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Last chance to download!
LL Agip77 is free until Jan. 1 at Lineto.com. The third font in a series of design exercises, Agip77 playfully reflects the DNA of Lineto’s neo-grotesk superfamily, LL Unica77. Ten years after its release, Unica77 stands as the rightful heir to Switzerland’s post-war rational design, synthesizing the various advantages of the trinity that came to define 20th-century type: Helvetica, Univers, and Akzidenz Grotesk.
Last chance to download!
LL Agip77 is free until Jan. 1 at Lineto.com. The third font in a series of design exercises, Agip77 playfully reflects the DNA of Lineto’s neo-grotesk superfamily, LL Unica77. Ten years after its release, Unica77 stands as the rightful heir to Switzerland’s post-war rational design, synthesizing the various advantages of the trinity that came to define 20th-century type: Helvetica, Univers, and Akzidenz Grotesk.
Last chance to download!
LL Agip77 is free until Jan. 1 at Lineto.com. The third font in a series of design exercises, Agip77 playfully reflects the DNA of Lineto’s neo-grotesk superfamily, LL Unica77. Ten years after its release, Unica77 stands as the rightful heir to Switzerland’s post-war rational design, synthesizing the various advantages of the trinity that came to define 20th-century type: Helvetica, Univers, and Akzidenz Grotesk.
Last chance to download!
LL Agip77 is free until Jan. 1 at Lineto.com. The third font in a series of design exercises, Agip77 playfully reflects the DNA of Lineto’s neo-grotesk superfamily, LL Unica77. Ten years after its release, Unica77 stands as the rightful heir to Switzerland’s post-war rational design, synthesizing the various advantages of the trinity that came to define 20th-century type: Helvetica, Univers, and Akzidenz Grotesk.
Last chance to download!
LL Agip77 is free until Jan. 1 at Lineto.com. The third font in a series of design exercises, Agip77 playfully reflects the DNA of Lineto’s neo-grotesk superfamily, LL Unica77. Ten years after its release, Unica77 stands as the rightful heir to Switzerland’s post-war rational design, synthesizing the various advantages of the trinity that came to define 20th-century type: Helvetica, Univers, and Akzidenz Grotesk.
Treat yourself for Christmas!
LL Agip77 is free for download until Dec. 31 on Lineto.com
Paying respect to the iconic brand identity of Agip,
Agip77 reproduces the original formal trait by introducing an inline of variable thickness and automatic spacing, which effortlessly sets the font in the right way, at any chosen size.
Have fun in 2026,
Love X Lineto
Treat yourself for Christmas!
LL Agip77 is free for download until Dec. 31 on Lineto.com
Paying respect to the iconic brand identity of Agip,
Agip77 reproduces the original formal trait by introducing an inline of variable thickness and automatic spacing, which effortlessly sets the font in the right way, at any chosen size.
Have fun in 2026,
Love X Lineto
Treat yourself for Christmas!
LL Agip77 is free for download until Dec. 31 on Lineto.com
Paying respect to the iconic brand identity of Agip,
Agip77 reproduces the original formal trait by introducing an inline of variable thickness and automatic spacing, which effortlessly sets the font in the right way, at any chosen size.
Have fun in 2026,
Love X Lineto
Treat yourself for Xmas!
Free for download until Dec. 31 on Lineto.com.
Paying respect to the iconic brand identity of Agip,
Agip77 is a inline variable version of Lineto’s LL Unica77.
Love X Lineto
Treat yourself for Xmas!
Free for download until Dec. 31 on Lineto.com.
Paying respect to the iconic brand identity of Agip,
Agip77 is a inline variable version of Lineto’s LL Unica77.
Love X Lineto
Treat yourself for Xmas!
Free for download until Dec. 31 on Lineto.com.
Paying respect to the iconic brand identity of Agip,
Agip77 is a inline variable version of Lineto’s LL Unica77.
Love X Lineto
Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.
Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.
Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)
Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt
And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper
Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.
Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.
Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)
Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt
And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper
Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.
Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.
Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)
Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt
And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper
Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.
Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.
Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)
Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt
And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper
Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.
Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.
Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)
Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt
And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper
Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.
Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.
Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)
Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt
And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper
Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.
Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.
Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)
Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt
And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper
Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.
Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.
Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)
Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt
And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper
Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.
Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.
Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)
Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt
And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper
Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.
Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.
Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)
Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt
And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper
Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.
Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.
Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)
Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt
And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper
Make sure to equip yourself with the accurate traffic essentials. The publication “Tratex — A road sign alphabet in the making” traces the history of the Swedish Road signs alphabet from 1931 onwards. By the 1980s, a cohesive design system had been established, which remains largely in use today. For decades, the design internally did not have a formal name and the engineers responsible for drawing the letters had similarly been largely anonymous outside the Vägbyrån and Trafikbyrån government agency. This only changed when the alphabet was digitized and attributed to Karl-Gustaf Gustafson and Chester Bernsten.
Digitization both contributed to and distorted the history of the road sign alphabet. While Tratex gained wider recognition through online distribution, certain material and social aspects of the letterforms were obscured in their transformation into a digital typeface. As a result, the history of Tratex has remained fragmented. These are the circumstances that have prompted the present book, which explores the development of the alphabet before it was digitized.
Get your own essential copy in our new Editions Section or dig into the topic on our Article Section on lineto.com
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson (@jonas_williamsson)
112 pages, 21 × 29.7 cm (W × H)
Automotive thanks to
Laurenz Brunner @laurenzbrunner
Ronny Hunger @ronnyhunger
Polestar Zurich @polestarcars
Connie Hüsser @objectwithlove
Cornel Windlin & Marcus Fendt
And of course to
Björn Lux @juno_hamburg
Munken Paper @munkenpaper
Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.
Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com
Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.
@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper
Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.
Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com
Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.
@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper
Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.
Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com
Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.
@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper
Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.
Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com
Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.
@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper
Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.
Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com
Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.
@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper
Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.
Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com
Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.
@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper
Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.
Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com
Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.
@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper
Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.
Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com
Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.
@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper
Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.
Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com
Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.
@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper
Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.
Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com
Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.
@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper
Publication alert — Tratex, the alphabet designed for Swedish road signs, is a defining feature of the country’s public space. Its sober, geometric forms are woven into the everyday environment. Behind the seemingly neutral design lies a layered history that begins in 1931, when Sweden introduced its first road sign regulations. Over the following decades, the letters were repeatedly redrawn and adapted to new needs and production technologies. In 2002, the Swedish National Road Administration released the alphabet as a freely available digital font, allowing it to circulate far beyond the roadside, in everything from books to corporate identities. Digitization also altered how the alphabet’s history was understood, turning anonymous engineering work into attributed design while obscuring aspects of its material, institutional, and cultural context.
Drawing extensively on archival sources, this book traces the development of Tratex prior to its digital release and situates it within the broader technological and social transformations of twentieth-century Sweden – a society increasingly organized around the car. It also examines the criticism Tratex has faced over the years, along with the alternative alphabets proposed to replace it.
Tratex — A road sign alphabet in the making
Edited by Rikard Heberling and Jonas Williamsson
Published by Lineto ©2025
112 pages, 21 × 29.7 cm (W × H)
Printed on Munken Paper
Order now at Lineto.com
Initial research for this book had been undertaken over several years out of personal interest. It was through a project to design a new corporate typeface inspired by Swedish roadsigns for Munken Paper that the research took shape and eventually materialized into the present work. The project was commissioned by Björn Lux of the branding agency Juno and conceptualized by Laurenz Brunner, Jonas Williamsson, and Cornel Windlin. The resulting typeface, Munken Sans, was designed by Laurenz Brunner and Selina Bernet, and released in 2020 by Lineto. The research was conducted by Rikard Heberling and Jonas Williamsson.
@jonas_williamsson, @laurenzbrunner, @selinabernet, @juno_hamburg, @munkenpaper
Out now:
LL Capital by Pablo Desportes
Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.
