Robert Huber
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    Robert Huber
  • Graphic Design
  • Type Design
    Projects
    Overview
    Info
  • From Concrete to… Dialogue of the Dogs BIM’21 catalogue Superfictional Sanctuaries BIM’21 Goran Trbuljak Revisiter l’Expo 64 BIM’24 BIM’18 Catalogue Cally Spooner TM RSI SGM 1960–90
  • LL Geigy LL Prisma Text Lancel Logo LL Moderne Tate Etc. logo LL Medium Vogue Light Balenciaga Logo
    Robert Huber
  • Graphic Design
  • Type Design
    Projects
    Overview
    Info

  • Hardstrasse 243
    CH-8005 Zurich
    Switzerland

  • info@robert-huber.net

Description
Geigy is inspired by graphic design produced in Switzerland in the decade before the global success of Helvetica and Univers eclipsed much of the aesthetically less standardised work of the era. Particularly intrigued by the title lettering of a corporate periodical for Geigy, Switzerland’s leading pharmaceutical company in the post-war era. The playfully dynamic and extravagant curves of these shapes form an eccentric counterpoint to the usually sober and austere sans-serifs of the era. A pronounced thick-thin contrast and tightly closed letterforms with horizontal terminals, paired with compact metrics, became the backbone and starting point of the design for LL Geigy. Thanks to a sophisticated balance between proportions, dimensions, metrics and the particular shapes of individual letters, LL Geigy offers a high level of recognition for titles, while fully responding to functional criteria when used in small. Two monospaced weights and a variable duplex version complement the family. Designed between 2020-2024, published by lineto GmbH, Zürich. Check lineto.com for full description and specimens.
Credits
Backround images by Lineto/Pablo Desportes
Description
The word, both written and spoken, was the focus of Centre d’Art Contemporain Genève’s exhibition From Concrete to Liquid to Spoken Worlds to the Word in 2017. Five years after the show, the catalogue was finally published in 2022. It retraces the fundamental stages of this event through critical essays, images of the works and installations, and the calendar of per­formances and poetry readings. 178 pages, 180×240mm, Swiss brochure with 8 panel gatefold cover.
Credits
Image by Jonas Marguet.
Description
Exhibition poster for Will Benedict’s solo exhibition Dialogue of the Dogs at Centre d’Art Contemporain Genève. The poster has been designed in close collaboration with the artist Will Benedict. A fruitful exchange of ideas, proposals and remarks finally resulted in this poster which graphically frames the smaller size new artwork *Weird War 1* (2022). The information layer with bold shapes and text is catching the attention from far away. The detailed reproduction of the smaller artwork can be admired when standing close to the poster. The poster is printed with a glossy black over a mat red to maximize the level of contrast. 89.5×128cm, 6 color silkscreen print. Designed in collaboration with Will Benedict.
Credits
Designed in collaboration with Will Benedict.
Description
Catalogue for the Biennale de l'Image en Mouvement, curated by DIS and Andrea Bellini. For this edition BIM’s catalogue, images and texts of the presented works have been seperated into two different volumes, similar to the seperation of a story script and the final film result. Both volumes are boxed in a welded cardboard slipcase. 176 pages, hardcover with embossed titlings. 24×29 cm, 300 pages, Softcover Otabind with slipcase.
Credits
Image by Jonas Marguet.
Description
LL Prisma Text 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. LL Prisma Text designed between 2017-21. For more information, type specimens and licensing, please visit lineto.com.
Credits
Typesetting and graphic design by Studio Ard, London.
Description
Exhibition poster for Guerreiro Di Divino Amor’s solo exhibition Superfictional Sanctuaries at Centre d’Art Contemporain Genève. At the Centre d’Art Contemporain Genève, Guerreiro presents for the first time all existing Superfictions, turning the institution into a superfictional sanctuary. Moving image works are presented within installations including large-scale backlit panels and sculptures. The poster shows a detail of the work Supercarioca Superfictional Cosmogony, reproduced and combined with a simple layer of typography. Pushing the saturation and vividness of the detail as far as possible, without having a backlight option for the poster. The sharp contrast of a bold and a delicately light font seemed to support the dense and dystopian image collage well and plays with readability. The typographic composition is arranged in temple-like word arches. Size 89.5×128cm, 5 color silkscreen print, designed in 2022.
Credits
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
Visual identity for the Biennale de l’Image en Mouvement 2021 curated by DIS and Andrea Bellini. The video trailer of the Biennale and a series of stills are used as the portal to dive into the website and the various printed material of the 2021 edition. Website designed in collaboration with Frederik Mahler-Andersen. Video trailer by Enrico Boccioletti.
Credits
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
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
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
Logo design in collaboration with Studio Ard for the redesign of the magazine Tate Etc., published by Tate Gallery London three times a year. RH Inter typeface (now LL Medium) is also used as one of the two main typefaces on the inside spreads of the magazine. Designed in 2017, in use until 2020.
Credits
Art Direction and Graphic Design, Ard - Chuard & Norregaard.
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
Campaign and key-visual design for the Biennale de l’Image en Mouvement 2024 curated by Nora N. Khan and Andrea Bellini. The design of the key visual is meant to work both in virtual and physical space. It interpretates the reflection of the curators around the title “A Cosmic Movie Camera” which is a reference to astrophysicists’ recent discovery of the photon ring around a black hole, the “infinite light trap”. The design of the image was done by using found image, AI generated images combined with traditional photoshop layering and image retouching. Designed in 2023/24. CGI images and virtual exhibition by EPOCH.
Credits
Key visual and poster design by Robert Huber. CGI images and virtual exhibition by EPOCH.
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 (24×29 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
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
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
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
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.
    About

