Workshop (2020) by Dominik Bissem, Giacomo Bastianelli, Laura Zsófia Csocsán, Sam Fagnart, Amélie Gallay, Raphaela Haefliger, Joana Siniavskaja, Elena Baranowski, Charly Derouault, Stefan Fitze, Sergei Rasskazov, Karima Deghayli, Samira Schneuwly, Alexandre Lescieux
Handpainted compositions inspired by the typeface Arnold Böcklin from Schriftgiesserei Otto Weisert (1904).
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MA TYPE DESIGN
with Larissa Kasper
Following a collaboration with the Swiss avant-garde brand On, ECAL is proud to present the interdisciplinary work carried out jointly by the 2nd year students of the Product Design, Photography and Type Design Masters.
BA GRAPHIC DESIGN
by David Zwicker
What happens when a typeface steps outside the boundaries of the vector? Typeable Images is a type design and research project that explores this question through emoji font technology, a medium that allows typefaces to be built from pixels rather than paths. Across analog and digital processes, the project reinterprets a single typeface through distinct artistic styles, from analog to digital reproduction, producing image-based fonts that can be typed, combined and overlaid. Typeable Images offers a new human-machine interaction, as well as a new dimension for type design.
MA TYPE DESIGN
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.
MA TYPE DESIGN
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.
MA TYPE DESIGN
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.