Viktor Nübel – Graphic & Typography

PTL Attention

Viktor Nübel — Mon, 09 Jan 2012 19:57:07 +0000

PTL Attention a robust and contemporary sans serif type familiy with it‘s very own characteristics. Made for work in text as well as display. Comes with nine weights in two styles, including small caps, a set of contemporary OpenType features, all standard figure sets and a rich language support.

See PTL Attention PDF for more information.

The concept for PTL Attention goes back to the days of my thesis »Type Attack!«. From the beginning the idea was not only to have a display stencil type like PTL Attack, but also to create a more serious companion.

There weren’t any direct influences on the design itself, but of course the concepts of the sans-serif type history was in my mind, and there was a few typefaces I consulted from time to time, like Gill Sans, Interstate or Emigre’s Base.

To handle the kerning with a big amount of glyphs that are present in the fonts I used the iKern service of Igino Marini.

Available at primetype and FontShop and MyFonts.

Viktor Nübel – Graphic & Typography - Type design from Berlin

PTL Attack

Viktor Nübel — Sun, 08 Jan 2012 09:55:08 +0000

PTL Attack is a digital version of my thesis Type Attack!. It is extended to a little family of three weights, with expert-sets, medieval and lining-figures.

PTL Attack is available at primetype and at MyFonts & FontShop.

PTL Attack in use: Adbuster Magazin #85

PTL Attack in use: Exhibition ›Welt aus Schrift‹, Kulturforum Berlin, 2010

Viktor Nübel – Graphic & Typography - Type design from Berlin

PTL Attack Rough

Viktor Nübel — Sat, 07 Jan 2012 14:12:49 +0000

PTL Attack Rough is the dirty pendant of PTL Attack. After making the digital curves of PTL Attack I cut out the whole alphabet, made a stencil and digitized the sprayed letters.

The font contains two sets of basic characters that alterenate with the help of OpenType technology. It also has a large set of diacritical characters, that all have individual shapes.

One of the questions while working on that font was, what is the maximum amount of points allowed for one glyph. I had something like 300 hundred in my mind. In the end the number of points didn’t seem to be a problem, but rather the curves. We had to kill all of them, because there were too much of them to do them all properly. So there are only straight lines between points.

PTL Attack Rough is available at primetype and MyFonts & FontShop.

Viktor Nübel – Graphic & Typography - Type design from Berlin

Ostblock

Viktor Nübel — Thu, 06 Jan 2011 18:25:35 +0000

OSTBLOCK first was called ›Q3A‹. I drew the letters in 2004, inspired by pictures of East Berlin. From a bird’s eye view and with just a little imagination the structure and the shapes of the buildings, built in the late 60s, do look like letters. All these prefabricated slab-construction buildings (Plattenbauten) of former GDR had names like WBS70 or Q3A. The alphabet was drawn in Freehand, with 3 different layers, to make the letters look 3-dimensional. But it never made it into a font – until now.

Today, with OpenType technology, it is one font that containes 5 layers as Stylistic Sets and a wide range of accented characters and all kerned!

Learn more on how to use OSTBLOCK with this user guide.

Purchase OSTBLOCK by e-mail or at Volcano Type or MyFonts

OSTBLOCK in use

Simplified and customized version of the original type design for a client working in mobile games business.

Little Flash presentation of the font.

Viktor Nübel – Graphic & Typography - Type design from Berlin

Logo Design

Viktor Nübel — Mon, 01 Nov 2010 15:22:20 +0000

БLOG – Eastern Europe blog

s – Personal work

dpo – Consulting firm

Julia Büttner – Journalist

Los Superdemokraticos – Blog project

blogmacherei – Blogging company

CAMP4 – Redesign of the logotype

Viktor Nübel – Graphic & Typography - Type design from Berlin

Oliva Italic

Viktor Nübel — Sun, 31 Oct 2010 11:36:04 +0000

OlivaItalic is a matching italic version for the funky display typeface Oliva. While Oliva takes it’s inspiration from the classics Futura Black and Motter Ombra, for OlivaItalic new ingredients were mixed together: Oliva itself is the basis, spiced with Stilla, a typeface by François Boltana from the early 1970s, and with – a Othmar Motter typeface again – Femina also from the 1970s. You might also taste a note of Allegro by Hans Bohn from the 1930s to complete the mixture.

Regular and italic font work together like brother and sister. Letters in OlivaItalic have an unique design. No slanting issue! The shapes are new but matching, the feeling is fresh but harmonic.

