The need for a custom typeface arose from the desire to replace the existing typeface, FF Marselis, with a future-proof alternative, to expand its stylistic and content-related scope, and thereby carefully evolve the brand. Its distinctive feature is its breadth: the superfamily consists of a sans serif, a slab serif, and a serif family. While sans-serif/serif or sans-serif/slab pairs are not uncommon, the situation is different with such a three-part configuration. After extensive research, no retail alternative was found that met the requirements.

Fontwerk’s agile structure allows us to assemble the ideal team for every project. Whenever needed, we can expand our core team with experts from our international network. For RuV Type, we rounded out our team with Jan Fromm, who is known for his wide stylistic range and with whom we had previously collaborated on the extensive serif typeface family “Nice” (which is currently being expanded to include a similarly extensive sans serif counterpart).

At the start of the project, we traveled to the company headquarters in Wiesbaden to conduct a workshop, which we facilitated with R+V’s marketing, UI, and design teams, as well as MetaDesign Düsseldorf. During the session, we addressed the question of what form-defining requirements are embedded in the three R+V brand values: inspiring, cooperative, and solid.

These brand values should also be translated into design criteria through a collaborative process. We applied them to fundamental conceptual considerations: the overall impression of the typeface, its structure, and its details.

For the brand value of “inspiring”, the typeface should be dynamic, expressive, and personal, for the brand value of “cooperative”, the typeface should be approachable, organic, and human, and last but not least, for “solid”, it should be robust, confident, and balanced.

To define the design criteria even more clearly for all workshop participants, we took it a step further. We also agreed on characteristics that should be explicitly excluded. The new typeface should not be static, generic, or distant in its details; it should not be cold, geometric, or technical in its overall impression and it should not be fragile, childish, or restless in its construction.

Armed with these clear definitions and exclusion criteria, we began designing the sans serif core family. To do this, we developed four possible design directions based on initial letters that could be compared and evaluated as headlines. Only after the design of RuV Sans was finalized were RuV Slab and RuV Serif to be designed, though we sketched out a suitable Slab variant at this stage.

For the sans serif typeface, we interpreted the characteristics in four different ways. We developed one concept with a more modern, lively, and open character, which we named Antwerp. We also designed a typeface called Hamburg which had a more bold and warm character, a third style called The Hague was created with more classic, handwritten features, and lastly we developed a more understated English-style variant named Brighton.

We presented our four proposals, highlighting their individual characteristics, and incorporated them into rough mockups so that the R+V team could evaluate them more effectively. We also presented the four design directions side by side to ensure better comparability.

Then came the most exciting part of the project. First, we conducted an internal evaluation at Fontwerk to assess how well our own designs met the design criteria. To do this, we created three specific definitions for each of the three brand values and analyzed whether the designs aligned with them to a small, moderate, or strong degree. In the best-case scenario, a total of 3 × 9 = 27 points was possible.

For “calibration,” we started with R+V’s existing corporate typeface, FF Marselis. We tried to remain as objective as possible. Since the choice of typeface predated the definition of the brand values, we arrived at a score of only 22 points, which can be interpreted as very decent from this perspective. It scored particularly well in terms of its dynamic and personal details, its human overall impression, and its robust and confident construction. Our intention was, of course, not to criticize what already existed; therefore, we applied a similarly critical and objective approach to our own designs.

For example, we assessed Antwerp as somewhat less expressive, though it revealed its strengths in its dynamism, humanity, robustness, and confidence.

With 24 points, we rated the Dutch variant “The Hague,” which draws on cursive script, on par with “Antwerp.” In terms of overall impression, it checked all the boxes.

The English variant “Brighton” scored the lowest, if one even wants to use that word with such excellent designs ;), with 20 points. According to our own assessment, three designs were therefore a bit better suited to R+V’s brand values than the current corporate typeface, while one concept fell slightly short.

But the truth lies with the client. So we had the exercise carried out by our counterparts from the R+V marketing, UI, and design teams, as well as MetaDesign’s Creative Director Arne Schmidt. Their results were similar to ours (they rated Marselis and Hamburg as somewhat more suitable, and The Hague and Brighton as somewhat less suitable). Bolstered by their ratings, they unanimously agreed on the Antwerp design.

