TT Firs Neue and TT Hoves Pro are part of the identity of Solingen’s Zentrum für verfolgte Künste, or Center for Persecuted Arts in English:

The Center for Persecuted Arts is a museum of discovery, dedicated exclusively to artists whose works and opportunities for development were blocked, prevented, and partially destroyed by the dictatorships of the last century and by totalitarian regimes up to the present day. It is an interdisciplinary museum, and its collection of visual art and literature tells of lost and neglected works of art, stories, and fates.

The logo pairs TT Firs Neue with Guau.

CA Saygon Display in use on a poster, designed by Thomas Junold, announcing a exhibition by students from the Design department of the Hochschule Niederrhein in Krefeld, Germany.

Caps from Akkordeon Slab in use for Oppumer Eiscafé, an ice cream parlor in Krefeld, Germany. This typeface was designed by Eduardo Manso of the Emtype Foundry. Like its sans-serif companion, Akkordeon, it comes in fourteen numbered styles of increasing width and weight. The sign uses caps from Akkordeon Slab Four.

Spotted in 2019 by @isoletters, who notes that this choice is a refreshing departure from Brush Script and other scripts that are commonly used on signs of German ice cream parlors.

Otto Kaestner G.m.b.H. Krefeld a. Rh. Messingschriftgiesserei und Gravieranstalt invoice. Probably printed by an “L. Schwann” in Düsseldorf. While the invoice does not include a date of printing on it, this particular invoice was issued to a customer on 12 December 1910. The invoice was typeset in various sizes of Peter Behrens’s Behrens-Antiqua typeface, produced by Gebr. Klingspor in Offenbach am Main.

This post is about an invoice from the Otto Kaestner GmbH, an engraver and founder of brass types that operated during the first few decades of the twentieth century in Krefeld. The typeface used to compose the invoice was Peter Behrens’s Behrens-Antiqua, which had been produced by the Gebr. Klingspor typefoundry in Offenbach am Main in 1907. I think that the line at the very bottom of the invoice reading “L. Schwann, Düsseldorf” is an attribution placed there by the invoice’s printer.

This invoice was not the only time that the Kaestner firm used a Klingspor typeface in its “corporate identity.” The firm produced several undated product catalogs. In one of them, the company header on the first page was set in the Eckmann typeface, designed by Otto Eckmann, which Gebr. Klingspor had published back in 1900 (when they still operated under the name Rudhard’sche Gießerei).

Title page for Katalog A: Messing-Schriften für die Vergoldungspresse, published by the Otto Kaestner G.m.b.H. Graviranstalt und Messingschriftenfabrik in Krefeld, Germany. The first four lines of type are set in Eckmann, designed by Otto Eckmann and produced by the Rudhard’sche Gießerei (later Gebr. Klingspor) in 1900. “Katalog A” is in Jefferson, or probably Flinsch’s copy named Atlanta. “Messing-Schriften” is Berthold’s Secession.

Dedicated to high-quality and sophisticated design, conmoto is a brand for designer furniture and custom design. Along with a strategic new orientation, Jens Könen developed a holistic redesign for the brand’s communications.

In order to keep their friends up to speed with the company's activities, conmoto now have the semi-annual magazine backstage. Based on the format of a daily newspaper, its fresh and clear design expands on conmoto’s visual identity by supplementing Cera with Pensum to give extended text the appropriate care and atmosphere.

Dedicated to high-quality and sophisticated design, conmoto is a brand for designer furniture and custom design. Along with a strategic new orientation, Jens Könen developed a holistic redesign for the brand’s communications. Cera is the key typographic ingredient for the conmoto brand.

Another focus for conmoto is their individually tailored designs for international clients. Their brochure Your project is in our DNA presents some of their projects. Using a visual system inspired by highly-abstracted DNA structures, it breaks their projects down into component parts and weaves them together again in a way that makes their work and process easy to understand. As a business-to-business marketing tool with a premium appearance, the layout has a simple colour palette that provides a neutral backdrop for the various references and details.

Jens Könen and Your project is in our DNA received a Red Dot design award plus German Design Award 2020 in the Editorial Design category.

Dedicated to high-quality and sophisticated design, conmoto is a brand for designer furniture and custom design. Along with a strategic new orientation, Jens Könen developed a holistic redesign for the brand’s communications.

As part of the new corporate design, conmoto’s sales media were restructured and redesigned. Instead of one main catalogue, Jens designed a series of conmoto.home brochures. Each catalog focuses on a series of products and Jens built a shared visual identity using Cera’s italics, rotating them to appear upright once again. Smaller texts are set in both Cera Regular and Cera Italic.