Paragon explores the transitional period between the Bembo and Old-Face style. Rooted in Granjon's Paragon Italic (1554), it seeks to shape a free and digital interpretation. The typeface derives its name from the traditional Paragon size, a classification that corresponds to approximately 17.5 points. While the Italic is based on a single primary source, the Roman synthesizes Granjon’s style by using three references (Great Primer Romain, Double Pica Romain, and Pica Romain) in the context of the earlier transitional period of the 1530-60s. However, rather than serving as a direct revival, it can be seen as a reinterpretation of a typeface that Granjon himself never cut. Instead, Paragon aims to translate Granjon’s understanding of shapes, perception, dynamics and printing into a contemporary digital context.

Apparat draws inspiration from typefaces of the early 70s that were optimized for TV broadcasting. The counters have a much stronger curve tension than the outer shapes and the junctions are opened up by large ink traps. This creates a very high legibility on Screen and Paper. It caricatures traditional letterforms (based on William Dwiggins ‚M-formula‘) which makes the design language extremely concise. That’s why Apparat is very versatile since it is designed to be used in both display and text sizes. It is available in seven weights and comes with several features like digital time alternates, clock symbols for every hour and many more. The typeface was developed in collaboration with Michael Clasen and is available for purchase at kimera.

Semantik is a typeface family which resulted from the research into typefaces for Telephone Directories and revisits the ’heavy-top’ emphasizing to increase legibility. Semantik is loosely based on Ladislas Mandel’s Nordica and Colorado, as well as Roger Excoffon’s Antique Olive. The project reexplores the technical aspects and stylistic elements of typefaces for Telephone Directories in a screen-based environment, improving legibility in the contexts of both continuous reading on screen and reading while scrolling. The typeface adjusts to the diverse screen environment as a variable font with a responsive axis, that adapts between Desktop and Mobil. The variable-axis is regulated via javascript by the different screen or column width, ranging from a desktop, a tablet or a smartphone device. Semantik contains in total 30 separate styles, which include five weights with matching italics suited for Desktop, Mobil and List each.

Platte Grotesk is a typeface family with a unique feature. Monospace uppercase and proportional lowercase. The idea to create a text typeface with such a feature came from researching license plates of the occupation zones in post-war Germany. The name as well as the high contrast of the typeface are a reference to early Grotesk typefaces of the late 19th century. Platte Grotesk has several case-specific features and alternates due to the monospace design of the capitals. The typeface produces an interesting texture in which the uppercase letters are only noticeable as different at second glance. The character of the typeface changes completely as soon as it is placed in all-caps and with that to a full monospace typeface. The play with elements of traffic and transport is reflected in some many type features. This project started under the supervision of Kai Bernau at ECAL and is currently still evolving as different versions are being developed.