Hubert Jocham Design
Summer Discount #18 NewJune
#1 NewLibris
#2 Flow
#3 Bent
#4 Drop
#5 Konsens KonsensSten
#6 LegauU LegauA LegauR
#7 Spring SpringSans
#8 Voice VoiceEdg VoiceSho VoiceSerif Televoice VoiceOS VoiceEdgOS VoiceShoOS VoiceSerifOS TelevoiceOS
#9 Flavour
#10 Leaf Milk Fernseher
#11 ContraSerif ContraSans
#12 Mommie Mommie Brush
#13 Monday
#14 NewLibrisSerif
#15 Schoko Tasty Schablo
#16 Schwung Mighty
#17 Alida AlidaDis
#18 NewJuneSans
The Thin and Fine weights are just added to the family
#2 Flow
#3 Bent
#4 Drop
#5 Konsens KonsensSten
#6 LegauU LegauA LegauR
#7 Spring SpringSans
#8 Voice VoiceEdg VoiceSho VoiceSerif Televoice VoiceOS VoiceEdgOS VoiceShoOS VoiceSerifOS TelevoiceOS
#9 Flavour
#10 Leaf Milk Fernseher
#11 ContraSerif ContraSans
#12 Mommie Mommie Brush
#13 Monday
#14 NewLibrisSerif
#15 Schoko Tasty Schablo
#16 Schwung Mighty
#17 Alida AlidaDis
#18 NewJuneSans
The Thin and Fine weights are just added to the family
LegauSans
The design of a typeface often takes a long way. You always start with a idea, maybe one element. Gradually it develops into a complex system of form and proportion. Sometimes the initial idea vanishes at some point.
Legau started as a redesign, but the final typeface is quite unique. That is the reason why I avoid to talk much about the stages of the development.
Legau has got quite some contrast. The end of the stroke is always vertical or horizontal and in most cases sharp.
LegauU with an upright or neoclassic angle in the round characters. It seems most organized and in control.
LegauA with an oldstyle stroke in the round characters. It seems naturally warm and caring.
LegauR with a flipped angle in the round characters. It seems disturbing and adventurous.
Every alternate lives in a different athmosphaere.
In copy you should not get heavier than Heavy. Extrabold and Ultrabold work best in display.
By the way:
The new typeface Verve I have published a few days ago, had to be renamed because there is already a font called Verve. Now it is called VerseSans and VerseSerif
Legau started as a redesign, but the final typeface is quite unique. That is the reason why I avoid to talk much about the stages of the development.
Legau has got quite some contrast. The end of the stroke is always vertical or horizontal and in most cases sharp.
LegauU with an upright or neoclassic angle in the round characters. It seems most organized and in control.
LegauA with an oldstyle stroke in the round characters. It seems naturally warm and caring.
LegauR with a flipped angle in the round characters. It seems disturbing and adventurous.
Every alternate lives in a different athmosphaere.
In copy you should not get heavier than Heavy. Extrabold and Ultrabold work best in display.
By the way:
The new typeface Verve I have published a few days ago, had to be renamed because there is already a font called Verve. Now it is called VerseSans and VerseSerif
Summer Discount
Over the summer every few days one of my typefaces will have a price drop
of 20 Euro per single font. The prices will stay low till autum.
Summer Discount will start right now with NewLibris.
NewLibris
of 20 Euro per single font. The prices will stay low till autum.
Summer Discount will start right now with NewLibris.
NewLibris
TDC Award
Mommie selected in the TDC2 2008 Type Design Competition
and is Christian Schwartz personal »Judges Choice«
http://www.tdc.org/news/2008Results/Mommie.html
In the early 1980s, at the start of my career, I worked in a print shop with classic lead setting. In those days I would study issues of U&lc magazine. What really caught my attention were letterings in the Spencerian style. I’ve been fascinated by this American penmanship tradition ever since. A few years ago I developed a font. Boris Bencic used it when he was redesigning L’Officiel magazine in Paris. I took these initial forms and developed them into the font “Mommie” when I started my own foundry. Although I usually design text typefaces, working on “Mommie” taught me how complex it can be to create a script headline font. Characters need to overlap in harmony and I can’t remember how many versions I did for the caps. The biggest challenge in this process has been to keep it alive and fresh.
