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Introducing LL Electa, a new typeface by Luca Pellegrini.

Here comes a typewritten love letter to the classic Pica-style typeface which came with many of the iconic Olivetti machines. Developed from the actual metal letters on the type bars of his vintage Olivetti Studio 42, Luca Pellegrini’s LL Electa offers a crisp, contemporary interpretation, balancing mechanical precision with sharpness and elegance. Precise yet warm, reminiscent of Olivetti’s legacy, but unmistakably new – the inherent poetry of mechanical machinery, captured for today’s technology.

LL Electa is available in three weights and six styles, and as variable fonts, each with matching Cameo version.

Indispensably yours, Lineto.com

Introducing LL Electa, a new typeface by Luca Pellegrini.

Here comes a typewritten love letter to the classic Pica-style typeface which came with many of the iconic Olivetti machines. Developed from the actual metal letters on the type bars of his vintage Olivetti Studio 42, Luca Pellegrini’s LL Electa offers a crisp, contemporary interpretation, balancing mechanical precision with sharpness and elegance. Precise yet warm, reminiscent of Olivetti’s legacy, but unmistakably new – the inherent poetry of mechanical machinery, captured for today’s technology.

LL Electa is available in three weights and six styles, and as variable fonts, each with matching Cameo version.

Indispensably yours, Lineto.com

Introducing LL Electa, a new typeface by Luca Pellegrini.

Here comes a typewritten love letter to the classic Pica-style typeface which came with many of the iconic Olivetti machines. Developed from the actual metal letters on the type bars of his vintage Olivetti Studio 42, Luca Pellegrini’s LL Electa offers a crisp, contemporary interpretation, balancing mechanical precision with sharpness and elegance. Precise yet warm, reminiscent of Olivetti’s legacy, but unmistakably new – the inherent poetry of mechanical machinery, captured for today’s technology.

LL Electa is available in three weights and six styles, and as variable fonts, each with matching Cameo version.

Indispensably yours, Lineto.com

Introducing LL Electa, a new typeface by Luca Pellegrini.

Here comes a typewritten love letter to the classic Pica-style typeface which came with many of the iconic Olivetti machines. Developed from the actual metal letters on the type bars of his vintage Olivetti Studio 42, Luca Pellegrini’s LL Electa offers a crisp, contemporary interpretation, balancing mechanical precision with sharpness and elegance. Precise yet warm, reminiscent of Olivetti’s legacy, but unmistakably new – the inherent poetry of mechanical machinery, captured for today’s technology.

LL Electa is available in three weights and six styles, and as variable fonts, each with matching Cameo version.

Indispensably yours, Lineto.com

Introducing LL Electa, a new typeface by Luca Pellegrini.

Here comes a typewritten love letter to the classic Pica-style typeface which came with many of the iconic Olivetti machines. Developed from the actual metal letters on the type bars of his vintage Olivetti Studio 42, Luca Pellegrini’s LL Electa offers a crisp, contemporary interpretation, balancing mechanical precision with sharpness and elegance. Precise yet warm, reminiscent of Olivetti’s legacy, but unmistakably new – the inherent poetry of mechanical machinery, captured for today’s technology.

LL Electa is available in three weights and six styles, and as variable fonts, each with matching Cameo version.

Indispensably yours, Lineto.com

Introducing LL Electa, a new typeface by Luca Pellegrini.

Here comes a typewritten love letter to the classic Pica-style typeface which came with many of the iconic Olivetti machines. Developed from the actual metal letters on the type bars of his vintage Olivetti Studio 42, Luca Pellegrini’s LL Electa offers a crisp, contemporary interpretation, balancing mechanical precision with sharpness and elegance. Precise yet warm, reminiscent of Olivetti’s legacy, but unmistakably new – the inherent poetry of mechanical machinery, captured for today’s technology.

LL Electa is available in three weights and six styles, and as variable fonts, each with matching Cameo version.

Indispensably yours, Lineto.com

Introducing LL Electa, a new typeface by Luca Pellegrini.

Here comes a typewritten love letter to the classic Pica-style typeface which came with many of the iconic Olivetti machines. Developed from the actual metal letters on the type bars of his vintage Olivetti Studio 42, Luca Pellegrini’s LL Electa offers a crisp, contemporary interpretation, balancing mechanical precision with sharpness and elegance. Precise yet warm, reminiscent of Olivetti’s legacy, but unmistakably new – the inherent poetry of mechanical machinery, captured for today’s technology.

