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edito.type
EDITO TYPE
INDEPENDENT TYPE FOUNDRY
PARIS
SIRCA in use for @epoch.review Pompeii.
@leonardvernhet @clementgicquel @thomasleprovost
A 480 page special issue of EPOCH dedicated, and shot in the archeological park of Pompeii.
Featuring words and works by Harley Weir, Wade Guyton, Bruno Staub, Zoe Natale Mannella, Paul Kooiker, Thomas Prior, Jonas Lindstroem, Debra Shaw, Nadine Fraczkowski, David Zilber, Jeremy Deller, Adrian Maben, and many more.
Creative direction:
@leonardvernhet
@permanent.files
Editor-in-chief
@roughversion
Fashion editor
@marcgoehring
Graphic Designers
@clementgicquel
@thomasleprovost
Production
@lb_rmb
Licensing and trials available at www.edito-type.com
SIRCA in use for @epoch.review Pompeii.
@leonardvernhet @clementgicquel @thomasleprovost
A 480 page special issue of EPOCH dedicated, and shot in the archeological park of Pompeii.
Featuring words and works by Harley Weir, Wade Guyton, Bruno Staub, Zoe Natale Mannella, Paul Kooiker, Thomas Prior, Jonas Lindstroem, Debra Shaw, Nadine Fraczkowski, David Zilber, Jeremy Deller, Adrian Maben, and many more.
Creative direction:
@leonardvernhet
@permanent.files
Editor-in-chief
@roughversion
Fashion editor
@marcgoehring
Graphic Designers
@clementgicquel
@thomasleprovost
Production
@lb_rmb
Licensing and trials available at www.edito-type.com
SIRCA in use for @epoch.review Pompeii.
@leonardvernhet @clementgicquel @thomasleprovost
A 480 page special issue of EPOCH dedicated, and shot in the archeological park of Pompeii.
Featuring words and works by Harley Weir, Wade Guyton, Bruno Staub, Zoe Natale Mannella, Paul Kooiker, Thomas Prior, Jonas Lindstroem, Debra Shaw, Nadine Fraczkowski, David Zilber, Jeremy Deller, Adrian Maben, and many more.
Creative direction:
@leonardvernhet
@permanent.files
Editor-in-chief
@roughversion
Fashion editor
@marcgoehring
Graphic Designers
@clementgicquel
@thomasleprovost
Production
@lb_rmb
Licensing and trials available at www.edito-type.com
SIRCA in use for @epoch.review Pompeii.
@leonardvernhet @clementgicquel @thomasleprovost
A 480 page special issue of EPOCH dedicated, and shot in the archeological park of Pompeii.
Featuring words and works by Harley Weir, Wade Guyton, Bruno Staub, Zoe Natale Mannella, Paul Kooiker, Thomas Prior, Jonas Lindstroem, Debra Shaw, Nadine Fraczkowski, David Zilber, Jeremy Deller, Adrian Maben, and many more.
Creative direction:
@leonardvernhet
@permanent.files
Editor-in-chief
@roughversion
Fashion editor
@marcgoehring
Graphic Designers
@clementgicquel
@thomasleprovost
Production
@lb_rmb
Licensing and trials available at www.edito-type.com
SIRCA in use for @epoch.review Pompeii.
@leonardvernhet @clementgicquel @thomasleprovost
A 480 page special issue of EPOCH dedicated, and shot in the archeological park of Pompeii.
Featuring words and works by Harley Weir, Wade Guyton, Bruno Staub, Zoe Natale Mannella, Paul Kooiker, Thomas Prior, Jonas Lindstroem, Debra Shaw, Nadine Fraczkowski, David Zilber, Jeremy Deller, Adrian Maben, and many more.
Creative direction:
@leonardvernhet
@permanent.files
Editor-in-chief
@roughversion
Fashion editor
@marcgoehring
Graphic Designers
@clementgicquel
@thomasleprovost
Production
@lb_rmb
Licensing and trials available at www.edito-type.com
ARCH 📐is a typeface family interpreting Walter Käch’s condensed grotesque display logic through a grid-based methodology and a modular unit system.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024–2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH 📐is a typeface family interpreting Walter Käch’s condensed grotesque display logic through a grid-based methodology and a modular unit system.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024–2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH 📐is a typeface family interpreting Walter Käch’s condensed grotesque display logic through a grid-based methodology and a modular unit system.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024–2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH 📐is a typeface family interpreting Walter Käch’s condensed grotesque display logic through a grid-based methodology and a modular unit system.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024–2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH 📐is a typeface family interpreting Walter Käch’s condensed grotesque display logic through a grid-based methodology and a modular unit system.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024–2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH 📐is a typeface family interpreting Walter Käch’s condensed grotesque display logic through a grid-based methodology and a modular unit system.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024–2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH 📐is a typeface family interpreting Walter Käch’s condensed grotesque display logic through a grid-based methodology and a modular unit system.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024–2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH 📐is a typeface family interpreting Walter Käch’s condensed grotesque display logic through a grid-based methodology and a modular unit system.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024–2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
EDITO TYPE IS NOW LIVE. 🚀
Our new Paris-based type foundry opens today with its first five releases: Andys, Arch, Katalog, Moca, Sirca.