One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?
Let’s go!
Only from Lineto.com
Out now:
LL Capital by Pablo Desportes
Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.
One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?
Let’s go!
Only from Lineto.com
Out now:
LL Capital by Pablo Desportes
Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.
One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?
Let’s go!
Only from Lineto.com
Out now:
LL Capital by Pablo Desportes
Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.
One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?
Let’s go!
Only from Lineto.com
Out now:
LL Capital by Pablo Desportes
Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.
One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?
Let’s go!
Only from Lineto.com
Out now:
LL Capital by Pablo Desportes
Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.
One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?
Let’s go!
Only from Lineto.com
Out now:
LL Capital by Pablo Desportes
Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.
One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?
Let’s go!
Only from Lineto.com
Out now:
LL Capital by Pablo Desportes
Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.
One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?
Let’s go!
Only from Lineto.com
Out now:
LL Capital by Pablo Desportes
Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.
One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?
Let’s go!
Only from Lineto.com
Out now:
LL Capital by Pablo Desportes
Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.
One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?
Let’s go!
Only from Lineto.com
Out now:
LL Capital by Pablo Desportes
Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.
One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?
Let’s go!
Only from Lineto.com
Out now:
LL Capital by Pablo Desportes
Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.
One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?
Let’s go!
Only from Lineto.com
Out now:
LL Capital by Pablo Desportes
Honouring the fading memories of a more glamourous past, LL Capital captures the vibe of an era. Embrace the hedonistic optimism celebrated in magazine print advertising.
One weight, two styles: maximum effect and minimal fuss. Are you ready for the single-weight super family?
Let’s go!
Only from Lineto.com
We are pleased to announce the release of LL Capital, a new serif typeface by Pablo Desportes.
Taking you back to the heydays of hedonistic fun & frolicking, Capital is a contemporary take on those graphic Caslon renderings from the 1970s: a confident, colourful, tightly-spaced headline font for maximum bang per inch.
LL Capital is available in one weight, and two styles: Roman and Italics.
No Pussyfooting!
Only from Lineto.com
LL Cyan and Cyan Mono
Writing instruction turned into letterforms
Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.
With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin & Diego Bontognali @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag
With photography by
Mélanie Hofmann @hellomel3000
Lineto.com
LL Cyan and Cyan Mono
Writing instruction turned into letterforms
Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.
With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin & Diego Bontognali @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag
With photography by
Mélanie Hofmann @hellomel3000
Lineto.com
LL Cyan and Cyan Mono
Writing instruction turned into letterforms
Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.
With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin & Diego Bontognali @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag
With photography by
Mélanie Hofmann @hellomel3000
Lineto.com
LL Cyan and Cyan Mono
Writing instruction turned into letterforms
Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.
With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin & Diego Bontognali @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag
With photography by
Mélanie Hofmann @hellomel3000
Lineto.com
LL Cyan and Cyan Mono
Writing instruction turned into letterforms
Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.
With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin & Diego Bontognali @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag
With photography by
Mélanie Hofmann @hellomel3000
Lineto.com
LL Cyan and Cyan Mono
Writing instruction turned into letterforms
Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.
With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin & Diego Bontognali @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag
With photography by
Mélanie Hofmann @hellomel3000
Lineto.com
LL Cyan and Cyan Mono
Writing instruction turned into letterforms
Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.
With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin & Diego Bontognali @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag
With photography by
Mélanie Hofmann @hellomel3000
Lineto.com
LL Cyan and Cyan Mono
Writing instruction turned into letterforms
Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.