LL Electa is available in three weights and six styles, and as variable fonts, each with matching Cameo version.

Indispensably yours, Lineto.com

Introducing LL Electa, a new typeface by Luca Pellegrini.

Here comes a typewritten love letter to the classic Pica-style typeface which came with many of the iconic Olivetti machines. Developed from the actual metal letters on the type bars of his vintage Olivetti Studio 42, Luca Pellegrini’s LL Electa offers a crisp, contemporary interpretation, balancing mechanical precision with sharpness and elegance. Precise yet warm, reminiscent of Olivetti’s legacy, but unmistakably new – the inherent poetry of mechanical machinery, captured for today’s technology.

LL Electa is available in three weights and six styles, and as variable fonts, each with matching Cameo version.

Indispensably yours, Lineto.com

Last chance to download!
LL Agip77 is free until Jan. 1 at Lineto.com. The third font in a series of design exercises, Agip77 playfully reflects the DNA of Lineto’s neo-grotesk superfamily, LL Unica77. Ten years after its release, Unica77 stands as the rightful heir to Switzerland’s post-war rational design, synthesizing the various advantages of the trinity that came to define 20th-century type: Helvetica, Univers, and Akzidenz Grotesk.

Last chance to download!
LL Agip77 is free until Jan. 1 at Lineto.com. The third font in a series of design exercises, Agip77 playfully reflects the DNA of Lineto’s neo-grotesk superfamily, LL Unica77. Ten years after its release, Unica77 stands as the rightful heir to Switzerland’s post-war rational design, synthesizing the various advantages of the trinity that came to define 20th-century type: Helvetica, Univers, and Akzidenz Grotesk.

Last chance to download!
LL Agip77 is free until Jan. 1 at Lineto.com. The third font in a series of design exercises, Agip77 playfully reflects the DNA of Lineto’s neo-grotesk superfamily, LL Unica77. Ten years after its release, Unica77 stands as the rightful heir to Switzerland’s post-war rational design, synthesizing the various advantages of the trinity that came to define 20th-century type: Helvetica, Univers, and Akzidenz Grotesk.

Last chance to download!
LL Agip77 is free until Jan. 1 at Lineto.com. The third font in a series of design exercises, Agip77 playfully reflects the DNA of Lineto’s neo-grotesk superfamily, LL Unica77. Ten years after its release, Unica77 stands as the rightful heir to Switzerland’s post-war rational design, synthesizing the various advantages of the trinity that came to define 20th-century type: Helvetica, Univers, and Akzidenz Grotesk.

Last chance to download!
LL Agip77 is free until Jan. 1 at Lineto.com. The third font in a series of design exercises, Agip77 playfully reflects the DNA of Lineto’s neo-grotesk superfamily, LL Unica77. Ten years after its release, Unica77 stands as the rightful heir to Switzerland’s post-war rational design, synthesizing the various advantages of the trinity that came to define 20th-century type: Helvetica, Univers, and Akzidenz Grotesk.

Treat yourself for Christmas!
LL Agip77 is free for download until Dec. 31 on Lineto.com
Paying respect to the iconic brand identity of Agip,
Agip77 repro­duces the original formal trait by intro­du­cing an inline of vari­able thick­ness and automatic spacing, which effort­lessly sets the font in the right way, at any chosen size.

Have fun in 2026,
Love X Lineto

Treat yourself for Christmas!
LL Agip77 is free for download until Dec. 31 on Lineto.com
Paying respect to the iconic brand identity of Agip,
Agip77 repro­duces the original formal trait by intro­du­cing an inline of vari­able thick­ness and automatic spacing, which effort­lessly sets the font in the right way, at any chosen size.

Have fun in 2026,
Love X Lineto

Treat yourself for Christmas!
LL Agip77 is free for download until Dec. 31 on Lineto.com
Paying respect to the iconic brand identity of Agip,
Agip77 repro­duces the original formal trait by intro­du­cing an inline of vari­able thick­ness and automatic spacing, which effort­lessly sets the font in the right way, at any chosen size.

Have fun in 2026,
Love X Lineto

Treat yourself for Xmas!
Free for download until Dec. 31 on Lineto.com.

