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Hammer
↘︎Art Direction ↘︎Graphic Design ⦿Zurich
Teaching at Vermont College Of Fine Arts. Advisors at Van Eyck Academie.
🔨Sereina Rothenberger
🔨David Schatz
🌸
Membership card 2026 for @kunsthallesanktgallen
Become a member of Kunst Halle Sankt Gallen and receive a membership card that grants free admission to Kunst Halle and 31 other contemporary art institutions across Switzerland, plus discounts on events and Kunst Halle publications.
Fonts in use
💝 Manuzio @selinabernet
💝 Rapid @sourcetype
💝 Churchward Marianna
🌸
Membership card 2026 for @kunsthallesanktgallen
Become a member of Kunst Halle Sankt Gallen and receive a membership card that grants free admission to Kunst Halle and 31 other contemporary art institutions across Switzerland, plus discounts on events and Kunst Halle publications.
Fonts in use
💝 Manuzio @selinabernet
💝 Rapid @sourcetype
💝 Churchward Marianna
Poster for Sam Porritt’s solo exhibition “One Thing After Another (Drawings 2005–2025)”. Currently on view @kunsthallesanktgallen
Printed by @lezardgraphique67
Exhibition views courtesy of Sam Porritt and Kunst Halle Sankt Gallen
Photos: Kunst Halle Sankt Gallen, Valentina Ehnimb @valeshkaa, E. Sommer
Poster for Sam Porritt’s solo exhibition “One Thing After Another (Drawings 2005–2025)”. Currently on view @kunsthallesanktgallen
Printed by @lezardgraphique67
Exhibition views courtesy of Sam Porritt and Kunst Halle Sankt Gallen
Photos: Kunst Halle Sankt Gallen, Valentina Ehnimb @valeshkaa, E. Sommer
Poster for Sam Porritt’s solo exhibition “One Thing After Another (Drawings 2005–2025)”. Currently on view @kunsthallesanktgallen
Printed by @lezardgraphique67
Exhibition views courtesy of Sam Porritt and Kunst Halle Sankt Gallen
Photos: Kunst Halle Sankt Gallen, Valentina Ehnimb @valeshkaa, E. Sommer
Poster for Sam Porritt’s solo exhibition “One Thing After Another (Drawings 2005–2025)”. Currently on view @kunsthallesanktgallen
Printed by @lezardgraphique67
Exhibition views courtesy of Sam Porritt and Kunst Halle Sankt Gallen
Photos: Kunst Halle Sankt Gallen, Valentina Ehnimb @valeshkaa, E. Sommer
Poster for Sam Porritt’s solo exhibition “One Thing After Another (Drawings 2005–2025)”. Currently on view @kunsthallesanktgallen
Printed by @lezardgraphique67
Exhibition views courtesy of Sam Porritt and Kunst Halle Sankt Gallen
Photos: Kunst Halle Sankt Gallen, Valentina Ehnimb @valeshkaa, E. Sommer
Poster for Sam Porritt’s solo exhibition “One Thing After Another (Drawings 2005–2025)”. Currently on view @kunsthallesanktgallen
Printed by @lezardgraphique67
Exhibition views courtesy of Sam Porritt and Kunst Halle Sankt Gallen
Photos: Kunst Halle Sankt Gallen, Valentina Ehnimb @valeshkaa, E. Sommer
Poster for Cemile Sahin’s solo show „BB – Born to Bloom“ at Kunst Halle Sankt Gallen. Only two days left to go check it out!
@___cemilesahin___ @kunsthallesanktgallen @lezardgraphique67
Poster for Cemile Sahin’s solo show „BB – Born to Bloom“ at Kunst Halle Sankt Gallen. Only two days left to go check it out!
@___cemilesahin___ @kunsthallesanktgallen @lezardgraphique67
Poster for Cemile Sahin’s solo show „BB – Born to Bloom“ at Kunst Halle Sankt Gallen. Only two days left to go check it out!