With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin & Diego Bontognali @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag
With photography by
Mélanie Hofmann @hellomel3000
Lineto.com
LL Cyan and Cyan Mono
Writing instruction turned into letterforms
Born of a writing exercise in Jan Tschichold’s Schriftlehre, Handschriften und Skizzieren (Basel, 1942), LL Cyan is the latest typeface from Aurèle Sack @aurele_sack (LL Brown, Ivory, Grey). In creating what is a clear-minded and visually distinctive sans serif family, Aurèle brings Tschichold’s unusual source to its digital conclusion. Informed by the outstanding rhythm and playfulness of a school writing exercise, yet going above and beyond this, to become a typeface in its own right with 16 styles across two families: LL Cyan and Cyan Mono is available for purchase or trial download on Lineto.com.
With thanks
Connie Hüsser @objectwithlove
Bastien Aubry @bastien_aubry
Robert Huber & Ronny Hunger @ronnyhunger
Julia Born @julia_born
Valeria Bonin & Diego Bontognali @bonbon_zurich
Adeline Mollard @adelinemollard
Erich and Rico @druckerei_odermatt_ag
With photography by
Mélanie Hofmann @hellomel3000
Lineto.com
Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.
Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com
Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.
Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com
Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.
Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com
Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.
Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com
Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.
Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com
Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.
Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com
Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.
Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com
Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.
Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com
Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.
Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com
Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.
Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com
Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.
Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com
Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.
Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com
Get to know Kleisch’s elegant beauty and underlying research in our extended limited print edition. While the Kleisch ‘Specimen‘ shows the beauty of Kleisch over all families and cuts, from Text to Headline to Display, from light to bold and from static to variable, the Kleisch ‘Specification‘ elaborates on the research and the technical parallels to Ming typefaces that can be found in Baroque and Neoclassicist faces and that guided the formal design of Kleisch.
Make sure you order one of the limited two-volume edition or dig into the topic on our new Article Section on lineto.com
LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.
Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.
LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.
Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.
LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.
Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.
LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.
Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.
LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.
Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.
LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.
Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.
LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.
Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.
LL Kleisch is a thoughtful and versatile typeface for text to display use. More than that, its the perfect companion to old-style CJK (Chinese/Japanese/Korean) Ming typefaces.
Next to the regular LL Kleisch family with six weights plus italics, the Kleisch Headline and Kleisch Display families offer improved contrast for use in large and extra-large sizes, respectively. To allow for perfect adjustment to various designs with Ming fonts, Kleisch also comes in a fully variable version: With axes for weight and contras that allow to minutely modify character shape and greytone to match a wide range of Ming designs in common use today.
A recent studio visit at @norm_zurich , the Zurich-based masters of the super tight grid, finds them absorbed with putting Riforma Flex, the upcoming expansive variable elaboration of their all-purpose LL Riforma, to exacting use in two substantial book projects currently nearing completion.
LIVE EVIL is a comprehensive new monograph about Arthur Jafa’s decades-long work, reflecting on his sprawling 2022 presentation at LUMA Arles, and published by Verlag der Buchhandlung Walther und Franz König.
The second book is a full retrospective of the oeuvre of Bernhard Mendes Bürgi, spanning all 110 of the Swiss curator’s exhibition projects. It will be launched during the Zurich Art Weekend on 13 June at Kunsthalle Zürich, where Bürgi was the founding director from 1989 until 2001.
While keeping its distinctive quality and formal purity, the Riforma Flex project is repositioning LL Riforma as a more versatile design tool, allowing optimal fine-tuning in the most demanding of design environments. Currently going through extended loops of drawing, using and re-drawing, it is expected to be finalised for a library release in November 2025.
In the meantime, please visit Linetomorrow for very advanced beta versions of LL Riforma Flex. We expect to continuously update files as progress is being made.
Coincidentally, NORM are opening their exhibition Real Intentions, Fake Occurrences at Galerie Nicola von Senger, Limmatstrasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Surfaces, a publication designed by NORM, accompanies the show and is available at the gallery. The exhibition continues through 17 May 2025.
Photography by Melanie Hofmann © 2025
A recent studio visit at @norm_zurich , the Zurich-based masters of the super tight grid, finds them absorbed with putting Riforma Flex, the upcoming expansive variable elaboration of their all-purpose LL Riforma, to exacting use in two substantial book projects currently nearing completion.