Because Mommie Regular only workes in very big sizes I have extended the family with a Medium and a Small.
Mommie
on top of that I am glad to publish MommieBrush
The curves of Mommie are so lively. It is worth to transfer them to another stroke. So I designed this brush version. Naturally the Swirl had to be taken away. Although the you can feel the stoke of Mommie the usage will be different. There are 3 weights from Regular to Bold.
and is Christian Schwartz personal »Judges Choice«
http://www.tdc.org/news/2008Results/Mommie.html
In the early 1980s, at the start of my career, I worked in a print shop with classic lead setting. In those days I would study issues of U&lc magazine. What really caught my attention were letterings in the Spencerian style. I’ve been fascinated by this American penmanship tradition ever since. A few years ago I developed a font. Boris Bencic used it when he was redesigning L’Officiel magazine in Paris. I took these initial forms and developed them into the font “Mommie” when I started my own foundry. Although I usually design text typefaces, working on “Mommie” taught me how complex it can be to create a script headline font. Characters need to overlap in harmony and I can’t remember how many versions I did for the caps. The biggest challenge in this process has been to keep it alive and fresh.
Because Mommie Regular only workes in very big sizes I have extended the family with a Medium and a Small.
Mommie
on top of that I am glad to publish MommieBrush
The curves of Mommie are so lively. It is worth to transfer them to another stroke. So I designed this brush version. Naturally the Swirl had to be taken away. Although the you can feel the stoke of Mommie the usage will be different. There are 3 weights from Regular to Bold.
New Typeface Volt
Like Alida Volt is also a concept I have carried with me for about two years.
Starting with only the alternate version it did not work as a useful sans serif.
So i had to narrow it down to a more conventional basis with a full vertical stroke at the letters a, b, d, g, m, n, p, q, r and u. The curved endings follow the form of the round parts. I only added them where they cleared the situation.
Only a few near the baseline and some more at the ascenders and the upper part of the x-height. In some elements you feel the classic penstroke.
First I called it Strom (the german word for electricity) because I was inspired by the brandmark of the german energy supplier e-on. So now it is called Volt the german word for Voltage.
Since Barmeno and Dax came along there are many new typefaces with similar stroke behavior.
One of the first fonts in that manner was designed in 1930. Bernard Gothic by Lucian Bernard for ATF. There is Prokyon by Eberhard Kaiser, who even claimes to be the first who designed in that way.
On a few concepts like Oktober and June and later in my typeface Voice I dealed with those elements.
Ingo Preuss from German Type Foundry just released a sans serif called Phoenica.
And there are many others.
I would not give anybody the credit of inventing this principle.
Bernard Gothic 1930
Barmeno 1991/Dax 1996
Prokyon 2002
Oktober 1994/June 2000
VoiceShoulder 2005
Phoenica 2007, http://www.germantype.com/cms/front_content.php?idcat=74
Volt is basically built on this idea. I tried to give letters like the »n« a certain dynamic by keeping the left upper part quite low and the right upper part quite high. It follows the classic penstroke. By skipping the »b« to get a »d« (with corrections) the element move away from the classic pen and give the x-height a certain rhythm and contrast.
But for legibility the x-height feels to jerky. To calm this I tried to make all lower case letters quite static.
At the end I decided to keep both version. an eccentric and a serious.
Volt Alternate, n, »b« skipped to get a »d«
jerky x-height, first line
Volt, the serious version
Volt with Alternate 9 weights with italics
Volt Basic
Volt Alternate
Starting with only the alternate version it did not work as a useful sans serif.
