Conceived as an exercise in formal reduction, Schwarzweiss tensions the legacy of the Swiss Grotesk genre with more contemporary requirements. Built on solid classical references, each glyph is designed for clarity, and sophisticated neutrality. The drawing approach is rationalized to avoid any visual distractions when reading the content, while maintaining a strong minimalist æsthetic. Conceived by Alex Dujet, Schwarzweiss has been meticulously refined and tested on several of his personal and commissioned projects.
Over time, the font has constantly evolved in terms of finishing touches and glyph extensions, until it perfectly met the designer’s expectations. Ensuring a clean and homogeneous contrast across the spectrum, the result tends to timeless elegance, offers broad language coverage, and alternative stylistic systems that modulate readability affinities or allow for a more graphic approach to title composition. Schwarzweiss is a font family composed of 10 weights and related italics, 10 stylistic sets, and a variable font.
Adrian Frutiger’s “black and white” theory revolves around the fundamental relationship between positive and negative space in design, particularly in typography. He viewed the white space within and around letterforms as equally important to the black shapes of the letters themselves, suggesting that the absence of light (white) is just as crucial as the presence of ink (black) in creating a legible and aesthetically pleasing design. This concept extended to his design philosophy, where he emphasized the importance of contrast and the interplay of opposing elements to construct a clear and impactful visual language. Frutiger saw the forms of letters (positive space) and the spaces surrounding them (negative space) as interconnected and interdependent. He believed that a well-designed typeface should consider both aspects equally.
Adrian Frutiger’s “black and white” theory revolves around the fundamental relationship between positive and negative space in design, particularly in typography. He viewed the white space within and around letterforms as equally important to the black shapes of the letters themselves, suggesting that the absence of light (white) is just as crucial as the presence of ink (black) in creating a legible and aesthetically pleasing design. This concept extended to his design philosophy, where he emphasized the importance of contrast and the interplay of opposing elements to construct a clear and impactful visual language. Frutiger saw the forms of letters (positive space) and the spaces surrounding them (negative space) as interconnected and interdependent. He believed that a well-designed typeface should consider both aspects equally.
Adrian Frutiger’s “black and white” theory revolves around the fundamental relationship between positive and negative space in design, particularly in typography. He viewed the white space within and around letterforms as equally important to the black shapes of the letters themselves, suggesting that the absence of light (white) is just as crucial as the presence of ink (black) in creating a legible and aesthetically pleasing design. This concept extended to his design philosophy, where he emphasized the importance of contrast and the interplay of opposing elements to construct a clear and impactful visual language. Frutiger saw the forms of letters (positive space) and the spaces surrounding them (negative space) as interconnected and interdependent. He believed that a well-designed typeface should consider both aspects equally.
Adrian Frutiger’s “black and white” theory revolves around the fundamental relationship between positive and negative space in design, particularly in typography. He viewed the white space within and around letterforms as equally important to the black shapes of the letters themselves, suggesting that the absence of light (white) is just as crucial as the presence of ink (black) in creating a legible and aesthetically pleasing design. This concept extended to his design philosophy, where he emphasized the importance of contrast and the interplay of opposing elements to construct a clear and impactful visual language. Frutiger saw the forms of letters (positive space) and the spaces surrounding them (negative space) as interconnected and interdependent. He believed that a well-designed typeface should consider both aspects equally.
Adrian Frutiger’s “black and white” theory revolves around the fundamental relationship between positive and negative space in design, particularly in typography. He viewed the white space within and around letterforms as equally important to the black shapes of the letters themselves, suggesting that the absence of light (white) is just as crucial as the presence of ink (black) in creating a legible and aesthetically pleasing design. This concept extended to his design philosophy, where he emphasized the importance of contrast and the interplay of opposing elements to construct a clear and impactful visual language. Frutiger saw the forms of letters (positive space) and the spaces surrounding them (negative space) as interconnected and interdependent. He believed that a well-designed typeface should consider both aspects equally.
Adrian Frutiger’s “black and white” theory revolves around the fundamental relationship between positive and negative space in design, particularly in typography. He viewed the white space within and around letterforms as equally important to the black shapes of the letters themselves, suggesting that the absence of light (white) is just as crucial as the presence of ink (black) in creating a legible and aesthetically pleasing design. This concept extended to his design philosophy, where he emphasized the importance of contrast and the interplay of opposing elements to construct a clear and impactful visual language. Frutiger saw the forms of letters (positive space) and the spaces surrounding them (negative space) as interconnected and interdependent. He believed that a well-designed typeface should consider both aspects equally.
