Linotype Brochure HVD Fonts by Hannes von Döhren

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Quench® Opal

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Snoogle

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Chino Display ™

Chino

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Introduction

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Quench®

Opal

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Snoogle

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Chino Display

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Chino

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� practice without pedagogy Typeface design is a craft in which

von Döhren drew a connecting script version for those special occasions

visual acuity, a love of letterforms and design talent are combined in

when a simple italic is not enough. Snoogle would be just another

a unique and remarkable manner. Type design tends to be a self-taught

overstuffed, Bauhaus-esque typeface were it not for the extensive

skill – one that a formal education can augment, but not one that

set of ligatures and dingbats von Döhren drew to augment the design.

requires it. A formal education may be beneficial in refining the skill,

Although the typeface is a sans-serif design, it takes on a script-like

but Hannes von Döhren proves that it is not an absolute prerequisite.

quality when the ligatures are used. Von Döhren collaborated with

His first commercial typeface design, Quench, is marked by a charming

Livius Dietzel on the Chino typeface family. It is a suite of three

juxtaposition of inside and outside forms. Character counters are nearly

designs: a very light and a very heavy weight for display work, and

straight and are defined by right angles, while the outside curves are

a collection of text fonts for long blocks of copy. As with von Döhren’s

smooth and rounded. Opal is one of von Döhren’s more serious designs

other typefaces, the display versions of Chino are quite fanciful –

to date. A serif design with a hint of Eastern European influence, Opal

they are almost a mono-line vertical script. The text designs, however,

is a small family consisting of a Roman, an Italic and a Bold. In addition,

have a more conservative demeanor.

Interview

“My teacher was – and still is – the typefaces themselves.” Interview by Allan Haley

“I am always looking at typefaces and lettering. You can learn so much by carefully observing well-drawn characters. I wanted to understand exactly how they were built.” Von Döhren did study graphic design, and his first job was in a large advertising agency. Now he focuses on a lifelong passion: type design.

� Allan Haley: How did you gravitate to typeface design?

were so bad that I should let them rot in the drawer. So I launched my

� Hannes von Döhren: I studied graphic design & advertising in school,

own website, hvdfonts.com, to distribute them for free. I began to make

but I was also very interested in typography. After graduation, in 2005,

fonts for my graphic design projects and got more and more into type

I began to work for a large advertising company but, in my free time,

design. In 2007 I designed my first larger type family, which I named

I also created fonts just for fun. I started experimenting with letters.

Quench. It consists of four fonts and is distributed by Linotype. For a

For example, I made a Bodoni out of letters carved into potatoes and

little over a year, I have been working as a freelance graphic and typeface

called it HVD Bodedo. I also cut “beautifully ugly” letters out of dirty

designer in Berlin. My first type designs were display faces, but lately I

paper and named that design HVD Rowdy. I didn’t think that these early

have been interested in drawing text typefaces and larger type families.

designs were good enough to sell – but I also did not think that they

Linotype and ITC are releasing my newest designs.

About the Designer

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� What is the most rewarding aspect of designing typefaces?

script design.” The idea grew into the Opal typeface family which, when

� I think the best feeling is to walk the streets and discover a typeface

I was done, also had a suite of swash letters, borders and ornaments.

of mine in use – or go to the bookstores and find one in a beautiful book.

� Snoogle is another example. The basic design is a simple super bold

Some time ago, I went to Footlocker and saw that all of the company’s

typeface with rounded shapes. My idea was also to create many liga-

pricing was set in my typeface HVD Comic Serif. That was a nice feeling.

tures for the design, so individual words and headlines would look like a handlettered script.

� What is the most aggravating?

� I designed Chino together with Livius Dietzel, this is the largest type

� You need a lot of discipline to complete a typeface design. This is

family that I have drawn so far. It is a sans-serif that consists of ten text

because it’s not just about drawing the letters A through Z. The alphabet

typeface weigts intended for setting long blocks of copy and two, much

has 26 letters but, to make a fully developed typeface (one that can be

more distinctive, display designs that are still obviously design-related

used for Western and Central European languages), you have to create

to the text faces.

round about 400 to 600 glyphs — for each weight in a type family. The glyphs must be consistent in design and have proper spacing and

� What training did you have to learn the craft of typeface design?

kerning. This is a lot of hard – and sometimes tedious – work.