Based on this, we quickly incorporated initial revision requests and focused on fine-tuning, developing the stroke weights and a basic alphabet from A to z, as well as a first proper draft of the slab.

Some notable changes included, “straightening out” the diagonals, a shorter shoulder on the prominent “r", the replacement of the double-story “g,” and lighter dots. Subtle ink traps were also added to compensate for optical convergence.

In the following iterations, countless detail improvements were added, allowing us to complete the basic alphabet in the upright weights fairly quickly.

We then adjusted the Slab to a comparable level. To do this, we repeatedly ran parallel tests using actual marketing materials provided to us by the client. This allowed us to assess how well the first two members of the family harmonize with one another. With the delivery of the first beta fonts (TTF format, initially only auto-hinting and basic kerning), the R+V team also had the opportunity to provide better feedback and “get comfortable” with the new visual identity early on.

The subsequent intensive testing phase at R+V gave us the opportunity to begin work on the third typeface in the family, the serif. Although it will be used less prominently, as a stylistic option for the future it will be treated with the same meticulous care as its two sisters. The first step here was to design a well-crafted basic alphabet to make a good first impression.

Since switching fonts in such large companies typically involves a significant amount of work updating existing templates and documents, we still needed to determine how closely we should align with the letter spacing of the previous typeface. In principle, the letter spacing was already similar, but of course not identical. It was agreed to reduce the deviations as much as the character of the new typeface allowed, without, however, making painful compromises.

Other technical issues that needed to be clarified at this point concerned the vertical metrics. For historical reasons, fonts contain three different sets of data that programs use for interpretation.

These three pairs of values were not identical in Marselis, this resulted in an upward shift in some programs, such as InDesign.

Our goal therefore was to synchronize the value pairs to ensure consistent vertical spacing across all programs. While this would cause issues with existing InDesign templates, it would be the most reliable solution in the long run.

The next step involved laying out the new versions of the Sans and Slab beta fonts. These new versions were thoroughly optimized, included a complete character set, finalized spacing and kerning, full OpenType functionality (figure sets, superscript and subscript figures and letters, ordinals, fractions, slashed zero, ligatures, contextual alternates, case-sensitive forms for capital letters, and language-specific forms), as well as optimized hinting; and initial betas for the italics and serif fonts with a basic character set and finalized spacing. Here, too, the practice of testing using real-world application examples was continued, which allowed for continuous feedback on the design.

The serif counterpart could be designed more efficiently based on the existing sans and slab families. In the final phase of the project, in addition to expanding the italics, we were able to focus entirely on the third family member, which had previously been developed only in broad strokes. Since it will initially be used exclusively in the employee magazine, we designed it with a focus on its use in editorial design.

In conclusion, we were able to deliver the three-part exclusive superfamily, including comprehensive documentation: 24 static and six variable fonts, each with 568 characters and support for approximately 100 Latin-based languages.

Thanks to the ongoing involvement of the relevant departments at R+V, the implementation has proceeded without any significant issues so far—with equal joy and enthusiasm on the part of both the client and the producers.

We are not only proud of our most extensive custom font project to date, but also deeply inspired by the exceptionally great collaboration. When a client embodies its brand values as R+V does, translating them into design criteria comes easily.

This project demonstrates once again that respectful collaboration on a level playing field, as was the case here, from the initial contact through to the distribution of the finished fonts, guarantees the best results and that when a custom solution is unavoidable, involving all internal stakeholders early on is crucial to a project’s success.

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Much of the work we do, goes on behind closed doors and requires phenomenal amounts of blood, sweat and ink, so there is something really rather special, when we hear good award news about one of our typefaces. So we are absolutely over the moon to celebrate not one, but two, recent notable awards and mentions for Tausend by Christoph Koeberlin and Gabriel Richter.

Tausend was awarded a Merit in the Hiiiibrand Design Awards 2025, in the Professional Typography Category for Latin Type Design and it scored a Merit Honor in the 2026 ADC Awards, in the category Typography/Lettering.

Congratulations on the accolades, Christoph and Gabriel!

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The name of this sensation is Sukoon. A word that embodies everything this typeface represents: Silence. Clarity. Tranquility. Inner peace.

The word is understood in Arabic, Persian, Turkish and Urdu; it has also been borrowed into Hindi and other Indian languages. In Southeast Asia, the name refers to the breadfruit tree, which in turn is a symbol of frugality, gratitude, deep connection with nature, and community cohesion.

