Robert Huber
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    Robert Huber
  • Graphic Design
  • Type Design
    Projects
    Overview
    Info
  • Lemaniana posters Bim18 Catalogue Bim18 Goran Trbuljak TM RSI SGM 1960–90 Diversions 2 Cally Spooner Revisiter l’Expo 64 Qiu Zhijie Typeface Specimens Sonia Kacem Vacheron Constantin Steven Claydon Ruptures fertiles GGRP
  • LL Medium Prismatext LL Moderne Tate etc. logo Lancel Logo Balenciaga Logo Vogue Light
    Robert Huber
  • Graphic Design
  • Type Design
    Projects
    Overview
    Info

  • Hardstrasse 243
    CH-8005 Zurich
    Switzerland

  • info@robert-huber.net

Description
Posters for “Lemaniana: Reflections on Other Scenes” – a collective exhibition celebrating the diversity of the contemporary artistic production in the Léman region at the Centre d’Art Contemporain Genève. Please check www.centre.ch for more information about the exhibition. The posters show three works by James Bantone, Mathilde Agius and Jeremy Dafflon. 5 color silkscreen print with high density spot varnish on the text. Designed in 2021.
Credits
Images by Julien Gremaud.
Description
For this edition BIM’s catalogue, the 20 artists and artists’ duos were asked to invite a comrade in arms or friend to contribute a text on their work. The result is a polyphony of different voices, writing styles, and points of view that suitably mirrors the exhibition in its complexity and unpredictability. The generous size of the publication (24x29 cm) allows to plunge into the photographs of the large scale installations, films and performances. The typographic voice is based on the visual identity. 176 pages, hardcover with embossed titlings.
Credits
Image by Jonas Marguet.
Description
LL Medium is a new typeface based on a bold, archaic late-19th century sans serif published by the Bauer & Co. foundry in Stuttgart in the early 1880s, at the time simply named ‘Grotesk’. A quick and rough single cut of a semi-bold weight was debuted in a Jonathan Hares-designed publication at Venice Biennial 2014. Since then RH Inter – as the font was first called – has grown to a family of five weights with italics. The letter-shapes can be located at an intermediate moment in the history of type design when the path to sans serifs had opened, yet when the new typefaces were still far from the balance and elegance which would eventually characterise Akzidenz Grotesk (c.1898). LL Medium’s main characteristics are the differences in design between lower and uppercase letters, its heterogeneous shape groups and the blend of extravagant details. After a series of versions, subtle alterations, and optical adjustments executed over the course of six years, LL Medium has a strong presence as a headline typeface, but is very functional in body copy. For more information, type specimens and licensing, please visit lineto.com.
Credits
Designed between 2013-2019.
Description
Visual identity for the Biennale of Moving Images 2018. The video trailer of the Biennale is the core of this years identity. On the website (designed in collaboration with no-plans studio) it becomes the vehicle for the user/content experience. User interactions are transforming the moving image into an endless diversity of abstract blurred stills as backgrounds for the information layers. The printed identity material connects to this idea by using a diffused detail of Meriem Bennanis work “Party on the CAPS”. A structural typographic key-element of the identity are the three work categories Film, Exhibition, Live and the list of the 20 contributing artists. The titling font RH EuroGinevra is an updated homage to the classic Eurostile.
Credits
Image F12 poster by Etienne Malapert.
Description
Prismatext (working title) has been developed as a companion text font for lineto's LL Prismaset. It originated as a custom typeface for the newly-developed museum cluster ‘Platform 10’ in Lausanne in 2017 with the goal to further complete the display font LL Prismaset. It comes in a range of 5 weights with light, regular, medium, bold and extrabold. The slides are close-ups of a publication designed by Studio Ard for the RCA School of Architecture graduation show, typeset in medium and extrabold. Please get in contact for any further information.
Credits
Typesetting and graphic design by Studio Ard, London.
Description