@___cemilesahin___ @kunsthallesanktgallen @lezardgraphique67
Poster for Cemile Sahin’s solo show „BB – Born to Bloom“ at Kunst Halle Sankt Gallen. Only two days left to go check it out!
@___cemilesahin___ @kunsthallesanktgallen @lezardgraphique67
Poster for Cemile Sahin’s solo show „BB – Born to Bloom“ at Kunst Halle Sankt Gallen. Only two days left to go check it out!
@___cemilesahin___ @kunsthallesanktgallen @lezardgraphique67
Poster for Cemile Sahin’s solo show „BB – Born to Bloom“ at Kunst Halle Sankt Gallen. Only two days left to go check it out!
@___cemilesahin___ @kunsthallesanktgallen @lezardgraphique67
Poster for Cemile Sahin’s solo show „BB – Born to Bloom“ at Kunst Halle Sankt Gallen. Only two days left to go check it out!
@___cemilesahin___ @kunsthallesanktgallen @lezardgraphique67
Poster for Cemile Sahin’s solo show „BB – Born to Bloom“ at Kunst Halle Sankt Gallen. Only two days left to go check it out!
@___cemilesahin___ @kunsthallesanktgallen @lezardgraphique67
This holiday season: DJ Assault as Santa Claus! Coming to a theater near you.
#hdgdl
The Handwerk type specimen is now available! It not only explores the typeface’s formal qualities, but also traces the fractured history of Berthold Wolpe’s first type design—from early sketches and proofs produced within Rudolf Koch’s workshop collective in the early 1930s, to its abandonment during the Nazi era and a compromised revival in postwar Germany. Hidden for almost a century, the typeface finally returns in digital format, based on Wolpe’s original vision and reimagined for contemporary use.
Designed by Rietlanden Women’s Office and printed by Drukkerij Raddraaier in Amsterdam, this 24-page publication accompanies the release of the Handwerk typeface, now available at Out of the Dark.
Get your copy from @ideabooksnl for international orders, or @outofthedark.xyz if you’re in Switzerland.
Rollo N°79
20.5 × 29 cm
ISBN 978-3-906213-55-2
Edition of 800 copies
©2025
Editors: Hammer (David Schatz & Sereina Rothenberger), Philipp Herrmann
Published by: Out of the Dark & Rollo Press
Graphic Design: Rietlanden Women’s Office
Printing: Drukkerij Raddraaier, Amsterdam
Distribution: Idea Books, Amsterdam
The Handwerk type specimen is now available! It not only explores the typeface’s formal qualities, but also traces the fractured history of Berthold Wolpe’s first type design—from early sketches and proofs produced within Rudolf Koch’s workshop collective in the early 1930s, to its abandonment during the Nazi era and a compromised revival in postwar Germany. Hidden for almost a century, the typeface finally returns in digital format, based on Wolpe’s original vision and reimagined for contemporary use.
Designed by Rietlanden Women’s Office and printed by Drukkerij Raddraaier in Amsterdam, this 24-page publication accompanies the release of the Handwerk typeface, now available at Out of the Dark.
Get your copy from @ideabooksnl for international orders, or @outofthedark.xyz if you’re in Switzerland.
Rollo N°79
20.5 × 29 cm
ISBN 978-3-906213-55-2
Edition of 800 copies
©2025
Editors: Hammer (David Schatz & Sereina Rothenberger), Philipp Herrmann
Published by: Out of the Dark & Rollo Press
Graphic Design: Rietlanden Women’s Office
Printing: Drukkerij Raddraaier, Amsterdam
Distribution: Idea Books, Amsterdam
The Handwerk type specimen is now available! It not only explores the typeface’s formal qualities, but also traces the fractured history of Berthold Wolpe’s first type design—from early sketches and proofs produced within Rudolf Koch’s workshop collective in the early 1930s, to its abandonment during the Nazi era and a compromised revival in postwar Germany. Hidden for almost a century, the typeface finally returns in digital format, based on Wolpe’s original vision and reimagined for contemporary use.