LIVE EVIL is a comprehensive new monograph about Arthur Jafa’s decades-long work, reflecting on his sprawling 2022 presentation at LUMA Arles, and published by Verlag der Buchhandlung Walther und Franz König.
The second book is a full retrospective of the oeuvre of Bernhard Mendes Bürgi, spanning all 110 of the Swiss curator’s exhibition projects. It will be launched during the Zurich Art Weekend on 13 June at Kunsthalle Zürich, where Bürgi was the founding director from 1989 until 2001.
While keeping its distinctive quality and formal purity, the Riforma Flex project is repositioning LL Riforma as a more versatile design tool, allowing optimal fine-tuning in the most demanding of design environments. Currently going through extended loops of drawing, using and re-drawing, it is expected to be finalised for a library release in November 2025.
In the meantime, please visit Linetomorrow for very advanced beta versions of LL Riforma Flex. We expect to continuously update files as progress is being made.
Coincidentally, NORM are opening their exhibition Real Intentions, Fake Occurrences at Galerie Nicola von Senger, Limmatstrasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Surfaces, a publication designed by NORM, accompanies the show and is available at the gallery. The exhibition continues through 17 May 2025.
Photography by Melanie Hofmann © 2025
A recent studio visit at @norm_zurich , the Zurich-based masters of the super tight grid, finds them absorbed with putting Riforma Flex, the upcoming expansive variable elaboration of their all-purpose LL Riforma, to exacting use in two substantial book projects currently nearing completion.
LIVE EVIL is a comprehensive new monograph about Arthur Jafa’s decades-long work, reflecting on his sprawling 2022 presentation at LUMA Arles, and published by Verlag der Buchhandlung Walther und Franz König.
The second book is a full retrospective of the oeuvre of Bernhard Mendes Bürgi, spanning all 110 of the Swiss curator’s exhibition projects. It will be launched during the Zurich Art Weekend on 13 June at Kunsthalle Zürich, where Bürgi was the founding director from 1989 until 2001.
While keeping its distinctive quality and formal purity, the Riforma Flex project is repositioning LL Riforma as a more versatile design tool, allowing optimal fine-tuning in the most demanding of design environments. Currently going through extended loops of drawing, using and re-drawing, it is expected to be finalised for a library release in November 2025.
In the meantime, please visit Linetomorrow for very advanced beta versions of LL Riforma Flex. We expect to continuously update files as progress is being made.
Coincidentally, NORM are opening their exhibition Real Intentions, Fake Occurrences at Galerie Nicola von Senger, Limmatstrasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Surfaces, a publication designed by NORM, accompanies the show and is available at the gallery. The exhibition continues through 17 May 2025.
Photography by Melanie Hofmann © 2025
A recent studio visit at @norm_zurich , the Zurich-based masters of the super tight grid, finds them absorbed with putting Riforma Flex, the upcoming expansive variable elaboration of their all-purpose LL Riforma, to exacting use in two substantial book projects currently nearing completion.
LIVE EVIL is a comprehensive new monograph about Arthur Jafa’s decades-long work, reflecting on his sprawling 2022 presentation at LUMA Arles, and published by Verlag der Buchhandlung Walther und Franz König.
The second book is a full retrospective of the oeuvre of Bernhard Mendes Bürgi, spanning all 110 of the Swiss curator’s exhibition projects. It will be launched during the Zurich Art Weekend on 13 June at Kunsthalle Zürich, where Bürgi was the founding director from 1989 until 2001.
While keeping its distinctive quality and formal purity, the Riforma Flex project is repositioning LL Riforma as a more versatile design tool, allowing optimal fine-tuning in the most demanding of design environments. Currently going through extended loops of drawing, using and re-drawing, it is expected to be finalised for a library release in November 2025.
In the meantime, please visit Linetomorrow for very advanced beta versions of LL Riforma Flex. We expect to continuously update files as progress is being made.