Posters for Goran Trbuljaks retrospective “Before and After” at the Centre d’Art Contemporain Genève. The early work from 1971 with the title “ne zelim pokazati nista novo i originalno (engl.: I don’t want to show anything new or original)” has been reproduced with silkscreen printing on F4 poster size. The original information announcing the first exhibition of Goran Trbuljak has been crossed out and overprinted with an additional layer containing the information of the upcoming 2018 retrospective. On the second poster of the diptyche, a current portrait of the artist found on the web, has been digitally printed on F4 poster size and then silkscreen overprinted with the same information layer.
Credits
Image by Etienne Malapert.
Description
LL Moderne is inspired by humanist sans serifs such as Antique Olive, Balance and Frutiger while defining its own distinctive identity. Developed from scratch starting in early 2013 Moderne is coming in Light, Book, Regular, Medium, Bold, Black and Fat, each with matching italics. The straightforward design combined with it’s subtle and controlled details brings a font with own personality and charm, suitable for use in both small and big text. The type specimen was produced for the presentation of the LL Moderne typeface at the Swiss Design Awards 2017. Conceived as a set of six large-format, it shows off all cuts of the typeface, in various settings, from very big to extra small. More information and pdf specimen on lineto.com.
Credits
Image by Jonas Marguet.
Description
This richly illustrated book guides the reader through the history of the TM journal between 1960 and 1990. The book begins with a series of double-page photos, each of which shows several covers of TM by a single designer arranged into groups. The main section provides glimpses of numerous spreads and pages. The layout is based on a strict grid and is very repetitive with the attention focused on the written and illustrated content. Between the main section and the appendix an overview of the covers is shown as thumbnails in chronological order. The shiny silver cover with black foil stamped text referrs to the pilot issue of TM published in 1932, known as the Silver Issue. Format 215 × 315 mm, 276 pages, 476 illustrations, hardcover. Published by Lars Mueller. Designed in collaboration with the main author Louise Paradis in 2013.
Credits
Designed with Louise Paradis. Image by Jonas Marguet.
Description
Tate etc. logo design in collaboration with Studio Ard for the redesign of the magazine. RH Inter typeface (now LL Medium) has been evolved and an updated medium and fresh out of the box regular cut are performing on the inside spreads of the magazine. Designed in 2017.
Credits
Art Direction and Graphic Design, Ard - Chuard & Norregaard.
Description
Second issue of “Diversions” of the pocketbook series “Cahier de recherche” published by ECAL. The series periodically collects and publishes a selection of the thesis papers from students of the Masters programmes, the second issue contains essays by students of the Masters Photography, Product and Type Design. The design is functional and straight forward, focusing on easy readability and a simple production approach making it possible to print entirely with the school’s facilities. Format 122 × 195 mm, 140 pages, 44 illustrations, cmyk printed inside, duotone cover with highgloss laminage and foil stamped title. Designed in 2017.
Credits
Image by Jonas Marguet.
Description
Poster design for the Cally Spooner exhibition “Drag Drag Solo” at the Centre d’Art Contemporain Geneva in 2018. Developed in close collaboration with the artist. The poster is conceived as a multilayered print with reference images, artworks and text and realized with a 5 spot color silkscreen print with metallic grey/blue, fluorescent red, translucent white, green and black. Designed in early 2018.
Credits
Images copyright Robert Huber.
Description
Logotype design for the french leather goods brand Lancel. For their 140 year anniversary, Lancel introduced this new logotype to mark the future of the brand. Designed in 2015. Art Direction Julien Gallico.
Credits
Images: Lancel campaign FW 15 and Lancel store.
Description
The book with pluridisciplinary essays and mostly unpublished material invites the reader to revisit this major helvetic exhibition in 1964. It aims to be a hybrid of academic reader and beautiful picture book. Four inserts of diverse historical images presented bled off on heavy paper form the introduction to each section of essays. The essays are based on a strict order of image and text positioning. The simple cover design shows an image of the highly controversial army pavilion. Format 143 × 230 mm, 440 pages, 225 illustrations, published by PPUR. Designed and published in 2014.
