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peer-reviewed conference focused on typography that seeks to examine design and typographic practice, and to make explicit existing connections between craft, research, theory, history, criticism and pedagogy. 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Eighteenth and early-nineteenth century lettering and public signage, Cork City, 1730–1840_ – - 10:30 Elena Veguillas _Architectural lettering and corporate identity, early branding on commercial buildings: the Truman’s case_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Ann Bessemans _Type design features for children with low vision_ – - 12:00 Luciano Perondi, Giulia Bonora and Daniele De Rosa _Pass — augmentative and alternative communication_ – - 12:30 Silvia Barbero and Irene Stracuzzi _Sustainability for typography design processes_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Hilary Kenna _A practice-led study of design principles for screen typography: with reference to the teachings of Emil Ruder_ – - 14:45 Tom Grace _The alluring trap of vector-based drawing_ – - 15:15 Marcus Leis Allion _Typrograms: The Shaped Typography of Computer Programs_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Amy Papaelias _Future displays: towards a history of type specimens in digital environments_ – - 16:45 Mathieu Lommen _Lettering artists’ model books_ – - 17:15 _Discussion_ – - 17:30 _Close_ – track b - 9.00 _Registration_ – - 10:00 Marcus Swan _Meaning without words: the emoji revolution_ – - 10:30 Johannes Bergerhausen _Digital cuneiform_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Aoife Mooney _Super-charged type: An investigation into the potential for a dynamic typeface family modelled on axes of typographic expression_ – - 12:00 Siobhán Murphy _Print, Pixel and notions of Legacy — recalibrating Harold Innis’ time-binding and space-binding communication technology theories for a post-digital age_ – - 12:30 Cathy Gale _This is your life: the multiplicities of X_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Sheena Calvert _Punctuating Philosophy_ – - 14:45 Pavel Pisklakov _Typography and Media: History of Evolution and Contemporary Tendencies_ – - 15:15 Kyle Rath _Form vs. Fame: exploring the craft of typographic selection_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Robin Fuller _Linguistics, grammatology, typography_ – - 16.45 – _–_ – - 17:15 _Discussion_ – - 17.30 _Close_ – - 19:00 Tobias Frere-Jones _Keynote_ – track c - 9.00 _Registration_ – - 10:00 – _–_ – - 10:30 – _–_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Diederik Corvers _The architect’s new face_ – - 12:00 María Pérez Mena, Eduardo Herrera Fernández and Leire Fernández Iñurritegui _An artistic approach to typography from Eduardo Chillida’s graphic language_ – - 12:30 Naoise Ó Conchubhair _An Post: typography rooted in the past — ahead of its time_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 – _–_ – - 14:45 Dermot McGuinne _Accident by design_ – - 15:15 Teresa Breathnach _Matthew Walker: nationalist printer 1846–1922_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Richard McElveen and Pauline Clancy _Typographic DNA of place_ – - 16:45 Michael Everson _Authenticity and Ireland’s tradition of Gaelic type_ – - 17:15 _Discussion_ – - 17:30 _Close_ – Saturday track d - 9:00 Aspasia Papadima _Introducing a new set of typographic characters for the representation of Greek-Cypriot dialect’s distinct sounds_ – - 9:30 Robert Lzicar _Swiss Types — the invention of a national typography_ – - 10:00 Radek Sidun _Milestones in Czech type design_ – - 10:30 Keith Tam _Typographic cueing in bilingual documents_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Juan Luis Blanco _The case of the Tifinaghscript: typeface design to the rescue_ – - 12:00 Meta Newhouse and Nathan Davis _Type of place: a systematic preservation of cultural memory_ – - 12:30 Ian Montgomery, Liam McComish and Ruth Brolly _Graphic de:re:generation_ – - 13:00 _Discussion_ – - 13:15 _Lunch break_ – - 14:15 Evripides Zantides _Exploring the mythical qualities of letterforms through semiotics and content analysis_ – - 14:45 Jill Spratt _The word_ – - 15:15 Liam McComish and Ian Montgomery _Spread the word_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16.15 Onur Yazıcıgil and Özlem Özka _Ottoman Typography towards Modernisation_ – - 16:45 Dan Reynolds _East German typefaces, twenty-five years on_ – - 17:15 Crystian Cruz _Unveiling censored content through typography_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track e - 9:00 Denise Gonzales Crisp _Educating toward the discipline_ – - 9:30 Gerry Leonidas _A framework for developing discourse in typeface design_ – - 10:00 Silas Munro _Hands on-again, off-again: a paradigm of typographic pedagogy in hybrid learning_ – - 10:30 Brenda Dermody _The role and impact of the professional body in typographic design education and practice in Ireland_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 John Paul Dowling _Teach content, not type!_ – - 12:00 Gabriel Solomons _Family monograms: tradition and a connection to the past through typographic form_ – - 12:30 Connell Vaughan and Glenn Loughran _Typography and the Video Essay_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Jo De Baerdemaeker _Lean back: the evolution of reverse italics_ – - 14:45 Jesus Barrientos Mora _A typology for calligraphic type_ – - 15:15 Frank E. Blokland _Application of archetypal patterns in present-day type design practice and related education_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Timothy Donaldson _Type is clip-art_ – - 16:45 Will Hill _Letter, craft and ornament in post-digital practice_ – - 17:15 Phil Baines _Fonts and restoration_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track f - 9:00 John Mulloy _Body type_ – - 9:30 Jamie Mahoney _Gutenberg remix: a case study_ – - 10:00 Mary Plunkett _Letterpress as commemoration: making books for Yeats2015_ – - 10:30 Jamie Murphy and Thomas Mayo _End grain impressions: letterpress printed display type in the twenty-first century_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Niall McCormack _Soul Type: the Ludlow Typograph and 1960s Chicago soul record label art_ – - 12:00 Annette O’Sullivan _Letter marking with bold upright letters: stencilling histories on New Zealand sheep stations_ – - 12:30 Mohammad Shahid and Dharmalingam Udaya Kumar _Evolution of title design in Bollywood film posters_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Lozana Rossenova and Maria Inês Cruz _The form of the book in alternative publishing practices_ – - 14:45 Trond Klevgaard _From functionalist to functional typography in Scandinavian book design_ – - 15:15 Niall McCormack in conversation with Peter Maybury _–_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Brian Dixon _Experiencing the Structure: considering the possibility of studying how typographic forms are encountered through the application of information design theory_ – - 16:45 Barrie Tullett _Of progress and loss_ – - 17:15 _Discussion_ – - 17:45 – _–_ – - 18:00 _Close_ – …",true,1,"1",{"id":376,"height":13,"width":12,"blurhash":377},"ee6ba0b9-978f-4682-94f5-f10503f98584","radial-gradient(at 0 0,#babaff,#00000000 50%),radial-gradient(at 33% 0,#7878ff,#00000000 50%),radial-gradient(at 67% 0,#b2b2ff,#00000000 50%),radial-gradient(at 100% 0,#dfdfff,#00000000 50%),radial-gradient(at 0 50%,#bfbfe8,#00000000 50%),radial-gradient(at 33% 50%,#a2a2e1,#00000000 50%),radial-gradient(at 67% 50%,#c6c6ed,#00000000 50%),radial-gradient(at 100% 50%,#dedef7,#00000000 50%),radial-gradient(at 0 100%,#b4b4e6,#00000000 50%),radial-gradient(at 33% 100%,#9c9cf7,#00000000 50%),radial-gradient(at 67% 100%,#b3b3f5,#00000000 50%),radial-gradient(at 100% 100%,#cbcbed,#00000000 50%)",{"id":379,"height":15,"width":14,"blurhash":68},"d4e07c88-6674-4460-9621-b66d952ea4f3",[381,384,387],{"directus_files_id":382},{"id":383},"b5f1f613-ecd9-4c14-8e2d-8bfcb012ccc8",{"directus_files_id":385},{"id":386},"2a247199-2226-423a-9962-6fd931df0026",{"directus_files_id":388},{"id":389},"09fdf48e-0b65-4ae6-bda7-9f4e6eb98664",[391],{"languages_code":392,"description":393},"en","Face Forward is a sophisticated digital platform dedicated to an international peer-reviewed conference centered on the evolution of typography. The website serves as a scholarly hub, facilitating critical discourse between craft, research, theory, and pedagogy. It is designed to attract academics, designers, and typographic practitioners seeking to explore the intersection of visual communication and epistemological inquiry.