Coincidentally, NORM are opening their exhibition Real Intentions, Fake Occurrences at Galerie Nicola von Senger, Limmatstrasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Surfaces, a publication designed by NORM, accompanies the show and is available at the gallery. The exhibition continues through 17 May 2025.
Photography by Melanie Hofmann © 2025
A recent studio visit at @norm_zurich , the Zurich-based masters of the super tight grid, finds them absorbed with putting Riforma Flex, the upcoming expansive variable elaboration of their all-purpose LL Riforma, to exacting use in two substantial book projects currently nearing completion.
LIVE EVIL is a comprehensive new monograph about Arthur Jafa’s decades-long work, reflecting on his sprawling 2022 presentation at LUMA Arles, and published by Verlag der Buchhandlung Walther und Franz König.
The second book is a full retrospective of the oeuvre of Bernhard Mendes Bürgi, spanning all 110 of the Swiss curator’s exhibition projects. It will be launched during the Zurich Art Weekend on 13 June at Kunsthalle Zürich, where Bürgi was the founding director from 1989 until 2001.
While keeping its distinctive quality and formal purity, the Riforma Flex project is repositioning LL Riforma as a more versatile design tool, allowing optimal fine-tuning in the most demanding of design environments. Currently going through extended loops of drawing, using and re-drawing, it is expected to be finalised for a library release in November 2025.
In the meantime, please visit Linetomorrow for very advanced beta versions of LL Riforma Flex. We expect to continuously update files as progress is being made.
Coincidentally, NORM are opening their exhibition Real Intentions, Fake Occurrences at Galerie Nicola von Senger, Limmatstrasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Surfaces, a publication designed by NORM, accompanies the show and is available at the gallery. The exhibition continues through 17 May 2025.
Photography by Melanie Hofmann © 2025
A recent studio visit at @norm_zurich , the Zurich-based masters of the super tight grid, finds them absorbed with putting Riforma Flex, the upcoming expansive variable elaboration of their all-purpose LL Riforma, to exacting use in two substantial book projects currently nearing completion.
LIVE EVIL is a comprehensive new monograph about Arthur Jafa’s decades-long work, reflecting on his sprawling 2022 presentation at LUMA Arles, and published by Verlag der Buchhandlung Walther und Franz König.
The second book is a full retrospective of the oeuvre of Bernhard Mendes Bürgi, spanning all 110 of the Swiss curator’s exhibition projects. It will be launched during the Zurich Art Weekend on 13 June at Kunsthalle Zürich, where Bürgi was the founding director from 1989 until 2001.
While keeping its distinctive quality and formal purity, the Riforma Flex project is repositioning LL Riforma as a more versatile design tool, allowing optimal fine-tuning in the most demanding of design environments. Currently going through extended loops of drawing, using and re-drawing, it is expected to be finalised for a library release in November 2025.
In the meantime, please visit Linetomorrow for very advanced beta versions of LL Riforma Flex. We expect to continuously update files as progress is being made.
Coincidentally, NORM are opening their exhibition Real Intentions, Fake Occurrences at Galerie Nicola von Senger, Limmatstrasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Surfaces, a publication designed by NORM, accompanies the show and is available at the gallery. The exhibition continues through 17 May 2025.
Photography by Melanie Hofmann © 2025
A recent studio visit at @norm_zurich , the Zurich-based masters of the super tight grid, finds them absorbed with putting Riforma Flex, the upcoming expansive variable elaboration of their all-purpose LL Riforma, to exacting use in two substantial book projects currently nearing completion.
LIVE EVIL is a comprehensive new monograph about Arthur Jafa’s decades-long work, reflecting on his sprawling 2022 presentation at LUMA Arles, and published by Verlag der Buchhandlung Walther und Franz König.
The second book is a full retrospective of the oeuvre of Bernhard Mendes Bürgi, spanning all 110 of the Swiss curator’s exhibition projects. It will be launched during the Zurich Art Weekend on 13 June at Kunsthalle Zürich, where Bürgi was the founding director from 1989 until 2001.