Credits
Image by Jonas Marguet.
Description
Micro identity for the Qiu Zhijie exhibition “Journeys without Arrivals” at the Centre d’art contemporain Geneva in 2017. Camouflage, animal patterns and a graphic reinterpretation of an artwork resulted into the graphic pattern which became the key visual for the visual identity of the exhibition material. Designed in late 2017.
Credits
Images by Jonas Marguet.
Description
The typeface specimens show a selection of three custom drawn typefaces presented at the Swiss Design Awards 2014. Each specimen is designed on a cross folded single standard format 70 × 100 cm sheet printed with one single spot colour. The pictures are scans of the actual projects showing the typefaces in use. Check the type design section for more information about the typefaces. Format 297 × 420 mm, 8 pages. Designed in 2014.
Credits
Image by Jonas Marguet.
Description
Micro identity for the Sonia Kacem exhibition “Night Shift” at the Centre d’Art Contemporain Geneva in 2016. Kacem is mostly known for installation works, however during a studio visit, a collection of paper collage works were discovered. These roughly photocopied and partially blurred collages of a sofa were used as the key elements for the compositions. It was decided not to show any on-site produced installation works within the identity, thus creating a more surprising experience when visiting the exhibition.
Credits
Images copyright Robert Huber.
Description
Design and drawing of the Balenciaga logotype. The logotype and graphic identity were developed and designed with the arrival of Alexander Wang at Balenciaga. The corporate logotype was prominently used under the directions of Alexander Wang and Demna Gvasalia between 2013–2017. Designed in 2013. Art Direction Julien Gallico.
Credits
Images: Balenciaga FW 13, FW 16 and FW17.
Description
Vacheron Constantin asked 12 students from the MAS LUX at ECAL to combine their creativity with that of an experienced craftsmen. Three projects for each season defined the basic editorial structure of the brochure. Each season has it’s own background for the full bleed still-life photographs shot by Jonas Marguet. Portraits of the artisan’s and work in progress images preceed and finish each of the season sections. Particular importance was attached on the rich materiality of the final object printed with 4 different papers and finished as a classic Swiss brochure. Format 220 × 315 mm, 52 pages, 86 illustrations. Designed in 2015.
Credits
Image by Jonas Marguet.
Description
The Vogue Light typeface is the result of a collaboration with the agency MarioTestino+. The bespoke typeface was drawn specifically for the Mario Testino special edition of Vogue Germany in March 2014. Besides the other artwork elements, it holds together the seven photo spreads. Used on the cover it immediately identifies the special edition.
Credits
All magazine spreads designed by Mario Testino+.
Description
Microidentity for the Steven Claydon exhibition at the Centre d’Art Contemporain Geneva in 2015. In close exchange with the artist we developed a graphic solution with geometric shapes based on measurement systems, repetitions and forms serving as the basic visual material for posters, banners, ads and invitation card. The two industrial colors RAL 2009 Traffic Orange and RAL 1018 Zink Yellow – referenced in Claydons work – were used as alternate options for each of the communication formats.
Credits
Images copyright Robert Huber.
Description
The EPFL+ECAL Laboratory, founded in 2007, exploits design in order to transform technological performance into a new experience for the user. This book places various projects of the Lab into the history of design and the accompanying changes in society. Projects and essays alternate within the two main sections History/Context/Encounter and Visions/Propositions. Format 155 × 240 mm, 216 pages, 60 illustrations, 2 language versions. Published by PPUR. Designed in 2013.
Credits
Image, Jonas Marguet
Description
Microidentity for the Giorgio Griffa and Reto Pulfer double exhibition at the Centre d’Art Contemporain Geneva in 2015. A typographic image was drawn with the two monograms of the artists using acrylic color and a large brush. The main intention of this concept was to create a strong key visual that did not favour one of the two artists, but still keeping the gestural brush stroke as a common element of both artists.
Credits
Images copyright Robert Huber.
    About

