist all caps typeface). He lives in Bern and was studying graphic design there in 2013.

Behance link. Dafont link. [Google] [More]  ⦿

Nicolas Kunz
[Laika]

[More]  ⦿

Niels Wehrspann

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]  ⦿

Nik Thoenen
[Binnenland.Ch]

[More]  ⦿

Niklaus Troxler

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.

Since 1998, Niklaus teaches at the Staatlichen Akademie der Bildenden Künste in Stuttgart. [Google] [More]  ⦿

Nina Stössinger

Graphic, multimedia and type designer in Basel, Switzerland. First she was a freelance graphic and multimedia designer in Basel. Graduate of the Type & Media program at KABK in Den Haag in 2014.

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 faces called Svenja (2004). Blog. Her funny FF Legato illustration.

Speaker at ATypI 2010 in Dublin.

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. [Google] [MyFonts] [More]  ⦿

Noël Leu

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. 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.

Grilli Type link. [Google] [More]  ⦿

Nonpareille (or: Chastellun.net)
[Matthieu Cortat]

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.

Ainsifont carries Brett (a computer font), Ecstrat and Glovis.

Typefaces from 2013:

  • Louize. This is a contemporary revival of the Augustaux designed by Louis Perrin between 1846 and 1855. It mixes roman square capitals with a set of transitional / old style / incised lower case.
  • Chrysaora. An all caps art deco typeface family based on the engraved letters on the Palais de la Porte Dorée in Paris.
  • Ebnor. A digital version of the Écriture Bâton Normalisée (standardized sans serif) presented by M. Brun in a self-published booklet of 1959. The shape of letters respects the standard E-04-105 of the French Association for Standardization (AFNOR) which sets norms for industry, engineering and architecture. All letters are monolined and warmly rounded.
  • Svafa. This is a rune simulation typeface that revives lettering designed by Eugène Grasset in 1893, on a poster for Richard Wagner's opera, Valkyrie.
  • Petit Serif: Petit Serif is a caps face with copperplate endings, described as an interpretation (with Latin, Greek and Cyrillic versions) based on the lettering done at 55 Broadway, S.W.1, London, by Percy J. Delf Smith. It is a sans serif presenting the classic proportions of the Roman Square Capitals, yet it does show tiny serifs due to the use of a brush.
  • Mecano Sans and Mecano Serif. A revival of a condensed geometric Nebiolo family.
  • Henry. They write: Henry is a personal reinterpretation of the Garamond cut for the Deberny & Peignot type foundry between 1914 and 1926 by Henri Parmentier, under the management of Georges Peignot, who owned the foundry. Their purpose was to recreate the gracefulness of Claude Garamont's type face while allowing for the development of modern paper making, with its wood pulp paper, as opposed to 16th century rag paper. This elegant and smooth text family has its own mind: Henry is based on the text sizes (9 to 14) of the Garamond Peignot. It is a light and fluid Garald, rather skinny and narrow, with a slender grace. There is an art nouveau spirit in its z leaning on the left, its serpentine a and J, the roundish lower bowl of its t, the wide tail of its Q.
  • Hans. A dark textura blackletter.
  • Battling. This is quite an interesting sans family, in the geometric style of 1930s Europe. The original rough model was a typeface family called Universelles by the Dutreix foundry in Limoges, first produced in the 1930s. The heavier weights are characterized by small cactus spurs.
  • Anacharsis. An experimental geometric sans family.
  • Basetica Pro (2013). Even though only offered in two styles, the announcement says that Basetica aims to be the Helvetica for 2013.

Klingspor link.

View Matthieu Cortat's typefaces. View Nonpareille's font library. [Google] [MyFonts] [More]  ⦿

Nootype
[Nico Inosanto]

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.

Agilis (2013) is a free text typeface with bulging glyphs.

Helia (2013) is a 16-style sans family. Helia Core (2013) is a companion typeface.

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).

Behance link. [Google] [MyFonts] [More]  ⦿

Norm
[Dimitri Bruni]

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).

Regular (1999, Binnenland) was also done with Manuel Krebs, and extended later by Nik Thoenen.

Corporate typefaces by Norm include Omega and Swatch.

