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Astronaut and Mission Specialist Ellen Ochoa on the Discovery mission in 1993, NASA image library.

01.
10.
2021

Let’s talk about space

I often get ask about horizontal and vertical spaces of fonts. Here is a short overview on; spacing, kerning, tracking and line-height. 

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Licencing can seem difficult, we try to make it easy!

12.
08.
2021

All about Licencing

A Licence gives you a specific right to use a typeface. It defines how and on which medium a font can be used. These rules are defined in the End User Licence Agreement.

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web typography

01.
03.
2021

Web typography

This article covers a brief introduction in to web typography and different thoughts on variable web fonts.

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Example made by Yport SemiBold

19.
10.
2020

Its the pen

An overview of the design process of Yport; the grotesque typeface with calligraphic expression.

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Moka Express from the designer Alfonso Bialetti, 1933, Foto Herbert Goetsch

Moka Express from the designer Alfonso Bialetti, 1933, Foto Herbert Goetsch

21.
08.
2020

The Shapes and its Feel

Type can transport more than its written content, objects as well.

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  • Corporate Identity by Jaehoon Choi

  • Corporate Identity by Jaehoon Choi

  • Corporate Identity by Jaehoon Choi

  • Corporate Identity by Jaehoon Choi

  • Corporate Identity by Jaehoon Choi

  • Corporate Identity by Jaehoon Choi

  • Spatial Design and Photography by Giseok Kim

  • Spatial Design and Photography by Giseok Kim

  • Corporate Identity by Jaehoon Choi

17.
06.
2020

Studio Simdo

Studio Simdo is black and white photography studio located on Seochon village in Seoul. The designer Jaehoon Choi organised the brand identity with a variable typographic grid system using Messina Sans and Optical illustration from “Cyclopædia: or an Universal Dictionary of Arts and Science” by Ephraim Chambers from 1728. The logotype designed with repetitive form of its name “Studio Simdo”.

The typographic system is applied on different types of printed matter with the clamp shape as section dividing and a numeric system from the Gray-scale value tabel which is used frequently in black and white photography. The original hand-drawn optical illustration from ‘Cyclopædia’ are applied as symbolising the principles of lens and camera. Spatial Design and Photography by Giseok Kim.







Type
a
Design
Space
Spezia Font Luzi Type Foundry
23.
04.
2020

Type; a Design Space

Summary of the design process from 2017 until 2020 of Spezia and Spezia Serif

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  • Photo Fabio Blaser, Exhibition Poster by Marc Zenhäusern (Atelier Pol)

  • Photo Fabio Blaser, Exhibition curated and designed by Juliane Wolski (Atelier Pol)

23.
02.
2020

Exhibition Digital Type Hype

Technical and cultural developments shape the form of fonts and how they are used. How will we deal with and work with typography in the future? The “Digital Type Hype” exhibition offers an inventory and orientation.

Luzi Type has contributed with its variable font Spezia. The exposition is in the School of Design Bern and Biel (Sfgbb) and open until 04th of April 2020.

Exhibition curated and designed by Juliane Wolski (Atelier Pol), exhibition poster by Marc Zenhäusern (Atelier Pol). Exhibition construction by the Sfgbb exhibition team.

Find more information at www.sfgb‑b.ch.







  • Jimmy Durante and Buster Keaton got it; every size it’s design (Film Still, 1933).

  • Two version of the font Caledonia, (from Book Letters of Credit).

  • Bembo in 12, 8 and 6 point, as fonts gets smaller lowercase are bigger (from Book Letters of Credit).

  • Proportions of ascender and descender from 5 to 72 points, (from Book Letters of Credit).

  • The upcoming font Spezia Serif with 3 axes; weight, width and optical size.

28.
01.
2020

Every Size it’s Design

Back in 2015, the book ”Letters of Credit” was recommended to me. An astonishing overview of type design by Walter Tracy from 1986. It gave me great new insides, especially the chapter regarding proportions.

In it Tracy explains how in metal type each font size had its own design. The idea followed me since.

Smaller sizes had larger lowercase which makes counterforms more open therefore better readable. Details are added and contrasts increases as the font gets larger. This gives headline a more pronounced voice and makes fonts usable in scrolling text. A part of the quality seen in letterpress books is due to this concept.

I was delighted to see in 2017 the introduction of variable fonts. It gives the designer again a convenient access to individual designs for each sizes. I am currently finalising Spezia Serif, a typeface with 3 Axes; weight, width and optical size.







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