In Arabic, the diacritical mark “sukūn” also describes a state of calm: the absence of a vowel and thus a conscious pause in the voice when it briefly stops after a consonant to create a moment of silence in the flow of speech. The symbol for this is a circle, which plays a central role in the artwork accompanying the release in the form of a spherical object.

Just as language travels across cultures, this typeface is also influenced by more than one origin. This is hardly surprising given the culturally rich life story of its designer, Yanone. The typeface has a character all of its own that communicates across languages through its form, rhythm and restraint. Sukoon is not loud. It asserts itself not through force, but through balance. It takes up space without filling it. It speaks without pushing.

Sukoon can be characterized as a dynamic or humanistic sans serif font. Thanks to its more open and clearly distinguishable letterforms (e.g., double-story ‘g’) compared to static and geometric sans serif fonts, and its humanistic contrast axis, this style is considered the most legible in the sans serif genre, making it increasingly important in light of growing demands for accessibility.

Nevertheless, Sukoon is not a typical dynamic sans serif typeface. The letters M, g, y and j stand out from the standard set of shapes in this type category. The slightly low-hanging waist and the different ratio of large ascenders to small descenders are also distinctive features. These are elements that Yanone drew from the concept of silence and which are crucial to the calm and clear effect of the design.

However, the secret highlight of the font is its language support. It includes over 400 Latin, Arabic, Cyrillic and Greek languages, with the name itself hinting at a focus on Arabic. After FF DIN Arabic (with Albert-Jan Pool) and FF Amman Sans/Serif, Sukoon is Yanone’s third Arabic type design and his most important one personally.

While the classic Naskh proportions in FF DIN Arabic, with their clear and reduced design language, remain within geometric constraints, in Sukoon they were able to be designed completely freely in a humanistic style, thus remaining largely faithful to calligraphy. This calligraphic consistency is particularly striking in the lowercase letter Meem. Other fonts also feature the correct right-hand curve in the upstroke from below the baseline, but they move back above the baseline to connect with the next letter. This usually results in unnatural stroke movement — Sukoon, on the other hand, resolves this with elegance and visual calm.

Equally unusual for Arabic is the wide range of stroke weights from Thin to ExtraBlack. The bold weights in particular regularly attract astonished interest whenever their designer presents them on social media or in person. Other features such as swashes, curved kashida connections and individually selectable ligatures from traditional Naskh calligraphy gradually reveal their magic the more you engage with the font. They are explained in more detail in the PDF specimen as well as on kashida.fyi.

Sukoon is typography as sensation. It arose from a moment of silence and aims to send this moment to as many corners of the world as possible. Not as ornamentation, but as expression. Not only as craftsmanship, but also as art. If you look closely, you may sense a little of the clarity, beauty and tranquility from which it was born.

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Alongside our videos for the color font, Hamster (with SNASK) and the Case Collection (with Susi Sie), the recently released Neue DIN video falls into this category. The idea behind the video was to explore the origins of the typeface used on German street signs through an asphalt-inspired aesthetic, while remaining abstract and timeless. To achieve this, we collaborated again with Susi Sie, who now offers us a brief glimpse behind the scenes. Her work takes place exclusively in the analog world. She uses film, macro techniques, and physical materials to reveal details that normally remain hidden.

Based in Zurich, Susi Sie is an Emmy award-winning artist, having won one for ‘A Trip to Infinity’ (Netflix). For Neue DIN, she recreated the appearance and texture of stones and particles using gold paint. She poured the paint into Petri dishes allowing it to flow freely, as it did so the liquid slowly formed miniature landscapes. The paint moves playfully around the letters, circling them, touching their edges, and leaving them room to breathe.

The result is a unique film. One that is magical, delicate and yet rich in detail. Throughout the film there is a silent dialogue between type, material, and the beauty hidden beneath the surface. The whole process was in fact incredibly exciting and inspiring for us as well.

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GRŌA – the name of the foundation – was derived from the Germanic word ghro (which is the origin of the word green) and the Green Ribbon. Introduced in the early 1990s, the green ribbon is the international symbol for the acceptance of mental illness.