\n\nThe visual identity is a masterclass in typographic expression, utilizing a bold, high-contrast aesthetic that mirrors the site's subject matter. Through a striking combination of electric blue and stark monochrome, the design employs massive, experimental letterforms and a rigorous grid system. The layout is unapologetically structural, using scale and negative space to create a sense of intellectual authority and avant-garde elegance.",[26,30,34],[396],"Bong",[302],[275,276,399],"Three.js",[401,403,404,406],{"score":402,"category":119},99,{"score":173,"category":122},{"score":405,"category":124},96,{"score":228,"category":127},[408,409,410,411],{"score":120,"category":119},{"score":195,"category":122},{"score":405,"category":124},{"score":228,"category":127},[136,413,414,140],"blue","black","Website: Face Forward. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Face Forward. Page content: _Face Forward_ is an international peer-reviewed conference focused on typography that seeks to examine design and typographic practice, and to make explicit existing connections between craft, research, theory, history, criticism and pedagogy. This conference aims to provoke informed, rigorous and critical debate on aspects of typographic research and practice that relate to current discourse and contexts. It is the inaugural event in what will become an annual international conference. This year’s conference is supported by ID2015 Year of Irish Design and the Dublin Institute of Technology. In the field of visual communication and typographic practice, a great deal of epistemological uncertainty still exists. As a consequence, concrete theoretical or methodological positions around which the discipline could cohere have yet to emerge—a situation this conference seeks to address. The conference will provide a forum for research into typographic production, representation, dissemination and use. It encourages interdisciplinary enquiry; thus we welcome papers dealing with typography in all its forms, material and immaterial. We encourage submissions that consider typography in as broad a sense as possible, that celebrate the vitality and range of typography and which seek to expand definitions of both typographic object and practice. – Registration is now open. In partnership with: Identity by Clare Bell and Brenda Dermody. Site by BONG and Post Friday track a - 9.00 _Registration_ – - 10:00 Tom Spalding _Show me the way to go home! Eighteenth and early-nineteenth century lettering and public signage, Cork City, 1730–1840_ – - 10:30 Elena Veguillas _Architectural lettering and corporate identity, early branding on commercial buildings: the Truman’s case_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Ann Bessemans _Type design features for children with low vision_ – - 12:00 Luciano Perondi, Giulia Bonora and Daniele De Rosa _Pass — augmentative and alternative communication_ – - 12:30 Silvia Barbero and Irene Stracuzzi _Sustainability for typography design processes_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Hilary Kenna _A practice-led study of design principles for screen typography: with reference to the teachings of Emil Ruder_ – - 14:45 Tom Grace _The alluring trap of vector-based drawing_ – - 15:15 Marcus Leis Allion _Typrograms: The Shaped Typography of Computer Programs_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Amy Papaelias _Future displays: towards a history of type specimens in digital environments_ – - 16:45 Mathieu Lommen _Lettering artists’ model books_ – - 17:15 _Discussion_ – - 17:30 _Close_ – track b - 9.00 _Registration_ – - 10:00 Marcus Swan _Meaning without words: the emoji revolution_ – - 10:30 Johannes Bergerhausen _Digital cuneiform_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Aoife Mooney _Super-charged type: An investigation into the potential for a dynamic typeface family modelled on axes of typographic expression_ – - 12:00 Siobhán Murphy _Print, Pixel and notions of Legacy — recalibrating Harold Innis’ time-binding and space-binding communication technology theories for a post-digital age_ – - 12:30 Cathy Gale _This is your life: the multiplicities of X_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Sheena Calvert _Punctuating Philosophy_ – - 14:45 Pavel Pisklakov _Typography and Media: History of Evolution and Contemporary Tendencies_ – - 15:15 Kyle Rath _Form vs. Fame: exploring the craft of typographic selection_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Robin Fuller _Linguistics, grammatology, typography_ – - 16.45 – _–_ – - 17:15 _Discussion_ – - 17.30 _Close_ – - 19:00 Tobias Frere-Jones _Keynote_ – track c - 9.00 _Registration_ – - 10:00 – _–_ – - 10:30 – _–_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Diederik Corvers _The architect’s new face_ – - 12:00 María Pérez Mena, Eduardo Herrera Fernández and Leire Fernández Iñurritegui _An artistic approach to typography from Eduardo Chillida’s graphic language_ – - 12:30 Naoise Ó Conchubhair _An Post: typography rooted in the past — ahead of its time_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 – _–_ – - 14:45 Dermot McGuinne _Accident by design_ – - 15:15 Teresa Breathnach _Matthew Walker: nationalist printer 1846–1922_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Richard McElveen and Pauline Clancy _Typographic DNA of place_ – - 16:45 Michael Everson _Authenticity and Ireland’s tradition of Gaelic type_ – - 17:15 _Discussion_ – - 17:30 _Close_ – Saturday track d - 9:00 Aspasia Papadima _Introducing a new set of typographic characters for the representation of Greek-Cypriot dialect’s distinct sounds_ – - 9:30 Robert Lzicar _Swiss Types — the invention of a national typography_ – - 10:00 Radek Sidun _Milestones in Czech type design_ – - 10:30 Keith Tam _Typographic cueing in bilingual documents_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Juan Luis Blanco _The case of the Tifinaghscript: typeface design to the rescue_ – - 12:00 Meta Newhouse and Nathan Davis _Type of place: a systematic preservation of cultural memory_ – - 12:30 Ian Montgomery, Liam McComish and Ruth Brolly _Graphic de:re:generation_ – - 13:00 _Discussion_ – - 13:15 _Lunch break_ – - 14:15 Evripides Zantides _Exploring the mythical qualities of letterforms through semiotics and content analysis_ – - 14:45 Jill Spratt _The word_ – - 15:15 Liam McComish and Ian Montgomery _Spread the word_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16.15 Onur Yazıcıgil and Özlem Özka _Ottoman Typography towards Modernisation_ – - 16:45 Dan Reynolds _East German typefaces, twenty-five years on_ – - 17:15 Crystian Cruz _Unveiling censored content through typography_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track e - 9:00 Denise Gonzales Crisp _Educating toward the discipline_ – - 9:30 Gerry Leonidas _A framework for developing discourse in typeface design_ – - 10:00 Silas Munro _Hands on-again, off-again: a paradigm of typographic pedagogy in hybrid learning_ – - 10:30 Brenda Dermody _The role and impact of the professional body in typographic design education and practice in Ireland_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 John Paul Dowling _Teach content, not type!