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

  • Photo Fabio Blaser, Exhibition curated and designed by Juliane Wolski from 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.







  • Linotype Faces, printed by the Mergenthaler Linotype Company, Brooklyn, New York, 1930.

  • Linotype Faces, printed by the Mergenthaler Linotype Company, Brooklyn, New York, 1930.

  • Binder of Rochester Monotype Composition Company, ca 1950.

  • American Specimen Book of Type Styles, American Type Founders Company, 1912.

  • Old newspapters can be an rich source, Berner Zeitung, 1982.

  • Histoire de l'imprimerie par l'image: Esthetique du livre, Volume 3, Henri Jonquieres, 1929.

27.
10.
2019

The past and future

Typography is a progressing matter. The evolution of typefaces is made with constant small steps. Each generation of designers and engineers contributes to this long dialogue over shapes and the relation between them. 

The past is part of the future, since reading and writing are based on conventions. Some of these conventions are more elementary; the uppercase T is two lines, one horizontal the other vertical which are centred. Other conventions are more flexible and open new possibilities.

The type design is based on the underlying technology. For example, a font who was designed for letterpress has to be translated into a digital font. It is not possible to just transfer it from one technique to another.

An important source are old specimen books from the 19th century. These publications were made by the font publishers for print shops to decide which fonts to order and to use in their work. Over the years I have collected a small compilation of these books and some interesting printed matter; here are some of my favorites.







  • Beautiful example from Valparaíso, Chile.

  • Street sign from the Barrio Providencia Area in Santiago de Chile.

  • An astonishing  manner to display house numbers in Valparaíso.

  • Bold letters who stand for tradition, placed in Montevideo Uruguay.

  • Lovely house numbers found in Barrio Italia Santiago de Chile.

  • A fun mix of letters found in Valparaíso.

  • Interesting manner of writing numbers out of one metal, found in Limache Chile.

  • A signe which was a great influcen for the font Faro, from Montevideo Uruguay.

08.
09.
2019

Fonts outside

Its quit common to have a habit of collecting as a designer. I have a great passion for evening outdoor typography; from signs to walls from paint to vinyl.







  • Cádiz Bold and Beirut Display Black collaborate fine due their expressive temper and their great distinction.

  • Koper SemiBold and Spezia SemiMono Medium unites its particular rhythm.

  • Buenos Aires SemiBold with Spezia Narrow Regular is a crisp mix of sanserif fonts.

  • Lynstone SemiBold and Recife Text Medium unite a genuine and elegant style.

  • Nantes Regular in combination with Spezia Extended Book giving a lush a mondain feel.

  • Messina Sans Bold with Messina Serif SemiBold is a classic grotesque-serif combination.

  • Faro Display Lucky together with Messina Modern Regular, difference attract and makes it outstanding.

27.
08.
2019

Combining Typefaces

Combining fonts can be a solid base for graphic design systems. The possibilities are shear endless; playing with contrasts, making unexpected relationships or creating balance. Here are some samples of interesting mixes.  







  • Luzi TypeA

  • Luzi TypeB

  • Luzi TypeC

  • Luzi Type

  • Luzi Type

25.
05.
2019

Mr.Bee

The designer Diano Kitanovski based in Ljubljana created the visual identity of the honey company Mr.Bee. The elegant design is based on homogeneous form language and haptic experience.






  • Luzi Type

  • Luzi Type

  • Luzi Type

  • Luzi Type

28.
02.
2019

Massachusetts Institute of Technology

Upstatement the design studio based in Boston redesign and produced the website of the MIT (Massachusetts Institute of Technology). Messina Sans is used for the complete university website.






  • Luzi Type

  • Luzi Type

  • Luzi Type

  • Luzi Type

  • Luzi Type

  • Luzi Type

28.
01.
2019

“Un herbier de Montréal”

The Montreal based design studio Nouvelle Administration used Nantes for the book “Un herbier de Montréal” published at La Pasteque.






  • Luzi Type

  • Luzi Type

  • Luzi Type

  • Luzi Type

  • Luzi Type

  • Luzi Type

16.
12.
2018

MJ2B

The Bern based design studio Atelier Pol designed the corporate identity of the architects MJ2B. The developed grid system based on the address block defines the uniform design through all applications. The minimalist typographic approach works without the additional use of a graphic mark.






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