Designed by Rietlanden Women’s Office and printed by Drukkerij Raddraaier in Amsterdam, this 24-page publication accompanies the release of the Handwerk typeface, now available at Out of the Dark.
Get your copy from @ideabooksnl for international orders, or @outofthedark.xyz if you’re in Switzerland.
Rollo N°79
20.5 × 29 cm
ISBN 978-3-906213-55-2
Edition of 800 copies
©2025
Editors: Hammer (David Schatz & Sereina Rothenberger), Philipp Herrmann
Published by: Out of the Dark & Rollo Press
Graphic Design: Rietlanden Women’s Office
Printing: Drukkerij Raddraaier, Amsterdam
Distribution: Idea Books, Amsterdam
The Handwerk type specimen is now available! It not only explores the typeface’s formal qualities, but also traces the fractured history of Berthold Wolpe’s first type design—from early sketches and proofs produced within Rudolf Koch’s workshop collective in the early 1930s, to its abandonment during the Nazi era and a compromised revival in postwar Germany. Hidden for almost a century, the typeface finally returns in digital format, based on Wolpe’s original vision and reimagined for contemporary use.
Designed by Rietlanden Women’s Office and printed by Drukkerij Raddraaier in Amsterdam, this 24-page publication accompanies the release of the Handwerk typeface, now available at Out of the Dark.
Get your copy from @ideabooksnl for international orders, or @outofthedark.xyz if you’re in Switzerland.
Rollo N°79
20.5 × 29 cm
ISBN 978-3-906213-55-2
Edition of 800 copies
©2025
Editors: Hammer (David Schatz & Sereina Rothenberger), Philipp Herrmann
Published by: Out of the Dark & Rollo Press
Graphic Design: Rietlanden Women’s Office
Printing: Drukkerij Raddraaier, Amsterdam
Distribution: Idea Books, Amsterdam
The Handwerk type specimen is now available! It not only explores the typeface’s formal qualities, but also traces the fractured history of Berthold Wolpe’s first type design—from early sketches and proofs produced within Rudolf Koch’s workshop collective in the early 1930s, to its abandonment during the Nazi era and a compromised revival in postwar Germany. Hidden for almost a century, the typeface finally returns in digital format, based on Wolpe’s original vision and reimagined for contemporary use.
Designed by Rietlanden Women’s Office and printed by Drukkerij Raddraaier in Amsterdam, this 24-page publication accompanies the release of the Handwerk typeface, now available at Out of the Dark.
Get your copy from @ideabooksnl for international orders, or @outofthedark.xyz if you’re in Switzerland.
Rollo N°79
20.5 × 29 cm
ISBN 978-3-906213-55-2
Edition of 800 copies
©2025
Editors: Hammer (David Schatz & Sereina Rothenberger), Philipp Herrmann
Published by: Out of the Dark & Rollo Press
Graphic Design: Rietlanden Women’s Office
Printing: Drukkerij Raddraaier, Amsterdam
Distribution: Idea Books, Amsterdam
The Handwerk type specimen is now available! It not only explores the typeface’s formal qualities, but also traces the fractured history of Berthold Wolpe’s first type design—from early sketches and proofs produced within Rudolf Koch’s workshop collective in the early 1930s, to its abandonment during the Nazi era and a compromised revival in postwar Germany. Hidden for almost a century, the typeface finally returns in digital format, based on Wolpe’s original vision and reimagined for contemporary use.
Designed by Rietlanden Women’s Office and printed by Drukkerij Raddraaier in Amsterdam, this 24-page publication accompanies the release of the Handwerk typeface, now available at Out of the Dark.
Get your copy from @ideabooksnl for international orders, or @outofthedark.xyz if you’re in Switzerland.
