Hubert Jocham Design &Type

Christmas 2011

2011-12-15 06:08:09

and a happy and successful new year to all of you!

NewJunePro OUT NOW!

2011-12-02 00:00:00

It has taken some time, but now it is out. NewJunePro from the very thin weight Fine up to the massive Ultrabold.
With many more accent characters, small caps, and all sorts of figures.

NewJunePro

Degree project by Anne Freiin von Erhardt

2011-11-17 00:00:00

In a workshop I did for Ropelius in Hamburg I got to know Anne. She was just finishing a placement in the company and worked on her degree project. She asked me to use some of my typefaces for the book she was designing. I think Anne made something really beautiful. I am looking forward to get a published printed copy.

New June Pro coming soon.

2011-11-09 12:14:15

Contura in Town&Country

2011-11-08 00:00:00

Edward Leida is using Contura in Town&Country magazine.

The sans serif Voice now in Pro

2011-09-26 00:00:00

The Voice family is now extended to PRO. It covers all the roman languages accept cyrillic and greek, small caps and many different figures.

VoicePro
VoiceEdgPro
VoiceShoPro

Brandmark for Delser Manor House

2011-09-22 00:00:00

Alberto Delser is an italian industrial designer. Delser is a traditional biskit brand in Italy and Austria. The two shields show, that they delivered their product to the austrian king and to the Pope. Alberto is just finishing his wonderful luxury hotel in the hills of Verona and he asked me to design the logo. Delser

Brandmark for David Heilemann

2011-09-22 07:20:37

This is the brandmark for a friends gardening company.
I used my typeface Alida for the brandmark and all the communication material

Perfetto on London Fashion Week

2011-09-21 12:39:33

Perfetto on the London Fashion Week on cards and skirt, by Foxall Studio

New Stationery

2011-09-19 00:00:00

Today I received the new letterhead and businesscards with my new wordmark. Really nice.

New Wordmark

2011-09-14 00:00:00

I am very proud to present my new wordmark.
It solves the former problem of dual brandmarking and concentrates on the very element that makes my brand
... my name

In the Myfonts shop you will find this specimens system.
In the fontlists:

and in the actual product page:

Narziss Family

2010-03-18 10:24:36

I am very exited about the success of Narziss. Therefore I went on with it and designed 5 different weights
for all the 3 variants Regular, Drops and Swirls.

Narziss Family

Fansite Hubert Jocham Type

2009-11-30 15:44:33

Follow this link and join:

http://www.facebook.com/pages/Hubert-Jocham-Type/340332570595?v=photos&ref=ts#/pages/Hubert-Jocham-Type/340332570595?v=wall&viewas=1280447002&ref=ts

Myfont Interview Creative Characters

2009-11-26 00:00:00

http://new.myfonts.com/newsletters/cc/200911.html

and in german:
http://www.myfonts.de/2009/11/hubert-jocham/

BeaBitzer

2009-11-06 00:00:00

Just a few days ago the new webshop of some good friends was launched. And I am very proud that I could design the logo. Please have a look at it and find presents for your kids. Very beautyful stuff.

http://www.beabitzer.de/

New text version for Narziss

2009-10-29 00:00:00

Narziss is a very popular display typeface at the moment. People really love the thin hairlines and the swirls.
But the basic idea is so strong that I decided to create a text version.
The swirls of the display do not work in small sizes but the alternativ drops do. So for one weight there is a Regular, an Italic and a Drops version.

NarzissText
Narziss Display

New Typeface Vivid

2009-10-08 00:00:00

I was pregnant with Vivid for quite some time now. It lives in the variation of the round elements. The way how the different strokes deal with space also achieve an clear athmosphere in text. It workes well in very small sizes as well as in display. Available are 7 weight with Italics from Regular to Ultrabold.