_ – - 12:00 Gabriel Solomons _Family monograms: tradition and a connection to the past through typographic form_ – - 12:30 Connell Vaughan and Glenn Loughran _Typography and the Video Essay_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Jo De Baerdemaeker _Lean back: the evolution of reverse italics_ – - 14:45 Jesus Barrientos Mora _A typology for calligraphic type_ – - 15:15 Frank E. Blokland _Application of archetypal patterns in present-day type design practice and related education_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Timothy Donaldson _Type is clip-art_ – - 16:45 Will Hill _Letter, craft and ornament in post-digital practice_ – - 17:15 Phil Baines _Fonts and restoration_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track f - 9:00 John Mulloy _Body type_ – - 9:30 Jamie Mahoney _Gutenberg remix: a case study_ – - 10:00 Mary Plunkett _Letterpress as commemoration: making books for Yeats2015_ – - 10:30 Jamie Murphy and Thomas Mayo _End grain impressions: letterpress printed display type in the twenty-first century_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Niall McCormack _Soul Type: the Ludlow Typograph and 1960s Chicago soul record label art_ – - 12:00 Annette O’Sullivan _Letter marking with bold upright letters: stencilling histories on New Zealand sheep stations_ – - 12:30 Mohammad Shahid and Dharmalingam Udaya Kumar _Evolution of title design in Bollywood film posters_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Lozana Rossenova and Maria Inês Cruz _The form of the book in alternative publishing practices_ – - 14:45 Trond Klevgaard _From functionalist to functional typography in Scandinavian book design_ – - 15:15 Niall McCormack in conversation with Peter Maybury _–_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Brian Dixon _Experiencing the Structure: considering the possibility of studying how typographic forms are encountered through the application of information design theory_ – - 16:45 Barrie Tullett _Of progress and loss_ – - 17:15 _Discussion_ – - 17:45 – _–_ – - 18:00 _Close_ – …. A Clean \u002F Minimalist, Monochrome \u002F Grayscale, Typographic \u002F Big Type website in the Art & Culture industry. The overall color palette features White, Blue, Black, Gray. The typography features Times New Roman (Serif). Built using jQuery, PHP, Three.js. AI description: Face Forward is a sophisticated digital platform dedicated to an international peer-reviewed conference centered on the evolution of typography. The website serves as a scholarly hub, facilitating critical discourse between craft, research, theory, and pedagogy. It is designed to attract academics, designers, and typographic practitioners seeking to explore the intersection of visual communication and epistemological inquiry. The visual identity is a masterclass in typographic expression, utilizing a bold, high-contrast aesthetic that mirrors the site's subject matter. Through a striking combination of electric blue and stark monochrome, the design employs massive, experimental letterforms and a rigorous grid system. The layout is unapologetically structural, using scale and negative space to create a sense of intellectual authority and avant-garde elegance.",{"id":417,"website_id":418,"page_id":417,"name":419,"slug":420,"url":421,"website_name":419,"website_slug":420,"website_url":422,"result_url":421,"fetched_at":423,"score":424,"score_boost":367,"ai_score":366,"freshness_score":369,"scored_at":425,"page_name":40,"page_url":421,"page_title":419,"page_description":426,"page_content":427,"page_sort":367,"is_home":372,"is_home_rank":373,"page_type_id":374,"page_type_name":47,"cover":428,"cover_mobile":431,"cover_sequence":433,"translations":437,"industry":440,"styles":441,"credits":443,"font_families":444,"technologies":445,"pagespeed":447,"pagespeed_mobile":453,"buckets":459,"search_payload":461},"b26a1674-28ef-48aa-8d89-85b345583033","ea48b0c5-9842-4e66-a512-49f5ee23a6f7","Daniel Wenzel","wenzeldaniel","https:\u002F\u002Fwenzeldaniel.com\u002F","https:\u002F\u002Fwenzeldaniel.com","2026-05-04T15:23:41.000Z",80,"2026-05-23T19:25:39.000Z","Daniel Wenzel, graphic and type design, specialised in utilizing animation-tools and code.","📱 click to access device orientation , specialized in typography and generative processes, balancing on the intersection of art, design and technology. Always interested in collaborations with designers, developers and publishers around the world. Please get in touch for questions or project inquiries. Creative Technology Director at MW.S; Based in Brooklyn, New York. eMail, Instagram, LinkedIn, Bēhance Type Design For retail and custom typefaces please visit 26a1.xyz Aigua Ancillary Post 19 Katsu Grotesque Knickerbocker Live Edge 23 Marund Meatloaf MM Sign 25 MTABC Schwabacher Grotesk The Octagon 21 Throw Untitled AI 20 Veelo Neue Research & Education Automated Type Design19 AI Type20 Hot NewsWIPDinamo GintoGX18Dinamo FavoritGX Beta19Dinamo 26A1 Lab26A1 26A1 Average Font2426A1 Scan24DIA Tangle24DIA Ouroborus24DIA Mapping24DIA Direction, Design & Code Oct 2016 – Mar 2017, achos! Rotterdam & Barcelona Oct 2017 – Jun 2024, DIA Studio, Brooklyn, NY Adidas 3ST.00318DIA Ancillary Post19 Chaumont Biennale21DIA Codea Studio17achos! Coinbase OCS23DIA Daniel Aristizábal17achos! Nike Apparel18DIA Nike KD1118DIA Klim Söhne20DIA Saturnalia Milan18DIA Squarespace18DIA smlXL22DIA Werkschau HTWG19 YouTube Countdown20DIA Also: Adidas London, Adidas Soccer, Apple, Audi, A-Trak, Balenciaga, Beefeater, Louis Vuitton, MoMA, Nike Adapt, Nike React, Pinterest, Space10 Artwork For physical artworks please contact via eMail For digital NFTs please visit foundation.app\u002F@wnzldnl Animating Art22 Generative Paintings20 Pixels and Tiles21 The New York Times21 University Lecturing Pratt Institute NYC, Form and Code24-25 Elisava Barcelona, MVD Typography21 Talks & Workshops Elisava Barcelona25 The Cooper Union NYC24, 25 Typographics, TypeLab24 Dynamic Font Day23 MIT Media Lab, Lunch Lectures23 Libros Mutantes23 TDC Inscript22 Weltformat22 HS Mainz22 HEAD Genève22 HS Mainz, Doubts and Dialogues22 KABK, TS2 Lunch Lecture #321 HSD, Type Talk21 Selected Press Young Guns 22 Winner24 WIX Designer Spotlight24 IBK Award for Innovative Typography22 Webby Honoree22 It's Nice That22 New Aesthetic 221 More is More21 Slanted20 It's Nice That19 It's Nice That18 © 2025 Daniel Wenzel. All rights reserved. Website Design & Development: Daniel Wenzel. Typeface: Monument Grotesk GX. Licenses must be purchased before use. Sharing, disseminating, and distributing is strictly prohibited. Please don’t steal and distribute my typefaces illegally.",{"id":429,"height":13,"width":12,"blurhash":430},"88b5c10f-bd2a-44ac-bd69-8bebed48cd2c","radial-gradient(at 0 0,#ececee,#00000000 50%),radial-gradient(at 33% 0,#f0f0ef,#00000000 50%),radial-gradient(at 67% 0,#f0f0ef,#00000000 50%),radial-gradient(at 100% 0,#f3f3f4,#00000000 50%),radial-gradient(at 0 50%,#e2e2e2,#00000000 50%),radial-gradient(at 33% 50%,#e6e6e6,#00000000 50%),radial-gradient(at 67% 50%,#e3e3e3,#00000000 50%),radial-gradient(at 100% 50%,#e8e8e8,#00000000 50%),radial-gradient(at 0 100%,#cbcbca,#00000000 50%),radial-gradient(at 33% 100%,#dadadb,#00000000 50%),radial-gradient(at 67% 100%,#e4e4e5,#00000000 50%),radial-gradient(at 100% 100%,#e8e8e7,#00000000 50%)",{"id":432,"height":15,"width":14,"blurhash":68},"9f03417e-4593-4a78-b605-f4020c007ce8",[434],{"directus_files_id":435},{"id":436},"016a6899-e83c-4dfe-93b6-880f2d50a55d",[438],{"languages_code":392,"description":439},"Daniel Wenzel’s digital portfolio is a masterclass in typographic expression and technical precision. The site serves as a high-end showcase for a Creative Technology Director, blending the disciplines of graphic design, custom type development, and motion through code. The visual identity is unapologetically typographic, utilizing massive, high-contrast lettering and a structured, grid-based layout that emphasizes the architecture of the characters themselves.\n\nDesigned for a sophisticated audience of designers, developers, and publishers, the interface leans into a brutalist-inspired aesthetic that feels both avant-garde and highly professional. The use of monochromatic tones, expansive whitespace, and rhythmic text arrangements creates a sense of motion and depth, effectively communicating the designer's ability to bridge the gap between static type and dynamic, code-driven animation.","Agency & Studio",[442,26,34],"Brutalist \u002F Neo-Brutalist",[],[],[275,446],"jQuery UI",[448,449,451,452],{"score":196,"category":119},{"score":450,"category":122},63,{"score":125,"category":124},{"score":217,"category":127},[454,456,457,458],{"score":455,"category":119},31,{"score":450,"category":122},{"score":125,"category":124},{"score":215,"category":127},[136,414,140,460],"violet","Website: Daniel Wenzel. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Daniel Wenzel. Page description: Daniel Wenzel, graphic and type design, specialised in utilizing animation-tools and code.. Page content: 📱 click to access device orientation , specialized in typography and generative processes, balancing on the intersection of art, design and technology. Always interested in collaborations with designers, developers and publishers around the world. Please get in touch for questions or project inquiries. Creative Technology Director at MW.S; Based in Brooklyn, New York. eMail, Instagram, LinkedIn, Bēhance Type Design For retail and custom typefaces please visit 26a1.xyz Aigua Ancillary Post 19 Katsu Grotesque Knickerbocker Live Edge 23 Marund Meatloaf MM Sign 25 MTABC Schwabacher Grotesk The Octagon 21 Throw Untitled AI 20 Veelo Neue Research & Education Automated Type Design19 AI Type20 Hot NewsWIPDinamo GintoGX18Dinamo FavoritGX Beta19Dinamo 26A1 Lab26A1 26A1 Average Font2426A1 Scan24DIA Tangle24DIA Ouroborus24DIA Mapping24DIA Direction, Design & Code Oct 2016 – Mar 2017, achos! Rotterdam & Barcelona Oct 2017 – Jun 2024, DIA Studio, Brooklyn, NY Adidas 3ST.00318DIA Ancillary Post19 Chaumont Biennale21DIA Codea Studio17achos! Coinbase OCS23DIA Daniel Aristizábal17achos! Nike Apparel18DIA Nike KD1118DIA Klim Söhne20DIA Saturnalia Milan18DIA Squarespace18DIA smlXL22DIA Werkschau HTWG19 YouTube Countdown20DIA Also: Adidas London, Adidas Soccer, Apple, Audi, A-Trak, Balenciaga, Beefeater, Louis Vuitton, MoMA, Nike Adapt, Nike React, Pinterest, Space10 Artwork For physical artworks please contact via eMail For digital NFTs please visit foundation.app\u002F@wnzldnl Animating Art22 Generative Paintings20 Pixels and Tiles21 The New York Times21 University Lecturing Pratt Institute NYC, Form and Code24-25 Elisava Barcelona, MVD Typography21 Talks & Workshops Elisava Barcelona25 The Cooper Union NYC24, 25 Typographics, TypeLab24 Dynamic Font Day23 MIT Media Lab, Lunch Lectures23 Libros Mutantes23 TDC Inscript22 Weltformat22 HS Mainz22 HEAD Genève22 HS Mainz, Doubts and Dialogues22 KABK, TS2 Lunch Lecture #321 HSD, Type Talk21 Selected Press Young Guns 22 Winner24 WIX Designer Spotlight24 IBK Award for Innovative Typography22 Webby Honoree22 It's Nice That22 New Aesthetic 221 More is More21 Slanted20 It's Nice That19 It's Nice That18 © 2025 Daniel Wenzel. All rights reserved. Website Design & Development: Daniel Wenzel. Typeface: Monument Grotesk GX. Licenses must be purchased before use. Sharing, disseminating, and distributing is strictly prohibited. Please don’t steal and distribute my typefaces illegally.. A Brutalist \u002F Neo-Brutalist, Clean \u002F Minimalist, Typographic \u002F Big Type website in the Agency & Studio industry. The overall color palette features White, Black, Gray, Violet. Built using jQuery, jQuery UI. AI description: Daniel Wenzel’s digital portfolio is a masterclass in typographic expression and technical precision. The site serves as a high-end showcase for a Creative Technology Director, blending the disciplines of graphic design, custom type development, and motion through code. The visual identity is unapologetically typographic, utilizing massive, high-contrast lettering and a structured, grid-based layout that emphasizes the architecture of the characters themselves. Designed for a sophisticated audience of designers, developers, and publishers, the interface leans into a brutalist-inspired aesthetic that feels both avant-garde and highly professional. The use of monochromatic tones, expansive whitespace, and rhythmic text arrangements creates a sense of motion and depth, effectively communicating the designer's ability to bridge the gap between static type and dynamic, code-driven animation.",{"id":463,"website_id":464,"page_id":463,"name":465,"slug":466,"url":467,"website_name":465,"website_slug":466,"website_url":468,"result_url":467,"fetched_at":469,"score":366,"score_boost":367,"ai_score":194,"freshness_score":470,"scored_at":471,"page_name":40,"page_url":467,"page_title":472,"page_description":68,"page_content":473,"page_sort":367,"is_home":372,"is_home_rank":373,"page_type_id":374,"page_type_name":47,"cover":474,"cover_mobile":477,"cover_sequence":479,"translations":570,"industry":440,"styles":573,"credits":575,"font_families":576,"technologies":582,"pagespeed":583,"pagespeed_mobile":589,"buckets":595,"search_payload":597},"1cf8edff-f4ec-4723-b0e8-56845f676529","e15daa7f-daeb-4671-8d77-cc60154aecf0","Bureau Brut","bureaubrut","https:\u002F\u002Fbureaubrut.com\u002F","https:\u002F\u002Fbureaubrut.com","2026-05-04T22:04:09.000Z",75,"2026-05-23T19:26:31.000Z","Bureau Brut - Home","0 Bureau Brut - Fonts - Custom - Test fonts - Fonts in use - About - License - FAQ - My account - Cart 0 - EN FR [ Fonts ](\u002Ffonts) Fonts made by the people and for the people, as a happiness to the maker and the user. 🡢 Continue reading 🡦 Font: Boogy Brut Poster White 🡢 Read our manifesto 🡥 Explore our catalog Meet the families Our artistic direction strikes a balance between legibility and visibility. We design our typefaces so they can be used in a wide range of contexts. Even our most radical creations stay sturdy in small sizes and stay legible. 🡢 Continue reading ⏷ Brut Grotesque⏷ Bold⏷ OpenType 144px 110% 0em 5 words A A A A Brut Grotesque 🡢 About Brut Grotesque 🡢 Try 🡢 Buy ⏷ Boogy Brut Poster⏷ White⏷ OpenType 144px 110% 0em 5 words A A A A Boogy Brut Poster 🡢 About Boogy Brut 🡢 Try 🡢 Buy ⏷ Ostia Antica⏷ Regular⏷ OpenType 144px 110% 0em 5 words A A A A Ostia Antica 🡢 About Ostia Antica 🡢 Try 🡢 Buy [ Aa ](\u002Ffamily\u002Fbrut-grotesque) [ Aa ](\u002Ffamily\u002Fboogy-brut-poster) [ Aa ](\u002Ffamily\u002Fbourrasque) [ Aa ](\u002Ffamily\u002Fbourrasque) [ Aa ](\u002Ffamily\u002Fdroulers-clarendon) [ Aa ](\u002Ffamily\u002Fdroulers) [ Aa ](\u002Ffamily\u002Fmatorral) [ Aa ](\u002Ffamily\u002Fmatorral) [ Aa ](\u002Ffamily\u002Fostia-antica) [ Aa ](\u002Ffamily\u002Fostia-antica) [ Aa ](\u002Ffamily\u002Froman-grotesque) [ Aa ](\u002Ffamily\u002Fround) [ Aa ](\u002Ffamily\u002Fround-ultra) [ Aa ](\u002Ffamily\u002Ftotentanz) [ Aa ](\u002Ffamily\u002Ftotentanz) [ Aa ](\u002Ffamily\u002Ftraulha) [ Aa ](\u002Ffamily\u002Ftraulha) [ Aa ](\u002Ffamily\u002Ftraulha-lineara) [ Aa ](\u002Ffamily\u002Fboogy-brut) [ A ](\u002Ffamily\u002Fboogy-brut-wild) [ Explore our catalog ](\u002Ffonts) What’s up, doc? Newsletter Sign up to stay up-to-date with everything going on in our foundry: latest releases, projects, events and what we ate yesterday. Try all our fonts, entirely, for free. Smiling cat face with sunglasses on an orange background It wouldn’t make sense to try on shoes without the laces. That is why we think it doesn’t make sense to try an incomplete font. Our test fonts include the full character set! Exactly the same you receive when buying a license. 🡢 Continue reading Students, get a free license! Winking cat face on a green background Studies are for practicing and learning, and we don’t agree with the idea of making you pay to use our fonts during your studies. That’s why our test fonts can be used for free to create school-related and non-commercial projects only. 🡢 Continue reading Need help? [ Understanding our licenses with 7 questions ](\u002Flicenses) 🡦 Font: Boogy Brut Poster White 🡢 Read our FAQ 🡥 Explore our license system We do custom typefaces We create fonts tailored to your needs and your vision. We work on logotypes for small brands as well as on large families for global communication purposes. 🡢 Explore all our custom typefaces To graphic designers: we also love to collaborate with design studios! 🡢 Tell us more about your project [ Carnault ](\u002Fcustom-fonts\u002Fcarnault) [ Pierre Droulers ](\u002Fcustom-fonts\u002Fpierre-droulers-charleroi-danse) [ Peclers Paris ](\u002Fcustom-fonts\u002Fpeclers-paris) [ Lebreton ](\u002Fcustom-fonts\u002Flebreton) [ paris-belleville ](\u002Fcustom-fonts\u002Fparis-belleville) [ Explore all our custom typefaces ](\u002Fcustom-fonts) We design fonts, you use them, and we love it. For us, a typeface left unused is only a relatively organized sign collection: it is the way you use it that gives it its purpose. 🡢 See more projects on _Fonts In Use_ Did you use our fonts? 