Rollo N°79
20.5 × 29 cm
ISBN 978-3-906213-55-2
Edition of 800 copies
©2025
Editors: Hammer (David Schatz & Sereina Rothenberger), Philipp Herrmann
Published by: Out of the Dark & Rollo Press
Graphic Design: Rietlanden Women’s Office
Printing: Drukkerij Raddraaier, Amsterdam
Distribution: Idea Books, Amsterdam
The Handwerk type specimen is now available! It not only explores the typeface’s formal qualities, but also traces the fractured history of Berthold Wolpe’s first type design—from early sketches and proofs produced within Rudolf Koch’s workshop collective in the early 1930s, to its abandonment during the Nazi era and a compromised revival in postwar Germany. Hidden for almost a century, the typeface finally returns in digital format, based on Wolpe’s original vision and reimagined for contemporary use.
Designed by Rietlanden Women’s Office and printed by Drukkerij Raddraaier in Amsterdam, this 24-page publication accompanies the release of the Handwerk typeface, now available at Out of the Dark.
Get your copy from @ideabooksnl for international orders, or @outofthedark.xyz if you’re in Switzerland.
Rollo N°79
20.5 × 29 cm
ISBN 978-3-906213-55-2
Edition of 800 copies
©2025
Editors: Hammer (David Schatz & Sereina Rothenberger), Philipp Herrmann
Published by: Out of the Dark & Rollo Press
Graphic Design: Rietlanden Women’s Office
Printing: Drukkerij Raddraaier, Amsterdam
Distribution: Idea Books, Amsterdam
The Handwerk type specimen is now available! It not only explores the typeface’s formal qualities, but also traces the fractured history of Berthold Wolpe’s first type design—from early sketches and proofs produced within Rudolf Koch’s workshop collective in the early 1930s, to its abandonment during the Nazi era and a compromised revival in postwar Germany. Hidden for almost a century, the typeface finally returns in digital format, based on Wolpe’s original vision and reimagined for contemporary use.
Designed by Rietlanden Women’s Office and printed by Drukkerij Raddraaier in Amsterdam, this 24-page publication accompanies the release of the Handwerk typeface, now available at Out of the Dark.
Get your copy from @ideabooksnl for international orders, or @outofthedark.xyz if you’re in Switzerland.
Rollo N°79
20.5 × 29 cm
ISBN 978-3-906213-55-2
Edition of 800 copies
©2025
Editors: Hammer (David Schatz & Sereina Rothenberger), Philipp Herrmann
Published by: Out of the Dark & Rollo Press
Graphic Design: Rietlanden Women’s Office
Printing: Drukkerij Raddraaier, Amsterdam
Distribution: Idea Books, Amsterdam
The Handwerk type specimen is now available! It not only explores the typeface’s formal qualities, but also traces the fractured history of Berthold Wolpe’s first type design—from early sketches and proofs produced within Rudolf Koch’s workshop collective in the early 1930s, to its abandonment during the Nazi era and a compromised revival in postwar Germany. Hidden for almost a century, the typeface finally returns in digital format, based on Wolpe’s original vision and reimagined for contemporary use.
Designed by Rietlanden Women’s Office and printed by Drukkerij Raddraaier in Amsterdam, this 24-page publication accompanies the release of the Handwerk typeface, now available at Out of the Dark.
Get your copy from @ideabooksnl for international orders, or @outofthedark.xyz if you’re in Switzerland.
Rollo N°79
20.5 × 29 cm
ISBN 978-3-906213-55-2
Edition of 800 copies
©2025
Editors: Hammer (David Schatz & Sereina Rothenberger), Philipp Herrmann
Published by: Out of the Dark & Rollo Press
Graphic Design: Rietlanden Women’s Office
Printing: Drukkerij Raddraaier, Amsterdam
Distribution: Idea Books, Amsterdam
The Handwerk type specimen is now available! It not only explores the typeface’s formal qualities, but also traces the fractured history of Berthold Wolpe’s first type design—from early sketches and proofs produced within Rudolf Koch’s workshop collective in the early 1930s, to its abandonment during the Nazi era and a compromised revival in postwar Germany. Hidden for almost a century, the typeface finally returns in digital format, based on Wolpe’s original vision and reimagined for contemporary use.