While keeping its distinctive quality and formal purity, the Riforma Flex project is repositioning LL Riforma as a more versatile design tool, allowing optimal fine-tuning in the most demanding of design environments. Currently going through extended loops of drawing, using and re-drawing, it is expected to be finalised for a library release in November 2025.
In the meantime, please visit Linetomorrow for very advanced beta versions of LL Riforma Flex. We expect to continuously update files as progress is being made.
Coincidentally, NORM are opening their exhibition Real Intentions, Fake Occurrences at Galerie Nicola von Senger, Limmatstrasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Surfaces, a publication designed by NORM, accompanies the show and is available at the gallery. The exhibition continues through 17 May 2025.
Photography by Melanie Hofmann © 2025
A recent studio visit at @norm_zurich , the Zurich-based masters of the super tight grid, finds them absorbed with putting Riforma Flex, the upcoming expansive variable elaboration of their all-purpose LL Riforma, to exacting use in two substantial book projects currently nearing completion.
LIVE EVIL is a comprehensive new monograph about Arthur Jafa’s decades-long work, reflecting on his sprawling 2022 presentation at LUMA Arles, and published by Verlag der Buchhandlung Walther und Franz König.
The second book is a full retrospective of the oeuvre of Bernhard Mendes Bürgi, spanning all 110 of the Swiss curator’s exhibition projects. It will be launched during the Zurich Art Weekend on 13 June at Kunsthalle Zürich, where Bürgi was the founding director from 1989 until 2001.
While keeping its distinctive quality and formal purity, the Riforma Flex project is repositioning LL Riforma as a more versatile design tool, allowing optimal fine-tuning in the most demanding of design environments. Currently going through extended loops of drawing, using and re-drawing, it is expected to be finalised for a library release in November 2025.
In the meantime, please visit Linetomorrow for very advanced beta versions of LL Riforma Flex. We expect to continuously update files as progress is being made.
Coincidentally, NORM are opening their exhibition Real Intentions, Fake Occurrences at Galerie Nicola von Senger, Limmatstrasse 275, 8005 Zürich, on Friday, 28 March, from 7pm. Lines Surfaces, a publication designed by NORM, accompanies the show and is available at the gallery. The exhibition continues through 17 May 2025.
Photography by Melanie Hofmann © 2025
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
LL Kristall is Laurenz Brunner’s latest release on Lineto. After LL Akkurat and LL Circular, it is the third in his series of genre-defining grotesks.
With its distinct letterforms, low-contrast drawing and vertically cut terminals, LL Kristall offers a bold new take on the humanist genre, fusing calligraphic expression with rational clarity. Its carefully calibrated weight range – from Light to Ultra Black — covers 6 balanced weights, with Italics rapidly developing. Containing a sophisticated palette of alternate letterforms, LL Kristall offers a versatile set of tools that reliably delivers impactful results, for both sophisticated micro-typography and bold, playful graphic statements.