🡢 Share your project BUREAU BRUT TYPE FOUNDRY 🡦 Font: Brut Grotesque Medium 🡢 About the foundry 🡢 Follow us on Instagram 🡢 Contact us Fonts - Boogy Brut - Boogy Brut Poster - Boogy Brut Wild - Bourrasque - Brut Grotesque - Brut Grotesque Mono - Droulers - Droulers Clarendon - Matorral - Ostia Antica - Roman Grotesque - Round - Round Condensed - Round Ultra - Totentanz - Traulha Help - Test fonts - License - FAQ - My account Information - About - Custom - Fonts In Use - Cookies Contact - Email - Newsletter - Instagram Fonts made by the people and for the people, as a happiness to the maker and the user. Copyright © 2015–2026. All rights reserved. Newsletter Sign up to stay up-to-date with everything going on in our foundry: latest releases, projects, events and what we ate yesterday. Welcome to bureaubrut.com. We use cookies for our visit statistics\\. Reject Accept \\* GDPR-compliant statistics, no third-party data sharing. See our legal notice. Your choice is remembered for 30 days.",{"id":475,"height":13,"width":12,"blurhash":476},"69ad137e-9b89-48c5-8264-3fb25d3f54d1","radial-gradient(at 0 0,#d3493c,#00000000 50%),radial-gradient(at 33% 0,#d44a3d,#00000000 50%),radial-gradient(at 67% 0,#d84e41,#00000000 50%),radial-gradient(at 100% 0,#dc4f42,#00000000 50%),radial-gradient(at 0 50%,#c46859,#00000000 50%),radial-gradient(at 33% 50%,#c76a5c,#00000000 50%),radial-gradient(at 67% 50%,#cb7163,#00000000 50%),radial-gradient(at 100% 50%,#cb6a5b,#00000000 50%),radial-gradient(at 0 100%,#d46552,#00000000 50%),radial-gradient(at 33% 100%,#d5634f,#00000000 50%),radial-gradient(at 67% 100%,#da6a57,#00000000 50%),radial-gradient(at 100% 100%,#db6a58,#00000000 50%)",{"id":478,"height":15,"width":14,"blurhash":68},"8b43ee2b-55f1-4bab-81c3-41592fc48a13",[480,483,486,489,492,495,498,501,504,507,510,513,516,519,522,525,528,531,534,537,540,543,546,549,552,555,558,561,564,567],{"directus_files_id":481},{"id":482},"5c51aa8e-3244-4e5c-877e-0b5946dca504",{"directus_files_id":484},{"id":485},"5056a673-0bae-4006-85b4-21e03cea66c3",{"directus_files_id":487},{"id":488},"e09d61a4-9853-4ac2-934e-d2b5cc8e39dc",{"directus_files_id":490},{"id":491},"6c4805d3-2d17-45dd-a15d-83419d4c5bd0",{"directus_files_id":493},{"id":494},"63b083af-2f1c-4d43-ab8f-34a786eaca10",{"directus_files_id":496},{"id":497},"6daa35f0-589e-45c7-8b49-689719521207",{"directus_files_id":499},{"id":500},"c694c979-deb3-4657-a745-64fc2bc1f39d",{"directus_files_id":502},{"id":503},"8b77fd35-0a44-4f5e-b939-1d6bcd76b2ad",{"directus_files_id":505},{"id":506},"66fdab70-80ad-47fd-bbb5-b5d5b3364bc5",{"directus_files_id":508},{"id":509},"66f11fa7-4cb1-4a89-b4f3-7291f02a8770",{"directus_files_id":511},{"id":512},"61c461e8-8c8b-45ea-96a2-5cb1e5a6ebdd",{"directus_files_id":514},{"id":515},"4f99062e-e8f8-46e7-acf2-e442036d0a47",{"directus_files_id":517},{"id":518},"aa034bcd-8fb7-4733-bf48-162daf12c204",{"directus_files_id":520},{"id":521},"e7e6c69d-5106-4449-a3c8-452d8e2992d4",{"directus_files_id":523},{"id":524},"20a4d5c2-6b5f-49a7-8084-f9970b2c3fc0",{"directus_files_id":526},{"id":527},"3abcf006-d88a-405f-be91-4cc4ab95720d",{"directus_files_id":529},{"id":530},"ab404aa5-c28d-461b-9952-e66e80c9e1ef",{"directus_files_id":532},{"id":533},"afecf4f6-5499-4566-b81a-69f2097e6580",{"directus_files_id":535},{"id":536},"7cd54516-b7f6-4ea4-916a-88460b456348",{"directus_files_id":538},{"id":539},"fb43f56a-5480-4b83-89f2-e4f1844ac51f",{"directus_files_id":541},{"id":542},"e98cf4e6-1634-4b3c-8d4b-72d5be5218b3",{"directus_files_id":544},{"id":545},"219aee74-1022-412e-8f6b-dee436e8b188",{"directus_files_id":547},{"id":548},"0bd8973b-a1cd-484c-8e75-2af0d8e53acb",{"directus_files_id":550},{"id":551},"cada46da-ea9a-448a-aca3-a1793e6e5e74",{"directus_files_id":553},{"id":554},"57fcacb6-c0de-41c8-8dbb-384ff4e1a410",{"directus_files_id":556},{"id":557},"7eb173e1-f41f-4976-b600-c6353f372184",{"directus_files_id":559},{"id":560},"ac134537-76b9-4772-bc78-e3811cc8d29f",{"directus_files_id":562},{"id":563},"4a517834-bc94-4388-9869-16e9f4ee90fb",{"directus_files_id":565},{"id":566},"4712aef0-ca50-43d4-b015-2b52052a48ce",{"directus_files_id":568},{"id":569},"c26a994d-44e2-4e33-968f-b41361be6ebb",[571],{"languages_code":392,"description":572},"Bureau Brut is a specialized type foundry and creative studio dedicated to the craft of expressive typography. Its mission is rooted in a human-centric philosophy, creating typefaces that serve as a source of joy for both the designer and the end-user. The website serves as a digital catalog and manifesto, showcasing unique, character-driven fonts that challenge conventional typographic norms.\n\nThe visual identity is unapologetically bold and high-impact, leaning heavily into a neo-brutalist aesthetic. By utilizing massive, high-contrast serif typefaces against vibrant, saturated color blocks, the design establishes an immediate sense of authority and artistic flair. The layout prioritizes scale and legibility through sheer size, targeting creative professionals, graphic designers, and brand agencies looking for distinctive typographic assets.",[442,34,574],"Vibrant \u002F Colorful",[],[577,577,578,578,578,578,578,578,579,579,578,578,578,578,579,579,578,578,578,578,580,580,578,578,581,581,580,579,579,578,578,578,578,577,577,579,579,577,577,579,579,580,580,579,579,580,580,579,579,581,581,579,579,578,578,579,579,580,580,581,581,577,577,581,581,577,577,577,577,581,581,577,577,577,581,581,580,580,581,581,581,581,579,579,580,580,579,579,577,577,581,581,580,580,581,581,581,581,581,581,577,577,581,581,581,581,580,580,580,580,580,577,577,577,577,580,580,579,579,580,580,578,578,580,580,579,579,580,580,579,579,581,581,577,577,577,577,579,579,577,577,577,577,577,577,580,580,580,580,580,580,578,578,579,579,581,581,579,579,579,579,577,577,577,577,577,577,579,579,578,578,578,578,581,581,577,577,578,578,581,581,579,579],"Brut Grotesque","Roman Grotesque","Brut Grotesque Mono","Boogy Brut","Droulers Clarendon",[281],[584,585,586,587],{"score":120,"category":119},{"score":230,"category":122},{"score":405,"category":124},{"score":588,"category":127},83,[590,592,593,594],{"score":591,"category":119},56,{"score":230,"category":122},{"score":405,"category":124},{"score":588,"category":127},[136,596,414,140],"brown","Website: Bureau Brut. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Bureau Brut - Home. Page content: 0 Bureau Brut - Fonts - Custom - Test fonts - Fonts in use - About - License - FAQ - My account - Cart 0 - EN FR [ Fonts ](\u002Ffonts) Fonts made by the people and for the people, as a happiness to the maker and the user. 🡢 Continue reading 🡦 Font: Boogy Brut Poster White 🡢 Read our manifesto 🡥 Explore our catalog Meet the families Our artistic direction strikes a balance between legibility and visibility. We design our typefaces so they can be used in a wide range of contexts. Even our most radical creations stay sturdy in small sizes and stay legible. 🡢 Continue reading ⏷ Brut Grotesque⏷ Bold⏷ OpenType 144px 110% 0em 5 words A A A A Brut Grotesque 🡢 About Brut Grotesque 🡢 Try 🡢 Buy ⏷ Boogy Brut Poster⏷ White⏷ OpenType 144px 110% 0em 5 words A A A A Boogy Brut Poster 🡢 About Boogy Brut 🡢 Try 🡢 Buy ⏷ Ostia Antica⏷ Regular⏷ OpenType 144px 110% 0em 5 words A A A A Ostia Antica 🡢 About Ostia Antica 🡢 Try 🡢 Buy [ Aa ](\u002Ffamily\u002Fbrut-grotesque) [ Aa ](\u002Ffamily\u002Fboogy-brut-poster) [ Aa ](\u002Ffamily\u002Fbourrasque) [ Aa ](\u002Ffamily\u002Fbourrasque) [ Aa ](\u002Ffamily\u002Fdroulers-clarendon) [ Aa ](\u002Ffamily\u002Fdroulers) [ Aa ](\u002Ffamily\u002Fmatorral) [ Aa ](\u002Ffamily\u002Fmatorral) [ Aa ](\u002Ffamily\u002Fostia-antica) [ Aa ](\u002Ffamily\u002Fostia-antica) [ Aa ](\u002Ffamily\u002Froman-grotesque) [ Aa ](\u002Ffamily\u002Fround) [ Aa ](\u002Ffamily\u002Fround-ultra) [ Aa ](\u002Ffamily\u002Ftotentanz) [ Aa ](\u002Ffamily\u002Ftotentanz) [ Aa ](\u002Ffamily\u002Ftraulha) [ Aa ](\u002Ffamily\u002Ftraulha) [ Aa ](\u002Ffamily\u002Ftraulha-lineara) [ Aa ](\u002Ffamily\u002Fboogy-brut) [ A ](\u002Ffamily\u002Fboogy-brut-wild) [ Explore our catalog ](\u002Ffonts) What’s up, doc? Newsletter Sign up to stay up-to-date with everything going on in our foundry: latest releases, projects, events and what we ate yesterday. Try all our fonts, entirely, for free. Smiling cat face with sunglasses on an orange background It wouldn’t make sense to try on shoes without the laces. That is why we think it doesn’t make sense to try an incomplete font. Our test fonts include the full character set! Exactly the same you receive when buying a license. 🡢 Continue reading Students, get a free license! Winking cat face on a green background Studies are for practicing and learning, and we don’t agree with the idea of making you pay to use our fonts during your studies. That’s why our test fonts can be used for free to create school-related and non-commercial projects only. 🡢 Continue reading Need help? [ Understanding our licenses with 7 questions ](\u002Flicenses) 🡦 Font: Boogy Brut Poster White 🡢 Read our FAQ 🡥 Explore our license system We do custom typefaces We create fonts tailored to your needs and your vision. We work on logotypes for small brands as well as on large families for global communication purposes. 🡢 Explore all our custom typefaces To graphic designers: we also love to collaborate with design studios! 🡢 Tell us more about your project [ Carnault ](\u002Fcustom-fonts\u002Fcarnault) [ Pierre Droulers ](\u002Fcustom-fonts\u002Fpierre-droulers-charleroi-danse) [ Peclers Paris ](\u002Fcustom-fonts\u002Fpeclers-paris) [ Lebreton ](\u002Fcustom-fonts\u002Flebreton) [ paris-belleville ](\u002Fcustom-fonts\u002Fparis-belleville) [ Explore all our custom typefaces ](\u002Fcustom-fonts) We design fonts, you use them, and we love it. For us, a typeface left unused is only a relatively organized sign collection: it is the way you use it that gives it its purpose. 