Klingspor link. Typedia link. [Google] [More]  ⦿

Nothing Medialab

Bern-based screen font producers and media lab. Free pixel fonts, all made in 2001: fiftyfox, importer, screenfox9, spotdot, zedfoxin, zedfoxout. [Google] [More]  ⦿

Nouvelle Noire
[Clovis Vallois]

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 geometric modular experimental typeface ABF.
  • ABF Lineaire (2013). A stencil face with elements of LED letters.
  • ABF Silhouette (2009). Based on ABF Petiit, this typeface was developed for the 2009 conference on the Space and Architecture of Libraries.
  • ABF Petit. Custom designed as part of a new corporate identity for the Association des Bibliothécaires de France.
  • Coupé (2013): The font Coupé is based on the streamlined elegance of vintage sports cars. Apeloig designed these letterforms for an exhibition of fashion designer Ralph Lauren?~@~Ys car collection. The exhibition made its European premiere at the Musée des Arts Décoratifs in Paris accompanied by a poster inspired by the clean engineering of the automobiles.
  • Poudre (2013). This font was created by Apeloig for a poster advertising an exhibition on the prolific inventor and industrialist Alfred Nobel. Apeloig's concept was inspired by Nobel's invention of dynamite and work with subatomic particles.
  • Ali (2013). An origami stencil typeface.
  • Aleph (1994). Based on a simple arc, and influenced by Excoffon's banco (1952).

The Nouvelle Noire typefaces:

  • Medien (2009-2011). A sans face by Anton Studer created as a multipurpose all-media design.
  • Ernesto (2010). Created originally for the corporate identity of EWERK Freiburg, Germany. He says: The Ernesto typeface combines the grotesque and the geometrization of the past times to the modern times. Ernesto adopts the diagonal slant of the architecture in some letters of the alphabet.
  • Rekja (2009-2011, Anton Studer). This rounded transitional typeface won an award at TDC2 2012.

Behance link. [Google] [More]  ⦿

OCR-B: Adobe
[Adrian Frutiger]

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]  ⦿

Oliver Mayer

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

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]  ⦿

Onezero

Swiss site with these free techno fonts, all made in 2003: Break, Buster, Eva, Fatt, Liner, Quer, Quadrron, Racer, Round, Subby, Tektrron-Regular, Tv, Zone-Regular. Direct download. [Google] [More]  ⦿

Optimo
[David Rust]

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 face 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 face Piek. [Google] [More]  ⦿

Orell, Gessner, Fuessli&co

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.

The company still exists today, and specializes in cartography as Orell FüssliKartographie AG. [Google] [More]  ⦿

Ormaxx Fonts
[Roland Buehlmann]

Free PCF and BDF format bitmap fonts (2000-2002) by Swiss Roland Buehlmann, designed for UNIX/LINUX systems. [Google] [More]  ⦿

Oskar Kokoschka

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 face loosely based on the work of designers Oskar Kokoschka (1886-1980) and Jean Carlu (1900-1997)), and Kokoschka (2012, Ricardo Marcin and Erica Jung).

Viennese Secession link. [Google] [More]  ⦿

Otto Baumberger

Swiss lithographer and poster designer, 1889-1961. Several of his posters influenced digital typefaces:

[Google] [MyFonts] [More]  ⦿

Page Studio Graphics (or: Pixymbols)
[Roger Vershen]

Page Studio Graphics is Roger Vershen's Oro Valley, AZ-based company specializing in symbols and symbol fonts, founded by him in 1986. Roger Vershen died in Tucson, AZ, in 2003.

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.

Alternate URL. Previews at MyFonts. Klingspor link.

View the Page Studio Graphics typeface library. [Google] [MyFonts] [More]  ⦿

Paolo Monaco
[Monaco Grafico]

[More]  ⦿

Pascal Fierz

Swiss designer of Wash (2011): Each letter was drawn onto a glass plate which layed on my scanner, after scanning each letter I cut them free. [Google] [More]  ⦿

Pascal Schranz

Swiss designer of the city silhouette typeface Skylife (2014, FontStruct). [Google] [More]  ⦿

Paula Troxler

Zurich-based award winner at TDC55 for this handlettering. [Google] [More]  ⦿

Pedro Julien
[Luvburn]

[More]  ⦿

Pensaya Khurewathanakul

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).

