Presentation

At the start of the 2016 academic year, ECAL is proud to have introduced a new Master’s degree in Type Design. Unique in Switzerland, this two-year program gives graduate students with a Bachelor in Graphic Design an opportunity to develop projects in the long term. This training provides privileged access to one of the flagship disciplines in Swiss graphic design, relying on ECAL’s expertise in this field as the first Swiss school to have integrated digital typography as part of its curriculum.

With the support of renowned professionals and academics, students explore fields ranging from corporate typography to experimental research, focusing on creativity. They work on techniques specific to typeface design (calligraphy, work on curves, construction, digital drawing), including the development of multi script font families. They acquire and develop a sharp and thoughtful eye, technical and methodological skills and an ability to produce quality digital fonts with efficiency and rigour (mastering, scripting) as part of courses and workshops where their projects are assessed and commented by experts invited for conferences and individual interviews. Finally, they attend lectures and research sessions around concepts ranging from the prospective to the historical, including aesthetic and legal aspects, which are given concrete form through dissertations, online or paper publications and even exhibitions.

The skills and projects developed throughout the curriculum serve to produce a portfolio that meets the highest standards. At the end of their curriculum, having acquired a solid typographical culture, students will have the  opportunity to apply their skills either as part of a company or in a self-employed capacity.

Language

English

Qualification issued

Master of Arts HES-SO in Design, major in Type Design

Yearly fees (materials included)

Fees detail

Length

4 semesters

Credits

120 ECTS

Useful links

Admissions Contact ECAL Typefaces

Equipments & infrastructures

Open Space MA Type Design Printshop Digital printshop

Learning Objectives

First year
Sascha Bente - Semester project, 2020
Laura Zsófia Csocsán , Samira Schneuwly - Semester project, 2021
Julia Born - Visit in Zurich
Radim Peško - Workshop
Alexandre Lescieux - Semester project, 2020
Individual reviews with Jan Horčik
Non-Legitur class with Noheul Lee
Kai Bernau - Tools makes shapes, class

1/8

  • Work on transposition from one medium to another, from the communication of ideas to sensations (e.g., transposition of a piece of music into typography).
  • Question type design processes according to the tools used, whether analogue or digital.
  • Contextualise letter drawing in its history.
  • Work in a group with the aim of creating a functional typeface based on specifications provided by a client.
  • Include typography in the wider context of graphic design (Editorial Design).
  • Develop research on writing that none of the students are able to read with a guest lecturer throughout the 2nd semester.
  • Enhance your knowledge through lectures given by lecturers from the MA in Type Design or guest lecturers (history of graphic design and typography, technical issues, design problems and presentations of their work by lecturers).
  • Write a Master’s thesis based on the knowledge acquired throughout the course and in line with the professional field.
  • Benefit from technical assistance to learn and solve technical issues that arise in type design.
  • Take part in weeks of workshops supervised by practitioners from all over the world with the aim of carrying out collective or personal projects.
Second year
Study Trip - Museum Plantin-Moretus
Archive Visite - Museum Meermanno
Diploma Jury 2023
Anne Seseke - Diploma 2021
Chiachi Chao - Diploma 2021
Sophie Wietlisbach - Diploma 2020

1/6

  • Develop three self-initiated projects (type design, use of typography in an editorial context and free project); for each project, the student chooses a teacher who will monitor the project.
  • Write a Master’s thesis based on the knowledge acquired throughout the course and in line with the professional field.
  • Put into practice the know-how acquired in a graduation work.

Projects

This section contains a selection of emblematic or recent projects related to the disciplines taught in the Master's degree.
See all projects

Studio projects

Wallace

TYPE DESIGN

Wallace

with Kai Bernau

Wallace is a semester project by Gabriela Jaime and Pauline Heppeler, developed during the course “Tools Make Shapes”, led by Kai Bernau. “We worked with the metaphor of dancing and how our body behaves when it moves. This led to experimentation with two types of mechanisms; the first prototype followed the scissors logic, while the later one (and final) followed the compass logic. This typology of object allowed us to translate dance movements like spin and pivot, drag and drag across (sliding along the floor) onto an open typographical stroke and structure. It was important for us to show the coordination and movement of two that becomes one – hence we chose to maintain the final output as an open stroke typeface.”

Rasa – 2023

TYPE DESIGN

Rasa – 2023

with Marie Lusa

Rasa is a modular stencil typeface designed by Mac Wang. It consists of two masters, Roman and Alien, with the possibility of complementing each other by overlaying them. Semester project mentored by Marie Lusa.