Like Oliva the italic version is an OpenType font, supporting a wide range of latin languages, includes an alternate ›i‹ and ›j‹, ligatures, OpenType features, arrows (in 2 stylistic alternates!) and ornaments.

Cyrillic Oliva and Oliva Italic include cyrillic language support, with alternate versions for some letters. I’ve done this after a trip to Moscow with that I’ve remembered that I’ve learned russian in school for some years (but I’m far from still speaking it). For the design of the letters I got great ›native‹ help by ukrain type designer Sergiy S. Tkachenko.

Oliva Italic is available directly via e-mail or at veer.com or MyFonts

Viktor Nübel – Graphic & Typography - Type design from Berlin

Oliva

Viktor Nübel — Wed, 22 Jul 2009 13:02:31 +0000

Oliva takes strong inspiration from Othmar Motter’s Letraset beauty Motter Ombra and the Deco stencil stylings of Paul Renner’s Futura Black. Building on those influences Oliva fuses the flavors of 1930s Bauhaus style, late ’60s flower power, early ’70s Deco revival and adds just a touch of glam.

This bold and lively display face is OpenType Pro, featuring full Western and Central European, Baltic and Turkish language support, plus a handful of useful ligatures, superior numerals, alternates and a set of decorative ornaments and arrows.

Cyrillic Oliva and Oliva Italic include cyrillic language support, with alternate versions for some letters. I’ve done this after a trip to Moscow with that I’ve remembered that I’ve learned russian in school for some years (but I’m far from still speaking it). For the design of the letters I got great ›native‹ help by ukrain type designer Sergiy S. Tkachenko.

Purchase Oliva directly via e-mail or at veer.com or MyFonts

Read a review of Oliva at the blog myfonts.de

Oliva featured in PAGE magazin 10.2010

Viktor Nübel – Graphic & Typography - Type design from Berlin

Modul72

Viktor Nübel — Tue, 06 Jan 2009 18:20:46 +0000

Modul72 is based on decorative wall elements used in the former GDR. Simple elements, called Formsteine, were assembled to form the patterns on walls, fences or buildings. These decorative walls can be found in all of eastern europe. I found some of these amazing patterns in the Leipziger Strasse that were built around the ground floor of big Plattenbauten (prefabricated slab-construction building).

The eye-like element was made of 4 pieces of the same shape that was mirrored and rotated. I played with this shape, arranged new elements and put them into a font − countless wallpapers can be created this way.

Pattern with letter A

Pattern with letter d

Pattern with letter i

Pattern with letter R

Pattern with letter V

Pattern with letters W and X

Pattern with numbers 1, 2, 3, 4, 5, 6, 7 and 8

Modul72 is published under a Creative Commons »By« License. The typeface is free for for any personal or commercial use.

Download the OpenType font for free. Download Modul72 PDF.

Viktor Nübel – Graphic & Typography - Type design from Berlin

Type Attack!

Viktor Nübel — Mon, 05 Jan 2009 16:14:44 +0000

»Type Attack!« was my thesis. With this fictitious project it was the idea was to create a typeface for the anti globalization network attac. I thought it would be good to have a kind of corporate type for all protest banners they use at demonstartions. Mostly these are handmade. I designed a very simple type stencil. The stencil allows you to write the whole alphabet, numbers and punctuation.

After graduating this experiment provides as a model for the PTL Attack. The project has been featured in output.

Viktor Nübel – Graphic & Typography - Type design from Berlin

Digital lettering

Viktor Nübel — Thu, 01 Jan 2009 06:42:52 +0000

Digitizing comic lettering started as a favour for a friend. When his first graphic novel was getting published abroad, he didn’t want it to be set in Comic Sans.

With the second project OpenType technology came into game. Alternate versions of each letter that randomly changes let the text look more lively and closer to the usually handmade lettering. This next one was done in collaboration with Hendrik Möller.

These custom work was done for publisher Reprodukt and Drawn & Quarterly. Usually there are at least two versions of each letter that alternate.

The following work was done for the publisher Ventil Verlag. It containes 2 fonts for the comic book Bohnenwelt by Larry Marder.

For Questions or enquiries about digitizing of lettering get in touch

In use …

Guy Delisle: Burma Chronicles
Publisher: Drawn & Quarterly, 2008.
Original lettering by Dirk Rehm (Reprodukt).

Susumu Katsumata: Red Snow
Publisher: Drawn & Quarterly, 2009.
Original lettering by Rich Tomasso.

Larry Marder: Bohnenwelt
Publisher: Ventil Verlag, 2012.
Original lettering by Larry Marder.

Viktor Nübel – Graphic & Typography - Type design from Berlin