So i had to narrow it down to a more conventional basis with a full vertical stroke at the letters a, b, d, g, m, n, p, q, r and u. The curved endings follow the form of the round parts. I only added them where they cleared the situation.
Only a few near the baseline and some more at the ascenders and the upper part of the x-height. In some elements you feel the classic penstroke.
First I called it Strom (the german word for electricity) because I was inspired by the brandmark of the german energy supplier e-on. So now it is called Volt the german word for Voltage.
Since Barmeno and Dax came along there are many new typefaces with similar stroke behavior.
One of the first fonts in that manner was designed in 1930. Bernard Gothic by Lucian Bernard for ATF. There is Prokyon by Eberhard Kaiser, who even claimes to be the first who designed in that way.
On a few concepts like Oktober and June and later in my typeface Voice I dealed with those elements.
Ingo Preuss from German Type Foundry just released a sans serif called Phoenica.
And there are many others.
I would not give anybody the credit of inventing this principle.
Bernard Gothic 1930
Barmeno 1991/Dax 1996
Prokyon 2002
Oktober 1994/June 2000
VoiceShoulder 2005
Phoenica 2007, http://www.germantype.com/cms/front_content.php?idcat=74
Volt is basically built on this idea. I tried to give letters like the »n« a certain dynamic by keeping the left upper part quite low and the right upper part quite high. It follows the classic penstroke. By skipping the »b« to get a »d« (with corrections) the element move away from the classic pen and give the x-height a certain rhythm and contrast.
But for legibility the x-height feels to jerky. To calm this I tried to make all lower case letters quite static.
At the end I decided to keep both version. an eccentric and a serious.
Volt Alternate, n, »b« skipped to get a »d«
jerky x-height, first line
Volt, the serious version
Volt with Alternate 9 weights with italics
Volt Basic
Volt Alternate
Summer Discount #15 Schoko
Schoko is the most elegant of all the packaging brush scripts shown here. It has got only one weight, but an alternate font with longer swashes.
#1 NewLibris
#2 Flow
#3 Bent
#4 Drop
#5 Konsens KonsensSten
#6 LegauU LegauA LegauR
#7 Spring SpringSans
#8 Voice VoiceEdg VoiceSho VoiceSerif Televoice VoiceOS VoiceEdgOS VoiceShoOS VoiceSerifOS TelevoiceOS
#9 Flavour
#10 Leaf Milk Fernseher
#11 ContraSerif ContraSans
#12 Mommie Mommie Brush
#13 Monday
#14 NewLibrisSerif
#15 Schoko Tasty Schablo
#1 NewLibris
#2 Flow
#3 Bent
#4 Drop
#5 Konsens KonsensSten
#6 LegauU LegauA LegauR
#7 Spring SpringSans
#8 Voice VoiceEdg VoiceSho VoiceSerif Televoice VoiceOS VoiceEdgOS VoiceShoOS VoiceSerifOS TelevoiceOS
#9 Flavour
#10 Leaf Milk Fernseher
#11 ContraSerif ContraSans
#12 Mommie Mommie Brush
#13 Monday
#14 NewLibrisSerif
#15 Schoko Tasty Schablo
Summer Discount #17 Alida
#1 NewLibris
#2 Flow
#3 Bent
#4 Drop
#5 Konsens KonsensSten
#6 LegauU LegauA LegauR
#7 Spring SpringSans
#8 Voice VoiceEdg VoiceSho VoiceSerif Televoice VoiceOS VoiceEdgOS VoiceShoOS VoiceSerifOS TelevoiceOS
#9 Flavour
#10 Leaf Milk Fernseher
#11 ContraSerif ContraSans
#12 Mommie Mommie Brush
#13 Monday
#14 NewLibrisSerif
#15 Schoko Tasty Schablo
#16 Schwung Mighty
#17 Alida AlidaDis
#2 Flow
#3 Bent
#4 Drop
#5 Konsens KonsensSten
#6 LegauU LegauA LegauR
#7 Spring SpringSans
#8 Voice VoiceEdg VoiceSho VoiceSerif Televoice VoiceOS VoiceEdgOS VoiceShoOS VoiceSerifOS TelevoiceOS
#9 Flavour
#10 Leaf Milk Fernseher
#11 ContraSerif ContraSans
#12 Mommie Mommie Brush
#13 Monday
#14 NewLibrisSerif
#15 Schoko Tasty Schablo
#16 Schwung Mighty
#17 Alida AlidaDis
NewLibris
The first Ideas for Libris I had, when I was working with Boris Bencic on the first issue of Frank magazine back in 1997.
