Itinérant

Projects MA TYPE DESIGN

Simon Memel – Itinérant

Itinérant takes Robert Granjon’s work as its starting point, producing a type family of four cuts: a text and display roman, each with a corresponding italic. The text cuts pare back some of the extravagance that Granjon was famous for, and lower the contrast in order to create type suitable for continuous setting, especially in smaller sizes. In part they draw on historical typefaces which themselves were influenced by Granjon- namely Plantin and Times New Roman. The display cuts reference the writing masters that preceded Granjon, and influenced the masters work. They restore the details that were removed in the rendering of the text cuts, and go further still, creating characters more calligraphic than Granjon, but rendered with a contemporary cleanness.

Diploma project (2024)

Students
Simon Memel
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MA TYPE DESIGN

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with Matthieu Cortat

Summer University to Bangkok with first year ECAL Master Type Design students.
Glass gilding workshop with Eddy Bennet

MA TYPE DESIGN

Glass gilding workshop with Eddy Bennet

with Eddy Bennett

In this analogue workshop, students merged the ornate lettering styles of the late 19th century and the meticulous craft of reverse glass painting and gilding with their personal perspectives on type design. Thanks to Gold Leaf Supplies for supporting us with material!
Chandra Sperle – Gradual

MA TYPE DESIGN

Chandra Sperle – Gradual

by Chandra Sperle

How we perceive and interpret the world is influenced by scale—by the distance, size, and the spatial relationship between observer and object. This project explores how scale influences meaning and perception through an experimental dialogue of type design, photography, and visual art. At its core is Gradual, a typeface that remixes Ladislas Mandel’s Galfra and Adrian Frutiger’s Roissy, reversing their original scale of habitat. In collaboration with artist Pai Litzenberger and the design duo Scinema (Leidy Karina Gómez Montoya and Tonda Budszus), the project expands the typographic concept of optical sizes from nano to macro dimensions. Together, Gradual offer a multi-layered reflection on our spatial interactions with the world.
Giulia Zanzarella – Minut

MA TYPE DESIGN

Giulia Zanzarella – Minut

by Giulia Zanzarella

How long does a Minut last? Time is standardized, but its experience follows no rules, being mathematically equal for all, but felt differently by each. Minut explores this gap: a play on words between “minute” and “unit,” it is a type family built around four styles defined by width constraints—72 units (proportional), 9, 3, and 1 (monospace). Each style reflects a degree of mechanization, inspired by unit systems used in proportional spacing typewriters. Celebrating the beauty of constraint, the characters of Minut find their own rhythm, generating textures with subtle variations. Rather than being interpolated, each style of Minut is drawn individually, prioritizing the overall texture of each font—going against the limitless flexibility of digital design.
Jamie Michiki – Dutyfree

MA TYPE DESIGN

Jamie Michiki – Dutyfree

by Jamie Michiki

Dutyfree is a bi-script sans-serif typeface that supports both the Latin alphabet and Japanese scripts. It includes eight weights and covers the full range of Hiragana, Katakana, and Kanji characters. Designed to harmonize the atmosphere of both writing systems through shared skeletal structure, detail, and contextual nuance, Dutyfree bridges two distinct typographic origins: the Latin typeface Venus and the Japanese Ishi Chu-Futo Gothic.　With a theme of overlap and crossover between writing systems and design cultures, the project was developed under the concept of "logistics graphics." Beyond just a typeface, Dutyfree also includes symbols and signage elements designed for use in logistics and packaging contexts.

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