Designed by Rietlanden Women’s Office and printed by Drukkerij Raddraaier in Amsterdam, this 24-page publication accompanies the release of the Handwerk typeface, now available at Out of the Dark.
Get your copy from @ideabooksnl for international orders, or @outofthedark.xyz if you’re in Switzerland.
Rollo N°79
20.5 × 29 cm
ISBN 978-3-906213-55-2
Edition of 800 copies
©2025
Editors: Hammer (David Schatz & Sereina Rothenberger), Philipp Herrmann
Published by: Out of the Dark & Rollo Press
Graphic Design: Rietlanden Women’s Office
Printing: Drukkerij Raddraaier, Amsterdam
Distribution: Idea Books, Amsterdam
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
After close to a hundred years in obscurity, we’re excited to release Handwerk—a fresh take on Berthold Wolpe’s first type design. Conceived as Wolpe Kursiv in 1932, its development was abruptly halted under the Nazi regime. As a Jewish designer, Wolpe faced persecution—his typeface renamed, delayed, altered and scattered across decades.
Informed by later versions but above all carrying forward the expressive, mystical qualities of the original, Handwerk is a versatile font with extensive stylistic options—including blackletter capitals from Wolpe’s earliest drafts, available exclusively at Out of the Dark Typefaces.
Many thanks to Paul Wolpe and the Wolpe Family Archive for their generosity and support!
Designed by Hammer (David Schatz & Sereina Rothenberger) & Philipp Herrmann
Design Assistance by Filip Despotović
7—Offenbacher Werkstatt (ca.1928), with Rudolf Koch, Berthold Wolpe and colleagues
10—From “Même le 110 volts peut tuer” (1973), Bernard Chadebec for INRS
#outofthedarktypefaces #handwerktypeface
Poster for Aramis Navarro’s solo exhibition „algorithmic-mega-death-superspell-exe“. Currently on view at Kunst Halle Sankt Gallen.
Printed by the one and only @lezardgraphique67
Exhibition views courtesy of @aramis.navarro and @kunsthallesanktgallen
Poster for Aramis Navarro’s solo exhibition „algorithmic-mega-death-superspell-exe“. Currently on view at Kunst Halle Sankt Gallen.
Printed by the one and only @lezardgraphique67
Exhibition views courtesy of @aramis.navarro and @kunsthallesanktgallen
Poster for Aramis Navarro’s solo exhibition „algorithmic-mega-death-superspell-exe“. Currently on view at Kunst Halle Sankt Gallen.
Printed by the one and only @lezardgraphique67
Exhibition views courtesy of @aramis.navarro and @kunsthallesanktgallen
Poster for Aramis Navarro’s solo exhibition „algorithmic-mega-death-superspell-exe“. Currently on view at Kunst Halle Sankt Gallen.
Printed by the one and only @lezardgraphique67
Exhibition views courtesy of @aramis.navarro and @kunsthallesanktgallen
Poster for Aramis Navarro’s solo exhibition „algorithmic-mega-death-superspell-exe“. Currently on view at Kunst Halle Sankt Gallen.
Printed by the one and only @lezardgraphique67
Exhibition views courtesy of @aramis.navarro and @kunsthallesanktgallen
🍒
Membership card 2025 for @kunsthallesanktgallen
Become a member of Kunst Halle Sankt Gallen and receive a membership card that grants free admission to Kunst Halle and 31 other contemporary art institutions across Switzerland, plus discounts on events and Kunst Halle publications.
Fonts in use:
Cornbread @maxitype_com
Rapid @sourcetype
Churchward Marianna @myfonts
🍒
Membership card 2025 for @kunsthallesanktgallen
Become a member of Kunst Halle Sankt Gallen and receive a membership card that grants free admission to Kunst Halle and 31 other contemporary art institutions across Switzerland, plus discounts on events and Kunst Halle publications.