Labour Tool Product

TYPE DESIGN

Labour Tool Product

with Julia Born

“Labour, Tool, Product” is an editorial project, self-initiated by Samira Schneuwly. The book explores the universal profession of farming, its evolution and the technologies and possibilities associated with it through carefully curated images from ETH Zürich’s online image archive and excerpts from her great-grandfather’s and grandfather’s inventory books.

Max Fett

TYPE DESIGN

Max Fett

by Weichi He

MaxFett is a free interpretation of the typeface Fette Grotesk, widely distributed as a single cut among former German type foundries under different names. Fette Grotesque, Breite fette grotesque, Fette Steinschrift, Zeitung-Grotesque, Ganz fette Groteske. This interpretation of the source by Herrlinger & Schmidt from 1881 is taking a contemporary approach on heavy squarish grotesks.

Typetitle, projet de semestre par Quentin Coulombier

TYPE DESIGN

Typetitle, projet de semestre par Quentin Coulombier

with Kai Bernau

Typetitle is a condensed typeface designed for newspaper headlines which was inspired by American wooden type models.

Didot Vafflard semester project by Dávid Molnár

TYPE DESIGN

Didot Vafflard semester project by Dávid Molnár

with François Rappo

Inside-Out semester project by Dávid Molnár

TYPE DESIGN

Inside-Out semester project by Dávid Molnár

with Radim Peško

Tools make shapes. Semester Project by Malte Bentzen et Kaj Lehmann

TYPE DESIGN

Tools make shapes. Semester Project by Malte Bentzen et Kaj Lehmann

with Kai Bernau

Modern Gothic, Semester Project by Malte Bentzen

TYPE DESIGN

Modern Gothic, Semester Project by Malte Bentzen

with François Rappo

Diploma projects

Lina Kaltenberg – Hypotax

TYPE DESIGN

Lina Kaltenberg – Hypotax

by Lina Kaltenberg

Hypotax is multiitalic type family composed of four textstyles: Roman, Slant, Cursive and Extracursive. The typesystem explores how typography can reveal textual structures before the content is fully read, easing visual comprehension of referenced material. Each style is assigned a specific relational function, such as indicating quotation depth, contextual information, or emphasis. By embedding relational information directly into the typeface, Hypotax proposes an alternative typographic hierarchy that makes textual connections perceptible at a glance.

Marie Schuster – Pinto

TYPE DESIGN

Marie Schuster – Pinto

by Marie Schuster

Almost no writing exists outside of technology. Whether we write with a brush, a pencil or a keyboard, our writing is always mediated by tools. Yet we still tend to perceive handwriting as something more personal and more human than typing. A handwritten note often carries emotional weight that a typed message does not, even when the words are identical. Pinto is a monospace typeface that explores the space between the movement of the hand and typographic construction. Taking inspiration from early sketches by W. A. Dwiggins for the Underwood typewriter and handwriting models from the 16th century to the present day, it creates a dialogue between expression and standardisation, keeping a playful character while questioning conventional letter constructions.

Orlando Brunner – Kadenz Grotesk

TYPE DESIGN

Orlando Brunner – Kadenz Grotesk

by Orlando Brunner

Kadenz Grotesk explores the aspect of rhythm and how this influences how a typeface is perceived once set in text. Based on research conducted to follow-up on the written thesis, this project examines various interpretations of typographic rhythm and compares them to understand their impact on the appearance of text and on font design choices. Using the grotesque style as basis, the results of this research are translated into design practice, ultimately leading to the production of one typeface in four distinct styles: Optical, Metric, Syncope and Mono. Each style reflects a different approach to rhythm, and provides a visual representation of how it affects the appearance of text.

Chantal Hochuli – Campo

TYPE DESIGN

Chantal Hochuli – Campo

by Chantal Hochuli

Campo is a variable typeface that is optimized for setting exhibition texts. Developed for wall texts, captions, translations and spatial information, it responds to fixed formats filled with varying amounts of content through a controlled width range. The project addresses a recurring problem in exhibition graphics: finding ways to fit text into limited space without resorting to artificial compression or repeated manual adjustments. Weight and italic axes extend the system for hierarchy. In this research, museum labels and exhibition texts are compared to evaluate how width, spacing and stroke modulation affect text blocks. Campo gathers these observations in a variable Sans Serif with subtly flared terminals.