Paying respect to the iconic brand iden­tity of Agip,
Agip77 is a inline variable version of Lineto’s LL Unica77.

Love X Lineto

Treat yourself for Xmas!
Free for download until Dec. 31 on Lineto.com.

Paying respect to the iconic brand iden­tity of Agip,
Agip77 is a inline variable version of Lineto’s LL Unica77.

Love X Lineto

Treat yourself for Xmas!
Free for download until Dec. 31 on Lineto.com.

Paying respect to the iconic brand iden­tity of Agip,
Agip77 is a inline variable version of Lineto’s LL Unica77.

Love X Lineto

Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.

Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.

Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)

Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt

And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper

Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.

Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.

Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)

Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt

And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper

Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.

Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.

Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)

Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt

And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper

Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.

Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.

Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)

Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt

And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper

Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.

Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.

Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)

Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt

And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper

Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.

Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.

Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)

Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt

And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper

Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.

Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.

Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)

Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt

And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper

Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.

Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.

Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)

Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt

And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper

Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.

Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.

Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)

Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt

And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper

Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.

Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.

Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)

Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt

And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper

Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.

Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.

Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)

Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt

And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper

Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.

Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.

Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)

Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt

And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper

Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.

Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com

Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.

@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper

Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.

Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com

Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.

@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper

Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.

Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com

Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.

@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper

Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.

Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com

Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.

@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper

Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.

Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com

Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.

@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper

Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.

Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com

Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.

@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper

Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.

Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com

Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.

@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper

Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.

Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com

Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.

@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper

Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.

Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com

Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.

@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper

Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.

Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com

Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.

@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper

Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.

Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.

Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com

Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.

@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper

Out now:
LL Capital by Pablo Desportes

Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.

One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?

Let’s go!
Only from Lineto.com

Out now:
LL Capital by Pablo Desportes

Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.

One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?

Let’s go!
Only from Lineto.com

Out now:
LL Capital by Pablo Desportes

Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.

One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?

Let’s go!
Only from Lineto.com

Out now:
LL Capital by Pablo Desportes

Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.

One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?

Let’s go!
Only from Lineto.com

Out now:
LL Capital by Pablo Desportes

Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.

One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?

Let’s go!
Only from Lineto.com

Out now:
LL Capital by Pablo Desportes

Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.

One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?

Let’s go!
Only from Lineto.com

Out now:
LL Capital by Pablo Desportes

Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.

One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?

Let’s go!
Only from Lineto.com

Out now:
LL Capital by Pablo Desportes

Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.

One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?

Let’s go!
Only from Lineto.com

Out now:
LL Capital by Pablo Desportes

Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.

One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?

Let’s go!
Only from Lineto.com

Out now:
LL Capital by Pablo Desportes

Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.

One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?

Let’s go!
Only from Lineto.com

Out now:
LL Capital by Pablo Desportes

Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.

One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?

Let’s go!
Only from Lineto.com

Out now:
LL Capital by Pablo Desportes

Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.

One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?

Let’s go!
Only from Lineto.com

Out now:
LL Capital by Pablo Desportes

Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.

One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?

Let’s go!
Only from Lineto.com

We are pleased to announce the release of LL Capital, a new serif typeface by Pablo Desportes.

Taking you back to the heydays of hedonistic fun & frolicking, Capital is a contemporary take on those graphic Caslon renderings from the 1970s: a confident, colourful, tightly-spaced headline font for maximum bang per inch.

LL Capital is available in one weight, and two styles: Roman and Italics.

No Pussyfooting!
Only from Lineto.com

LL Cyan and Cyan Mono
Writing instruction turned into letterforms

Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.

With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin &  Diego Bontognali  @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag

With photography by
Mélanie Hofmann @hellomel3000

Lineto.com

LL Cyan and Cyan Mono
Writing instruction turned into letterforms

Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.

With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin &  Diego Bontognali  @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag

With photography by
Mélanie Hofmann @hellomel3000

Lineto.com

LL Cyan and Cyan Mono
Writing instruction turned into letterforms

Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.

With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin &  Diego Bontognali  @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag

With photography by
Mélanie Hofmann @hellomel3000

Lineto.com

LL Cyan and Cyan Mono
Writing instruction turned into letterforms

Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.

With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin &  Diego Bontognali  @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag

With photography by
Mélanie Hofmann @hellomel3000

Lineto.com

LL Cyan and Cyan Mono
Writing instruction turned into letterforms

Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.