Jana Heinz’s aim was to create an image that conveys openness, diversity and closeness yet that was still convincing. At the heart of the design is a modular construction kit. Four basic patterns, four grid types, two font families and a variable scaling system enable an exceptionally high degree of design flexibility. Constants such as the characteristic typography and a fine-tuned color concept with a focus on shades of green ensure the brand’s recognition value. The large number of application examples – from ballpoint pens to buses – impressively demonstrates the variability and suitability of the system for everyday use.

Jana Heinz chose the strong character of Nikolai, designed by Franziska Weitgruber, as the corporate typeface for the foundation’s branding. It is complemented by the sans-serif New Reason by Newlyn, which mostly appears in capital texts. Nikolai not only carries the GRŌA logo, but also characterizes the entire advertising communication as well as the editorial design of the foundation brochure and the in-house magazine “Smaragd”. With its expressive italics, strong contrasts and carefully balanced proportions, Nikolai gives the visual appearance an unmistakable voice – elegant, yet at the same time lively and approachable.

In addition to its visual quality, the corporate design was particularly convincing due to its suitability for everyday use. It also enables non-experts to create media content quickly and consistently - a deliberate focus, as communication tasks in foundations, associations and smaller organizations are often solved decentrally. So it’s no wonder that Jana Heinz’s work was awarded the Junior Corporate Design Prize shortly after publication. The jury was impressed. They praised the concept as “well-thought-out down to the last detail” and spoke of a “construction kit that invites experimentation”. The result is an identity-creating design system that not only communicates openness but actively enables it.

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The outer fabric is made from 100% recycled post-consumer PET making the material quick-drying, velvety soft, durable, and resource-efficient. The collection currently occupies a previously unoccupied niche, the father-and-son collection and is currently being developed for the whole family.

Behind Noah’s Ocean is Robert Fritze, founder of the Zurich-based design studio Kreativfritze. With over 16 years of leadership experience in agencies and consulting firms, he describes himself as someone who combines a business mindset, design thinking, and a hands-on spirit. At Noah’s Ocean, he has consistently put this approach into practice. He’s responsible for design, development, marketing, and the online store—in other words, almost everything. The brand is managed by his wife, Vanessa Fritze. Vanessa and Robert have dedicated the brand to their son, Noah. A project for the next generation.

For every product sold, Noah’s Ocean makes a donation to selected marine conservation programs that are dedicated to protecting sea turtles and marine ecosystems. The brand shares this commitment with one of its closest typographic partners: the Pangea typeface by Fontwerk. Pangea’s designer, Christoph Koeberlin, always donates 25 percent of his royalties to support the conservation and reforestation of the rainforest. Both projects demonstrate that sustainability, in the context of design, need not merely be a marketing promise, but can in fact be structurally embedded.

To complement Pangea, Robert Fritze drew upon Jan Fromm’s Nice collection, a contemporary serif family with four optical sizes that combines clarity, personality, and readability. In doing so, he followed a Fontwerk recommendation that identifies Nice as suitable for fashion, advertising, and packaging, as well as posters and branding. Fritze: “The combination of Pangea and Nice—or as I call it, ‘Nice Pangea’—conveys both Noah’s Ocean’s premium positioning and its commitment to sustainability.” Two typefaces, one cohesive brand identity.

‘Nice Pangea’ appears wherever Noah’s Ocean meets its customers. At the point of sale at Jelmoli in Zurich, in the Swiss retail chain Duett Boutiques, but also at partner beach resorts, in Zurich, Küsnacht, and Germany. Billboards, shopping bags, packaging, flyers, and wet bags for swimwear carry the brand’s visual identity into everyday life. A unifying element is the slogan “Reternal Love,” a play on “eternal love” where the prefix “Re” stands for Recycle, Reuse, Refurbish, and Repair. Unified by a killer type pairing, attitude and aesthetics coalesce into a catchy message for this groundbreaking brand.

The brand identity is encapsulated in the Love Turtle, which captures the essence of their love for the ocean. It is brought to life by two premium typefaces that share the same values.

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Within the limits of our means, we want to support their cultural, social, ecological, and humanitarian commitment. To this end, we are delighted to offer registered nonprofit organizations and cultural institutions (e.g., museums, galleries, publishers, festivals, libraries) as well as artists a 25% discount across our entire product range.