Behance link. [Google] [More]  ⦿

Peter Bartl

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]  ⦿

Peter Henninger
[Ingrama]

[MyFonts] [More]  ⦿

Peter Keel
[Medieval Fonts]

[More]  ⦿

Peter Keller

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]  ⦿

Peter Korsman
[Attak Fonts]

[More]  ⦿

Peter Mueller

Swiss designer of the hand-printed typeface Retep Relleum (2013, OFL). [Google] [More]  ⦿

Peter Vollenweider
[Rechenzentrum Universität Zürich]

[More]  ⦿

Phifro (or: La Salome Productions)

Swiss designer of Onciale PhF01 (2004). [Google] [More]  ⦿

Philipp Condrau

Swiss designer who is now at the University of Plymouth. In 2013, he created the paperclip typeface Ride The Line, the octagonal typeface Link, and the stencil typeface Vertizona.

Behance link. [Google] [More]  ⦿

Philipp Dornbierer

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]  ⦿

Philipp Herrmann

Creator (b. Münich, Germany) of a great blackletter face called Diek while he was studying at the Hochshshule für Gestaltung und Kunst in Zürich.

Designer at Optimo of the playing cards slab serif font Piek (2006). [Google] [More]  ⦿

Philipp Möckli

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]  ⦿

Philipp Stamm

Swiss typographer and author, b. 1966, Schaffhausen. Coeditor with Heidrun Osterer of Adrian Frutiger - Typefaces The Complete Works (2009, Birkhäuser).

Creator in 1995 of PhonogrammeF (Feinherb, Visuelle Gestaltung). [Google] [More]  ⦿

Philippe Desarzens

Zürich-based French designer at Optimo of Editor (2005), modeled after the Swiss typewriter brand Hermes. Creator at Lineto of the stencil face 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]  ⦿

Philippe Moesch

Swiss designer in Basel and/or Aarau and/or Zofingen of Eva (2011, sans) and Franks (2012, monoline geometric sans). At Ten Dollar Fonts, one can buy Rosco & Salvia (2013).

His straight-edged typeface Lakey (2014) can be bought here. The pixel / video game typefaces Masaaki (2014, based on the Super Mario games), Sabo Inline and Sabo Filled (2014) are free.

Dafont link. Devian tart link. Behance link. 1001freefonts link. [Google] [More]  ⦿

Pierre Miedinger

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]  ⦿

Pierre Terrier
[FONTSELF]

[More]  ⦿

Pierre Terrier

Swiss typographer at Fontnest who designed these fonts: Jawut (2002, with Franz Hoffman, Juerg Lehni, and Jérôme Rigaud: a face inspired by André Baldinger's Newut), WellKrau (with Jérôme Rigaud: an irregularly tiled font). [Google] [More]  ⦿

Pirol
[Simone Farner]

Pirol is a graphic design studio in Zurich, run by Simone farner and Lea Schmidt. Simone designed the grotesk typeface Alpina PRL in 2010. [Google] [More]  ⦿

Pixelfarm
[Simon Küffer]

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]  ⦿

Pyroglyphix
[Daniel Bär]

Daniel Bär (Pyroglyphix) is a talented Swiss designer in Lausanne. Type subpage. Creator of the monoline grotesk face GT Skeletor (2009, Grilli Type). This face 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 face Pyroplastic (+Fat). At ECAL in 2010, he made the Bauhaus-inspired PYROhbau (a scripted font system based on a skeleton). Behance link. [Google] [More]  ⦿

Quersicht
[Nadia Knechtle]

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.

Behance link. Alternate URL. [Google] [More]  ⦿

R. Wyss

Swiss penman who wrote Libellus valde doctus elegans utilis, multa varia scribendarum litterarum genera complectens (Zürich, 1549). [Google] [More]  ⦿

Radis Noir
[Gaël Goy]

Gaël Goy is a student at the Ecole Romande d'Art et de Communication in Lausanne, Switzerland. He is the creator of the free art deco face Radis Sans (2008). Alternate URL. [Google] [More]  ⦿

Rafael Koch

Codesigner with Urs and Juerg Lehni (from Switzerland) of Lego (1999) at lineto. [Google] [More]  ⦿

Ralf Lohuis
[Medienwerkstatt Mühlacker]

[More]  ⦿

Ralf Turtschi
[Arial: ein Nekrolog]

[More]  ⦿

Ralf Turtschi
[Agenturtschi]

[More]  ⦿

Raphael Muntwyler

Swiss type designer at lineto. [Google] [More]  ⦿

Raphael Ottiger

Designer in Sankt Gallen, Switzerland, who created an origami typeface for the Rioskilde Festival in 2013.

