What are we doing ?

Finaltype is an open collective of designers, artists and instructors. We do research and teach in the field of visual communication based on both scientific and artistic methods. → Our philosophy

¶ type design & font production
¶ seminars on type, typography & calligraphy
¶ workshops about type & ornament
¶ education in the field of art, drawing, illustration
¶ lectures about design didactics, art and design ethics
¶ logo analysis & optimization

Geóso

TYPEDESIGN BY PROF. HANS R. HEITMANN

____ A humanist sans serif with geometric influence. Geóso comes in nine weights, with corresponding italics and true small caps. The uniwidth alignment system and a sophisticated number system, smart ligatures and contextual alternates make the difference. Strong accents to support 37 languages. OpenType features for sub- and superscript. Fitting Arrows and Emoticons.

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Distel

TYPEDESIGN BY PROF. HANS R. HEITMANN

____ A decorative display font, derived from historical uncial scripts. Spiky terminals, rooted in vector construction, add a contemporary touch. This font works great for headlines, but at the same time offers unexpected readability even in small sizes. Distel currently supports more than 37 languages and comes with a set of beatiful alternates.

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Romis

TYPEDESIGN BY PROF. HANS R. HEITMANN

____ A roman capital typeface, renaissance style. Individually shaped serifs and the absence of any geometric lines signify our humanist interpretation of the Capitalis Monumentalis. »Romis« features true small caps instead of a lowercase alphabet. It comes in six weights and adds a narrow oblique to every weight for maximum flexibility.

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Fremder Planet, fremdes Alphabet

by JAN BAROW

____ Ein fiktives Alphabet für ein narratives PC-Adventurespiel. Einsatzort für die Schrift (und Setting des Spiels) ist eine futuristische Metropole am Rand eines gigantischen, von ewigem Nebel verhüllten Kraters. Fremdartig und ungewohnt, aber keineswegs unnahbar: Diesen Eindruck des Settings sollen die Schriftzeichen aufnehmen und verstärken.

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Benedikt

TYPEDESIGN BY PROF. HANS R. HEITMANN

____ Eine außergewöhnliche Renaissance-Antiqua mit einer provokativen Kursiv. Die »Benedikt« hat ihren Ursprung in einer Auftragsarbeit für das Hans-Benedikt-Studienzentrum in Augsburg. Von der Interpretation einer römischen Monumentalschrift in Edelstahl bis zu einem ausgewachsenen Font – unserer Hausschrift »Benedikt«.

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Besserer Blocksatz im Web

by JOHANNES AMMON

____ Im dritten Teil unserer Blocksatz-Reihe zeigen wir, wie man Blocksatz im Web konkret verbessern könnte. Außerdem liefern wir unkonventionellere Ansätze für eine Zukunft mit besserem Blocksatz im Web – und zeigen, wie die aussehen könnte.

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Justification on the Web

by JOHANNES AMMON

____ How does digital justification work? And why does justified text on the web usually look horrible? Part two of our series on justification talks about the problems and opportunities of justification in terms of digital typesetting. How come high-quality justification on the web is still a problem in 2020?

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Gutenberg’s Justification

by JOHANNES AMMON

____ Justified text often looks terrible. What is good justification and how can we reach it? This is part one of our three part series about justification. It focuses on Johannes Gutenberg and his use of justification, which has been called masterful. How come today with advanced technology, justified text often lacks quality and professionalism?

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Abstract calligraphy

by KORBINIAN NIEẞNER

____ One of our major subjects is the so called »abstract calligraphy«, or »free calligraphy«, or »gestural calligraphy«. This special form of calligraphic expression differs from formal calligraphy, whose main focus is the creation of readable characters.

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Letter spacing

by PROF. HANS R. HEITMANN

____ The spaces between the letters of a typeface have a significant impact on its legibility. They can affect or even destroy the aesthetic shape of the word. I propose that there is — especially in lower case — a correct amount of letter-spacing, with little variability.

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DAS SCHARFE ẞ ALS GROẞBUCHSTABE

by PROF. HANS R. HEITMANN

____ Seit dem 29. Juni 2017 ist das ẞ Bestandteil der amtlichen deutschen Rechtschreibung. Nun, da die Figur offiziell ins Alphabet aufgenommen wurde stellt sich erneut die Frage: Wie sollte ein großes scharfes S gestaltet sein? Ein Kommentar.

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