� I didn’t have a mentor or professor – or have any formal training. My teacher has always been the typefaces themselves. Studying good

� What drives you to create new typeface designs?

typeface designs can teach you a lot. Before I began work on my

� I’m always looking at type around me. I like to see beautiful letters

first text typeface, for example, I looked at hundreds of text typefaces,

and words. Ideas come into my mind that may be the concept for a

compared them to each other and determined what made some

complete type family – or just a small element for one letter. I often just

successful – and others not. With every typeface I design I always learn

play with an idea, creating just a few letters, but sometimes I find

something new.

myself drawing more and more letters and, before I know it, I’m into my next big type project.

� Where can people buy your fonts?

� Sometimes I think, “The typeface for that purpose hasn’t been created

� My website www.hvdfonts.com shows all my fonts; from there you

yet. I have to do it.” My “Opal” design is an example of this. I thought,

can link to the font stores at Linotype, ITC, MyFonts and T26. These are

“No one has created an Antiqua with an Italic – and a complementary

the foundries that distribute my fonts.

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Square Pants & Brush Italics

Family

Quench Pro Regular Quench Pro Italic Quench Pro Bold Quench Pro Bold Italic

About the Typeface

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Quench Pro is a fun and unique typeface. It is unmistakably characterized by its strong contrast of inside and outside forms. The counters are nearly straight and have many right angles. Conversely, the outside curves are smooth and rounded making them soft and almost bubbly. The italics have juicy curves reminiscent of brush lettering. Used together or individually, the four weights and styles can be used for a wide variety of projects including magazines, advertising and branding.

Quench Pro

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La última gota que hace rebasar la copa

Lemonade Vi skulle kunna dricka en kopp kaffe på ett kafé.

So Refreshing

Saftläden Let’s buy some drinks and chill.

Regular

Italic

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Bold

Bold Italic

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Accents & Additional Glyphs

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ized by its strong contrast of inside and outside forms. The counters are nearly straight and have many right angles. Conversely, the outside curves are smooth and rounded making them soft and almost bubbly. The italics have juicy curves reminiscent of brush lettering. Used together or individually, the four weights and styles can be used for a wide variety of projects including magazines, advertising and branding. Quench Pro is released by Linotype and can be purchased on www.linotype.com. Quench Pro is a fun and unique typeface. It is unmista-

9/11 pt

7/9 pt

10/13 pt

14/17 pt

8/10 pt

Quench Pro is a fun and unique typeface. It is unmistakably characterized by its strong contrast of inside and outside forms. The counters are nearly straight and have many right angles.

12/15 pt

Quench Pro is a fun and unique typeface. It is unmistakably characterized by its strong contrast of inside and outside forms. The counters are nearly straight. 18/22 pt

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Quench Pro

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Family

Opal Pro Regular

Opal Pro Bold

incl. Small Caps incl. Ligatures incl. Borders & Ornaments

Opal Pro Italic

Opal Pro Script

incl. S�� C�� incl. Ligatures incl. Swash Letters incl. Borders & Ornaments

incl. Ligatures incl. Swash Letters incl. Borders & Ornaments

X About the Typeface

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Opal Pro is a text face with a noble feeling, yearning for luxury and still delivering. Because of the long ascenders that rise clearly above the capital letters, Opal should be set with generous line spacing. The typeface’s design has the attributes of the oldstyle Renaissance serifs, yet Opal is not based on any specific predecessors. Through undulating strokes and sharp corners, a cutout feeling is created; Opal’s letters sport inktraps at stroke junctions, which strengthen this image in larger point sizes even further. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves. In addition to an Italic and Bold variant, Opal Pro has a Script member of the family. Opal Pro Script is perfectly suited for additional text emphasis, or as an alternative to the typeface’s Italic.

Opal Pro 15 15

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King Arthur & Queen Géraldine

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Borders & Ornaments

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Opal Pro 17

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Italic

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additional text emphasis, or as an alternative to the typeface’s Italic.

7/10 pt Opal Pro is a text face with a Noble Feeling, yearning for luxury and still delivering. Because of the long ascenders that rise clearly above the capital letters, Opal should be set with generous line spacing. The typeface’s design has the attributes of the oldstyle Renaissance serifs, yet Opal is not based on any specific predecessors. Through undulating strokes and sharp corners, a cutout feeling is created; Opal’s letters sport inktraps at stroke junctions, which strengthen this image in larger point sizes even further. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves.

Opal Pro is a text face with a Noble Feeling, yearning for luxury and still delivering. Because of the long ascenders that rise clearly above the capital letters, Opal should be set with generous line spacing. The typeface’s design has the attributes of the oldstyle Renaissance serifs, yet Opal is not based on any specific predecessors. Through undulating strokes and sharp corners, a cutout feeling is created; Opal’s letters sport inktraps at stroke junctions, which strengthen this image in larger point sizes even further.