Fonts in use:
Cornbread @maxitype_com
Rapid @sourcetype
Churchward Marianna @myfonts
Il nuovo gusto di LAVINIA, mango e sesamo nero, ha il suo invito.
Stampato ancora una volta da @archiviotipografico , è il risultato di un processo pensato per raccontare il gelato anche su carta.
Uno spray grigio scuro, spruzzato a mano su fogli tenuti in verticale, disegna gocce irregolari che diventano semi di sesamo: ogni invito è unico. Il colore aranciato del mango, invece, è miscelato a mano, per restituire in stampa la stessa tonalità del gusto.
La composizione è in carattere mobile Eurostile, nato a Torino, e la stampa avviene su macchina pianocilindrica tipografica Heidelberg OHZ.
Il nuovo gusto di LAVINIA, mango e sesamo nero, ha il suo invito.
Stampato ancora una volta da @archiviotipografico , è il risultato di un processo pensato per raccontare il gelato anche su carta.
Uno spray grigio scuro, spruzzato a mano su fogli tenuti in verticale, disegna gocce irregolari che diventano semi di sesamo: ogni invito è unico. Il colore aranciato del mango, invece, è miscelato a mano, per restituire in stampa la stessa tonalità del gusto.
La composizione è in carattere mobile Eurostile, nato a Torino, e la stampa avviene su macchina pianocilindrica tipografica Heidelberg OHZ.
Il nuovo gusto di LAVINIA, mango e sesamo nero, ha il suo invito.
Stampato ancora una volta da @archiviotipografico , è il risultato di un processo pensato per raccontare il gelato anche su carta.
Uno spray grigio scuro, spruzzato a mano su fogli tenuti in verticale, disegna gocce irregolari che diventano semi di sesamo: ogni invito è unico. Il colore aranciato del mango, invece, è miscelato a mano, per restituire in stampa la stessa tonalità del gusto.
La composizione è in carattere mobile Eurostile, nato a Torino, e la stampa avviene su macchina pianocilindrica tipografica Heidelberg OHZ.
Il nuovo gusto di LAVINIA, mango e sesamo nero, ha il suo invito.
Stampato ancora una volta da @archiviotipografico , è il risultato di un processo pensato per raccontare il gelato anche su carta.
Uno spray grigio scuro, spruzzato a mano su fogli tenuti in verticale, disegna gocce irregolari che diventano semi di sesamo: ogni invito è unico. Il colore aranciato del mango, invece, è miscelato a mano, per restituire in stampa la stessa tonalità del gusto.
La composizione è in carattere mobile Eurostile, nato a Torino, e la stampa avviene su macchina pianocilindrica tipografica Heidelberg OHZ.
Il nuovo gusto di LAVINIA, mango e sesamo nero, ha il suo invito.
Stampato ancora una volta da @archiviotipografico , è il risultato di un processo pensato per raccontare il gelato anche su carta.
Uno spray grigio scuro, spruzzato a mano su fogli tenuti in verticale, disegna gocce irregolari che diventano semi di sesamo: ogni invito è unico. Il colore aranciato del mango, invece, è miscelato a mano, per restituire in stampa la stessa tonalità del gusto.
La composizione è in carattere mobile Eurostile, nato a Torino, e la stampa avviene su macchina pianocilindrica tipografica Heidelberg OHZ.
Here. There. Everywhere. YESHE’s new single ༺ Sound Of Yonder ཐག་རིང་གི་འབོད་སྒྲ་ ༻ is out now on all platforms!