    Robert Huber founded his graphic design studio in 2012, in Lausanne Switzerland. Since 2018 it is based in Zurich. Working for cultural, institutional and commercial clients, the practice also includes both personal type design projects as well as bespoke type design for various clients. Collaborations with external designers and art directors have been part of the studio’s approach from the very beginning. Huber is currently teaching typography and type design at ECAL/University of Art and Design in Lausanne.

    Awards

    100 Best Posters, DE, AT, CH, 2018
    Swiss Design Award 2017
    German Design Award 2015
    Most Beautiful Swiss Books 2014
    Swiss Design Award 2014
    Most Beautiful Swiss Books 2013
    100 Best Posters, DE, AT, CH, 2009

    Exhibitions
Credits
Website by No-plans.com
Robert Huber
Graphic & Type Design
About
Lemaniana posters
Posters for “Lemaniana: Reflections on Other Scenes” – a collective exhibition celebrating the diversity of the contemporary artistic production in the Léman region at the Centre d’Art Contemporain Genève. Please check www.centre.ch for more information about the exhibition. The posters show three works by James Bantone, Mathilde Agius and Jeremy Dafflon. 5 color silkscreen print with high density spot varnish on the text. Designed in 2021.
Credits: Images by Julien Gremaud.
Bim18 Catalogue
For this edition BIM’s catalogue, the 20 artists and artists’ duos were asked to invite a comrade in arms or friend to contribute a text on their work. The result is a polyphony of different voices, writing styles, and points of view that suitably mirrors the exhibition in its complexity and unpredictability. The generous size of the publication (24x29 cm) allows to plunge into the photographs of the large scale installations, films and performances. The typographic voice is based on the visual identity. 176 pages, hardcover with embossed titlings.
Credits: Image by Jonas Marguet.
LL Medium
LL Medium is a new typeface based on a bold, archaic late-19th century sans serif published by the Bauer & Co. foundry in Stuttgart in the early 1880s, at the time simply named ‘Grotesk’. A quick and rough single cut of a semi-bold weight was debuted in a Jonathan Hares-designed publication at Venice Biennial 2014. Since then RH Inter – as the font was first called – has grown to a family of five weights with italics. The letter-shapes can be located at an intermediate moment in the history of type design when the path to sans serifs had opened, yet when the new typefaces were still far from the balance and elegance which would eventually characterise Akzidenz Grotesk (c.1898). LL Medium’s main characteristics are the differences in design between lower and uppercase letters, its heterogeneous shape groups and the blend of extravagant details. After a series of versions, subtle alterations, and optical adjustments executed over the course of six years, LL Medium has a strong presence as a headline typeface, but is very functional in body copy. For more information, type specimens and licensing, please visit lineto.com.
Credits: Designed between 2013-2019.
Bim18
Visual identity for the Biennale of Moving Images 2018. The video trailer of the Biennale is the core of this years identity. On the website (designed in collaboration with no-plans studio) it becomes the vehicle for the user/content experience. User interactions are transforming the moving image into an endless diversity of abstract blurred stills as backgrounds for the information layers. The printed identity material connects to this idea by using a diffused detail of Meriem Bennanis work “Party on the CAPS”. A structural typographic key-element of the identity are the three work categories Film, Exhibition, Live and the list of the 20 contributing artists. The titling font RH EuroGinevra is an updated homage to the classic Eurostile.
Credits: Image F12 poster by Etienne Malapert.
Prismatext
Prismatext (working title) has been developed as a companion text font for lineto's LL Prismaset. It originated as a custom typeface for the newly-developed museum cluster ‘Platform 10’ in Lausanne in 2017 with the goal to further complete the display font LL Prismaset. It comes in a range of 5 weights with light, regular, medium, bold and extrabold. The slides are close-ups of a publication designed by Studio Ard for the RCA School of Architecture graduation show, typeset in medium and extrabold. Please get in contact for any further information.
Credits: Typesetting and graphic design by Studio Ard, London.
Goran Trbuljak
Posters for Goran Trbuljaks retrospective “Before and After” at the Centre d’Art Contemporain Genève. The early work from 1971 with the title “ne zelim pokazati nista novo i originalno (engl.: I don’t want to show anything new or original)” has been reproduced with silkscreen printing on F4 poster size. The original information announcing the first exhibition of Goran Trbuljak has been crossed out and overprinted with an additional layer containing the information of the upcoming 2018 retrospective. On the second poster of the diptyche, a current portrait of the artist found on the web, has been digitally printed on F4 poster size and then silkscreen overprinted with the same information layer.