With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin &  Diego Bontognali  @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag

With photography by
Mélanie Hofmann @hellomel3000

Lineto.com

LL Cyan and Cyan Mono
Writing instruction turned into letterforms

Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.

With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin &  Diego Bontognali  @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag

With photography by
Mélanie Hofmann @hellomel3000

Lineto.com

LL Cyan and Cyan Mono
Writing instruction turned into letterforms

Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.

With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin &  Diego Bontognali  @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag

With photography by
Mélanie Hofmann @hellomel3000

Lineto.com

LL Cyan and Cyan Mono
Writing instruction turned into letterforms

Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.

With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin &  Diego Bontognali  @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag

With photography by
Mélanie Hofmann @hellomel3000

Lineto.com

LL Cyan and Cyan Mono
Writing instruction turned into letterforms

Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.

With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin &  Diego Bontognali  @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag

With photography by
Mélanie Hofmann @hellomel3000

Lineto.com

Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.

Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com

Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.

Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com

Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.

Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com

Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.

Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com

Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.

Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com

Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.

Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com

Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.

Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com

Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.

Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com

Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.

Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com

Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.

Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com

Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.

Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com

Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.

Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com

Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.

Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com

LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.

Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.

LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.

Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.

LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.

Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.

LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.

Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.

LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.

Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.

LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.

Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.

LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.

Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.

LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.

Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.

A recent studio visit at @norm_zurich , the Zurich-based mas­ters of the super tight grid, finds them absorbed with put­ting Riforma Flex, the upcom­ing expans­ive vari­able elab­or­a­tion of their all-pur­pose LL Riforma, to exact­ing use in two sub­stan­tial book pro­jects cur­rently near­ing com­ple­tion.

LIVE EVIL is a com­pre­hens­ive new mono­graph about Arthur Jafa’s dec­ades-long work, reflect­ing on his sprawl­ing 2022 present­a­tion at LUMA Arles, and pub­lished by Verlag der Buch­hand­lung Walther und Franz König.

The second book is a full ret­ro­spect­ive of the oeuvre of Bernhard Mendes Bürgi, span­ning all 110 of the Swiss cur­ator’s exhib­i­tion pro­jects. It will be launched during the Zurich Art Week­end on 13 June at Kun­sthalle Zürich, where Bürgi was the found­ing dir­ector from 1989 until 2001.

While keep­ing its dis­tinct­ive qual­ity and formal purity, the Riforma Flex pro­ject is repos­i­tion­ing LL Riforma as a more ver­sat­ile design tool, allow­ing optimal fine-tuning in the most demand­ing of design envir­on­ments. Cur­rently going through exten­ded loops of draw­ing, using and re-draw­ing, it is expec­ted to be final­ised for a lib­rary release in Novem­ber 2025.

In the mean­time, please visit Lineto­mor­row for very advanced beta ver­sions of LL Riforma Flex. We expect to con­tinu­ously update files as pro­gress is being made.

Coin­cid­ent­ally, NORM are open­ing their exhib­i­tion Real Inten­tions, Fake Occur­rences at Galerie Nicola von Senger, Lim­mat­strasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Sur­faces, a pub­lic­a­tion designed by NORM, accom­pan­ies the show and is avail­able at the gal­lery. The exhib­i­tion con­tin­ues through 17 May 2025.

Photography by Mel­anie Hof­mann © 2025

A recent studio visit at @norm_zurich , the Zurich-based mas­ters of the super tight grid, finds them absorbed with put­ting Riforma Flex, the upcom­ing expans­ive vari­able elab­or­a­tion of their all-pur­pose LL Riforma, to exact­ing use in two sub­stan­tial book pro­jects cur­rently near­ing com­ple­tion.

LIVE EVIL is a com­pre­hens­ive new mono­graph about Arthur Jafa’s dec­ades-long work, reflect­ing on his sprawl­ing 2022 present­a­tion at LUMA Arles, and pub­lished by Verlag der Buch­hand­lung Walther und Franz König.

The second book is a full ret­ro­spect­ive of the oeuvre of Bernhard Mendes Bürgi, span­ning all 110 of the Swiss cur­ator’s exhib­i­tion pro­jects. It will be launched during the Zurich Art Week­end on 13 June at Kun­sthalle Zürich, where Bürgi was the found­ing dir­ector from 1989 until 2001.