🡢 See more projects on _Fonts In Use_ Did you use our fonts? 🡢 Share your project BUREAU BRUT TYPE FOUNDRY 🡦 Font: Brut Grotesque Medium 🡢 About the foundry 🡢 Follow us on Instagram 🡢 Contact us Fonts - Boogy Brut - Boogy Brut Poster - Boogy Brut Wild - Bourrasque - Brut Grotesque - Brut Grotesque Mono - Droulers - Droulers Clarendon - Matorral - Ostia Antica - Roman Grotesque - Round - Round Condensed - Round Ultra - Totentanz - Traulha Help - Test fonts - License - FAQ - My account Information - About - Custom - Fonts In Use - Cookies Contact - Email - Newsletter - Instagram Fonts made by the people and for the people, as a happiness to the maker and the user. Copyright © 2015–2026. All rights reserved. Newsletter Sign up to stay up-to-date with everything going on in our foundry: latest releases, projects, events and what we ate yesterday. Welcome to bureaubrut.com. We use cookies for our visit statistics\\. Reject Accept \\* GDPR-compliant statistics, no third-party data sharing. See our legal notice. Your choice is remembered for 30 days.. A Brutalist \u002F Neo-Brutalist, Typographic \u002F Big Type, Vibrant \u002F Colorful website in the Agency & Studio industry. The overall color palette features White, Brown, Black, Gray. The typography features Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Boogy Brut (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Brut Grotesque (Sans Serif, Bureau Brut), Roman Grotesque (Bureau Brut), Roman Grotesque (Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Droulers Clarendon (Slab Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut), Brut Grotesque Mono (Sans Serif, Bureau Brut). Built using Vue.js. AI description: Bureau Brut is a specialized type foundry and creative studio dedicated to the craft of expressive typography. Its mission is rooted in a human-centric philosophy, creating typefaces that serve as a source of joy for both the designer and the end-user. The website serves as a digital catalog and manifesto, showcasing unique, character-driven fonts that challenge conventional typographic norms. The visual identity is unapologetically bold and high-impact, leaning heavily into a neo-brutalist aesthetic. By utilizing massive, high-contrast serif typefaces against vibrant, saturated color blocks, the design establishes an immediate sense of authority and artistic flair. The layout prioritizes scale and legibility through sheer size, targeting creative professionals, graphic designers, and brand agencies looking for distinctive typographic assets.",{"id":599,"website_id":600,"page_id":599,"name":601,"slug":602,"url":603,"website_name":601,"website_slug":602,"website_url":604,"result_url":603,"fetched_at":605,"score":216,"score_boost":367,"ai_score":228,"freshness_score":195,"scored_at":606,"page_name":40,"page_url":603,"page_title":607,"page_description":608,"page_content":609,"page_sort":367,"is_home":372,"is_home_rank":373,"page_type_id":374,"page_type_name":47,"cover":610,"cover_mobile":613,"cover_sequence":615,"translations":661,"industry":440,"styles":664,"credits":665,"font_families":666,"technologies":668,"pagespeed":669,"pagespeed_mobile":674,"buckets":680,"search_payload":681},"f60be655-3d59-4479-b462-6bdd138af62c","ffd336b8-1f4a-4aa0-a89e-9adc0aeeec04","DDOTT","ddott","https:\u002F\u002Fddott.net\u002F","https:\u002F\u002Fddott.net","2026-04-29T07:24:52.000Z","2026-05-23T19:26:04.000Z","DDOTT Type foundry — DDOTT","DDOTT is a contemporary type foundry based in Barcelona (Spain) and Cologne (Germany). We design high-quality fonts and publications.","DDOTT Type foundry Your browser does not support the video tag. This is Auto Grotesk: a wood-type-inspired sans with letterpress quirks alive on screen. Adjust pressure and weight, or make bold statements with the Cameo styles. View All All Typefaces Products Blog Auto Grotesk 12 Styles 2 Families New From €75 Try it! [ Rob Roy Kelly: “My initial contact with Victorian wood types was in a loft containing used printing equipment. When the dust had been cleared from the top case and the type exposed, I saw little resemblance between these curved, pointed, and nervous-looking types and the clean Peignot sans serif that was in the back of my mind.” Rob Roy Kelly: “My initial contact with Victorian wood types was in a loft containing used printing equipment. When the dust had been cleared from the top case and the type exposed, I saw little resemblance between these curved, pointed, and nervous-looking types and the clean Peignot sans serif that was in the back of my mind.” Rob Roy Kelly: “My initial contact with Victorian wood types was in a loft containing used printing equipment. When the dust had been cleared from the top case and the type exposed, I saw little resemblance between these curved, pointed, and nervous-looking types and the clean Peignot sans serif that was in the back of my mind.” Rob Roy Kelly: “My initial contact with Victorian wood types was in a loft containing used printing equipment. When the dust had been cleared from the top case and the type exposed, I saw little resemblance between these curved, pointed, and nervous-looking types and the clean Peignot sans serif that was in the back of my mind.” ](https:\u002F\u002Fddott.net\u002Ffont\u002Fauto-grotesk\u002F) Auto Grotesk Cameo 2 Styles 1 Family New From €75 Try it! [ #(2The#)1whole#(12of#)12printing#4was#((2bound#))2by#3constraints#)4There#)4was#)4#(5little#3freedom#)4to#((5invent#3or#3experiment#))4#(12And yet it was the restrictions which led to typographic experiments#)12 #((1(...)#))1 ALAN KITCHING #(2The#)1whole#(12of#)12printing#4was#((2bound#))2by#3constraints#)4There#)4was#)4#(5little#3freedom#)4to#((5invent#3or#3experiment#))4#(12And yet it was the restrictions which led to typographic experiments#)12 #((1(...)#))1 ALAN KITCHING #(2The#)1whole#(12of#)12printing#4was#((2bound#))2by#3constraints#)4There#)4was#)4#(5little#3freedom#)4to#((5invent#3or#3experiment#))4#(12And yet it was the restrictions which led to typographic experiments#)12 #((1(...)#))1 ALAN KITCHING #(2The#)1whole#(12of#)12printing#4was#((2bound#))2by#3constraints#)4There#)4was#)4#(5little#3freedom#)4to#((5invent#3or#3experiment#))4#(12And yet it was the restrictions which led to typographic experiments#)12 #((1(...)#))1 ALAN KITCHING ](https:\u002F\u002Fddott.net\u002Ffont\u002Fauto-grotesk-cameo\u002F) Aether 4 Styles 2 Families Version 1.010 From €75 Try it! [ In the math world they still use sign language. (…) a soundless world in which the most complex and delicate statements can be made, to anyone in the world who can read them without any trouble about the language barrier. ARTHUR PHILLIPS In the math world they still use sign language. (…) a soundless world in which the most complex and delicate statements can be made, to anyone in the world who can read them without any trouble about the language barrier. ARTHUR PHILLIPS In the math world they still use sign language. (…) a soundless world in which the most complex and delicate statements can be made, to anyone in the world who can read them without any trouble about the language barrier. ARTHUR PHILLIPS In the math world they still use sign language. (…) a soundless world in which the most complex and delicate statements can be made, to anyone in the world who can read them without any trouble about the language barrier. ARTHUR PHILLIPS ](https:\u002F\u002Fddott.net\u002Ffont\u002Faether\u002F) Aether Mono 4 Styles 2 Families Version 1.011 From €75 Try it! [ PAUL FISCHER:“Mission Control figured out that by retracting the point of the AG-7, Grumman could use the pen casing to throw the switch. The Space Pen saved the mission.” PAUL FISCHER:“Mission Control figured out that by retracting the point of the AG-7, Grumman could use the pen casing to throw the switch. The Space Pen saved the mission.” PAUL FISCHER:“Mission Control figured out that by retracting the point of the AG-7, Grumman could use the pen casing to throw the switch. The Space Pen saved the mission.” PAUL FISCHER:“Mission Control figured out that by retracting the point of the AG-7, Grumman could use the pen casing to throw the switch. The Space Pen saved the mission.” ](https:\u002F\u002Fddott.net\u002Ffont\u002Faether-mono\u002F) Archive01 – Aether 32 pages + 2 poster 22,2 x 31,4 cm Edition of 150 €25 See more Blending myth and science, this specimen shapes a new typographic reality. Nouveau Grande 22 Styles 2 Families