Later Libris was used in Frank as well as for Bally as a corporate typeface. The family was never really extended. I did an ultralight and a thin version for W magazine. Now I have published a big Libris family including 11 weights with italics.
Form Cover
The brand new edition of Form magazine is dealing with packaging design.
Gerrit Terstiege the editor asked me to give an interview about packaging and design the cover.
I really enjoyed that, because this cover is quite unusual for form magazine.
Gerrit Terstiege the editor asked me to give an interview about packaging and design the cover.
I really enjoyed that, because this cover is quite unusual for form magazine.
Perfetto
If you ask a typographer about Old Style he will tell you something about Aldus Manutius and Claude Garamond and maybe something about humanistic handwriting and the italic. But you would not consider the following serif as classic oldstyle.
It is based on a tyoeface Giovanni Francesco Cresci wrote with a pen with an x-height of 8 mm. It was published in his book »Il perfetto Scrittore« in 1570. You can also see it in Tschicholds »Meisterbuch der Schrift«.
The upper case letters are almost like the Capitalis Monumentalis. The lower case seem almost neoclassic and are very elegant. I only took the lowercase as a basis for Perfetto and wanted to keep the elegance and make a modern useful Serif. I started with the display version with thin hairlines and created the text version later. The display version has 9 weights with italics up to extrabold and ultrabold. The text version has only 7 weights, because extrabold and ultrabold make no sence in text.
The upcoming Pro version will have small caps, different sets of figures, some ligatures, Latin 2, turkish and baltic letters.
PerfettoText
PerfettoDisplay
It is based on a tyoeface Giovanni Francesco Cresci wrote with a pen with an x-height of 8 mm. It was published in his book »Il perfetto Scrittore« in 1570. You can also see it in Tschicholds »Meisterbuch der Schrift«.
The upper case letters are almost like the Capitalis Monumentalis. The lower case seem almost neoclassic and are very elegant. I only took the lowercase as a basis for Perfetto and wanted to keep the elegance and make a modern useful Serif. I started with the display version with thin hairlines and created the text version later. The display version has 9 weights with italics up to extrabold and ultrabold. The text version has only 7 weights, because extrabold and ultrabold make no sence in text.
The upcoming Pro version will have small caps, different sets of figures, some ligatures, Latin 2, turkish and baltic letters.
PerfettoText
PerfettoDisplay
Verse Sans and Serif
In 2006 the art director of emotion, a womens psychology magazine, asked me to design a copy typeface for them. Before I actually got the job I started to work on a serif. I wanted it to be feminine but still clear and modern. On one hand there are the floral round elements and on the other hand the angular serifs.
In the composition I wanted the two extremes to work together. All the other elements had to be harmonized.
The proportions needed to serve magazine requests. The ascenders and descenders are short enough to work in narrow columns but long enough to work in small sizes.
As you can imagine, the emotion-job never happened. Verse is now a serif and a sans serif with 7 weights with italics and smallcaps.
VerseSans
VerseSerif
For Tradmark reasons I had to change the name Verve to Verse
In the composition I wanted the two extremes to work together. All the other elements had to be harmonized.
The proportions needed to serve magazine requests. The ascenders and descenders are short enough to work in narrow columns but long enough to work in small sizes.
As you can imagine, the emotion-job never happened. Verse is now a serif and a sans serif with 7 weights with italics and smallcaps.