While keep­ing its dis­tinct­ive qual­ity and formal purity, the Riforma Flex pro­ject is repos­i­tion­ing LL Riforma as a more ver­sat­ile design tool, allow­ing optimal fine-tuning in the most demand­ing of design envir­on­ments. Cur­rently going through exten­ded loops of draw­ing, using and re-draw­ing, it is expec­ted to be final­ised for a lib­rary release in Novem­ber 2025.

In the mean­time, please visit Lineto­mor­row for very advanced beta ver­sions of LL Riforma Flex. We expect to con­tinu­ously update files as pro­gress is being made.

Coin­cid­ent­ally, NORM are open­ing their exhib­i­tion Real Inten­tions, Fake Occur­rences at Galerie Nicola von Senger, Lim­mat­strasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Sur­faces, a pub­lic­a­tion designed by NORM, accom­pan­ies the show and is avail­able at the gal­lery. The exhib­i­tion con­tin­ues through 17 May 2025.

Photography by Mel­anie Hof­mann © 2025

A recent studio visit at @norm_zurich , the Zurich-based mas­ters of the super tight grid, finds them absorbed with put­ting Riforma Flex, the upcom­ing expans­ive vari­able elab­or­a­tion of their all-pur­pose LL Riforma, to exact­ing use in two sub­stan­tial book pro­jects cur­rently near­ing com­ple­tion.

LIVE EVIL is a com­pre­hens­ive new mono­graph about Arthur Jafa’s dec­ades-long work, reflect­ing on his sprawl­ing 2022 present­a­tion at LUMA Arles, and pub­lished by Verlag der Buch­hand­lung Walther und Franz König.

The second book is a full ret­ro­spect­ive of the oeuvre of Bernhard Mendes Bürgi, span­ning all 110 of the Swiss cur­ator’s exhib­i­tion pro­jects. It will be launched during the Zurich Art Week­end on 13 June at Kun­sthalle Zürich, where Bürgi was the found­ing dir­ector from 1989 until 2001.

While keep­ing its dis­tinct­ive qual­ity and formal purity, the Riforma Flex pro­ject is repos­i­tion­ing LL Riforma as a more ver­sat­ile design tool, allow­ing optimal fine-tuning in the most demand­ing of design envir­on­ments. Cur­rently going through exten­ded loops of draw­ing, using and re-draw­ing, it is expec­ted to be final­ised for a lib­rary release in Novem­ber 2025.

In the mean­time, please visit Lineto­mor­row for very advanced beta ver­sions of LL Riforma Flex. We expect to con­tinu­ously update files as pro­gress is being made.

Coin­cid­ent­ally, NORM are open­ing their exhib­i­tion Real Inten­tions, Fake Occur­rences at Galerie Nicola von Senger, Lim­mat­strasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Sur­faces, a pub­lic­a­tion designed by NORM, accom­pan­ies the show and is avail­able at the gal­lery. The exhib­i­tion con­tin­ues through 17 May 2025.

Photography by Mel­anie Hof­mann © 2025

A recent studio visit at @norm_zurich , the Zurich-based mas­ters of the super tight grid, finds them absorbed with put­ting Riforma Flex, the upcom­ing expans­ive vari­able elab­or­a­tion of their all-pur­pose LL Riforma, to exact­ing use in two sub­stan­tial book pro­jects cur­rently near­ing com­ple­tion.

LIVE EVIL is a com­pre­hens­ive new mono­graph about Arthur Jafa’s dec­ades-long work, reflect­ing on his sprawl­ing 2022 present­a­tion at LUMA Arles, and pub­lished by Verlag der Buch­hand­lung Walther und Franz König.

The second book is a full ret­ro­spect­ive of the oeuvre of Bernhard Mendes Bürgi, span­ning all 110 of the Swiss cur­ator’s exhib­i­tion pro­jects. It will be launched during the Zurich Art Week­end on 13 June at Kun­sthalle Zürich, where Bürgi was the found­ing dir­ector from 1989 until 2001.

While keep­ing its dis­tinct­ive qual­ity and formal purity, the Riforma Flex pro­ject is repos­i­tion­ing LL Riforma as a more ver­sat­ile design tool, allow­ing optimal fine-tuning in the most demand­ing of design envir­on­ments. Cur­rently going through exten­ded loops of draw­ing, using and re-draw­ing, it is expec­ted to be final­ised for a lib­rary release in Novem­ber 2025.