Odin Lowsley – Voyant

TYPE DESIGN

Odin Lowsley – Voyant

by Odin Lowsley

Form born from function, Voyant questions the current modalities of type drawn for various size contexts. Built on a foundation of character identification research, and polished through personal experimentation, its structure is redrawn from scratch for three separate size ranges, each with consideration of their respective contexts. The radically exaggerated shapes — required for recognition in the smallest applications — create a new source from which the design of larger cuts is informed. It produces unexpected moments that strike a balance between brutal simplification and the calligraphic traces of the human hand.

Mara Nolze – Mutual

TYPE DESIGN

Mara Nolze – Mutual

by Mara Nolze

Mutual investigates how seemingly opposing typographic categories — Sans and Serif — can coexist. Its starting point is a French typographic movement from the mid-twentieth century, Graphie Latine. In reaction to the growing dominance of Swiss neo-grotesque typefaces, french designers argued for a renewal of typographic tradition through preserving the presence of the human body within letterforms. Mutual asks how typography can retain traces of human presence and movement without rejecting technological progress. The type family consists of three related styles: Display, Sans, Serif. Conceptually, the project can be understood as a form of mutualism: an interaction between species within a shared living system, from which all sides can benefit through exchange and relation.

Ruslan Abbas – Sekular

TYPE DESIGN

Ruslan Abbas – Sekular

by Ruslan Abbas

Sekular is a variable display typeface rooted in Gothic Cursive, the late-medieval script of merchants, notaries, accountants, and chancelleries. Rather than treating it as a historical revival, the project reactivates its logic for the present: an age of billionaires, platforms, rent extraction, and techno-feudal infrastructures. Developed through drawing, interpolation, typographic research, and newspaper-specimen design, Sekular connects a script born from the weakening of feudal literacy monopolies to today's new forms of economic enclosure. It is not a revival, but a reflection on power, writing, and transition.

Kriszta Bolcsik – TYPE BETWEEN RESOLUTIONS

TYPE DESIGN

Kriszta Bolcsik – TYPE BETWEEN RESOLUTIONS

by Kriszta Bolcsik

The visual language of 9-pin dot matrix printing is not obsolete but unresolved. TYPE BETWEEN RESOLUTIONS emerges from its mechanical output logic, focusing on the structure and behaviour of draft (SSL) printing. This project explores how these low-resolution, mechanically produced forms can inform contemporary type design. It combines historical research with practical experimentation, including the development of custom tools to generate and print glyphs. Through this process, TYPE BETWEEN RESOLUTIONS investigates questions of legibility, rhythm, and system-based construction, aiming to produce a typeface that translates the constraints of obsolete technologies into a contemporary typographic language.

Yannick de Kalbermatten – Verso

TYPE DESIGN

Yannick de Kalbermatten – Verso

by Yannick de Kalbermatten

Verso is a typeface family composed of three upright styles: Left, Right, and Ambidextal, and a slanted axis ranging from backslanted to slanted. The project comes from a study of left-handed writing practices and how they adapt to systems designed for right-handed use. This often results in unusual writing positions, with shifts in wrist angle, page rotation, and overall gesture. Informed by a survey of around fifty participants, including twenty-one left-handed writers, Verso highlights recurring strategies such as inverted stroke directions and adjusted writing postures. Rather than opposing left- and right-handed writing, Verso builds a continuous space between them where gesture, direction, and form shift within a single family.

Katarzyna Friedrich – Material Type

TYPE DESIGN

Katarzyna Friedrich – Material Type

by Katarzyna Friedrich

Material Type is a research project at the intersection of multiple design disciplines that investigates the materiality of type. It examines typography across different materials and production technologies, from metal stamping to injection molding. This research analyzes their preparation, constraints, manufacturing processes, environmental factors and visual outcomes, as each process affects letterforms in unique ways. As knowledge in this area is fragmented, Material Type proposes a sample of instructive technological-typographic taxonomy: a comparative guide that supports informed decisions, improves collaboration, reduces prototyping, and encourages more sustainable design practices.

Jahn Koutrios – Draft – 2026 #2

TYPE DESIGN

Jahn Koutrios – Draft – 2026 #2

by Jahn Koutrios

Draft is a typeface, an app, and a method: an infinite plane where thinking can unfold nonlinearly. Ideas can spread out, pause, gather, connect, frame one another, and move as thought changes shape. The typeface carries the rhythm of the app, shifting between a monospaced structure for loose thinking on the grid and a proportional style for slower, more deliberate reflection. App and typeface grow together, exploring note-taking as a spatial practice: a way of working where a line can become text, path, boundary, gesture, or simply shape.