Vivid

New House with old office

2009-09-04 00:00:00

new typeface Glenda

2009-09-03 00:00:00

Since I designed Mommie you can see a lot of script typefaces with big contrast for big sizes. With Narziss I created a roman interpretation with the very expressive Swirls version. Glenda is again an italic script like Mommie. In the Regular the characters join and it looks like a neatly written sprencerian handwriting. But like Narziss it has got a Swirls version too. Every glyph and swirl is carefully designed to work in every connection. Only use it very big.

Glenda

Slanted Magazine #8

2009-07-14 08:54:02

After NeoPop in the last issue I have now contributed NeoDepth as one of the headlinefonts in the magazine.
I am very thankful to be part of that wonderful project.

New Typeface Yuri

2009-07-10 00:00:00

The Renaissance is one of the most important periods for typedesign. For the serif typefaces followed the so called transitional period and goes on to the neoclassicism. So you get the impression the forms, kind of, morphed from oldstyle to neoclassic. And in a way it rally did. In Germany the type of the transitional period is called Barock-Antiqua. This term is not perfect because Barock-Antiquas we know are fare from the overwhelming ornaments of Baroque architecture. But in cultural history the changes never happen like a morph from one form to another. The transitional history is very rich with the vast variety of design directions from all over europe and of course from Holland. As usual type classifications never give a final answer to what is really transitional.

I am now very glad to finally present my new typeface Yuri.

With Yuri I wanted to design a roman typeface that feels Baroque and it should not feel like one step in a transition.
Yuri is a legible workhorse for the usage in magazines as well as books. Yuri has 9 weights with italics up to extrabold and ultrabold. The Pro version also got small caps, different sets of figures including for small caps, some ligatures, Latin 2, turkish and baltic letters.

YuriPro
Yuri

New typeface Granat

2009-06-17 08:37:48

The idea for Granat goes back to my mysterious typeface Telepiu and later Teleneue.
The strait horizontal bares in combination with the round joines create a very unique character.
With Granat I wanted to push this style even further. Like in Teleneue Granat comes with a monocase version without any ascenders or descenders for all 7 weights from Regular to Ultrabold.

Granat

Dollar ReDesign Project

2009-06-02 00:00:00

I met Richard Smith many years ago, whey I lived in London and since that I did a few typefaces for him.
In February, when I was in New York for the SPD judging I met him for lunch.
He later asked me to use NewJune on the Dollar Redesign Project.
The press even in Germany is very interested in this idea of redesigning the USA.

http://thinkcreateblog.wordpress.com/2009/05/11/dollar-design-project/

http://www.ftd.de/lifestyle/outofoffice/:Out-of-Office-Dollar-in-neuem-Design/521360.html

New Typface Keks

2009-05-19 00:00:00

And now something completly different.
Keks has broken elements like a blackletter typeface, but the actual form of the characters are roman.
That keeps it very legible althought there is no curve at all.

Keks

New Typface Safran

2009-05-12 00:00:00

In Germany we have a DIN classification of typefaces. There is one section for italian oldstyle and one for french oldstyle. Transitional, neoclassic and so on. But there is only one section for sans serif. Altought sans serif can go in loads of different directions. Flavoured in many ways. Existing classifications for sans serifs are either to complicated, or to simple. Today we have so many interpretations and variations of the stroke and the proportions.

The new sans serif Safran is a good example. There are some elements that simulate the broad pen and there are tiny differences in the thicks and thins. So you could say, it has an old style flavour. But the proportions are certainly not old style. They are rather designed for contemporary usage. A contemporary serif will most likely work that way.

Safran is a friendly, easy to use contemporary sans serif with a big variety of weights.

The Pro version also got small caps, different sets of figures, some ligatures, Latin 2, turkish and baltic letters.

Safran Std
Safran Pro

Liv

2009-04-02 00:00:00

I just received a copy of this wonderful photobook, where Boris and Peter used my typefaces and I am really glad with the result.