Behance link. [Google] [More]  ⦿

Rechenzentrum Universität Zürich
[Peter Vollenweider]

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]  ⦿

René Albert Chalet

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
[ala webstatt]

[More]  ⦿

René Wanner
[Foundations of Typography B]

[More]  ⦿

Reto Moser

Designer at Folch Studio (Barcelona) of FS Ugly Italic (2008, with Miquel Polidano).

Grotesk cc is Tobias Rechsteiner, Reto Moser, and Simon Renfer in Bern, Switzerland. The former two designed GT Haptik (2009), which is a grotesk face in which the letters are optimized to be read blindfolded and by touching them. GT Haptik was published at Grilli Type. [Google] [More]  ⦿

RGB107,6

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]  ⦿

Richard Frick

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]  ⦿

Richard Paul Lohse

Swiss graphic arts icon, b. Zürich (1902), d. 1988. [Google] [More]  ⦿

Rico Maier

Swiss communication designer based in Zürich. In 2009, he created the simple sans face Kiosk. Behance link. [Google] [More]  ⦿

RM&CO (or: Rossi Mazzei)

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.

Behance link. [Google] [More]  ⦿

Robert Büchler

Swiss typographer who taught in Basel. [Google] [More]  ⦿

Rodrigo Jimenez

Multidisciplinary design professional born and raised in Mexico. Bern, Switzerland-based designer of BicircularBehance link. [Google] [More]  ⦿

Roger Chatelain

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]  ⦿

Roger Hersch
[EPFL]

[More]  ⦿

Roger Vershen
[Page Studio Graphics (or: Pixymbols)]

[MyFonts] [More]  ⦿

Roland Buehlmann
[Ormaxx Fonts]

[More]  ⦿

Roland Dill

Password Hamburgefonstiv. Graduate of the KABK in Den Haag in 2008. Originally from Switzerland, he created the connected signwriter script face Caballero as a student at KABK. He also did a revival of Pierpont's Horley Old Style. Alternate URL. [Google] [More]  ⦿

Roland Liechti
[Typoblog.ch]

[More]  ⦿

Roland Stieger
[ABC Litera]

[More]  ⦿

Rollergirl
[Jacques Borel]

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]  ⦿

Romain Collaud

Graphic designer in Lausanne who created the sans typeface CR Griphen in 2014. Behance link. [Google] [More]  ⦿

Romain Guerini

Graphic designer in Geneva, who created the squarish display typeface Konstom in 2012. [Google] [More]  ⦿

Roman Scherer

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]  ⦿

Roman Wilhelm

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, and he taught in Seoul, Hong Kong and Shenyang. 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. [Google] [More]  ⦿

Rosemarie Tissi

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]  ⦿

Rotten Leftovers

Lausanne, Switzerland-based designer of Wrong Typeface (2012). [Google] [More]  ⦿

Rudolf Hostettler

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]  ⦿

RZU

Comparison between truetype and postscript at Zentrum Informatikdienste of the University of Zürich. Essay on Bezier curves as well. [Google] [More]  ⦿

Saad Benryane

Designer based in Montreal, New York and Bern. Devian Tart link. He created the roundish high-contrast art deco face Artificial Timepiece (2011). [Google] [More]  ⦿

Sabine Sulzer

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 De Leon

Sandra De Leon (Luzern, Switzerland) created the sans typeface Sandia Light in 2013. Behance link. [Google] [More]  ⦿

SangBleu

Swiss image and type magazine published with the help of B&P Foundry in Lausanne. [Google] [More]  ⦿

Schaffner & Conzelmann AG (or: Designersfactory)
[Silvana Conzelmann]

