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We have the bestest typefaces* * you don't wanna mess with this.
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Jeder sieht, was du scheinst. Nur wenige fühlen wie du bist. GT Haptik is a grotesque typeface with a very special characteristic: Its uppercase letters and numbers are optimized to be read blindfolded and by touching them. Therefor these glyphs are monoline and geometrical. Optical criteria become secondary. This gives the typeface a weird but also very charmful touch that plays well not only in display sizes, but also for text use.
defining of the basic shapes
Daniel Bär
xylophonmusik quält jeden grö eren zwerg
Polyfon zwitschernd allen Mäxchens VöVö gel Rüben, Joghurt und Quark.
20 pt / 275%
Mäxchens Vögel Rüben, Jo ghurt und Quark. Die hei e Zypernsonne quälte Max und Victoria ja böse auf dem Weg bis zur Küste.
Polyfon zwitschernd a Kein Mäxchens VöVö gel Rüben, Joghurt und Quark. Die hei e Zypernsonne quälte Max und Victoria ja
Barhumgesonf garned BARHUMGESONF game 90 pt / 265%
90 pt / 20%
90 pt / 325%
GT Haptik Tobias Rechsteiner & Reto Moser, grotesk.cc
abcdefghijklmnopqrstuvwx yzaBCDeFGHiJkLMOpQRs TuvWxYZ1234567890!”# $%&’()*+ ,-./:;<=>?@[\]^_ `{|}~¢£¥¨©«®´¶•¸»¿ÀÁÂà ÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØÙ 50.— t u c 1 ÚÛÜÝßàáâãäåæçèéêëìíîïñò 40.— r e t s o p óôõö÷øùúûüýÿŒœŠšŸŽžˆˇ ˚˜–—‘’‚“”„•…‰‹›€™≠
Rüben, Joghurt und Quark. Die hei e Zyper nsonne quälte Max und Victoria ja böse auf dem Weg bis zur Küste.
50 pt / 50%
The Tactile Poster —Close your eyes — Try to palpate the text on the poster
Following the starting idea of giving the graphic designer the role of a contributor and not just a user of fonts, Daniel Bär developed the descendant of GT Skeletor (2009, Grilli Type). Rohbau lost the mechanical character of its monospace ancestor. The now humane letter structure of the matrix counteracts the mathematical logic of the generated fonts which results in surprising, unexpected forms and characters.
GT Rohbau
* free cuts from the growing GT Rohbau online library
Rohbau will never be finished. It represents a font-model based on digital manipulation. The façades of the skeleton are generated following mathematic structures, and not the flowing movement of a designers hand. The result is a large family with a big amount of uncommon designs ranging from well-behaving text fonts unto disfigured and unreadable display-bastards. The richness of the Rohbau system is depending on the will of the contributors to participate in the developpement by sharing their creations online.
Ludwig Mies van der Rohe
Everything depends on how we use a material, not on the material itself.
Overview
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refroidir
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GrilliType
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GT Haptik regular
GT Walsheim
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GrilliType est étonné : lorsqu'on découpe un gigot cuit à la Rôtisseuse-Pâtissière La Cornue, de l'extraordinaire quantité de jus qu'il contient après cuisson, tandis qu'il est cuit à point dans toute sa masse.
GIG
CE
medium black ultra
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001-regular 001-heavy 002-italic 003-black
GrilliType
pour tous renseignements s'adresser Ă :
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GT Rohbau
m uSI
GT Lena
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De la
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en effet une récente invention permet d’adapter au phonographe l’amplification BF et le haut-Parleur du poste tsF et permet des auditions d’une pureté inconnue jusqu’à ce jour
avant toute chose!
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GT Lena regular
du chateau de la galère
étude de M e F.Gazagnaire, notaire à Cannes
GT Rohbau
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Aux
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001-regular 001-heavy 002-italic 003-black
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2 0 1 1 GT Walsheim medium black ultra
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Lave Les
regular
GT Haptik
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GT HapTik
un véritable produit d’étude et d’éxpérience
CHeu
CoverGIrl
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Gt lena Eric Åhnebrink
a b c d e fg h ij k l m n o p q r s t u v w x y z a B c C D e F G G h I J K K lmMnNoOPQQrsStuvVWWXXyZZ 1234567890!"#$%&'()*+,-./ :;<=>?@[\]^_`{|} ~¡¢£¥¨©«®´¶·¸»¿ÀÁÂà ÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØÙÚÛÜßàáâãä åæçèéêëìíîïñòóôõö÷øùúûüÿŒœŸˆ˚˜–—‘’‚“” 50.— t „•…‹›€™≠ 1 cu 25.— 70.—
Typography never learned. Drawing my Typefaces and Posters.
poster pack
1 of 5 lena specimen posters
Bazaar Magazine, 1965. is she lena?
Lena is a Sans-serif typeface featuring additional letterforms for some of the letters which allows you to play with the font in order to create striking titles. Inspired by late 80', early 90' wild graphics, Gt Lena is a cover girl. She's sexy, lunatic and elegant.
So when he started designing the typeface, he took the Walsheim poster as his main reference and tried to collect the missing uppercase letters plus the numerals from other Baumberger posters. Lowercase characters were added too, trying to incorporate the spirit of the period. Walsheim has proper spacing and kerning and an expanded glyphset containing 209 characters plus one alternate udersesis characterset. In its heart it is a geometric sans serif but it has a certain roughness in its design. The caps make it a great headline font and in combination with the lowercase Walsheim is also usuable in text size.
GT Walsheim specimen poster by Noël Leu ( lithography, 2 fulltone colors.)
At first Noël Leu, the designer, was impressed by the visual qualities of the poster ”WALSHEIM NEGER” and how well the type works with the illustration. Especially the peculiar uppercase G with its very unique design interested him and soon he realized that there are other posters which type shows exactly the same G and very similar overall characteristics.
by Noel Leu
abcdefghijklmnopqrstuvwx yzABCDeFGHIJKLMnoPQR STuVWXYZ12345 67890!"#$ %&'()*+,-./:;<=>?@[\]^_`{| }~¡¢£¥§¨©«®¯°´¶·¸»¿ÀÁÂà 1 cut 50.— Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ð Ñ4 cÒ ÕÖØ utsÓ Ô 1 (medium 50.— ,b ÙÚÛÜÝÞßàáâãäåæçèéêëìíîï black, u old, ltra) ðñòóôõö÷øùúûüýþÿıŁłŒœŠ poster 50.— šŸŽžˆˇ˘˙˚˛˜˝–—‘’‚“”„†‡• …‰‹›€™≠ GT Walsheim in use „This book is not for children and morons.“ by Noël Leu
Otto Baumberger was one of the great early Swiss poster designers. Quoted above, Baumberger stated that he never really had an education in typography. He invented his own typefaces as he needed them while designing his posters. At first his typefaces seem to be random experiments but once you take a closer look you realize that they have certain design aspects which occur troughout most of his work.
GT Walsheim Walsheim Brewery Posters, 1929 by Otto Baumberger
typographie leider nicht erlernt. Zeichne meine schriften und Plakate.
Design: Fonts:
Daniel Bär Texts set in Federal Regular by NoÍl Leu
Catalogue and fonts available on grillitype.com
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