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Dinamo Standards

Dinamo Standards is a collection of revivals and interpretations. Versions of the fonts have been used for the 9th Futurological Congress, Meret Oppenheim Preis Schweiz, Weiss Falk Basel, James Fuentes Gallery, Discipline Magazine, Biennale de l’image mouvement Geneva, Forensic Architecture / MACBA Barcelona among others.

Credits given to the best of our conscience, typefaces drawn by Fabian Harb if not stated otherwise. Site developed by Morgan Brown.


GGK Standard

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GGK Standard is a straight forward trace of GGK’s (most likely by Karl Gerstner) 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.

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GGK Regular

Gothic No. 6

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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.

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Gothic Light
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Gothic Light Italic
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Gothic Bold

Diatype Programm


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.

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Diatype Programm Regular
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Diatype Programm Italic



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.

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Helveesti Regular


Billy is an interpretation of an unfinished Max Bill design, highlighting vowels for readability purposes. Billy comes in one weight.

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Billy Regular


Pegasus is a slightly sharpened revival of a Berthold Wolpe design with the same name. Consisting of 2 weights and italics, drawn with the assistance of Erkin Karamemet and Selina Bernet.

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Pegasus Regular
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Pegasus Italic
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Pegasus Bold


Permanent is a straight forward revival of Karlgeorg Hoefer’s 1964 design. Consisting of Regular, Bold and their corresponding Superextendeds.

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Permanent Book
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Permanent Bold


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). Rauchwaren comes in two weights, with an Upright, Italic and Display cut each.

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Rauchwaren Bold


Sorcière is an interpretation and lower case extension of a turn of the century lettering, supposedly by Rudolf Koch. Consisting of a single weight and in use for Bad Bonn Kilbi (designed by Adeline Mollard and Katharina Reidy).

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Sorciere Regular


Whyte is a derivative of supposedly the first true Grotesk with upper and lower cases, as well as a bold face (White Typefoundry, 1860–62). Found in a dutch architecture journal, the Medium was drawn under the guidance of Laurenz Brunner during an internship. Later, the family has grown to 3 weights and italics. Whyte has been use for the Meret Oppenheim Prize 2013, designed by Dan Solbach.

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Whyte Regular
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Whyte Regular Italic
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Whyte Bold Italic


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".

Dinamo letterform tholenaar bound specimens

© Letter Form Archive + Dinamo Edit

Dinamo estragon

© Letter Form Archive

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Estragon Regular


Bingo is based on a type sample published in Rob Roy Kelly’s brick "American Wood Type, 1828-1900 (…)". Designed in 2011 by Johannes Breyer in Zurich. 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.

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