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]  ⦿

Schnur

Schnur is the Swiss Schulschrift. [Google] [More]  ⦿

Schreibbuechlein

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]  ⦿

Schriftarten

About 25 TrueType fonts, mostly of the science fiction/Startrek mold. Swiss Startrek site. [Google] [More]  ⦿

Schriftfaecher

A box of 180 type cards can be bought from this Swiss company. The instructive set was designed by Richard Frick and Samuel Marty. In German. [Google] [More]  ⦿

Schriftschutz

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]  ⦿

Sébastien Théraulaz
[Subtitude]

[MyFonts] [More]  ⦿

Shujal

Swiss designer of the ornamental caps typeface Monster Hunter (2014). Dafont link. [Google] [More]  ⦿

Sibylle Hagmann
[Kontour]

[MyFonts] [More]  ⦿

Sigfried Odermatt

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]  ⦿

Siiri Tännler

Graphic Design student in 2012 at the Fachklasse Grafik in Luzern, Switzerland. Creator of the modular typeface Bakelit (2012). [Google] [More]  ⦿

Silvan Kaeser

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.

Fontsy link. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Silvana Conzelmann
[Schaffner & Conzelmann AG (or: Designersfactory)]

[More]  ⦿

Simon Egli

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.

Klingspor link. Behance link. [Google] [More]  ⦿

Simon Küffer
[Pixelfarm]

[More]  ⦿

Simone Farner
[Pirol]

[More]  ⦿

Sinisha Guzvic

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.

Creator of the simple but quite effective sans caps face Wapo (2011-2012).

Behance link. [Google] [More]  ⦿

Sketch

Swiss web site. Using iFontMaker, Sketch created Leaded (2011). [Google] [More]  ⦿

Smart Chess
[Harry Oesch]

Harry Oesch designed a free TrueType chess font that comes with SmartChess. Old link. [Google] [More]  ⦿

Sokratype
[Timm Suess]

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.

Old Sokrates page. Fontspace link. Dafont link. Abstract Fonts link. [Google] [More]  ⦿

Spaceports

For 95 Swiss francs, they will make you a handwriting font. Free sample fonts: Mario02 (1999), Rolando02 (1999), Rolando (1999). [Google] [More]  ⦿

Stéphane Delgado

Designer at the Lausanne-based foundry Optimo. Designer or co-designer of DetroitMM (1997), Kabin, Kornkuh. [Google] [More]  ⦿

Stefan Schlageter

Graphic designer and illustrator in Lausanne. He created the experimental face Sulu (2009) while taking a course with Clotilde Olyff. [Google] [More]  ⦿

Stefanie Preis
[Burri-Preis Graphic Design]

[More]  ⦿

Stephan Mueller

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). FF Screen Matrix (1995) was done with Cornel Windlin. In 2003, he created the Numberplate series covering Belgium, France, Italy and Switzerland.

View Stephan Mueller's typefaces. [Google] [MyFonts] [More]  ⦿

Stirling Tschan

Graphic designer in Bern. He created a squarish alphabet called Abdul (2010). [Google] [More]  ⦿

Strichcode Barcode Standard Softwareprodukte (OPAL)

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]  ⦿

Studio Hollenstein
[Albert Hollenstein]

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).

Catalog of the serif faces at Hollenstein Phototypo. Hommage by Peter Gabor. FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Subtitude
[Sébastien Théraulaz]

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).

MyFonts site. Dafont link. Behance link. [Google] [MyFonts] [More]  ⦿

Susanna Stammbach

Susanna Stammbach (b. 1957) runs her own information systems&signage design studio in Basel and teaches at the Hochschule für Gestaltung in Luzern, Switzerland. [Google] [More]  ⦿

Swiss Calligraphy Society

Schweizerische Kalligrafische Gesellschaft. [Google] [More]  ⦿

Swiss Federal Institute of Technology

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
[Xavier Encinas]

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 Miss
[Tina Roth Eisenberg]

Design blog by Tina Roth Eisenberg (Switzerland&New York City). Has subpages on type design. [Google] [More]  ⦿

Swiss Type Design

Comprehensive pages on 20th century Swiss type design, compiled in 2008 by the Departement of Visual Communication, University of Art and Design Zurich. [Google] [More]  ⦿