VerseSans
VerseSerif
For Tradmark reasons I had to change the name Verve to Verse
Christmas Font 2006
Since Oktober 2006 it is possible to regularly licence my typefaces on my new website.
Now, for all my customers and everybody who is interested, I have a little christmas present.
Rudolph, a Serif for display in a christmas version. After Registration you will get it for free. You can use it for all non commercial project, like your christmas cards. For commercial usage you can licence a version without stars.
To order XmasRudolph is a good opportunity to try the shop system without payment.
go and get it...
Now, for all my customers and everybody who is interested, I have a little christmas present.
Rudolph, a Serif for display in a christmas version. After Registration you will get it for free. You can use it for all non commercial project, like your christmas cards. For commercial usage you can licence a version without stars.
To order XmasRudolph is a good opportunity to try the shop system without payment.
go and get it...
New typeface NewLibrisSerif, Discount #14
The Libris family I started to design quite some time ago, when I was working with Boris Bencic on the first issue of Frank magazine back in 1997.
Later in 1999 Libris was used in Frank magazine as well as for Bally Switzerland as a corporate typeface. In addition Bally wanted a exclusive Serif for Libris in regular and italic. Now, long after this exclusive contract has ended I finally designed the family of 7 weights with italics. NewLibrisSerif is a perfect companion for NewLibris Sans.
In copy you should not get heavier than Heavy. Extrabold and Ultrabold work best in display.
#1 NewLibris
#2 Flow
#3 Bent
#4 Drop
#5 Konsens KonsensSten
#6 LegauU LegauA LegauR
#7 Spring SpringSans
#8 Voice VoiceEdg VoiceSho VoiceSerif Televoice VoiceOS VoiceEdgOS VoiceShoOS VoiceSerifOS TelevoiceOS
#9 Flavour
#10 Leaf Milk Fernseher
#11 ContraSerif ContraSans
#12 Mommie Mommie Brush
#13 Monday
#14 NewLibrisSerif
Later in 1999 Libris was used in Frank magazine as well as for Bally Switzerland as a corporate typeface. In addition Bally wanted a exclusive Serif for Libris in regular and italic. Now, long after this exclusive contract has ended I finally designed the family of 7 weights with italics. NewLibrisSerif is a perfect companion for NewLibris Sans.
In copy you should not get heavier than Heavy. Extrabold and Ultrabold work best in display.
#1 NewLibris
#2 Flow
#3 Bent
#4 Drop
#5 Konsens KonsensSten
#6 LegauU LegauA LegauR
#7 Spring SpringSans
#8 Voice VoiceEdg VoiceSho VoiceSerif Televoice VoiceOS VoiceEdgOS VoiceShoOS VoiceSerifOS TelevoiceOS
#9 Flavour
#10 Leaf Milk Fernseher
#11 ContraSerif ContraSans
#12 Mommie Mommie Brush
#13 Monday
#14 NewLibrisSerif
Summer Discount #13 Monday
#1 NewLibris
#2 Flow
#3 Bent
#4 Drop
#5 Konsens KonsensSten
#6 LegauU LegauA LegauR
#7 Spring SpringSans
#8 Voice VoiceEdg VoiceSho VoiceSerif Televoice VoiceOS VoiceEdgOS VoiceShoOS VoiceSerifOS TelevoiceOS
#9 Flavour
#10 Leaf Milk Fernseher
#11 ContraSerif ContraSans
#12 Mommie Mommie Brush
#13 Monday
#2 Flow
#3 Bent
#4 Drop
#5 Konsens KonsensSten
#6 LegauU LegauA LegauR
#7 Spring SpringSans
#8 Voice VoiceEdg VoiceSho VoiceSerif Televoice VoiceOS VoiceEdgOS VoiceShoOS VoiceSerifOS TelevoiceOS
#9 Flavour
#10 Leaf Milk Fernseher
#11 ContraSerif ContraSans
#12 Mommie Mommie Brush
#13 Monday
