A major aesthetic in the history of type design, Clarendon has been revisited many times since its appearance in the 1840s, notably in Switzerland in the 1950s. Drawn by François Rappo, Clarendon Graphic was designed to bring the graphic identity of the genre to a new level and to complete its modernist potential.

Each style, from Hairline to Black, achieves an exceptional optical balance. Through the quality of its details, Clarendon Graphic is a highly graphic, fluid and dynamic typeface. It works beautifully both at large and small sizes, as it has been specifically optimized for text. And, for the first time, a modern Clarendon has two complete sets of italics: one Slanted Roman and one true Cursive Italic. Finally, the family is completed with a set of fresh and playful Stencils cuts.

Through the quality of its design and the variety of its 26 styles, Clarendon Graphic covers the entire range of applications of contemporary graphic design: from display to running text, from the page to architecture.

Webfonts available on request.

Every word could be a logotype. Text composes effortlessly balanced lines. It works from footnote to poster size. The graphic aesthetic is unique yet universal. 

Few typefaces have qualified to this level of visual alchemy, epitomized by the classic Helvetica from the photo lettering times. 

If Plain is so fluid, it is thanks a drawing that is neither constrained by a geometrical approach nor structured after the idiosyncrasy of the stroke. Glyphs are designed optically, as plain surfaces and, under an apparent modern simplicity, their dynamic interaction create a distinctive identity.

Plain is the achievement of years of research by François Rappo, whose Theinhardt family had set a milestone in revisiting Grotesque typeface design. It comes in an exceptionally large range of twelve weights and their matching italics, offering graphic designers a complete tool to make the best use of its potential.



Webfonts available on request.

As you might have read, WebINK – our partner for webfonts – has shut down its platform on June 30, 2015. As for now, our entire webfonts library will be available for self-hosting only through our website, which will be soon updated to offer both webfont (woff, eot, svg) and app formats (otf) for automatic download.

If you are interested in using our webfonts or simply need more information, please contact us at info@optimo.ch.

For more than two decades, typography and screen technology have not been dissociated. While the impact of the screen on the design has remained an ongoing issue for designers, Nicolas Eigenheer capitalized on the limitation of the pixel to research how technological parameters could create new forms in typography.

‘Px Grotesk’ is designed after the rendering of typographic curves on screens. At smaller sizes, pixels sometimes simplify the shapes brutally. From this antagonism, Nicolas Eigenheer has designed a typeface that embeds the screen parameters into a classic linear drawing. The result is hybrid as the shapes combine formal solutions from the pixel grid and a linear drawing.

The font works both for screen and print use, and its geometrical simplification offers a spectacular legibility and sharpness at small sizes. At bigger sizes, it reveals a sophisticated drawing and an unprecedented aesthetic for a classic grotesque. ‘Px Grotesk’ is available as a three-weights family, with an extra pixel cut.



Webfonts available on request.
 

Developed over the past four years by the Swiss design studio Maximage, Programme is an innovative typeface which is based both on calligraphy and computer programming. With the help of scripting technology, the typeface was developed in two different versions: a more sophisticated and a rougher angular cut. Through OpenType features, the user is able to switch between the two main styles or to combine letters of the two.

Optimized for both text and display needs, the family is available in four weights, including italics and extra rotated versions. As an additional cut, Programme Primitiv is the ‘original’ version generated by the script – without any retouching and grading – this archetype perfectly meets display requirements as its simple and brutal sharpness add to the visual experience.

The first version of Programme was shown in the book Typeface as Program (JRP|Ringier, 2009). The book summarizes a series of projects related to programming and type design which took place at the University of Art and Design Lausanne (ECAL).

Webfonts available on request.

We are delighted to introduce ‘Stanley’ a new compact family designed by Ludovic Balland. Inspired by one of the most classic typefaces of the 20th century, ‘Times New Roman’, by Stanley Morison, ‘Stanley’ combines a strong graphic personality with solid functional qualities. The result is a font which can distinctly perform a great range of duties.

Based in Basel, Ludovic Balland is an established graphic designer enjoying international recognition. He is particularly well known for his bold graphic design work for books and posters. It is with the same impulse and energy that he created ‘Stanley’. 

Sharing comparable qualities with its inspirational precursor, ‘Stanley’ offers excellent legibility and incredible sharpness at very small sizes. With five cuts, ‘Stanley’ can fulfill versatile needs, from footnotes to headlines. The distinct details in the drawing give a unique tone to any text.



Webfonts available on request.