Die Schrift entstand im Seminar 'A killer duck apparently without a screwdriver' (2017).

Bacteria type is an experimental type project, it was developed in the Inkless Type seminar at the HfG Karlsruhe. The idea of the seminar was to create a font with the backthought that the invention of ink never happened. To create the shapes of the letters live bacteria was used. The growth of the bacteria was documented over three weeks and as the bacteria grew the shapes of the letters changed.

Branches is a writing system based on trees and their ramifications developed by Leonie Lude and Arno Schlipf during a workshop by Sereina Rothenberger and Anton Stuckardt at HfG Karlsruhe.
Visit Grow Branches.

Die Font Buckle ist in meinem 4. Semester im Rahmen des Seminars „Modern Typography“ bei Sarah Kremer entstanden. Der Character der Schrift thematisiert den Kontrast von ausgeglichenen Rundungen und eckigen Abstrichen und Details. Der Name der Schrift benennt die Rundungen vom Deutschen (Buckel) und die Kanten im Englischen (buckle=Knick). Buckle kann als Display- und als Fließtextfont verwendet werden.

„Cactaceae“ was created during the „Inspiration Elsewhere“ seminar led by Jérémy Landes from Velvetyne Type Foundry, at the HfG Karlsruhe. It was inspired by the shape of cacti and the light reflections you might see if they had a glossy surface. The font is more suitable for titles than text and looks really well in white on a dark background. The letters are all finished but some other characters might be missing. When you’re interested, the missing characters can be added.

Computers are companion species. Neurons, electrical pulses, cables, transistors and human error have to co-exist. This typeface is an act of faith in living together with mutual exchange of curiosity and admiration of our skill sets and the termination of any kind of oppression based on material differences.

Extragroße Depeschenschrift is a sans serif linear antiqua and concepted as monospace font for typewriters in 12pt. Equal to a real typewriter, glyphs are limited so similar glyphs are combined in one key on the keyboard. “Zero” and the “O” are identical as the number “one” and “1”. Modified vowels and accents have to be added manualy after printing. Extragroße Depeschenschrift was designed in a Seminar by Urs Lehni.

Die Schrift Erika basiert auf einem Abschrieb einer Erika Schreibmaschine aus einer Privatsammlung in Basel. Der ursprünglich Entwurf war für eine Zeitung mit Texten von Villem Flusser vorgesehen.

„Fragment“ is a monospace font which translates a typewriters mechanical sources of error into the digital: Missing parts and alteration by print quality.
Print quality and size affect the angular features of the font while the three cuts show different degrees of fragmentation. The fragmentation also is a play with the borders of readability. To which point are missing parts added by our viewing habits?

Die Schrift entstand im Zuge der Friendship Tischtennisserie.

Inspired by the movement of the Slinky, a well-known toy that Richard James invented in 1945. The single letters of Good Stretch were designed with the intention to create a feeling of springyness and motion.

Bright colored and blobby shaped patterns of the poison dart frog mixed together with the strangely formed muscles in Japanese woodcuts. Kaeru kaeru combines both inspirations in one typeface. It was created in a seminar called „Type – Inspiration elsewhere“ led by Jérémy Landes at the HfG Karlsruhe. The idea of the seminar was, to take different inspirations out of nature and illustrations and try to combine them to one typeface.

NoFoundry x Velvetyne Collab Release

Font inspired by fire and sea. Seminar "Inspiration elsewhere" with Jérémy Landes. (2019)

Minority is an ultra condensed, contrasted and sharp font. Sharp as the spider in Minority report. Minority is as mean as the spider, be careful or they will hurt you very badly. But Minority can be nice too, you can use it for free if you want. Minority is watching you. Take care.

Morphosis is based on the correspondent anthroposophical design principle. Each glyph is a transformation of another one.