Jacob Tegel – Syndikat

TYPE DESIGN

Jacob Tegel – Syndikat

by Jacob Tegel

Driven by the pursuit of a uniwidth (duplexed/multiplexed) superfamily, Syndikat builds upon the rich history of mid-century German type design. Designed for reading, the family contains both Sans and Serif styles across five weights with corresponding obliques, unified by identical character widths and font dimensions. This typeface allows for extensive flexibility in complex typographic systems, providing the freedom to interchangably use any of the styles without ever affecting the typesetting.

Workshops

Yearbook

TYPE DESIGN

Yearbook

with Nejc Prah

In October 2021, the Master Type Design welcomed Nejc Prah for a one-week workshop. Being in a masters program is a special time, both personally and professionally. To keep a memory of it, the students were invited to create a Yearbook. First years and second years were assigned into pairs and asked to make a contribution about their partner. Drawings, collages, letterings, doodles, patterns, 3D-modelling, … Experimentations and explorations were encouraged. It resulted into a colourful and joyous publication, displaying a diversity of characters and approaches. After a collaborative effort for the production on the last day, each student got a copy, as a memory.

Böcklin Zoo

TYPE DESIGN

Böcklin Zoo

with Karl Nawrot

Workshop with Karl Nawrot. Handpainted compositions inspired by the typeface Arnold Böcklin from Schriftgiesserei Otto Weisert (1904).

All Over

TYPE DESIGN

All Over

with MATD, Job Wouters (Letman)

Workshop with Dutch designer Job Wouters.

Indentity Of The Zone

TYPE DESIGN

Indentity Of The Zone

with Jan Horčík, MATD

Patches from workshop with Jan Horčík.

Workshop with studio NORM

TYPE DESIGN

Workshop with studio NORM

with Dimitri Bruni (NORM), Manuel Krebs (NORM)

Workshop with Zürich based studio NORM on the theory, the design and the use of stencil typefaces.

Workshop with Thibault Brevet

TYPE DESIGN

Workshop with Thibault Brevet

with Thibault Brevet

Workshop with Thibault Brevet.

Type Poster Workshop with Dafi Kühne

TYPE DESIGN

Type Poster Workshop with Dafi Kühne

with Dafi Kühne, MATD

Atlas of Letterforms, workshop with Radim Peško

TYPE DESIGN

Atlas of Letterforms, workshop with Radim Peško

with MATD, Radim Peško

Sign Painting Workshop with Alaric Garner

TYPE DESIGN

Sign Painting Workshop with Alaric Garner

with Alaric Garnier, MATD

Programme

This section lists the detailed modules and courses for each semester of the programme.

Semester 1 2 3 4

Type Design I
9 ECTS
  • Characters
  • Type (hi)stories
  • Custom Type
Typography I
6 ECTS
  • Tools makes shapes

  • Type in use workshop
  • Type lectures 
Pré-Memoire I
5 ECTS
  • MA Thesis preparation

Transversal Workshop I
3 ECTS
  • 5 days workshop
Training in research I
3 ECTS
  • Introductory course on design research
  • Interdisciplinary workshop
Cross lectures I
4 ECTS
  • Cycle of lectures
Type Design II
9 ECTS
  • Type hi(stories)
  • Non Legitur
  • Translation
Typography II
6 ECTS
  • Optical sizes
  • Type in use
  • Type lectures
Pré-Memoire II
5 ECTS
  • MA Thesis preparation
Transversal workshop II
3 ECTS
  • 5 days workshop
Training in research II – Experimentation
3 ECTS
  • 3-day week with lecturers

  •  
Cross Lectures II
4 ECTS
  • Cycle of lectures
Type Design III
5 ECTS
  • Self-initiated project
Typography III
5 ECTS
  • Self-initiated project
Open project
5 ECTS
  • Self-initiated project
Pré-memoire III
6 ECTS
  • MA Thesis preparation
Transversal workshop III
3 ECTS
  • 5-days workshop
Training to research III — Application
3 ECTS
  • Presentations and interdisciplinary workshop
  • Junior Research Conference
Cross lectures III
3 ECTS
  • Cycle of lectures
Master's practical project
21 ECTS
  • Development of a major personal project
Master's thesis
9 ECTS
  • Theoretical Master’s thesis