Swiss Typefaces
[Ian Party]

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:

  • Romain BP and Romain BP Headline (2007). Party writes: 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..
  • Sang Bleu (2008), designed for the magazine SangBleu. This is a fantastic set of fonts based on the structure of Romain du roi. The collection also extends to extremes unusual like the Hairline Compressed or the Hairline Sans, providing graphic designers very strong stylistic tools. It includes light serif faces and very structured and geometric sans faces. I expect this project to be showered with awards. In 2014, Romain and SangBleu will be combined in a new SangBleu.
  • Celsiane (2007), a sans face with a chiseled-in-stone feel. Still being developed, it is based on Party's work at ECAL in 2004.
  • Esquire (2009): A custom headline face originally designed in 2007 for the gentleman's magazine Esquire under the art directorship of David McKendrick. It will be commercially released in 2009.
  • Aurora (2008, an experimental geometric face): not available.
  • Hebdo (2008): a private typeface for the swiss news mag L'Hebdo. It has two slab weights and nine sans weights.
  • Rosette BP: a serif face under development.
  • Didot BP: Codesigned with Maxime Buechi in 2003, this will be released in the spring of 2009.
  • La Police BP is a serif face by François Rappo.
  • Folkwang (2008): an exploration in the area of artsy transitional faces.
  • Codesigner in 2006 with Maxime Buechi of a corporate typeface for the Centre for Curatorial Studies Bard&Hessel Museum, New York.
  • BP Diet (2009) is an extremely fat and rounded jello-fed typeface. Chris Lozos calls it morbidly obese.
  • Suisse BP International (2011) by Ian Party is a very "Swiss" sans family by Ian Party. At the start of 2014, the Suisse collection consists of Suisse Works (a serifed family), Suisse Neue (with small slabs and/or serifs) and Suisse International (a sans; +Condensed, +Mono).
  • New Fournier BP (2011) is a 24-style Fournier family by François Rappo.
  • Simplon BP (2011) and its monospaced brother Simplon BP Mono (2011) were made by Emmanuel Rey. This geometric sans was made for information design purposes. Now just called Simplon.
  • Euclid Flex (2012-2013). This sans family does something unique in the type world---it uses opentype to provide a smorgasbord of alternate styles for each weight---a mammoth undertaking! These substyles are called pixel, mixed, unicase, dotted, one-line, cut, hidden, drops, contrasted, zigzag, circular, triangle, square, and street. It grew out of a 2010 typeface by Emmanuel Rey called Euclid BP.
  • New Paris (2014). A didone family with text and headline versions and a non-contrast sans version called Skyline. New Paris is characterized by soft-cornered vertices in the M, N, V and W.

Klingspor link. [Google] [More]  ⦿

SwissMad S.A.
[Nathalie Stotzer]

Swiss designer of the free fonts Swiss Made (2006, techno sans) and Swiss Mad (2006, Swiss made stencilized). Home page. [Google] [More]  ⦿

swissmiss
[Tina Roth Eisenberg]

Type blog by "Swiss Miss" Tina Roth Eisenberg, who now lives in NYC. [Google] [More]  ⦿

Sylvain Aerni

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

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]  ⦿

Synergie Ltd
[Jean-Marc Wettach]

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]  ⦿

T. Reinhardt
[FontConverter.Org]

[More]  ⦿

T. Reinhardt
[MyScriptFont]

[More]  ⦿

TambEdit
[Daniel Lüthi]

Music software by Daniel Lüthi (Tafers, Switzerland). The demo software, when unzipped, contains TambEdit, a music font for drums by Daniel Lüthi. [Google] [More]  ⦿

Tamer Köseli

Designer from Istanbul, who was born in Fribourg, Switzerland, in 1985.

He created an organic display face called Doku (2011), which can be downloaded here. Enso (2011) is a rounded stencil face. Zarif (2012) is a versatile caps typeface.

In 2012, he set up the commercial foundry Tamer Koseli. Even so, his typeface Patterns (2013, dedicated link to Forage Press) is free.