Mommie
Perfetto Text
Perfetto Display

Narziss

2009-03-30 00:00:00

Since Mommie I gradually got more into swirly ornaments. The massive contrast in the neoclassic style is perfect for thin swirly extentions to the characters. Even in an upright typeface. Narziss is very elegant in big headlinesizes. Use it only very big.

The basic style Narziss-Regular is a neoclassic display font with big contrast.
The Narziss-Drops has got some unique characters with drops that are not usually there.
The spencerian swashes of Narziss-Swirls grow out of the existing strokes an overlap with the next characters.

Narziss

0000-00-00 00:00:00

Susa

2009-01-12 00:00:00

Every connection of letter look perfect without any alternate glyphs. The weights from light till heavy serve in text and display.

Susa

NewJuneSerif

2008-10-17 00:00:00

NewJuneSerif now available as a family

The basic serif version of NewJune existed even before the sans, but only in Regular and Italic.
Now I am finally very proud to present the Serif as a complete family with 7 weights.

Considering the even line thickness of JuneSans it looks quite neoclassic. Yet some horizontal strokes in the a and the e are bold to still have some rhythm in the contrast of veticals and horizontals. That might be one reason that NewJuneSerif is very legibile even in small sizes.

NewJuneSerif
NewJuneSans

Perfetto

2008-10-06 00:00:00

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 typeface 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

Summer Discount #20 Volt

2008-09-23 13:48:19

#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
#19 VerseSans VerseSerif
#20 Volt VoltA

Summer Discount #19 Verse

2008-09-18 11:05:32

Summer Discount #18 NewJune

2008-09-15 00:00:00

Summer Discount #17 Alida

2008-09-08 00:00:00

Summer Discount #16 Schwung

2008-08-28 09:15:24

Summer Discount #15 Schoko

2008-08-12 00:00:00

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

New typeface NewLibrisSerif, Discount #14

2008-08-09 00:00:00

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

Summer Discount #13 Monday

2008-08-07 00:00:00

Summer Discount #12 Mommie

2008-08-06 08:19:02

Summer Discount #11 Contra

2008-07-30 00:00:00

Summer Discount #10 Leaf

2008-07-29 08:22:37

Summer Discount #9 Flavour

2008-07-16 00:00:00

Summer Discount #8 Voice

2008-07-16 00:00:00

0000-00-00 00:00:00

Summer Discount #7 Spring

2008-07-07 00:00:00

#1 NewLibris
#2 Flow
#3 Bent
#4 Drop
#5 Konsens KonsensSten
#6 LegauU LegauA LegauR
#7 Spring SpringSans

Summer Discount #6 Legau

2008-07-03 00:00:00

#1 NewLibris
#2 Flow
#3 Bent
#4 Drop
#5 Konsens KonsensSten
#6 LegauU LegauA LegauR

Summer Discount #5 Konsens

2008-07-02 00:00:00

#1 NewLibris
#2 Flow
#3 Bent
#4 Drop
#5 Konsens KonsensSten

0000-00-00 00:00:00

Summer Discount #4 Drop

2008-06-30 00:00:00

#1 NewLibris
#2 Flow
#3 Bent
#4 Drop

Summer Discount #3 Bent

2008-06-24 00:00:00

#1 NewLibris
#2 Flow
#3 Bent

Summer Discount #2 Flow

2008-06-22 00:00:00

#1 NewLibris
#2 Flow

Summer Discount

2008-06-20 00:00:00

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

TDC Award

2008-02-27 00:00:00

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.

