Offizin is the last typeface by Walter Tiemann initially released in 1952 with Gebrüder Klingspor in Offenbach, Germany. Tiemann died in 1951 but had already developed a regular cut and an accompanying italic, as well as some key characters for a possible semi bold style all cast on the same width. The original specimen describes the design as clear and legible and uses the German phrase ‘Gebrauchs-Antiqua’, which translates to something close to all-purpose antiqua. During the last year this design was digitally reinterpreted to become a contemporary typeface. The specimen contains an essay on Yona Friedmann by Sebastian Beinhofer.
Hotbits is a collection of different pixel based designs and technologies ranging from romanesque churches to 90s videotext. The book is split into two sections. The first gives the viewer the possibility to discover the grid behind the design and more background research. The second part is a free graphic exploration of the systems found. The project was guided by Julia Born at ECAL.
Fritz Helmut Ehmcke was a German graphic designer, illustrator and architect. His typeface “Latein”, a geometrically constructed slab serif, was released in 1925 with Ludwig & Mayer, predating the pioneers of geometric designs Futura (1927) and Erbar Grotesk (1926). In fact he had already worked on a geometric Sans as early as 1914, but interestingly his work is not very well known. With this historical context in mind, I started to redraw the “Latein” and tried to bring it to the 21st century by emphasising its constructed and geometric nature. The project was developed at ECAL under the supervision of Alice Savoie and François Rappo.
Monty is a text typeface inspired by British humour and its absurdity. The unusual features and round terminals create a lively texture when set in text, while at large sizes the curvy details and sharp corners come to show. The typeface is available in two weights, Light and Bold at ecal-typefaces.ch.
Typeface design based on the TypeCooker website.
In my bachelor thesis at Hochschule Augsburg I took a closer look at what can be done with variable fonts. They are being described as a significant change in font technology, even though the same technology was introduced and shortly after discontinued in the nineties. So I designed one myself and experimented with new ways of implementing this variable font format.
Far away from professional Type Design, there has always been a parallel universe of amateurs and handy men. In Contrast to the expert the amateur works casually and improvises. He creates upon need, to find a solution to the problem. In his work The Savage Mind the french ethnologist Claude Lévi-Strauss makes use of the term Bricoleur as a counterpart to Ingenieur. In a semester project we explored this approach. We tried out different techniques from the present and the past and dealt with abstraction and restriction, to draw from our Savage Mind.