Credits: Image by Etienne Malapert.
LL Moderne
LL Moderne is inspired by humanist sans serifs such as Antique Olive, Balance and Frutiger while defining its own distinctive identity. Developed from scratch starting in early 2013 Moderne is coming in Light, Book, Regular, Medium, Bold, Black and Fat, each with matching italics. The straightforward design combined with it’s subtle and controlled details brings a font with own personality and charm, suitable for use in both small and big text. The type specimen was produced for the presentation of the LL Moderne typeface at the Swiss Design Awards 2017. Conceived as a set of six large-format, it shows off all cuts of the typeface, in various settings, from very big to extra small. More information and pdf specimen on lineto.com.
Credits: Image by Jonas Marguet.
TM RSI SGM 1960–90
This richly illustrated book guides the reader through the history of the TM journal between 1960 and 1990. The book begins with a series of double-page photos, each of which shows several covers of TM by a single designer arranged into groups. The main section provides glimpses of numerous spreads and pages. The layout is based on a strict grid and is very repetitive with the attention focused on the written and illustrated content. Between the main section and the appendix an overview of the covers is shown as thumbnails in chronological order. The shiny silver cover with black foil stamped text referrs to the pilot issue of TM published in 1932, known as the Silver Issue. Format 215 × 315 mm, 276 pages, 476 illustrations, hardcover. Published by Lars Mueller. Designed in collaboration with the main author Louise Paradis in 2013.
Credits: Designed with Louise Paradis. Image by Jonas Marguet.
Tate etc. logo
Tate etc. logo design in collaboration with Studio Ard for the redesign of the magazine. RH Inter typeface (now LL Medium) has been evolved and an updated medium and fresh out of the box regular cut are performing on the inside spreads of the magazine. Designed in 2017.
Credits: Art Direction and Graphic Design, Ard - Chuard & Norregaard.
Diversions 2
Second issue of “Diversions” of the pocketbook series “Cahier de recherche” published by ECAL. The series periodically collects and publishes a selection of the thesis papers from students of the Masters programmes, the second issue contains essays by students of the Masters Photography, Product and Type Design. The design is functional and straight forward, focusing on easy readability and a simple production approach making it possible to print entirely with the school’s facilities. Format 122 × 195 mm, 140 pages, 44 illustrations, cmyk printed inside, duotone cover with highgloss laminage and foil stamped title. Designed in 2017.
Credits: Image by Jonas Marguet.
Cally Spooner
Poster design for the Cally Spooner exhibition “Drag Drag Solo” at the Centre d’Art Contemporain Geneva in 2018. Developed in close collaboration with the artist. The poster is conceived as a multilayered print with reference images, artworks and text and realized with a 5 spot color silkscreen print with metallic grey/blue, fluorescent red, translucent white, green and black. Designed in early 2018.
Credits: Images copyright Robert Huber.
Lancel Logo
Logotype design for the french leather goods brand Lancel. For their 140 year anniversary, Lancel introduced this new logotype to mark the future of the brand. Designed in 2015. Art Direction Julien Gallico.
Credits: Images: Lancel campaign FW 15 and Lancel store.
Revisiter l’Expo 64
The book with pluridisciplinary essays and mostly unpublished material invites the reader to revisit this major helvetic exhibition in 1964. It aims to be a hybrid of academic reader and beautiful picture book. Four inserts of diverse historical images presented bled off on heavy paper form the introduction to each section of essays. The essays are based on a strict order of image and text positioning. The simple cover design shows an image of the highly controversial army pavilion. Format 143 × 230 mm, 440 pages, 225 illustrations, published by PPUR. Designed and published in 2014.
Credits: Image by Jonas Marguet.
Qiu Zhijie
Micro identity for the Qiu Zhijie exhibition “Journeys without Arrivals” at the Centre d’art contemporain Geneva in 2017. Camouflage, animal patterns and a graphic reinterpretation of an artwork resulted into the graphic pattern which became the key visual for the visual identity of the exhibition material. Designed in late 2017.
Credits: Images by Jonas Marguet.
Typeface Specimens
The typeface specimens show a selection of three custom drawn typefaces presented at the Swiss Design Awards 2014. Each specimen is designed on a cross folded single standard format 70 × 100 cm sheet printed with one single spot colour. The pictures are scans of the actual projects showing the typefaces in use. Check the type design section for more information about the typefaces. Format 297 × 420 mm, 8 pages. Designed in 2014.