    Robert Huber founded his graphic design studio in Lausanne, Switzerland, in 2012. Since 2018, the studio has been based in Zurich. The practice serves cultural, institutional, and commercial clients, and includes personal and bespoke type design projects. Collaborations with other designers and art directors have been an integral part of the studio’s activity from the very beginning. Aside from running the studio, Huber has also been active in design education since 2012, and currently holds a teaching position for typography and type design at ECAL/University of Art and Design in Lausanne.

    Awards

    Swiss Design Award (2014 and 2017)
    The Most Beautiful Swiss Books (2013, 2014, 2022)
    German Design Award 2015
    100 Best Posters, DE, AT, CH (2009, 2018, 2022)

    Exhibitions
Credits
Website by No-plans.com
Robert Huber
Graphic & Type Design
About
LL Geigy
Geigy is inspired by graphic design produced in Switzerland in the decade before the global success of Helvetica and Univers eclipsed much of the aesthetically less standardised work of the era. Particularly intrigued by the title lettering of a corporate periodical for Geigy, Switzerland’s leading pharmaceutical company in the post-war era. The playfully dynamic and extravagant curves of these shapes form an eccentric counterpoint to the usually sober and austere sans-serifs of the era. A pronounced thick-thin contrast and tightly closed letterforms with horizontal terminals, paired with compact metrics, became the backbone and starting point of the design for LL Geigy. Thanks to a sophisticated balance between proportions, dimensions, metrics and the particular shapes of individual letters, LL Geigy offers a high level of recognition for titles, while fully responding to functional criteria when used in small. Two monospaced weights and a variable duplex version complement the family. Designed between 2020-2024, published by lineto GmbH, Zürich. Check lineto.com for full description and specimens.
Credits: Backround images by Lineto/Pablo Desportes
From Concrete to…
The word, both written and spoken, was the focus of Centre d’Art Contemporain Genève’s exhibition From Concrete to Liquid to Spoken Worlds to the Word in 2017. Five years after the show, the catalogue was finally published in 2022. It retraces the fundamental stages of this event through critical essays, images of the works and installations, and the calendar of per­formances and poetry readings. 178 pages, 180×240mm, Swiss brochure with 8 panel gatefold cover.
Credits: Image by Jonas Marguet.
Dialogue of the Dogs
Exhibition poster for Will Benedict’s solo exhibition Dialogue of the Dogs at Centre d’Art Contemporain Genève. The poster has been designed in close collaboration with the artist Will Benedict. A fruitful exchange of ideas, proposals and remarks finally resulted in this poster which graphically frames the smaller size new artwork *Weird War 1* (2022). The information layer with bold shapes and text is catching the attention from far away. The detailed reproduction of the smaller artwork can be admired when standing close to the poster. The poster is printed with a glossy black over a mat red to maximize the level of contrast. 89.5×128cm, 6 color silkscreen print. Designed in collaboration with Will Benedict.
Credits: Designed in collaboration with Will Benedict.
BIM’21 catalogue
Catalogue for the Biennale de l'Image en Mouvement, curated by DIS and Andrea Bellini. For this edition BIM’s catalogue, images and texts of the presented works have been seperated into two different volumes, similar to the seperation of a story script and the final film result. Both volumes are boxed in a welded cardboard slipcase. 176 pages, hardcover with embossed titlings. 24×29 cm, 300 pages, Softcover Otabind with slipcase.
Credits: Image by Jonas Marguet.
LL Prisma Text
LL Prisma Text 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. LL Prisma Text designed between 2017-21. For more information, type specimens and licensing, please visit lineto.com.
Credits: Typesetting and graphic design by Studio Ard, London.
Superfictional Sanctuaries