LegauSans

2007-09-13 00:00:00

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

Verse Sans and Serif

2007-09-07 21:17:42

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

New Typeface Volt

2007-03-26 00:00:00

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

New Typeface Alida

2007-03-12 00:00:00

A san serif is easy in one way. You have a vertical stroke that ends like a square. Most of the time the outline is even. There is not much happening at the border of black and white. In the 19th century when the sans serifs got popular people called them GROTESQUES. Not used to the forms of the sans they might have thought, there is something missing, something cut away, not complete.
In the last few years I worked more on serifs then on sans serifs. One of the first things you discover when doing this, is that the spacing is completely different. The serifs and other elements create other shapes and a much more complex system of proportion. Many more decisions have to be made and many more form components have to be designed and be harmonized.
For me as a designer who still grew up in this German Bauhaus/HFG athmosphere where less was always more, this experience is very interesting. When your approach is always less is more you loose the ability to design complex compositions. You tend to take things out that might have been important.
Dont get me wrong. I still love sans serifs and I am working on a new one at the moment. But serifs are much more challenging.

The first ideas of Alida I had about two years ago. It started with a display serif with thin hairlines and thin but clear serifs. For a long time I did not know what to do with it. Usually I tend to work very quick on a typeface, because I think that keeps life and character in the stroke. With Alida several new approaches were needed to finally find the right way for it. So it took its time.

Alida for text has got 7 different weights with italics and smallcaps and a display version with 7 weights and italics

At the end I decided to keep both roots the display and the text.

(Display, Text, Display-Italic, Text-Italic)

I know, the »s« in the display version is quite eccentric.
(from left to right, Display, Text, Display, Text, Display, Text)

Smallcaps are available for the text version

I am thinking of a sans serif, but I am not sure yet

Alida Text
Alida Display

Voice with Smallcaps and Oldstyle Figures

2007-02-28 00:00:00

Voice has been published December 2005 in the URW++ library.
But after I decided to build my own shop it is now available only here.
The new oldstyle figures and smallcaps version has the extention OS

The idea of Voice started with a simple, easy to use, easy to space, easy to scale sans serif. I spent quite a bit of time finding the right shapes for the lower case. The way the strokes end in the a, the c, the e and the s tell a lot about the structure of the lower case.

In a typeface like Helvetica the stroke-ends those letters makes them look very closed up.

The other extreme is Argo with open almost horizontal ends.

In Voice a, c, e and s therefore play an important role in the rhythm of the whole typeface. To keep the spacing simple those letters needed to fill their space without the need of much kerning.

That also helped to design an extreme Ultrabold.

Ascenders, descenders and proportion are relatively compact for the use in narrow columns with tight leading as well as headlines.

The basic sans serif has got two variants. Called Voice Edge and Voice Shoulder. Little alternations to the stroke of the lower case lead to very different styles.

There is one serif for all variants

Every family has got 9 weights with italics and in the OS/SC version (oldstyle figures/smallcaps) all 9 weights with smallcaps

There are 3 kinds of figures in the typeface. normal lining figures in the basic families.
Oldstyle figures and smallcaps figures in the OS families.

Lining figures, currency symbols and mathematical symbols have the same width.

Voice
VoiceEdge
VoiceShoulder
VoiceSerif
TeleVoice

VoiceOS
VoiceEdgeOS
VoiceShoulderOS
VoiceSerifOS
TeleVoiceOS

Christmas Free Font

2006-12-21 09:56:18

Since the beginning of December very many people have registered and got a copy of Xmas Rudolph.
Thank you for many nice and friendly comments about the font on the blog and by email.

Most of the registrations were honest. Only a few did not register the way they should have.
For some strange reason many of those are german, according to the email address that was necessary to get the font.

The Xmas-Rudolph-Offer will end on christmas. Go and get your copy!

Merry christmas and a happy new year to everybody!

Christmas Font 2006

2006-12-21 09:56:18

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...

Packaging Design Konferenz 7.-8. Dezember 2006

2006-11-08 00:00:00

I will be there and talk about Typography in packaging brands. Apart from some cases I will show in detail I will try to show how type works on packaging and the elements that make a brandmark unique.

RSS

2006-11-02 00:00:00

NewLibris

2006-10-26 00:00:00

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

2006-10-27 00:00:00

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.

2006-10-10 00:00:00