Version 2.001 From €75 Try it! [ T!Uwhen my pencil starts moving, S it must be allowed its head or ☆ nothing more happens. @henri de toulouse-lautrec: T!Uwhen my pencil starts moving, S it must be allowed its head or ☆ nothing more happens. @henri de toulouse-lautrec: T!Uwhen my pencil starts moving, S it must be allowed its head or ☆ nothing more happens. @henri de toulouse-lautrec: T!Uwhen my pencil starts moving, S it must be allowed its head or ☆ nothing more happens. @henri de toulouse-lautrec: ](https:\u002F\u002Fddott.net\u002Ffont\u002Fnouveau-grande\u002F) Nouveau Grotesque 22 Styles 2 Families Version 2.000 From €75 Try it! [ “Even when I have to write a simple letter ⟶ I’m scared as stiff, as if faced with looming seasickness!”GUSTAV KLIMT “Even when I have to write a simple letter ⟶ I’m scared as stiff, as if faced with looming seasickness!”GUSTAV KLIMT “Even when I have to write a simple letter ⟶ I’m scared as stiff, as if faced with looming seasickness!”GUSTAV KLIMT “Even when I have to write a simple letter ⟶ I’m scared as stiff, as if faced with looming seasickness!”GUSTAV KLIMT ](https:\u002F\u002Fddott.net\u002Ffont\u002Fnouveau-grotesque\u002F) T-01 XS, S, M, L, XL Reflective Screen Printing Limited Edition €35 See more This unisex T-shirt is a tribute to the beauty in spelling mistakes. Diverse C 36 Styles 3 Families Version 1.000 From €75 Try it! [ GERRIT NOORDZIJ\\Writing is not a series of strokes, but space, divided into characteristic shapes by strokes. GERRIT NOORDZIJ\\Writing is not a series of strokes, but space, divided into characteristic shapes by strokes. GERRIT NOORDZIJ\\Writing is not a series of strokes, but space, divided into characteristic shapes by strokes. GERRIT NOORDZIJ\\Writing is not a series of strokes, but space, divided into characteristic shapes by strokes. ](https:\u002F\u002Fddott.net\u002Ffont\u002Fdiverse-c\u002F) Diverse B 36 Styles 3 Families Version 1.000 From €75 Try it! [ Life is way too short for kerning. (→). How many more pixels can I push before they start pushing me? ERIK SPIEKERMANN: Life is way too short for kerning. (→). How many more pixels can I push before they start pushing me? ERIK SPIEKERMANN: Life is way too short for kerning. (→). How many more pixels can I push before they start pushing me? ERIK SPIEKERMANN: Life is way too short for kerning. (→). How many more pixels can I push before they start pushing me? ERIK SPIEKERMANN: ](https:\u002F\u002Fddott.net\u002Ffont\u002Fdiverse-b\u002F) Diverse A 36 Styles 3 Families Version 1.000 From €75 Try it! [ ADRIAN FRUTIGER: When I put my pen to a blank sheet, black isn’t added but rather the white sheet is deprived of light. \\[...\\] Thus I also grasped that the empty spaces are the most important aspect of a typeface. ADRIAN FRUTIGER: When I put my pen to a blank sheet, black isn’t added but rather the white sheet is deprived of light. \\[...\\] Thus I also grasped that the empty spaces are the most important aspect of a typeface. ADRIAN FRUTIGER: When I put my pen to a blank sheet, black isn’t added but rather the white sheet is deprived of light. \\[...\\] Thus I also grasped that the empty spaces are the most important aspect of a typeface. ADRIAN FRUTIGER: When I put my pen to a blank sheet, black isn’t added but rather the white sheet is deprived of light. \\[...\\] Thus I also grasped that the empty spaces are the most important aspect of a typeface. ](https:\u002F\u002Fddott.net\u002Ffont\u002Fdiverse\u002F) Auto Grotesk – A Love Letter to Wood Type This project began with a fascination for the fragile beauty of letterpress. Auto Grotesk is my exploration of how centuries of wood type can still speak within a digital world. more",{"id":611,"height":13,"width":12,"blurhash":612},"7a9f1350-50bb-4125-a6ef-450fe55e4ffd","radial-gradient(at 0 0,#dac5be,#00000000 50%),radial-gradient(at 33% 0,#dfc8b6,#00000000 50%),radial-gradient(at 67% 0,#ede1da,#00000000 50%),radial-gradient(at 100% 0,#f4f0f4,#00000000 50%),radial-gradient(at 0 50%,#e8d1c0,#00000000 50%),radial-gradient(at 33% 50%,#ddc6b0,#00000000 50%),radial-gradient(at 67% 50%,#ebe0d9,#00000000 50%),radial-gradient(at 100% 50%,#faf8f8,#00000000 50%),radial-gradient(at 0 100%,#b7babf,#00000000 50%),radial-gradient(at 33% 100%,#b8babb,#00000000 50%),radial-gradient(at 67% 100%,#b7bec0,#00000000 50%),radial-gradient(at 100% 100%,#b8c3c5,#00000000 50%)",{"id":614,"height":15,"width":14,"blurhash":68},"83a2586e-2288-4c93-baf8-a26c07c5e64c",[616,619,622,625,628,631,634,637,640,643,646,649,652,655,658],{"directus_files_id":617},{"id":618},"0b506bd5-4cfd-43b3-9d93-775fd1894b00",{"directus_files_id":620},{"id":621},"f50cdb0d-834d-4554-a23f-85e13c077092",{"directus_files_id":623},{"id":624},"4ceed0e0-9d57-4abf-b5c6-aa248ffb3b03",{"directus_files_id":626},{"id":627},"e8cc3d8b-3106-487f-a5b0-fa05680b3b03",{"directus_files_id":629},{"id":630},"c5c331fe-c58f-420b-afad-397517340399",{"directus_files_id":632},{"id":633},"0e5b89f9-632a-4ea2-b4db-7fc8cf4a8bf8",{"directus_files_id":635},{"id":636},"56e01e4c-a997-47d1-9bcf-3e374066ee19",{"directus_files_id":638},{"id":639},"a444d034-7606-4b32-be75-e3112c5e38ea",{"directus_files_id":641},{"id":642},"71ecfa11-c4af-451e-ae3e-18584f4f6209",{"directus_files_id":644},{"id":645},"da05f520-e305-4a3d-8473-9a3d74e6cb98",{"directus_files_id":647},{"id":648},"8329afd5-ae76-438f-9f36-fd93c9e193a7",{"directus_files_id":650},{"id":651},"12ddebfe-3328-4b59-a461-7c815364ffbd",{"directus_files_id":653},{"id":654},"54dd6151-f1b3-4c7f-ac3c-4c675c97a594",{"directus_files_id":656},{"id":657},"48c14967-af7d-4b80-9413-b12a9ba7295b",{"directus_files_id":659},{"id":660},"c2f705bb-09ce-4f73-b458-30a70de1c4c7",[662],{"languages_code":392,"description":663},"DDOTT is a sophisticated contemporary type foundry that bridges the gap between historical craftsmanship and modern digital design. Based in Barcelona and Cologne, the studio specializes in the creation of high-quality typefaces, books, and posters, often drawing deep inspiration from traditional methods like wood type and letterpress. Their work is characterized by a profound respect for typographic history, reimagined through a lens of modern precision.\n\nThe visual identity of the website is unapologetically typographic, utilizing massive, expressive letterforms to showcase the very products they sell. The design language is minimalist and editorial, employing a neutral color palette and a structured layout that allows the character of each typeface to command attention. It caters to a discerning audience of graphic designers, art directors, and print enthusiasts who value both technical excellence and artistic soul in their typographic tools.",[26,30,34],[],[667,667],"Aether Mono",[],[670,671,672,673],{"score":220,"category":119},{"score":229,"category":122},{"score":125,"category":124},{"score":214,"category":127},[675,677,678,679],{"score":676,"category":119},38,{"score":194,"category":122},{"score":125,"category":124},{"score":214,"category":127},[136,414,140],"Website: DDOTT. Page: Homepage. Page type: Home \u002F Landing Page. Page title: DDOTT Type foundry — DDOTT. Page description: DDOTT is a contemporary type foundry based in Barcelona (Spain) and Cologne (Germany). We design high-quality fonts and publications.. Page content: DDOTT Type foundry Your browser does not support the video tag. This is Auto Grotesk: a wood-type-inspired sans with letterpress quirks alive on screen. Adjust pressure and weight, or make bold statements with the Cameo styles. View All All Typefaces Products Blog Auto Grotesk 12 Styles 2 Families New From €75 Try it! [ Rob Roy Kelly: “My initial contact with Victorian wood types was in a loft containing used printing equipment. When the dust had been cleared from the top case and the type exposed, I saw little resemblance between these curved, pointed, and nervous-looking types and the clean Peignot sans serif that was in the back of my mind.” Rob Roy Kelly: “My initial contact with Victorian wood types was in a loft containing used printing equipment. When the dust had been cleared from the top case and the type exposed, I saw little resemblance between these curved, pointed, and nervous-looking types and the clean Peignot sans serif that was in the back of my mind.” Rob Roy Kelly: “My initial contact with Victorian wood types was in a loft containing used printing equipment. When the dust had been cleared from the top case and the type exposed, I saw little resemblance between these curved, pointed, and nervous-looking types and the clean Peignot sans serif that was in the back of my mind.” Rob Roy Kelly: “My initial contact with Victorian wood types was in a loft containing used printing equipment. When the dust had been cleared from the top case and the type exposed, I saw little resemblance between these curved, pointed, and nervous-looking types and the clean Peignot sans serif that was in the back of my mind.” ](https:\u002F\u002Fddott.net\u002Ffont\u002Fauto-grotesk\u002F) Auto Grotesk Cameo 2 Styles 1 Family New From €75 Try it! [ #(2The#)1whole#(12of#)12printing#4was#((2bound#))2by#3constraints#)4There#)4was#)4#(5little#3freedom#)4to#((5invent#3or#3experiment#))4#(12And yet it was the restrictions which led to typographic experiments#)12 #((1(...)