Explore the full collection and access trial versions on the website.
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
MOCA
Moca revisits the monumental display faces of early twentieth-century French wood type, reformulating their physical volume within a contemporary typographic logic. Its main source is a wide-set titling alphabet known as “Série G”, issued around 1920 by Jacoby & Fils in Grenoble and the Fonderie Typographique Française. Originally designed for posters and signage, its imposing forms reflected the industrial optimism of the period: bold, heavy, direct.
Moca reinterprets this model with softened outlines and a more fluid rhythm, exploring how such monumental shapes could evolve for modern typography. The design tempers the physical weight of its source with rounder counters and smoother transitions, bringing warmth and tactility to an otherwise rigid genre.
While faithful to the density and presence of wood type, Moca introduces a balance of precision and softness that makes it equally suited to bold titling, editorial use, or contemporary identities. It retains the sense of impact inherent to its origins, yet feels distinctly current. A dialogue between mass and nuance, volume and light.
2020-2025
Design: @alanmadic
Spacing and Kerning: Igino Marini
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
KATALOG
Katalog reexamines the mid-century Swiss display tradition through a more compact, expressive lens, drawing from Zürich by Alex Stocker and Hans Gruber (Lettera, 1954). It recalibrates the proportions of the original model with shortened capitals and a tighter rhythm that emphasizes horizontal flow. Originally issued as a single bold style, the design has been expanded into four weights (Light, Regular, Medium, and Bold), broadening its headline scope.
While rooted in the rational structures of 1950s Swiss lettering, Katalog also draws from the typographic vernacular of industrial signage and storefronts once common across Switzerland. Its geometry carries subtle traces of late-modernist models from the 1950s to the 1970s.
Beyond its origins, Katalog connects to the graphic energy of 1980s sport: bold, functional, and built for visibility. Designed for large-scale use, it retains the clarity and strength that make it equally at home in contemporary publications and large-format typography.
2021-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ANDYS
Born from the playful geometry of 1970s phototype, Andys revives the spirit of Arc en Ciel for a new era of color and rhythm. Designed in the early 1970s by French illustrator and designer Andy Song (André Chante) for Hollenstein Phototypo in Paris, Arc en Ciel was a lowercase-only typeface mostly used in the vibrant world of vinyl sleeves and poster art. It embodied the optimism and visual rhythm of its era: colorful and unapologetically graphic.
Revisited more than fifty years later, Andys expands Song’s original design into a complete display system. The family introduces multiple cuts conceived to echo the interplay of lines, colors, and motion that defined the phototype age. Its modular construction and rhythmic layering allow for playful compositions that recall the visual energy of 1970s graphic design.
Beyond nostalgia, Andys translates the spirit of Studio Hollenstein’s experimental typography into a flexible tool for contemporary use. Both expressive and structured, it bridges eras and techniques, a dialogue between analog exuberance and digital precision. A tribute to the joy of form and color.
2024-2025
Design: @alanmadic
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
ARCH
A condensed grotesque display family crystallizing the tension between structure and expression. Built upon a modular unit system, it extends the mid-century logic of rational design into a contemporary language of structure and rhythm. As our second re-evaluation of Walter Käch’s models, it draws from his condensed grotesque “Velos” Bold introduced in the late 1940s as a foundation. Each glyph is drawn within a grid regulating width, weight, and spacing across the four widths of the family; a rational foundation from which expressive forms emerge.
The unit system takes cues from the mechanical logic of the Linofilm typesetter, whose fixed spacing mechanism defined the widths and weights of early phototype families such as Helvetica Compressed (1966). By turning the mechanics of standardization into a design principle, what once arose from technical limitation becomes a deliberate method, extending Käch’s principles to form an ultimate condensed grotesque family.
The result is a display typeface that balances structural rigor with an inherent sense of rhythm and presence. Both rational and expressive, its heightened contrast brings a quiet authority and a distinctly graphic tone to the page.
Conceived through a grid-based methodology, Arch reflects a modular approach reminiscent of architectural construction and the structural utopias of the 1960s, particularly Superstudio’s grid. It revisits a modernist pursuit of order and proportion, translating it into a typographic syntax that feels both mechanical and alive—an exploration of how form can emerge from the logic of construction itself.
2024-2025
Design: @alanmadic
Font engineering and production care: @bordeausolenn
Available now at www.edito-type.com
Story Save - Best free tool for saving Stories, Reels, Photos, Videos, Highlights, IGTV to your phone.
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