Opal Pro is a text face with a Noble Feeling, yearning for luxury and still delivering. Because of the long ascenders that rise clearly above the capital letters, Opal should be set with generous line spacing. The typeface’s design has the attributes of the oldstyle Renaissance serifs, yet Opal is not based on any specific predecessors. Through undulating strokes and sharp corners, a cutout feeling is created; Opal’s letters sport inktraps at stroke junctions, which this strengthen image in larger point sizes even further. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the

6/9 pt Opal Pro is a text face with a Noble Feeling, yearning for luxury

and still delivering. Because of the long ascenders that rise clearly above the capital letters, Opal should be set with generous line spacing. The typeface’s design has the attributes of the oldstyle Renaissance serifs, yet Opal is not based on any specific predecessors. Through undulating strokes and sharp corners, a cutout feeling is created; Opal’s letters sport inktraps at stroke junctions, which strengthen this image in larger point sizes even further. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves. In addition to an Italic and Bold variant, Opal Pro has a Script member of the family. Opal Pro Script is perfectly suited for

9/12 pt

10/14 pt

8/11 pt

12/16 pt

18/23 pt

Opal Pro 19

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Snoog Square Pants & Brush Italics

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99 Ligatures & 99 Dingbats

Family

Snoogle Pro Snoogle Dingbats

About the Typeface

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Snoogle Pro is a friendly, round display typeface. Its character set contains 99 ligatures, which

may be automatically implemented in OpenType-savvy applications. These give Snoogle the feeling of a script face, as opposed to normal rounded types. Snoogle’s text variant is complimented by a Dingbats font, including further design elements as well as pictogram figures. Hannes von Döhren collaborated with Raimo Böse on the Snoogle project.

Snoogle Pro 23

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Snoogle Pro is a friendly, round display typeface. Its character set contains 99 ligatures, which may be automatically implement in OpenType-savvy applications. These give Snoogle the feeling 18/24 pt

Snoogle Pro is a friendly, round display typeface. Its character set contains 99 ligatures, which may be automatically implement in OpenType-savvy 24/30 pt

Basic Glyphs

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Ligatures

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Accents & Additional Glyphs

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Snoogle Pro 25

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99 Dingbats

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Snoogle Pro 27

Chino D Chino ™

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Square Pants & Brush Italics

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Concrete vs. Feelings

Display Family

Chino Pro Display Thin Chino Pro Display Ultra

Ultra

Thin

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About the Typeface

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Chino Pro Display is a specialized two-font family for big sizes and extraordinary tasks. It consists of a very thin and a very heavy weight, showing the maximum contrast possible. The focus of the design lies in its contrast between curly elements and straight stems. The font balances playfulness and thoughtful clarity. Its friendly and remarkable appearance makes it suitable for contemporary design (e. g. fashion, music or food industry). Chino Pro Display fits perfectly together with the Chino text fonts. Chino Pro Display is designed by Hannes von Döhren and Livius Dietzel and will be released by ITC.

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Chino Pro Display 31 31

Wording

Apple Cinnamon Pie

Quarkcrème

Pumpkins Radio City Music Hall

Snacks

“We �et 3 Choco Macchiato�, plea�e!”

Text Family *

Chino Pro Light Chino Pro Regular Chino Pro Medium Chino Pro Bold Chino Pro Black

Chino Pro Light Italic Chino Pro Regular Italic Chino Pro Medium Italic Chino Pro Bold Italic Chino Pro Black Italic

* Each font includes Small Caps.

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yksax gla 25067 egn &?£” Chino Pro is a companion family for Chino Pro Display. It is a sans-serif typeface consisting of 10 fonts from light to black, including small caps. Although Chino Pro is redrawn from scratch, the basic concept of the Chino Pro Display, with its playful and vivid elements, can still be recognized. Chino Pro is a contemporary and clear typeface intended for professional editorial design and fine print, but still has enough cheerful energy to lend gentleness and personality to a text. The large character set, with its small caps, arrows, accents and nine different sets of numerals, makes it suitable for highly-professional use. Chino Pro is designed by Hannes von Döhren and Livius Dietzel for ITC.

Chino Pro 33

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Schokobrunnen

Feeling Free

Drive

Stadtgefl端ster in Kreuzberg

Aquarium Abenteuerspielplatz

750 pt

Chino Pro 35

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Light Italic