Anna Pizzey

As most successful German private press, «Bremer Presse» has strongly influenced German book art. It was founded 1911 in Bremen to print and produce books in perfection. The role model of the press’ typeface was the english Doves Press. Willy Wiegand drew three versions of the «Bremer Presse» antiqua font, starting with the regular weight in 16 pt and adding later the regular weights in 11 and 12 pt. The revival of this beautiful font is based on the 12 pt weight. During the design process, the focus was laid on finding the elegance and strength of original prints. As it was designed to print books, the typeface is optimally used for texts. And with the revival’s new weights «medium» and «bold» and OpenType features like ligatures or old style figures, you can design sophisticatedly typographical compositions.

Designed by María Ramos and Jordi Embodas, Nomada Didone exhibits a more pronounced contrast than Nomada Serif, with vertical stress and finer hairlines. The contrast amount is not too extreme, though. It’s robust enough to be used confidently also for smaller text sizes, on screen, and in negative settings. The ball terminals add to its posh demeanor – a feature that is particularly noticeable in the gracile Hairline.
At the other end, another exquisite titling typeface: Nomada Didone Extrablack channels the Fat Faces of the 19th century, with adjusted vertical proportions for contemporary use. The medium weights make for a dapper text face that combines clarity and sophistication.

These Typoart fonts were redesigned and revived for modern use. The italic style got an entire set of swash caps, and both styles contain superior and inferior numerals as well as the historical long s.

The BF Rotwang™ Pro is a contemporary new edition and re-design of an formerly design by Guido Schneider.

Named after the C.L. Rotwang, the inventor of the Mensch-Maschine from the film Metropolis (1925/1926), BF Rotwang plays with the character traits of high-contrast transitional serif typefaces and Didone-style typefaces.
BF Rotwang is a typeface characterized by balanced elegance. It is sensitive, sophisticated and self-confident, but unobtrusive. The heavy weights have the power and dynamic for strong headlines and exciting logotypes, the lighter cuts the elegance and lightness for use in continuous text. All letters and characters are a touch condensed, so the typeface looks compact and works space-saving.

The family comes with 7 weights plus matching Italics. Each font consists of more than 1.220 glyphs, featuring a wide range of alternate characters, SmallCpas and opentype features like discretionary ligatures, case sensitive shapes, different number sets and many more!
BF Rotwang™ Pro supports up to 200 Latin-based languages. Each of the 14 fonts contains more than 1.220 glyphs, featuring a wide range of alternate characters, small caps, figure sets, fractions, more than 35 ligatures, many currency symbols, special characters and other useful symbols. The style sets give you the option to individualize and adjust the typeface to the requirement of your design, without changing the general visual feeling.

Hermann is one of our most readable typefaces so far. Since last year, the W Design team had been examining closely the possibility of developing a text font. Thus, we dug into concepts within some of our favorite novels, such as The Steppenwolf and Brave New World, written by Hermann Hesse and Aldous Huxley respectively. Ideas like duality, surrealism, and wildness mainly appeared. With these concepts in mind, we analyzed carefully the typefaces used in both Hesse’s and Huxley’s creations; Sabon and Garamond showed up catching our attention and, of course, awakening our admiration. Consequently, the challenge was to combine the key features of these fonts with the concepts already identified. At first, we made a text font which was suitable to compose long texts. However, we realized that we needed to refine some characteristics to convey all the ideas. A full set of capital discretionary ligatures was designed, which convert Hermann in a display font when is required. We also designed swashes (from A-Z) and final forms (in letters h, k, m, n, r and x in romans, and in letters a, d, e, h, i, l, m, n, r, t, u, x and z in italics), conveying more dynamism and versatility when it comes to composing visually.

Hermann was designed not only to be accurate in terms of legibility but also to be wild and bold. That is why we took a big leap and designed from the beginning a font that is inspired by the world of 20th-century novels, using the name of one of its greatest exponents, Hermann Hesse.

Tzimmes is a tasty morsel for those who love tasty letters. The fleshy sheriffs combined with the subtle references to calligraphy create a distinctive character that will turn every text into a feast for the eyes. The family consists of 22 weights including true italics. This will allow you to freely compose even the most demanding projects. Book? Magazine? Logotype? Everything available à la carte!

Light and bold weights, due to their strong personality, are perfect for display uses. At the same time, Regulars create a harmonious structure that provides good legibility in long texts. Tzimmes covers all latin languages and cyrillic. It contains a wide set of numerals, small capitals, fractions, ligatures and other OpenType goodies. Bon appetite!

The first sketches of “Hybi5” I made in 2015 using Adobe Illustrator.

“Fontself Maker”, an extension for Illustrator, was used to convert the drawings into font-files.
This tool can only create “OTF” font files. For this reason there are no “TTF” versions.

It’s not the first font I ever made, but the first to be distributed commercial.

The Hybi5 font family can be described as a “crossover” between Antiqua, Grotesque and Brushscript with characteristics from all of this genres.

My aim was to design friendly and versatile fonts, which can be used for headlines or slogans as well as for some longer texts.

To make the fonts useful for as many languages as possible, I added a lot of exotic accents. All styles contain the whole “Adobe Latin 3 (CE)” character set plus a few letters from “Adobe Latin 4”.

A lot of ligatures prettify the look of the fonts. Alternate uppercase letters in the script style might do the same.

If you are a professional designer, you will surely appreciate the thousands of kerning pairs within each style, which will make your work easier.
I recommend to set Kerning to “metric” and spacing to “zero” in your layout app.

Although Milas Typeface Family is designed upon the old style geometric – based characters, particular importance is given to text flow and optical perception in its practical use. Hence, there is no strict adherence to any set measures or styles.
It alludes to calligraphic horizontal and vertical intersection points. Calligraphic features in joints and arches are stylized.
Milas is a “body text” font especially suitable for periodicals such as newspapers and magazines as well as books. Different angles, sharp–organic features and serifs used in its letter anatomy enable the reader to perceive individual letters effectively and maintain a rapid flow in processing the text.

Milas has two styles as Text and Display, also has five weights. It contains rich opentype features. It is a suitable body and display typeface for book composing and periodicals like newspapers, magazines. Also Milas is an awarded typeface. It got 36th The Best Typeface Prize by GMK (Turkish Graphic Designers Association) in 2017 Exhibition/Competition. But Milas got the award with “Olba” name. After that its name had changed because of the name similarity. And here it is: Milas.