In the mean­time, please visit Lineto­mor­row for very advanced beta ver­sions of LL Riforma Flex. We expect to con­tinu­ously update files as pro­gress is being made.

Coin­cid­ent­ally, NORM are open­ing their exhib­i­tion Real Inten­tions, Fake Occur­rences at Galerie Nicola von Senger, Lim­mat­strasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Sur­faces, a pub­lic­a­tion designed by NORM, accom­pan­ies the show and is avail­able at the gal­lery. The exhib­i­tion con­tin­ues through 17 May 2025.

Photography by Mel­anie Hof­mann © 2025

A recent studio visit at @norm_zurich , the Zurich-based mas­ters of the super tight grid, finds them absorbed with put­ting Riforma Flex, the upcom­ing expans­ive vari­able elab­or­a­tion of their all-pur­pose LL Riforma, to exact­ing use in two sub­stan­tial book pro­jects cur­rently near­ing com­ple­tion.

LIVE EVIL is a com­pre­hens­ive new mono­graph about Arthur Jafa’s dec­ades-long work, reflect­ing on his sprawl­ing 2022 present­a­tion at LUMA Arles, and pub­lished by Verlag der Buch­hand­lung Walther und Franz König.

The second book is a full ret­ro­spect­ive of the oeuvre of Bernhard Mendes Bürgi, span­ning all 110 of the Swiss cur­ator’s exhib­i­tion pro­jects. It will be launched during the Zurich Art Week­end on 13 June at Kun­sthalle Zürich, where Bürgi was the found­ing dir­ector from 1989 until 2001.

While keep­ing its dis­tinct­ive qual­ity and formal purity, the Riforma Flex pro­ject is repos­i­tion­ing LL Riforma as a more ver­sat­ile design tool, allow­ing optimal fine-tuning in the most demand­ing of design envir­on­ments. Cur­rently going through exten­ded loops of draw­ing, using and re-draw­ing, it is expec­ted to be final­ised for a lib­rary release in Novem­ber 2025.

In the mean­time, please visit Lineto­mor­row for very advanced beta ver­sions of LL Riforma Flex. We expect to con­tinu­ously update files as pro­gress is being made.

Coin­cid­ent­ally, NORM are open­ing their exhib­i­tion Real Inten­tions, Fake Occur­rences at Galerie Nicola von Senger, Lim­mat­strasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Sur­faces, a pub­lic­a­tion designed by NORM, accom­pan­ies the show and is avail­able at the gal­lery. The exhib­i­tion con­tin­ues through 17 May 2025.

Photography by Mel­anie Hof­mann © 2025

A recent studio visit at @norm_zurich , the Zurich-based mas­ters of the super tight grid, finds them absorbed with put­ting Riforma Flex, the upcom­ing expans­ive vari­able elab­or­a­tion of their all-pur­pose LL Riforma, to exact­ing use in two sub­stan­tial book pro­jects cur­rently near­ing com­ple­tion.

LIVE EVIL is a com­pre­hens­ive new mono­graph about Arthur Jafa’s dec­ades-long work, reflect­ing on his sprawl­ing 2022 present­a­tion at LUMA Arles, and pub­lished by Verlag der Buch­hand­lung Walther und Franz König.

The second book is a full ret­ro­spect­ive of the oeuvre of Bernhard Mendes Bürgi, span­ning all 110 of the Swiss cur­ator’s exhib­i­tion pro­jects. It will be launched during the Zurich Art Week­end on 13 June at Kun­sthalle Zürich, where Bürgi was the found­ing dir­ector from 1989 until 2001.

While keep­ing its dis­tinct­ive qual­ity and formal purity, the Riforma Flex pro­ject is repos­i­tion­ing LL Riforma as a more ver­sat­ile design tool, allow­ing optimal fine-tuning in the most demand­ing of design envir­on­ments. Cur­rently going through exten­ded loops of draw­ing, using and re-draw­ing, it is expec­ted to be final­ised for a lib­rary release in Novem­ber 2025.

In the mean­time, please visit Lineto­mor­row for very advanced beta ver­sions of LL Riforma Flex. We expect to con­tinu­ously update files as pro­gress is being made.

