Swiss Typefaces is a type design company founded in 2006, with headquarters in Vevey and a design office in Berlin. It develops retail and custom typefaces, drawing on Swiss typographic traditions and contemporary visual culture, and publishes printed type specimens.
Works with SangBleu Empire (2), SangBleu Sunrise (2), Euclid Circular A (2), Euclid Circular B (2), Euclid Square (2), Black Mamba (2), TheW, SangBleu Kingdom
People credited alongside Swiss Typefaces in published articles. These historical credits may include collaborators and do not represent the current team.

Swiss Typefaces developed Swiss Post Sans, a custom typeface for Switzerland's national postal service, over more than three years. The replacement font preserves the previous face's typographic volume for seamless rollout while introducing warmer humanist details, robust multilingual support and default tabular figures. Its independently drawn italics provide a distinctive expressive voice across Swiss Post's physical and digital communications.
The Brand Identity interviews type designer Fermín Guerrero about his independent foundry Fuerte and his latest release, the Blackletter-inspired typeface Impura. Guerrero discusses his experimental approach to type design, his journey from studying in Switzerland to founding Fuerte, and how authenticity and creative freedom shape his work. The piece highlights his award-winning typefaces Brick and Thesaurus and his philosophy of designing unique, accessible fonts for designers worldwide.
Canadian agency LG2 rebranded Ashton, Canada’s oldest poutine chain, after its acquisition by two young entrepreneurs in 2022. The identity updates the restaurant’s diner and snack-bar heritage through a custom wordmark, nostalgic type choices, and a red triple-stripe system applied across packaging, apparel and restaurant interiors.
The article is an in-depth interview with Swiss type design studio newglyph, based in Lausanne. Co-founder Daniela Retana discusses the studio’s origins, its founding during the 2020 lockdown, and its focus on variable font technology. The team’s philosophy, collaborative process, and philanthropic commitment to donating 10% of proceeds to charities are also explored.
Mouthwash Studio created a serene, precise identity for Air Company, a carbon technology brand that captures and repurposes atmospheric CO2. Developed with San Francisco studio Moniker, the modular system positions the company between luxury and technology through a reductive arrow-like A symbol, bespoke AIR lettering, and Suisse Int'l typography.
The Brand Identity features Nottingham-based studio ShiftWalk’s refined identity for London modelling agency Palmar. The project uses a cultivated typographic system and skin-tone-inspired palette to reflect Palmar’s inclusive mission and founder’s heritage. The identity balances sophistication with warmth through type, color, and pattern applications across print and digital touchpoints.
Brooklyn graphic design studio FUNERAL created an identity for Ephemeral, a tattoo company whose specially developed ink naturally fades within 12–15 months. The system balances traditional tattoo-shop cues with a high-end salon sensibility through interchangeable logo typefaces, a consistent grid and an earthy, inclusive colour palette.
Sydney-based studio how by why created an identity for Australian photography duo Bas&Chris, bringing their collaboration together under the tagline “We Collide.” The project uses a “Medieval Modernism” concept, pairing Respira Black blackletter with Suisse Int'l sans serif across a neutral, duplexed system so the duo's photographic work remains central.
The Brand Identity interviews Munich-based designer Nolan Paparelli about his typographically-driven practice and collaborative approach to type design. He discusses his work on the neo-grotesque typeface Kunst Grotesk with Piero Di Biase, his involvement in the new design platform WELTKERN, and his philosophy on type education and pricing. The conversation offers insight into his process, influences, and the evolving landscape of contemporary Swiss typography.
High Tide created a fresh, editorial-focused visual identity for Miss Grass, a women's cannabis lifestyle brand seeking to normalise weed consumption through educational content. The system combines a custom Vedros Studio wordmark, Domaine and Suisse Int'l typography, flat illustration, candid photography, and a palette balancing terracotta and neutral tones with vivid primary colours.