Klingspor link. Behance link. [Google] [MyFonts] [More]  ⦿

Tanya Patricia Henauer

Swiss creator of the iFontMaker font TPH Hand Ink (2010, hand-printed face). [Google] [More]  ⦿

Telepong

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]  ⦿

Thierry Ballmer

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. [Google] [MyFonts] [More]  ⦿

Thierry Blancpain

Zürich-based graphic designer (b. 1985). He designed the geometric sans face Loop (2005), the octagonal sans face Panzer Bold (2006) and Casual (2005, no downloads).

He is associated with Grilli Type in Zürich. Behance link. [Google] [More]  ⦿

Thierry Schulé
[TierSchule]

[More]  ⦿

Thomas A. Heim
[Dice]

[More]  ⦿

Thomas Ballmer
[Guerilla Grafik]

[More]  ⦿

Thomas Boucherie
[Maelle Keita]

[More]  ⦿

Thomas Eberwein

Swiss typographer at Fontnest who designed these fonts: Kalendar (a screen font?), Minaco (a screen font family), Tilt (a dot matrix font). [Google] [More]  ⦿

Thomas Hausheer

Fonts made by Swiss designer Thomas Hausheer from Hinwil: Teto (free pixel font), Shalom. [Google] [More]  ⦿

Thomas Müller

Swiss designer of Punktschrift (with Thomas Neeser) at Kombinat Typefounders. Started the Neeser+Müller Grafik design studio in Basel in 1997. [Google] [More]  ⦿

Thomas Neeser

Swiss designer of Punktschrift (with Thomas Müller) at Kombinat Typefounders. Started the Neeser+Müller Grafik design studio in Basel in 1997. [Google] [More]  ⦿

TierSchule
[Thierry Schulé]

TierSchule is Thierry Schulé's studio in Yverdon-les-Bains, Switzerland. Born in 1978, Thierry created the cargo stencil typeface Pack'In in 2014.Dafont link. [Google] [More]  ⦿

Timm Suess
[Sokratype]

[More]  ⦿

Timo Gaessner
[MilieuGrotesque]

[More]  ⦿

Timo Gaessner
[123 Buero]

[More]  ⦿

Tina Roth Eisenberg
[Swiss Miss]

[More]  ⦿

Tina Roth Eisenberg
[swissmiss]

[More]  ⦿

Tino Mendes

Brazilian/Swiss design student and freelancer in Barcelona. In 2014, during his studies, Tino created the modular typeface Paragon Cleaners. Behance link. Home page. [Google] [More]  ⦿

Tiziana Haug
[in the habit]

[More]  ⦿

Tobias Gutmann

Swiss type designer (b. Papua New Guinea) who created the fat finger face 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.

Volcano Type link. [Google] [MyFonts] [More]  ⦿

Tobias Rechsteiner
[grotesk cc]

[More]  ⦿

Tobias Sommer

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 face based on an earlier block font by him called Block On), Teatral and Teatral Fill (gorgeous Western circus style decorative faces), 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 octagonal0, Pixel Pandemonium, Tradita, Frostletter (blackletter), Scrambled Script (blackletter), Circle Cult (circle-themed sans).

Typefaces made in 2012: Apodosa (octagonal).

Dafont link. Fontspace link. Blogspot link. Klingspor link. Abstract Fonts link. [Google] [More]  ⦿

Todd Fahrner

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]  ⦿

Type Culture
[Mark Jamra]

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:

View Mark Jamra's typefaces.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Type Dynamic

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 humanistic, 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).

Behance link [Google] [MyFonts] [More]  ⦿

Type for type
[Lorenz Lopetz Gianfreda]

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]  ⦿

Typobasel

The site of the Basel Typostammtisch, started in 2011. [Google] [More]  ⦿

Typoblog.ch
[Roland Liechti]

Swiss type blog run by Roland Liechti. Type subpage. Free font subpage. [Google] [More]  ⦿

Typodog (or: Onezero)

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, Zone. Alternate (old) URL. [Google] [More]  ⦿

Typogama
[Michael Parson]

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 2006, he released these at T-26: Boutan (Indic simulation face), Heraldry (dingbats), Palm Icons (dingbats for golf), Wingbat (aircraft dingbats).

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),Fuera (2011, bilined face, T26).