Exhibition poster for Guerreiro Di Divino Amor’s solo exhibition Superfictional Sanctuaries at Centre d’Art Contemporain Genève. At the Centre d’Art Contemporain Genève, Guerreiro presents for the first time all existing Superfictions, turning the institution into a superfictional sanctuary. Moving image works are presented within installations including large-scale backlit panels and sculptures. The poster shows a detail of the work Supercarioca Superfictional Cosmogony, reproduced and combined with a simple layer of typography. Pushing the saturation and vividness of the detail as far as possible, without having a backlight option for the poster. The sharp contrast of a bold and a delicately light font seemed to support the dense and dystopian image collage well and plays with readability. The typographic composition is arranged in temple-like word arches. Size 89.5×128cm, 5 color silkscreen print, designed in 2022.
Credits:
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.
BIM’21
Visual identity for the Biennale de l’Image en Mouvement 2021 curated by DIS and Andrea Bellini. The video trailer of the Biennale and a series of stills are used as the portal to dive into the website and the various printed material of the 2021 edition. Website designed in collaboration with Frederik Mahler-Andersen. Video trailer by Enrico Boccioletti.
Credits:
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.
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.
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.
Tate Etc. logo
Logo design in collaboration with Studio Ard for the redesign of the magazine Tate Etc., published by Tate Gallery London three times a year. RH Inter typeface (now LL Medium) is also used as one of the two main typefaces on the inside spreads of the magazine. Designed in 2017, in use until 2020.
Credits: Art Direction and Graphic Design, Ard - Chuard & Norregaard.
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.
BIM’24
Campaign and key-visual design for the Biennale de l’Image en Mouvement 2024 curated by Nora N. Khan and Andrea Bellini. The design of the key visual is meant to work both in virtual and physical space. It interpretates the reflection of the curators around the title “A Cosmic Movie Camera” which is a reference to astrophysicists’ recent discovery of the photon ring around a black hole, the “infinite light trap”. The design of the image was done by using found image, AI generated images combined with traditional photoshop layering and image retouching. Designed in 2023/24. CGI images and virtual exhibition by EPOCH.
Credits: Key visual and poster design by Robert Huber. CGI images and virtual exhibition by EPOCH.
BIM’18 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 (24×29 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.
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+.
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.
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.
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.
    ↑
    />
    LL Geigy
    />
    From Concrete to…
    />
    Dialogue of the Dogs
    />
    BIM’21 catalogue
    />
    LL Prisma Text
    />
    Superfictional Sanctuaries
    />
    Lancel Logo
    />
    BIM’21
    />
    LL Moderne
    />
    Goran Trbuljak
    />
    Revisiter l’Expo 64
    />
    Tate Etc. logo
    />
    LL Medium
    />
    BIM’24
    />
    BIM’18 Catalogue
    />
    Vogue Light
    />
    Cally Spooner
    />
    TM RSI SGM 1960–90
    />
    Balenciaga Logo

    • info@robert-huber.net

      Hardstrasse 243
      CH-8005 Zurich
      Switzerland

      Robert Huber founded his graphic design studio in Lausanne, Switzerland, in 2012. Since 2018, the studio has been based in Zurich. The practice serves cultural, institutional, and commercial clients, and includes personal and bespoke type design projects. Collaborations with other designers and art directors have been an integral part of the studio’s activity from the very beginning. Aside from running the studio, Huber has also been active in design education since 2012, and currently holds a teaching position for typography and type design at ECAL/University of Art and Design in Lausanne.

    • Awards

      Swiss Design Award (2014 and 2017)
      The Most Beautiful Swiss Books (2013, 2014, 2022)
      German Design Award 2015
      100 Best Posters, DE, AT, CH (2009, 2018, 2022)

    • Exhibitions

    • Credits

      Website by No-plans.com