Credits: Image by Jonas Marguet.
Sonia Kacem
Micro identity for the Sonia Kacem exhibition “Night Shift” at the Centre d’Art Contemporain Geneva in 2016. Kacem is mostly known for installation works, however during a studio visit, a collection of paper collage works were discovered. These roughly photocopied and partially blurred collages of a sofa were used as the key elements for the compositions. It was decided not to show any on-site produced installation works within the identity, thus creating a more surprising experience when visiting the exhibition.
Credits: Images copyright Robert Huber.
Balenciaga Logo
Design and drawing of the Balenciaga logotype. The logotype and graphic identity were developed and designed with the arrival of Alexander Wang at Balenciaga. The corporate logotype was prominently used under the directions of Alexander Wang and Demna Gvasalia between 2013–2017. Designed in 2013. Art Direction Julien Gallico.
Credits: Images: Balenciaga FW 13, FW 16 and FW17.
Vacheron Constantin
Vacheron Constantin asked 12 students from the MAS LUX at ECAL to combine their creativity with that of an experienced craftsmen. Three projects for each season defined the basic editorial structure of the brochure. Each season has it’s own background for the full bleed still-life photographs shot by Jonas Marguet. Portraits of the artisan’s and work in progress images preceed and finish each of the season sections. Particular importance was attached on the rich materiality of the final object printed with 4 different papers and finished as a classic Swiss brochure. Format 220 × 315 mm, 52 pages, 86 illustrations. Designed in 2015.
Credits: Image by Jonas Marguet.
Vogue Light
The Vogue Light typeface is the result of a collaboration with the agency MarioTestino+. The bespoke typeface was drawn specifically for the Mario Testino special edition of Vogue Germany in March 2014. Besides the other artwork elements, it holds together the seven photo spreads. Used on the cover it immediately identifies the special edition.
Credits: All magazine spreads designed by Mario Testino+.
Steven Claydon
Microidentity for the Steven Claydon exhibition at the Centre d’Art Contemporain Geneva in 2015. In close exchange with the artist we developed a graphic solution with geometric shapes based on measurement systems, repetitions and forms serving as the basic visual material for posters, banners, ads and invitation card. The two industrial colors RAL 2009 Traffic Orange and RAL 1018 Zink Yellow – referenced in Claydons work – were used as alternate options for each of the communication formats.
Credits: Images copyright Robert Huber.
Ruptures fertiles
The EPFL+ECAL Laboratory, founded in 2007, exploits design in order to transform technological performance into a new experience for the user. This book places various projects of the Lab into the history of design and the accompanying changes in society. Projects and essays alternate within the two main sections History/Context/Encounter and Visions/Propositions. Format 155 × 240 mm, 216 pages, 60 illustrations, 2 language versions. Published by PPUR. Designed in 2013.
Credits: Image, Jonas Marguet
GGRP
Microidentity for the Giorgio Griffa and Reto Pulfer double exhibition at the Centre d’Art Contemporain Geneva in 2015. A typographic image was drawn with the two monograms of the artists using acrylic color and a large brush. The main intention of this concept was to create a strong key visual that did not favour one of the two artists, but still keeping the gestural brush stroke as a common element of both artists.
Credits: Images copyright Robert Huber.
    ↑
    />
    Lemaniana posters
    />
    Bim18 Catalogue
    />
    LL Medium
    />
    Bim18
    />
    Prismatext
    />
    Goran Trbuljak
    />
    LL Moderne
    />
    TM RSI SGM 1960–90
    />
    Tate etc. logo
    />
    Diversions 2
    />
    Cally Spooner
    />
    Lancel Logo
    />
    Revisiter l’Expo 64
    />
    Qiu Zhijie
    />
    Typeface Specimens
    />
    Sonia Kacem
    />
    Balenciaga Logo
    />
    Vacheron Constantin
    />
    Vogue Light
    />
    Steven Claydon
    />
    Ruptures fertiles
    />
    GGRP

    • info@robert-huber.net

      Hardstrasse 243
      CH-8005 Zurich
      Switzerland

      Robert Huber founded his graphic design studio in 2012, in Lausanne Switzerland. Since 2018 it is based in Zurich. Working for cultural, institutional and commercial clients, the practice also includes both personal type design projects as well as bespoke type design for various clients. Collaborations with external designers and art directors have been part of the studio’s approach from the very beginning. Huber is currently teaching typography and type design at ECAL/University of Art and Design in Lausanne.

    • Awards

      100 Best Posters, DE, AT, CH, 2018
      Swiss Design Award 2017
      German Design Award 2015
      Most Beautiful Swiss Books 2014
      Swiss Design Award 2014
      Most Beautiful Swiss Books 2013
      100 Best Posters, DE, AT, CH, 2009

    • Exhibitions

    • Credits

      Website by No-plans.com