Source: piafleischmann.com License: All Rights Reserved.

What served as workwear for postal employees for over 20 years is now getting a new life. Together with the committed and open-minded team at Swiss Post, I had the pleasure of designing the special stamp “Upcycling – from Postal Uniform to Postage Stamp.”

Typography plays an essential role as well. The stamp features MZ OTR Grotesk by Marc Zenhäusern – a contemporary workhorse typeface rooted in Swiss design, combining legibility, precision, and character. A perfect complement to the theme.

At the heart of the project was the idea of creating a tribute to the recognizable look and strong sense of belonging among employees. The fabric of the familiar light-yellow shirt is now setting off on another journey – this time as a postage stamp. The design incorporates characteristic elements of the postal uniform: the print recalls the anthracite-colored blazers that were once part of the outfit and celebrates the diversity of the people who wore them with pride every day.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Desktop, web detail page, desktop / mobile

Graphic design studio Claudia Eggimann created a self-initiated project to raise awareness and enhance joy in eating despite allergies, cross-reactions, intolerances and food issues. happybelly is a collection of self-created and tested recipes and a sharing of experiences – all vegan, gluten free & towards sattvic.

The branding is sweet, playful still graphical with a modern twist. It addresses affected kids and adults who can't contribute to “normal” food culture and have to stick to a strict diet.

The main focus lays on a website, designed and programmed in-house with Cargo. With bold titles, set in Syne, photographs made out of the blue, portraying homemade dishes and clean lines in a readable font. The design allows for some small surprises, like tilted, floating photographs and animated icons. The latter are from the IKONEN font that was designed during the Corona pandemic when the world was locked down.

There is also a social media channel in construction and physical advertising like flyers. As also more to come.

Desktop, web entry page / A6 flyer

Desktop, web entry page, mobile / desktop

Advertising sign / Desktop, web detail page

Form your relationship by picking and agreeing on which traits you want to share with your loved ones. You can go big or small, there's no wrong way to do it as long as you are agreeing together what you want and don't want in this relationship. Of course, this can (be) change(d) over time.

This poster is a visualisation of the concept of relationship anarchy. Offset-printed in purple Pantone ink, it’s available from studio muchogusto’s webshop.

A2 poster for the launch of Anna Rosenwasser's book Herz – Feministische Strategien und queere Hoffnung at Gaskessel Bern in April 2025.

What this world need is sweet and radical love: this oversized shirt made from 100% organic cotton comes with a pink screen print featuring xx Treasure on the back. The label is set in xx Queen and xx Liberté. It’s available from studio muchogusto’s webshop.

Language creates realities.
 Can typography therefore be a tool for drawing new realities?

The Swiss designer duo muchogusto explores gender-sensitive typography in an experimental way and dares to take an approach, a step towards a more inclusive reality.

Our letters don’t behave – they dance, twist and rethink the norm. It’s all about challenging patterns, creating space for new ideas, and provoking sparks of change.

More about the project on our typefoundry website.

xx Liberté in early use for a flyer advertising Finta* Jam, a TINFA* open mic night organized by Resonance at Zürich’s Zentralwäscherei.

The OH Catalogue website offers a comprehensive overview of the fonts available at the co-operative printing studio Officina Helvetica in Biel, Switzerland. The project aims to systematically document, catalogue, and digitally archive the studio’s collection of wooden and metal typefaces. To date, 81 wooden typefaces in sizes ranging from 3 to 60 cicero have been recorded, while over 70 metal typefaces, from 5 to 72 points, are still awaiting documentation.

Each typeface has been printed on individual 297×460 mm sheets, compiled into a portfolio of 25 prints, produced in a limited edition of 50 copies. This documentation not only preserves and showcases traditional craftsmanship but also supports the planning of future printing projects. Both the physical and digital catalogue are designed to serve as a valuable resource and source of inspiration for designers.

Reflecting the name Officina Helvetica, the website honors the iconic typeface by using the digital version of the original Neue Haas Grotesk.

The project was initiated by Thomas Hirter, Philippe Marmy, and Simon Moser, with a beautifully crafted website designed by mutoco.ch in Bern.

1/14 – The cult of tradition

In 1995, Umberto Eco wrote an essay on the distinguishing features of Ur-fascism. Eco, who grew up in Fascist Italy, distilled 14 signs of primitive fascism in his essay. Not all points apply to all varieties of fascism, but all authoritarian regimes are based on a fascist doctrine that is always similar at its core. Because of the current times, I thought I would prepare this for social media.

I wanted to have a “non-design” which of course is impossible. The typography should not interfere with the message, so I chose the most non design font, lol. I also tried to hide the text in between flashy shoe adverts on social media.

I was playing around with the composition and started to like the Idea of a text in two layers so that “reading between the lines” is really on the nose.