In 2013, he published Calvin (a sans family, T26: the weights range from hairline to heavy black), Selecta (an organic rounded sans, T26), Thunderbolt (an octagonal army style typeface family with a military stencil, T-26), Xcetera, 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 (a bold prismatic display typeface inspired by the work of Nedo Mion Ferrario in Venezuela), Quam (an elliptical sans family), Pictypo (a useful icon typeface).

In 2014, he updated the interlocking poster display face Tinsel (T26---original from 2010) and published the fantastic cartoon / comic book typeface family Bangbang. Siggy (2014) is a funky typeface. Vulgat is a vibrant display typeface based on uncial letterforms.

Behance link. Klingspor link. Hellofont link.

View Michael Parson's typefaces. [Google] [MyFonts] [More]  ⦿

Typografische Monatsblätter

TM is a Swiss magazine involved in typography. Frequent contributors include Helmut Schmid. It is run by Comedia in Bern. The editor is Jean Pierre Graber from Zürich. [Google] [More]  ⦿

Typos

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]  ⦿

Tÿpo St. Gallen

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]  ⦿

Ueberblick: X11 fonts

German explanations on fonts in X11. At the RZU (University of Zürich). [Google] [More]  ⦿

Urs Lehni

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
[Urs Oswald: Bezier Curves]

[More]  ⦿

Urs Oswald: Bezier Curves
[Urs Oswald]

URS Oswald explains Bezier curves in a simple and authoritative manner. Includes material on MetaPost. [Google] [More]  ⦿

Valentin Brustaux

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]  ⦿

Valentin Hindermann
[Elektrosmog]

[More]  ⦿

Vanessa Benvenuto

Graphic design student in Zurich. Creator of the hand-printed typeface Rennie (2012). [Google] [More]  ⦿

Verein Schweizer Straßenfachmänner Foundry

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]  ⦿

Vincent Sahli

Codesigner of Cointrin (1998) with Kimou Meyer at Grotesk, a design bureau in Geneva, Switzerland. [Google] [More]  ⦿

Viviane Jalil

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]  ⦿

VSM Schriftsatz fur PC und Mac

Truetype font service in Switzerland. [Google] [More]  ⦿

Walter Ballmer

Swiss graphic designer, b. 1923. Toto's K22 Stile Ballmer (2011) is a free art deco face 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. We 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.

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]  ⦿

Walter Friedrich Haettenschweiler

Swiss type designer, b. 1933, Zug. He created Schmalfette Grotesk (1954). He is most famous for the black headline face 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).

Klingspor link. [Google] [MyFonts] [More]  ⦿

Walter J. Diethelm

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.

Digitizations include Sculptura (by Jason Castle in 2005), Seta Reta NF (2010, Nick Curtis, after Arrow), and Diethelm AR (2011, Ari Rafaeli, after Diethelm Antiqua, 1945).

Klingspor link. Swiss type design link. Swiss Type Design on Diethelm Walter. [Google] [MyFonts] [More]  ⦿

Walter Käch

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
[Johann Terrettazz]

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]  ⦿

WaterGisWeb AG

Free geographical symbol fonts by WaterGisWeb AG in Bern, Switzerland: WEA_GSK, WEA_Geologie, WEA_Wasserkraft. [Google] [More]  ⦿

Werner Affolter
[Affolter und Gschwind AG]

[More]  ⦿

Wilhelm Haas the Elder

Wilhelm Haas the Elder (d. 1800) inherited and led the Haas typefoundry in Basel at the end of the 18th century. [Google] [MyFonts] [More]  ⦿

Wilhelm Haas the Younger

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]  ⦿

Willi Kunz

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]  ⦿

Wolfgang Weingart

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]  ⦿

Xavier Encinas
[Swiss Legacy]

[More]  ⦿

xyz.ch
[Alexander Colby]

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 faces:

Since 2010, partner with Timo Gaessner in Milieu Grotesque. [Google] [More]  ⦿

Yassin Baggar

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.

Behance link. [Google] [More]  ⦿

Yves Bachmann

Zurich-based illustrator and art director who made the octagonal face Qbik in 2010. Home page. [Google] [More]  ⦿

Zuricher Kanzleischrift

This Zuricher Kanzleischrift dates back to 1553. [Google] [More]  ⦿

Zürcher Hochschule der Künste (or: Typetypo)

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]  ⦿