#))1 ALAN KITCHING #(2The#)1whole#(12of#)12printing#4was#((2bound#))2by#3constraints#)4There#)4was#)4#(5little#3freedom#)4to#((5invent#3or#3experiment#))4#(12And yet it was the restrictions which led to typographic experiments#)12 #((1(...)#))1 ALAN KITCHING #(2The#)1whole#(12of#)12printing#4was#((2bound#))2by#3constraints#)4There#)4was#)4#(5little#3freedom#)4to#((5invent#3or#3experiment#))4#(12And yet it was the restrictions which led to typographic experiments#)12 #((1(...)#))1 ALAN KITCHING #(2The#)1whole#(12of#)12printing#4was#((2bound#))2by#3constraints#)4There#)4was#)4#(5little#3freedom#)4to#((5invent#3or#3experiment#))4#(12And yet it was the restrictions which led to typographic experiments#)12 #((1(...)#))1 ALAN KITCHING ](https:\u002F\u002Fddott.net\u002Ffont\u002Fauto-grotesk-cameo\u002F) Aether 4 Styles 2 Families Version 1.010 From €75 Try it! [ In the math world they still use sign language. (…) a soundless world in which the most complex and delicate statements can be made, to anyone in the world who can read them without any trouble about the language barrier. ARTHUR PHILLIPS In the math world they still use sign language. (…) a soundless world in which the most complex and delicate statements can be made, to anyone in the world who can read them without any trouble about the language barrier. ARTHUR PHILLIPS In the math world they still use sign language. (…) a soundless world in which the most complex and delicate statements can be made, to anyone in the world who can read them without any trouble about the language barrier. ARTHUR PHILLIPS In the math world they still use sign language. (…) a soundless world in which the most complex and delicate statements can be made, to anyone in the world who can read them without any trouble about the language barrier. ARTHUR PHILLIPS ](https:\u002F\u002Fddott.net\u002Ffont\u002Faether\u002F) Aether Mono 4 Styles 2 Families Version 1.011 From €75 Try it! [ PAUL FISCHER:“Mission Control figured out that by retracting the point of the AG-7, Grumman could use the pen casing to throw the switch. The Space Pen saved the mission.” PAUL FISCHER:“Mission Control figured out that by retracting the point of the AG-7, Grumman could use the pen casing to throw the switch. The Space Pen saved the mission.” PAUL FISCHER:“Mission Control figured out that by retracting the point of the AG-7, Grumman could use the pen casing to throw the switch. The Space Pen saved the mission.” PAUL FISCHER:“Mission Control figured out that by retracting the point of the AG-7, Grumman could use the pen casing to throw the switch. The Space Pen saved the mission.” ](https:\u002F\u002Fddott.net\u002Ffont\u002Faether-mono\u002F) Archive01 – Aether 32 pages + 2 poster 22,2 x 31,4 cm Edition of 150 €25 See more Blending myth and science, this specimen shapes a new typographic reality. Nouveau Grande 22 Styles 2 Families Version 2.001 From €75 Try it! [ T!Uwhen my pencil starts moving, S it must be allowed its head or ☆ nothing more happens. @henri de toulouse-lautrec: T!Uwhen my pencil starts moving, S it must be allowed its head or ☆ nothing more happens. @henri de toulouse-lautrec: T!Uwhen my pencil starts moving, S it must be allowed its head or ☆ nothing more happens. @henri de toulouse-lautrec: T!Uwhen my pencil starts moving, S it must be allowed its head or ☆ nothing more happens. @henri de toulouse-lautrec: ](https:\u002F\u002Fddott.net\u002Ffont\u002Fnouveau-grande\u002F) Nouveau Grotesque 22 Styles 2 Families Version 2.000 From €75 Try it! [ “Even when I have to write a simple letter ⟶ I’m scared as stiff, as if faced with looming seasickness!”GUSTAV KLIMT “Even when I have to write a simple letter ⟶ I’m scared as stiff, as if faced with looming seasickness!”GUSTAV KLIMT “Even when I have to write a simple letter ⟶ I’m scared as stiff, as if faced with looming seasickness!”GUSTAV KLIMT “Even when I have to write a simple letter ⟶ I’m scared as stiff, as if faced with looming seasickness!”GUSTAV KLIMT ](https:\u002F\u002Fddott.net\u002Ffont\u002Fnouveau-grotesque\u002F) T-01 XS, S, M, L, XL Reflective Screen Printing Limited Edition €35 See more This unisex T-shirt is a tribute to the beauty in spelling mistakes. Diverse C 36 Styles 3 Families Version 1.000 From €75 Try it! [ GERRIT NOORDZIJ\\Writing is not a series of strokes, but space, divided into characteristic shapes by strokes. GERRIT NOORDZIJ\\Writing is not a series of strokes, but space, divided into characteristic shapes by strokes. GERRIT NOORDZIJ\\Writing is not a series of strokes, but space, divided into characteristic shapes by strokes. GERRIT NOORDZIJ\\Writing is not a series of strokes, but space, divided into characteristic shapes by strokes. ](https:\u002F\u002Fddott.net\u002Ffont\u002Fdiverse-c\u002F) Diverse B 36 Styles 3 Families Version 1.000 From €75 Try it! [ Life is way too short for kerning. (→). How many more pixels can I push before they start pushing me? ERIK SPIEKERMANN: Life is way too short for kerning. (→). How many more pixels can I push before they start pushing me? ERIK SPIEKERMANN: Life is way too short for kerning. (→). How many more pixels can I push before they start pushing me? ERIK SPIEKERMANN: Life is way too short for kerning. (→). How many more pixels can I push before they start pushing me? ERIK SPIEKERMANN: ](https:\u002F\u002Fddott.net\u002Ffont\u002Fdiverse-b\u002F) Diverse A 36 Styles 3 Families Version 1.000 From €75 Try it! [ ADRIAN FRUTIGER: When I put my pen to a blank sheet, black isn’t added but rather the white sheet is deprived of light. \\[...\\] Thus I also grasped that the empty spaces are the most important aspect of a typeface. ADRIAN FRUTIGER: When I put my pen to a blank sheet, black isn’t added but rather the white sheet is deprived of light. \\[...\\] Thus I also grasped that the empty spaces are the most important aspect of a typeface. ADRIAN FRUTIGER: When I put my pen to a blank sheet, black isn’t added but rather the white sheet is deprived of light. \\[...\\] Thus I also grasped that the empty spaces are the most important aspect of a typeface. ADRIAN FRUTIGER: When I put my pen to a blank sheet, black isn’t added but rather the white sheet is deprived of light. \\[...\\] Thus I also grasped that the empty spaces are the most important aspect of a typeface. ](https:\u002F\u002Fddott.net\u002Ffont\u002Fdiverse\u002F) Auto Grotesk – A Love Letter to Wood Type This project began with a fascination for the fragile beauty of letterpress. Auto Grotesk is my exploration of how centuries of wood type can still speak within a digital world. more. A Clean \u002F Minimalist, Monochrome \u002F Grayscale, Typographic \u002F Big Type website in the Agency & Studio industry. The overall color palette features White, Black, Gray. The typography features Aether Mono (Serif, DDOTT), Aether Mono (Serif, DDOTT). AI description: DDOTT is a sophisticated contemporary type foundry that bridges the gap between historical craftsmanship and modern digital design. Based in Barcelona and Cologne, the studio specializes in the creation of high-quality typefaces, books, and posters, often drawing deep inspiration from traditional methods like wood type and letterpress. Their work is characterized by a profound respect for typographic history, reimagined through a lens of modern precision. The visual identity of the website is unapologetically typographic, utilizing massive, expressive letterforms to showcase the very products they sell. The design language is minimalist and editorial, employing a neutral color palette and a structured layout that allows the character of each typeface to command attention. It caters to a discerning audience of graphic designers, art directors, and print enthusiasts who value both technical excellence and artistic soul in their typographic tools."]