Find all the programme documents below

Alumni

Jacopo Aztori
Federico Paviani
Florence Meunier
Luca Pellegrini
Kim Sohee
Davide Tomatis
Rani Yasmine Putri
Career Opportunities

Type designer, Graphic designer, Motion designer, Art director, Creative director, Publisher, Illustrator, Web designer, Teacher…

Other alumni

(BA Graphic Design and MA Type Design) Leonardo Azzolini (Omnigroup), Ondřej Báchor, Sascha Bente, Harry Bloch (Studio Harris Blondman), Chaumont & Zaerpour, Guillaume Chuard, Matthias Clottu, Emmanuel Crivelli, Marietta Eugster, Eurostandard, Matthew Fenton, Louisa Gagliardi, Gavillet & Cie, Eliott Grunewald, Noémie Gygax, Weichi He, Robert Huber, Larissa Kasper (Kasper-Florio), Sean Ervan Kuhnke, Kaj Lehmann, Simon Mager (Omnigroup), Maximage, Adeline Mollard, Olga Prader, Aurèle Sack, Teo Schifferli, Haakon Spencer, Florence Tétier, Chi-Long Trieu, Nicole Udry…

Staff

Head

Matthieu Cortat

Assistants

Rebekka Hausmann
Antoine Pasi

ECAL Typefaces Manager

Malte Bentzen Bredstrup

Professors

Kai Bernau
Julia Born
Matthieu Cortat
Wayne Daly
Roland Früh
Anniina Koivu
Marie Lusa
Radim Peško
Alice Savoie
Chi­-Long Trieu

Lecturers

George Anton Kiraz
Gerry Leonidas
Hrant Papazian
Irene Vlachou

Visiting Lecturers

Sahar Afshar
Khajag Apelian
Roberto Arista
Etienne Aubert­-Bonn
Leonardo Azzolini (Omnigroup)
Stuart Bailey
Alexandru Balgiu
Chiara Barbieri
Paul Barnes
Sofie Beier
Selina Bernet
Bianca Berning
Eleni Beveratou
Alex Blattmann
Thibault Brevet
Vincent de Boer
Mirko Borsche
Johannes Breyer (Dinamo)
Dimitri Bruni (NORM)
Matthew Carter
Nadine Chahine
Mathieu Christe
Pippo Ciorra
Bart De Baets
Sara de Bondt
Lizá Defossez Ramalho (R2Design)
Maria Doreuli
Gary Fogelson
Tom Foley
Alaric Garnier
Gilles Gavillet (Optimo)
Emilio Gentile
Tanya George
Eliott Grunewald
Fabian Harb (Dinamo)
Jonathan Hares
Leila Hekmat
Franz Hoffman
Jan Horčík
Robert Huber
Thomas Huot­-Marchand
Larissa Kasper (Kasper-Florio)
Ueli Kaufmann
Simone Koller (Studio NOI)
Manuel Krebs (NORM)
Matthias Kreutzer
Dafi Kühne
Indra Kupferschmid
‍Phil Lubliner (Other Means)
Louis Lüthi
Bruno Maag
Simon Mager (Omnigroup)
Amir Mahdi Moslehi
Robin Mientjes
Yoann Minet
John Morgan
Reto Moser (Grilli Type)
Sandrine Nugue
Mitch Paone (DIA Studio)
Michele Patanè
Julie Peeters
Edwin Pickstone
Jonathan Pierini
Krista Radoeva
Mohamed Rafed
Artur Rebelo (R2Design)
David Rudnick
Aurèle Sack
Kristyan Sarkis
Jens Schildt
Isabel Seiffert (Offshore)
Wissam Shawkat
Izet Sheshivari
Fred Smeijers
Huda Smitshuijzen AbiFarès
Adam Szymczyk
David Jonathan Ross
Régis Tosetti
Nora Turato
Richard Turley
Linda van Deursen
Carlo Vinti
Ryan Waller (Other Means)
Job Wouters
Pascal Zoghbi

ECAL Typefaces

 

ECAL Typefaces has, since 2016, been the first online type foundry based within a university. Its initial remit was to respond to frequent requests to acquire the typefaces seen in ECAL corporate communications, such as posters, invitation cards and catalogues. The foundry is now fully embedded in the ECAL Master’s Degree in Type Design (MATD), and also features work from the ECAL Bachelor’s Degree in Graphic Design. All fonts have been designed by students.

Go to ECAL Typefaces Website

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