2/14 – Rejection of modernism

3/14 – Action for action’s sake

4/14 – Disagreement is treason

5/14 – Fear of difference

6/14 – Appeal to the frustrated middle class

7/14 – Obsession with a plot

8/14 – The Enemy is at the same time too strong and too weak

9/14 – Life is forever war

10/14 – Contempt for the weak

11/14 – Machismo

12/14 – Selective populism

13/14 – Everybody is a hero

14/14 – New Speak

In 2024, the Uldry printing company has its 60th anniversary. This is being celebrated with an exhibition: 60 artist friends, studios and companions have each designed a poster. This one is my entry. The poster was made with GT Flexa in Cinema 4D.

Tobias Bolliger designed this F4 poster announcing the open door event of Kulturbüro Bern a.k.a. KuBü (in English: “Cultural Office”) using Crack for all information.

From Wikipedia:

Emotion Is Dead is the second studio album by American rock band the Juliana Theory, released on August 29, 2000, on Tooth & Nail Records. While touring in support of their debut studio album Understand This Is a Dream (1999), guitarist Jeremiah Momper and was replaced by Joshua Kosker of Dawson High. Shortly afterwards, the band had begun writing material for the follow-up album. In February and March 2000, the band recorded their next album, with producers Barry Poynter and frontman Brett Detar, at Poynter’s Palace in Little Rock, Arkansas, The Detar House, and Poynter's spare bedroom and living room. Described as an alternative rock and emo release, Emotion Is Dead took elements from Iron Maiden, Radiohead, and the Smashing Pumpkins.

The album cover was designed by Büro Destruct (with assistance from Colin Day and Shae Acopian), making early use of their own BDR Mono (1999).

[More info on Discogs]

SGD is the professional association and network of Swiss Graphic Designers. It’s the largest professional association of graphic designers in Switzerland. Founded in 1972, the trade union represents the interests of graphic designers and provides various professional member support. SGD also recommends curricula standards for vocational training to educate qualified visual communication professionals.

Axia, a sans serif uniwidth typeface composed of concise letterforms, is used throughout, together with Rekja.

From 31 August 2023 to 12 January 2024 the Swiss National Library in Bern hosted the exhibition Writing the silver screen: from literature to cinema and vice versa (German: Die Leinwand beschreiben: von der Literatur zum Film und zurück).

The exhibition graphics were designed by Studio Marlon Ilg and were set in ABC Repro by Erkin Karamemet, published by Dinamo, and HAL Timezone, published by HAL Typefaces.

What happens when literature meets the silver screen? This medium has fascinated writers since its invention at the start of the 20th century. Describing their experience of darkened movie theatres, writing film scripts, adapting novels to the screen, standing behind the camera or just imagining their own film: those are some of the ways in which authors have attempted to “write the silver screen”.

The Swiss Literary Archives (SLA) preserve the records of these often passionate interplays. Based on documents from prominent exponents (Blaise Cendrars, Patricia Highsmith, Friedrich Dürrenmatt) as well as less well-known sources, this exhibition provides an overview of the interrelationships going back over 100 years between the world of cinema and professional writers.

7er Studio was responsible for the visual appearance of the 23rd Tour de Lorraine. The colour combination of silver and orange accompanies visitors through the political festival, which explores the city of solidarity in workshops, theatres, discussions and concerts and invites to join in and participate. “Solidarische Stadt! Wir alle sind Bern” is the motto of this year’s edition. Accordingly, 7er Studio has various figures appear on posters, which also function as foldable programme booklets, placemats, advertisements and on social media, holding on to each other and exploring together.

The festival describes itself on their website as follows (translated from German):

The Tour de Lorraine is a resistance festival that emerged in 2001 as a protest against neoliberal exploitation, the WEF and in favour of a sustainable future. As an independent political festival, we place the development of alternatives at the centre. Depending on the topic, the volunteer collective is formed anew and organises workshops, panels, cultural events and much more. An important component is the long night of concerts. One admission opens the doors to 17 venues around the Lorraine and the proceeds from the legendary solo party are distributed to emancipatory projects.

“We are all Bern” is a movement for a city of solidarity. It has a special role to play among all our fellow campaigners this year. An association that fights for diversity and migration to be recognised as a social reality. It is about the participation of all residents of the city. The present and future should be co-determined by everyone and shaped on an equal footing!

Local craft beer brewery Braukunst Bern GmbH (“the art of brewing”) asked designer Dani Rolli for a label. The beer to be labelled was a bottom-fermented special beer that had been stored in a whisky barrel for one year.

The Oak Barrel Ale is Etikette N°2 in a series of limited editions by Braukunst – a total of 200 items were produced.