Novelle Rage / New Rage‘ ist eine Schrift die auf Wut beruht. 28.08.1963 versammelten sich tausende Menschen um für die Gleichberechtigung aller Ethnien zu kämpfen. In den 90er Jahren bildete sich eine feministische subkulturelle Gruppe „Riot Grrrl“ um für die Gleichberechtigung aller Geschlechter zu kämpfen. 1995 entand „La Haine“ von Kassovitz ein Film in dem die Protagonisten gegen sozialer Ausgrenzung kämpfen. Nouvelle Rage positioniert sich in diesem Kontext als Schrift, die den Willen der Menschen unterstützt, die sich mit ganzer Kraft für humanistische Werte engagieren. Diese Elemente übertragen sich durch die dicken, schwarzen flammenförmigen Teile der Schriftzeichen, die sich wie Feuer versuchen auszubreiten und nicht fassbar sind. Diese sich bewegende Masse wird unterstützt durch die schwungvollen dünnen Linien, die den wilden Flammen die Richtung weisen. Der Baseball Schläger ist ein kraftvolles, energiegeladenes Objekt und steht hier aber nicht für Gewalt sondern ist ein Ausdruck für Zielstrebigkeit und Neuanfang. Er zertrümmert das Alte und lässt mit Schwung das Neue entstehen.

NoGlyphs is a lo-fi, fun digital freehand letter drawing tool designed for NoFoundry events. Try it yourself here and tag your results with #NoGlyphs or send them to us!

The font is inspired by the Earth Pyramids of Ritten. The letter shapes developed while drawing the strange formations over and over with a calligraphic marker.

Moderne, sportliche Version von Rotis. Durch schnelle Bewegungen entstehen Unschärfe, die Außenkanten verschwimmen, weshalb die Buchstaben abgerundet werden. Jedoch werden innere Kanten beibehalten, um die Sportlichkeit zu zeigen.

Die Schrift „Serifekant“ ist im Rahmen des Seminars „Modern Typography“ bei Sarah Krämer im Sommersemester 2017 entstanden. Wie ihr Name schon verrät, ist sie durch ihren dicken Stamm und ihren kantigen Serifen sehr signifikant. Daher ist sie super als plakative Schrift einsetzbar. An der Spationierung und den Sonderzeichen wird noch gearbeitet. Geplant ist auch einen dünneren Schnitt der Schrift zu gestalten, um ihre Lesbarkeit im Fließtext zu verbessern.

NoFoundry member Calvin Kudufia is the designer of our Saturday Type Fever custom font, designed especially for Arno Schlipf's grid snapper effect.

By tracing extremly low resoluted Type with Illustrator, I found a way to create endless new forms of glyphs. As an example I created 4 Different typefaces which are differing in the resolution of their orginin. Every typeface comes with a Regular and a Corrected version which improves readibility.

TIGR-Regular is my first take on sans-serif typefaces. It aims for a dynamic, contemporary approach to humanist lettering. My inspiration was mainly drawn from all-time classics such as Gill Sans and Antique Olive. TIGR however is defined by edgy letter shapes trough snappy stroke and sharp endings creating a timely, characteristic appearance. The narrowing line width towards stems or junctions creates an image of easiness in movement – reemphasized by the wide stand of the capital letters. The thus resulting large, very specific counters qualify TIGR for both running text, as well as distinctive display appearances.

This font has been carefully optimized and offers an extended latin character set for the languages Afrikaans, Basque, Breton, Catalan, Croatian(Latin), Czech, Danish, Dutch, English, Estonian, Faroese, Finnish, French, Gaelic, Gagauz(Latin), German, Hungarian, Icelandic, Inari, Indonesian, Irish, Italian, Javanese (Latin), Kashubian, Malay (Latin), Latvian, Lithuanian, Lule, Moldovan (Latin), Norwegian, Portuguese, Polish, Romanian (Latin), Sami (Northern), Sami (Southern), Serbian(Latin), Silesian, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Turkish, Walloon, along side the Basic and Adobe Extended Cyrillic set.

Please feel free to contact me if you have any questions regarding this project.

Elegante Schrift mit markanten Serifen, basierend auf Didot-Schriften. Seminar: Modern Typefaces bei Sarah Kremer.