Dinamo Standards is a collection of revivals and interpretations. All Standards cover Latin 1 character sets; if needed, they can be extended in order to support additional languages or feature more weights and/or italics. Versions of those typefaces have been used for:
GGK Standard is a straight forward trace of GGK’s (most likely by Karl Gerstner & Christian Mangelt) Berthold Standard rework for film-setting (1967). To be found in Josef Müller-Brockmann’s book Grid System, completed with the help of Erkin Karamemet and in use for gallery Weiss Falk, Basel.
|Original Designer||Karl Gerstner,|
Gothic Light Italic
Gothic No. 6 is a sturdy and utilitarian typeface, based on early american gothics. Gothic No. 6 consists of Regular and Bold and is in use for James Fuentes Gallery New York, designed by Other Means.
Diatype Programm Italic
Diatype Programm Regular
Programm is an interpretation of a Karl Gerstner eponymous design, featuring horizontally closed terminals. In use for Oslo10 (by Dan Solbach, Basel) in 2013, Discipline Magazine (by Rob Milne, Melbourne) since 2014 and the Istituto Svizzero in Rome & Milan (by Dallas, Milan) from 2017 on.
|Original Designer||Karl Gerstner|
Helveesti is a soviet time Helvetica clone with light-traps, meant to compensate the characteristic blur of film-setting exposure. Found and digitized at EKA Tallinn in 2014.
Pegasus is a slightly sharpened revival of a Berthold Wolpe design with the same name. Drawn with the assistance of Erkin Karamemet and Selina Bernet.
|Original Designer||Berthold Wolpe|
Permanent is a straight forward revival of Karlgeorg Hoefer’s 1964 design.
|Original Designer||Karlgeorg Hoefer|
Rauchwaren is based on type samples in Walter Käch’s educational folder ”Schriften / Lettering / Ecritures” (Olten, 1949) for his students at the Zürich School of Arts and Crafts (among them Adrian Frutiger) and used as corporate typeface for Kunsthalle Zürich (designed by Dan Solbach, 2015).
|Original Designer||Walter Käch|
Sorcière is an interpretation and lower case extension of a turn of the century lettering (supposedly by Rudolf Koch) and drawn for Bad Bonn Kilbi (designed by Adeline Mollard and Katharina Reidy).
|Digitizer||Johannes Breyer, Fabian Harb|
Based on a few characters posted by the Type Founders Archive on Instagram, later identified as a spread from "Harrild & Sons' New & Abridged Specimens" (circa 1890). Unfortunately, no further information or characters could be found. Designed upon by Johannes Breyer in early 2017, Estragon comes in the styles Wildstyle, Arrow, Bubble – and can be combined via OpenType. First used for the identity of Condo New York by Sam de Groot in 2017, who called the design a mixture of "Kurt Schwitters and Wildstyle".
Bingo is based on a type sample published in Rob Roy Kelly’s "American Wood Type, 1828-1900 (…)". Unlike its source, Bingo’s inner and outer contours are drawn with polygons, which makes it appear smooth and rounded at small size, or brutal when scaled up. A second set of monolinear, thin punctuation has been added in 2012.
|Original Designer||Rob Roy Kelly|