Only from Lineto.com
Instagram Stories geheim ansehen
Der Instagram Story Viewer ist ein einfaches Tool, mit dem Sie Instagram Stories, Videos, Fotos oder IGTV heimlich ansehen und speichern können. Mit diesem Service können Sie Inhalte herunterladen und offline genießen, wann immer Sie möchten. Wenn Sie etwas Interessantes auf Instagram finden, das Sie später überprüfen möchten, oder Stories anonym ansehen möchten, ist unser Viewer ideal für Sie. Anonstories bietet eine ausgezeichnete Lösung, um Ihre Identität zu schützen. Instagram hat die Stories-Funktion erstmals im August 2023 eingeführt, die schnell auch von anderen Plattformen übernommen wurde, dank ihres fesselnden, zeitlich begrenzten Formats. Stories ermöglichen es Nutzern, schnelle Updates zu teilen, sei es Fotos, Videos oder Selfies, ergänzt durch Text, Emojis oder Filter, und sind nur 24 Stunden lang sichtbar. Dieser begrenzte Zeitrahmen sorgt für eine hohe Interaktion im Vergleich zu regulären Posts. Heutzutage sind Stories eine der beliebtesten Methoden, um sich in sozialen Medien zu verbinden und zu kommunizieren. Wenn Sie jedoch eine Story ansehen, kann der Ersteller Ihren Namen in seiner Viewer-Liste sehen, was ein Problem für die Privatsphäre sein kann. Was ist, wenn Sie Stories durchsuchen möchten, ohne bemerkt zu werden? Hier wird Anonstories nützlich. Es ermöglicht Ihnen, öffentliche Instagram-Inhalte anzusehen, ohne Ihre Identität preiszugeben. Geben Sie einfach den Benutzernamen des Profils ein, das Sie interessiert, und das Tool zeigt dessen neueste Stories an. Funktionen des Anonstories Viewers: - Anonymes Browsen: Sehen Sie Stories, ohne in der Viewer-Liste zu erscheinen. - Kein Konto erforderlich: Sehen Sie öffentliche Inhalte, ohne ein Instagram-Konto zu erstellen. - Inhalte herunterladen: Speichern Sie beliebige Story-Inhalte direkt auf Ihrem Gerät für die Offline-Nutzung. - Highlights anzeigen: Greifen Sie auf Instagram-Highlights zu, auch über das 24-Stunden-Fenster hinaus. - Repost-Überwachung: Verfolgen Sie Reposts oder Interaktionen bei Stories für persönliche Profile. Einschränkungen: - Dieses Tool funktioniert nur mit öffentlichen Accounts; private Accounts bleiben unzugänglich. Vorteile: - Datenschutzfreundlich: Sehen Sie sich beliebige Instagram-Inhalte an, ohne bemerkt zu werden. - Einfach und unkompliziert: Keine App-Installation oder Registrierung erforderlich. - Exklusive Tools: Laden Sie Inhalte herunter und verwalten Sie sie auf eine Weise, die Instagram nicht bietet.
Vorteile von Anonstories
IG Stories privat entdecken
Behalten Sie Instagram-Updates diskret im Blick, schützen Sie Ihre Privatsphäre und bleiben Sie anonym.
Privater Instagram Viewer
Sehen Sie Profile und Fotos anonym an, ganz einfach mit dem Private Profile Viewer.
Kostenloser Story Viewer
Dieses kostenlose Tool ermöglicht es Ihnen, Instagram Stories anonym anzusehen und dabei Ihre Aktivität vor dem Story-Ersteller zu verbergen.
Häufig gestellte Fragen
Anonymität
Anonstories ermöglicht es Nutzern, Instagram-Stories anzusehen, ohne den Ersteller zu benachrichtigen.
Gerätekompatibilität
Funktioniert nahtlos auf iOS, Android, Windows, macOS und modernen Browsern wie Chrome und Safari.
Sicherheit und Datenschutz
Priorisiert sicheres, anonymes Browsen, ohne Login-Daten zu benötigen.
Keine Registrierung
Nutzer können öffentliche Stories ansehen, indem sie einfach einen Benutzernamen eingeben – kein Konto erforderlich.
Unterstützte Formate
Lädt Fotos (JPEG) und Videos (MP4) mühelos herunter.
Kosten
Der Dienst ist kostenlos nutzbar.
Private Accounts
Inhalte von privaten Accounts sind nur für Follower zugänglich.
Dateiverwendung
Dateien sind nur für persönliche oder Bildungszwecke und müssen Urheberrechtsregeln entsprechen.
Wie es funktioniert
Geben Sie einen öffentlichen Benutzernamen ein, um Stories anzusehen oder herunterzuladen. Der Dienst generiert direkte Links, um Inhalte lokal zu speichern.