Coin­cid­ent­ally, NORM are open­ing their exhib­i­tion Real Inten­tions, Fake Occur­rences at Galerie Nicola von Senger, Lim­mat­strasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Sur­faces, a pub­lic­a­tion designed by NORM, accom­pan­ies the show and is avail­able at the gal­lery. The exhib­i­tion con­tin­ues through 17 May 2025.

Photography by Mel­anie Hof­mann © 2025

A recent studio visit at @norm_zurich , the Zurich-based mas­ters of the super tight grid, finds them absorbed with put­ting Riforma Flex, the upcom­ing expans­ive vari­able elab­or­a­tion of their all-pur­pose LL Riforma, to exact­ing use in two sub­stan­tial book pro­jects cur­rently near­ing com­ple­tion.

LIVE EVIL is a com­pre­hens­ive new mono­graph about Arthur Jafa’s dec­ades-long work, reflect­ing on his sprawl­ing 2022 present­a­tion at LUMA Arles, and pub­lished by Verlag der Buch­hand­lung Walther und Franz König.

The second book is a full ret­ro­spect­ive of the oeuvre of Bernhard Mendes Bürgi, span­ning all 110 of the Swiss cur­ator’s exhib­i­tion pro­jects. It will be launched during the Zurich Art Week­end on 13 June at Kun­sthalle Zürich, where Bürgi was the found­ing dir­ector from 1989 until 2001.

While keep­ing its dis­tinct­ive qual­ity and formal purity, the Riforma Flex pro­ject is repos­i­tion­ing LL Riforma as a more ver­sat­ile design tool, allow­ing optimal fine-tuning in the most demand­ing of design envir­on­ments. Cur­rently going through exten­ded loops of draw­ing, using and re-draw­ing, it is expec­ted to be final­ised for a lib­rary release in Novem­ber 2025.

In the mean­time, please visit Lineto­mor­row for very advanced beta ver­sions of LL Riforma Flex. We expect to con­tinu­ously update files as pro­gress is being made.

Coin­cid­ent­ally, NORM are open­ing their exhib­i­tion Real Inten­tions, Fake Occur­rences at Galerie Nicola von Senger, Lim­mat­strasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Sur­faces, a pub­lic­a­tion designed by NORM, accom­pan­ies the show and is avail­able at the gal­lery. The exhib­i­tion con­tin­ues through 17 May 2025.

Photography by Mel­anie Hof­mann © 2025

A recent studio visit at @norm_zurich , the Zurich-based mas­ters of the super tight grid, finds them absorbed with put­ting Riforma Flex, the upcom­ing expans­ive vari­able elab­or­a­tion of their all-pur­pose LL Riforma, to exact­ing use in two sub­stan­tial book pro­jects cur­rently near­ing com­ple­tion.

LIVE EVIL is a com­pre­hens­ive new mono­graph about Arthur Jafa’s dec­ades-long work, reflect­ing on his sprawl­ing 2022 present­a­tion at LUMA Arles, and pub­lished by Verlag der Buch­hand­lung Walther und Franz König.

The second book is a full ret­ro­spect­ive of the oeuvre of Bernhard Mendes Bürgi, span­ning all 110 of the Swiss cur­ator’s exhib­i­tion pro­jects. It will be launched during the Zurich Art Week­end on 13 June at Kun­sthalle Zürich, where Bürgi was the found­ing dir­ector from 1989 until 2001.

While keep­ing its dis­tinct­ive qual­ity and formal purity, the Riforma Flex pro­ject is repos­i­tion­ing LL Riforma as a more ver­sat­ile design tool, allow­ing optimal fine-tuning in the most demand­ing of design envir­on­ments. Cur­rently going through exten­ded loops of draw­ing, using and re-draw­ing, it is expec­ted to be final­ised for a lib­rary release in Novem­ber 2025.

In the mean­time, please visit Lineto­mor­row for very advanced beta ver­sions of LL Riforma Flex. We expect to con­tinu­ously update files as pro­gress is being made.

Coin­cid­ent­ally, NORM are open­ing their exhib­i­tion Real Inten­tions, Fake Occur­rences at Galerie Nicola von Senger, Lim­mat­strasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Sur­faces, a pub­lic­a­tion designed by NORM, accom­pan­ies the show and is avail­able at the gal­lery. The exhib­i­tion con­tin­ues through 17 May 2025.

Photography by Mel­anie Hof­mann © 2025