Screen printed by Atelier für Siebdruck, Lorenz Boegli.
The design ranked among the top three for the Gmund Design Award 2022.

Appenzeller is renowned for its centuries-old Swiss cheese craftsmanship, originating in the mountains of Appenzell region. The use of a secret herbal brine in its maturation process gives it a distinct flavour, affirming its place in Swiss culinary culture.

Late September 2023, Appenzeller unveiled the latest addition to their assortment, Appenzellerin Elegant cheese, featuring a visual identity crafted by Contexta Agency. Revisiting the brand tradition with modernity, the design reflects the character and elegance of the cheese's flavours.

From the Appenzeller website (translated):

Appenzellerin® Elegant tastes quite different from its spicy Appenzeller® brothers and thus goes its own way in terms of taste. It is destined to lovers and friends of mild, floral-fruity cheeses. It presents itself as sweet and only discreetly aromatic, slightly milky and balanced. It is less spicy, but still full-bodied and seduces with a smooth charm. Perfect, therefore, for those who do not like it too spicy.

The Appenzellerin logotype and poster headlines are set in NewParis. The secondary typeface on the cheese label is Montserrat, while on the website texts are either using Suisse Int'l or SangBleu OG Sans with some titles set in Olivier. The logo is a custom work by Swiss Typefaces, a job which also included finetuning the Appenzeller Bear logo.

NewParis, Suisse Int'l and SangBleu OG Sans are all available from Swiss Typefaces.

G2 Kosmos in use for the printed showcase of Orianne Simonet’s photo series Paysages Ordinaires. From the publication:

The work Paysages Ordinaires by HKB graduate Orianne Simonet is an analog photomontage project. It is based on an examination of photographs from the 20th century that have been manipulated for the purpose of disinformation. Orianne reconstructs this phenomenon in the landscape of her own homeland, embedding abstract architectural objects and hidden buildings in the wild beauty of the Jura Arc.

The Mimetic Rocks Map portrays a selection of rock formations that resemble animals, mystic creatures or human faces. It’s an invitation to go on a rock spotting tour – the mimetic rock as a tourist destination, something one sends as a postcard, like an image of Tour Eiffel or the Colosseum. The typefaces used are G2 Erika Mono and the yet to be released G2 Airdancer (working title: Columnbus).

Massimiliano Audretsch, who designed the map, describes his process as follows:

This map goes back to when I was a child, sometime in the early 2000s. My parents brought me and my sibling to see a rock by Highway 265, about 13 miles north of Santa Fe, called the Camel Rock. I was absolutely fascinated by the massiv formation that actually resembled a camel resting in the desert and decided I’ll keep my eyes open for further remarkable rocks. The Mimetic Rocks Map shows rocks I spotted myself, some however I tracked down on the internet and other people told me about of course proving it with a photo. Tell me about the mimetic rock in your neighborhood and visit www.mimetic.rocks ??

In 1971, Swiss graphic designer Roland Hirter created the logo for Schwager Tapeten, a store selling wallpapers and related products. The wordmark features lowercase letters from a multiline typeface that Hirter was designing at the time.

As seen on the original drawings shown below, this typeface started life in the era of phototypesetting and dry transfer lettering. It was meticulously drawn, with compass and technical drawing pen. By around 1972, Hirter had completed all letters of the Latin alphabet, including an uppercase and also numerals. However, he hardly ever used it himself and the typeface remained unreleased.

When Roland Hirter quit working around 2015 and cleared out his studio, he intended to throw away the original artwork. It was me – Roland’s son Thomas – who saved them. For the typeface’s fiftieth anniversary, I digitized all the original glyphs.

Since today's technologies allow for a faster work process compared to the seventies, I expanded the font to cover most of the Latin script. Even more, I added a total of ten stylistic sets to offer alternative glyphs for different letters and figure sets. Attentive observers will notice, however, that Roland Hirter also drew different variations of some glyphs, such as the lowercase letters h and t and the numeral 7.

More than half a century after its first application, the typeface is finally available. It was released in February 2023 under the original name Linea 72, in the two original styles, Regular and Kontur.

The original drawings for the uppercase glyphs, part 1

The original drawings for the uppercase glyphs, part 2, plus a sample for the Kontur version in which the inner lines have been eliminated

The original drawings for the lowercase glyphs, part 1. Note how h and t are different from the glyphs in the Schwager Tapeten logo.

The original drawings for the uppercase glyphs, part 2

The original drawings for the numerals – and the typeface’s name, Linea 72

Copy and paste the old way: a proof from the early 1970s. The sample text “I love Letter-Press” suggests that Roland Hirter submitted the design to Mecanorma’s permanent contest, in which the French Letraset competitor sourced new designs for their Letter-Press range of dry transfer typefaces.