The official music video is live @metal_magazine - link in bio! Interview by Bella Spratley @bellaspratley
༽༽༽༽༽༽༽༽༽༽༽༽༽༽༽How Far Will It Spread? ༽༽༽༽༽༽༽༽༽༽༽༽༽༽
Video Credits:
Executive production: YESHE, Tenor Sharloh @tenorsharlho
Cinematographers: Tenzin Kalden @tenz_kalden, Tenzin Lekphel @exile_lens
Concept & Editing: Rico Scagliola & Michael Meier @ricoandmichael
Animation: Hammer @hammer__
Colorist: Lukas Schaller @lukasschaller.color
Hair & Makeup: Tenzin Chuecky @tenzinchokey_official
Big thanks to the Kids of Dharamsala, Sonam Tseten @sonamyak from Drung Films Collective @drungfilms
Song Credits:
Executive Production: YESHE, Asma Maroof @_asmara_
Produced by: Tobias Koch @tbiasmaria
Written by: YESHE, Tobias Koch @tbiasmaria
Lyrics by: YESHE, Ten Phun @ten.phun.7
Mixed by: Kiri Stensby @kiiiriii.s, Tobias Koch @tbiasmaria
Mastered by: Enyang Urbiks @enyang_ha
Continua la collaborazione tra @archiviotipografico e @lavinia__roma per l’inaugurazione del secondo gusto, Fragola e basilico, alla Loggia dei Vini a Villa Borghese.
Archivio Tipografico si è occupato nuovamente di interpretare il gusto di gelato che dona l’identità visiva a questo secondo ciclo di interventi, raffigurandolo su carta tramite un inchiostro mescolato per l’occasione. La progettazione grafica di @hammer__ e @julia_born è stata ricreata con i caratteri di piombo originali della serie Eurostile, un carattere del 1962 prodotto dalle Fonderie Nebiolo di Torino adottato per l’identità coordinata dell’intero progetto.
#archiviotipografico #laviniaroma #graphicdesign #printmaking #letterpress
Continua la collaborazione tra @archiviotipografico e @lavinia__roma per l’inaugurazione del secondo gusto, Fragola e basilico, alla Loggia dei Vini a Villa Borghese.
Archivio Tipografico si è occupato nuovamente di interpretare il gusto di gelato che dona l’identità visiva a questo secondo ciclo di interventi, raffigurandolo su carta tramite un inchiostro mescolato per l’occasione. La progettazione grafica di @hammer__ e @julia_born è stata ricreata con i caratteri di piombo originali della serie Eurostile, un carattere del 1962 prodotto dalle Fonderie Nebiolo di Torino adottato per l’identità coordinata dell’intero progetto.
#archiviotipografico #laviniaroma #graphicdesign #printmaking #letterpress
Continua la collaborazione tra @archiviotipografico e @lavinia__roma per l’inaugurazione del secondo gusto, Fragola e basilico, alla Loggia dei Vini a Villa Borghese.
Archivio Tipografico si è occupato nuovamente di interpretare il gusto di gelato che dona l’identità visiva a questo secondo ciclo di interventi, raffigurandolo su carta tramite un inchiostro mescolato per l’occasione. La progettazione grafica di @hammer__ e @julia_born è stata ricreata con i caratteri di piombo originali della serie Eurostile, un carattere del 1962 prodotto dalle Fonderie Nebiolo di Torino adottato per l’identità coordinata dell’intero progetto.
#archiviotipografico #laviniaroma #graphicdesign #printmaking #letterpress
Continua la collaborazione tra @archiviotipografico e @lavinia__roma per l’inaugurazione del secondo gusto, Fragola e basilico, alla Loggia dei Vini a Villa Borghese.
Archivio Tipografico si è occupato nuovamente di interpretare il gusto di gelato che dona l’identità visiva a questo secondo ciclo di interventi, raffigurandolo su carta tramite un inchiostro mescolato per l’occasione. La progettazione grafica di @hammer__ e @julia_born è stata ricreata con i caratteri di piombo originali della serie Eurostile, un carattere del 1962 prodotto dalle Fonderie Nebiolo di Torino adottato per l’identità coordinata dell’intero progetto.
#archiviotipografico #laviniaroma #graphicdesign #printmaking #letterpress
Continua la collaborazione tra @archiviotipografico e @lavinia__roma per l’inaugurazione del secondo gusto, Fragola e basilico, alla Loggia dei Vini a Villa Borghese.
