West, the Fontwerk’s brand new typeface, designed by Daniel Perraudin, is a compelling mix of conciseness and pragmatism. West follows in the geometric sans serif tradition, yet it achieves independence and its own distinct character. West has a simple yet sophisticated formula: visually similar forms do not repeat. It’s perfect for branding, wayfinding and editorial projects.
The following geometric shapes: square, circle, and triangle, often fascinate creatives, not least those who design typefaces. It’s therefore hardly surprising that many fonts that are rooted in these classical forms look rather similar. Although the construction of West follows the same geometric tradition, it achieves independence and its own distinct character. It has a simple yet sophisticated formula: visually similar forms do not repeat.
Combining conciseness and pragmatism, it presents itself as timelessly modern but has its roots firmly planted in the practicality and functionality of classical modernism. West succeeds in reinterpreting the concept of geometric sans serifs in an original way. Behind its apparent lightness lie a multitude of different design decisions by its designer Daniel Perraudin.
In order to maintain a harmonious canon of shapes and to do justice to its construction and symmetry, he varied individual letter widths (e.g. a narrow a and s in contrast to the wide b, n, and J). He emphasized this unique character further with unusual glyphs such as W, t, f, 2, the alternative forms of the italic Q, the diagonal endings, or angular dots. The characters beautifully oscillate between Art Deco influences (e.g. M, N, V, 3) and more technoid, monospaced influences of the nineties (e.g. f, alternative r) as well as the classical effect of fully reduced geometric grotesques (e.g. t, d, g, C, G, 9). Altogether, these design idiosyncrasies result in a compelling, contemporary mix.
The range of West is also something rather special in the geometric genre: nine font weights ranging from Hairline to Black, matching italics as well as variable fonts that are all included in the Complete Package, giving the user full flexibility.
Thanks to the exceptionally open “un-compact” finish, West is recommended not only for display use but also for smaller text or for wayfinding or signage systems. This has already been put into practice for the wayfinding system in the Old Masters Gallery in Dresden, where individual icons were designed, which were then adopted into the present fonts and adapted to the respective stroke width.
We believe that convincing communication is only possible with the most aesthetically pleasing and most technically sound fonts.
Our vision is to provide easy access to such fonts through free trial versions, a simple licensing model, and one of the fastest ordering processes around.
Our long-lasting designs add value above and beyond the actual cost. These fonts can be downloaded directly by discerning agencies, designers, and brands or ordered as a perfectly fitting custom type solution in addition to font engineering services.
We hope to contribute to something bigger by promoting talented designers from around the world with whom we work under the fairest conditions.
Our motivation is simply the love of good design. Outstanding type is our contribution to that.
From the typographic epicentre in Berlin, Fontwerk operates as a permanent team and freelance network of international designers, font engineers, and marketing experts. Many of them are from the original FontShop universe; the place where typographic trends were set, simple license models devised, experimental limits explored and the largest library of contemporary typefaces emerged. The team of Fontwerk carries this DNA within them and develops it further – 100% independently.
With their bold and daring designs, the Olympic Games in Mexico in 1968 and in Munich in 1972 were high points in the world of visual branding according to Daniel Perraudin. This opinion certainly enjoys majority support amongst his peers and Fontwerk also strongly agrees. As founder and partner of Capitale Berlin/Vienna—a studio for branding, wayfinding systems, and editorial design—Daniel is a proven specialist for complex (typo)graphic projects.
His expertise is also rooted in his broad professional experience, Daniel studied Information Design at Stuttgart Media University and FH Joanneum Graz and then worked at KMS Team incorporate design and typography for clients such as BMW, Canyon, MAN, Porsche, and Sky. He later obtained a TypeMedia Master’s degree in Type Design at the Royal Academy of Fine Arts in The Hague. He has been passing on his knowledge to students in Graz for several years. Daniel’s first typeface Parka was successfully published by the legendary Font Bureau in 2010.