Archivio Tipografico si è occupato nuovamente di interpretare il gusto di gelato che dona l’identità visiva a questo secondo ciclo di interventi, raffigurandolo su carta tramite un inchiostro mescolato per l’occasione. La progettazione grafica di @hammer__ e @julia_born è stata ricreata con i caratteri di piombo originali della serie Eurostile, un carattere del 1962 prodotto dalle Fonderie Nebiolo di Torino adottato per l’identità coordinata dell’intero progetto.
#archiviotipografico #laviniaroma #graphicdesign #printmaking #letterpress
Continua la collaborazione tra @archiviotipografico e @lavinia__roma per l’inaugurazione del secondo gusto, Fragola e basilico, alla Loggia dei Vini a Villa Borghese.
Archivio Tipografico si è occupato nuovamente di interpretare il gusto di gelato che dona l’identità visiva a questo secondo ciclo di interventi, raffigurandolo su carta tramite un inchiostro mescolato per l’occasione. La progettazione grafica di @hammer__ e @julia_born è stata ricreata con i caratteri di piombo originali della serie Eurostile, un carattere del 1962 prodotto dalle Fonderie Nebiolo di Torino adottato per l’identità coordinata dell’intero progetto.
#archiviotipografico #laviniaroma #graphicdesign #printmaking #letterpress
Continua la collaborazione tra @archiviotipografico e @lavinia__roma per l’inaugurazione del secondo gusto, Fragola e basilico, alla Loggia dei Vini a Villa Borghese.
Archivio Tipografico si è occupato nuovamente di interpretare il gusto di gelato che dona l’identità visiva a questo secondo ciclo di interventi, raffigurandolo su carta tramite un inchiostro mescolato per l’occasione. La progettazione grafica di @hammer__ e @julia_born è stata ricreata con i caratteri di piombo originali della serie Eurostile, un carattere del 1962 prodotto dalle Fonderie Nebiolo di Torino adottato per l’identità coordinata dell’intero progetto.
#archiviotipografico #laviniaroma #graphicdesign #printmaking #letterpress
Continua la collaborazione tra @archiviotipografico e @lavinia__roma per l’inaugurazione del secondo gusto, Fragola e basilico, alla Loggia dei Vini a Villa Borghese.
Archivio Tipografico si è occupato nuovamente di interpretare il gusto di gelato che dona l’identità visiva a questo secondo ciclo di interventi, raffigurandolo su carta tramite un inchiostro mescolato per l’occasione. La progettazione grafica di @hammer__ e @julia_born è stata ricreata con i caratteri di piombo originali della serie Eurostile, un carattere del 1962 prodotto dalle Fonderie Nebiolo di Torino adottato per l’identità coordinata dell’intero progetto.
#archiviotipografico #laviniaroma #graphicdesign #printmaking #letterpress
Artwork for Yao Bobby & Simon Grab’s LP ‘WUM’ on Bristol’s LavaLava Records. ©2022 LV08
w/ @ds.syvod @giftedmold.archives
@yaobobbysimongrab @simon__grab @yaobobby
Artwork for Yao Bobby & Simon Grab’s LP ‘WUM’ on Bristol’s LavaLava Records. ©2022 LV08
w/ @ds.syvod @giftedmold.archives
@yaobobbysimongrab @simon__grab @yaobobby
Artwork for Yao Bobby & Simon Grab’s LP ‘WUM’ on Bristol’s LavaLava Records. ©2022 LV08
w/ @ds.syvod @giftedmold.archives
@yaobobbysimongrab @simon__grab @yaobobby
Artwork for Yao Bobby & Simon Grab’s LP ‘WUM’ on Bristol’s LavaLava Records. ©2022 LV08
w/ @ds.syvod @giftedmold.archives
@yaobobbysimongrab @simon__grab @yaobobby
Artwork for Yao Bobby & Simon Grab’s LP ‘WUM’ on Bristol’s LavaLava Records. ©2022 LV08
w/ @ds.syvod @giftedmold.archives
@yaobobbysimongrab @simon__grab @yaobobby
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
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