Adrian Frutiger’s “black and white” theory revolves around the fundamental relationship between positive and negative space in design, particularly in typography. He viewed the white space within and around letterforms as equally important to the black shapes of the letters themselves, suggesting that the absence of light (white) is just as crucial as the presence of ink (black) in creating a legible and aesthetically pleasing design. This concept extended to his design philosophy, where he emphasized the importance of contrast and the interplay of opposing elements to construct a clear and impactful visual language. Frutiger saw the forms of letters (positive space) and the spaces surrounding them (negative space) as interconnected and interdependent. He believed that a well-designed typeface should consider both aspects equally.
Adrian Frutiger’s “black and white” theory revolves around the fundamental relationship between positive and negative space in design, particularly in typography. He viewed the white space within and around letterforms as equally important to the black shapes of the letters themselves, suggesting that the absence of light (white) is just as crucial as the presence of ink (black) in creating a legible and aesthetically pleasing design. This concept extended to his design philosophy, where he emphasized the importance of contrast and the interplay of opposing elements to construct a clear and impactful visual language. Frutiger saw the forms of letters (positive space) and the spaces surrounding them (negative space) as interconnected and interdependent. He believed that a well-designed typeface should consider both aspects equally.
ES Schwarzweiss Post Universal Modernism
& Power Work System. Spacing (1/48 Pitch) 1227*
ES Schwarzweiss Post Universal Modernism
& Power Work System. Spacing (1/48 Pitch) 1227*
ES Schwarzweiss Post Universal Modernism
& Power Work System. Spacing (1/48 Pitch) 1227*
ES Schwarzweiss Post Universal Modernism
& Power Work System. Spacing (1/48 Pitch) 1227*
ES Schwarzweiss Post Universal Modernism
& Power Work System. Spacing (1/48 Pitch) 1227*
ES Schwarzweiss Post Universal Modernism
& Power Work System. Spacing (1/48 Pitch) 1227*
ES Schwarzweiss Post Universal Modernism
& Power Work System. Spacing (1/48 Pitch) 1227*
ES Schwarzweiss Post Universal Modernism
& Power Work System. Spacing (1/48 Pitch) 1227*
ES Schwarzweiss Post Universal Modernism
- Italic
- Width
- Weights
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A Á Ă Ắ Ặ Ằ Ẳ Ẵ Ǎ  Ấ Ậ Ầ Ẩ Ẫ Ä Ạ À Ả Ā Ą Å Ã A Á Ă Ắ Ặ Ằ Ẵ Ǎ  Ậ Ầ Ẩ Ẫ Ä Ạ À Ả Ā Ą Å Å A Á Ă Ắ Ặ Ằ Ẵ Ǎ  Ậ Ầ Ẩ Ẫ Ä Ạ À Ả Ā Ą Å Å Æ B C Ć Č Ç Ĉ Ċ D Ð Ď Đ E É Ĕ Ě Ê Ế Ệ Ề Ể Ễ Ë Ė Ẹ È Ẻ Ē Ę Ẽ F Ƒ G Ğ Ǧ Ĝ Ģ Ġ G Ğ Ǧ Ĝ Ģ Ġ H Ħ Ĥ I IJ Ĭ Ǐ Î Ï İ Ị Ì Ỉ Ī Į Ĩ J Ĵ K Ķ L Ĺ Ľ Ļ Ŀ Ł M N Ń Ň Ņ Ŋ Ñ O Ó Ŏ Ǒ Ô Ố Ộ Ồ Ổ Ỗ Ö Ọ Ò Ỏ Ơ Ớ Ợ Ờ Ở Ỡ Ő Ō Ø Õ Œ P Þ Q R Ŕ Ř Ŗ S Ś Š Ş Ŝ Ș ẞ Ə T Ŧ Ť Ţ Ț U Ú Ŭ Ǔ Û Ü Ǘ Ǚ Ǜ Ǖ Ụ Ù Ủ Ư Ứ Ự Ừ Ử Ữ Ű Ū Ų Ů Ũ V V V W W W Ẃ Ŵ Ẅ Ẁ Ẃ Ŵ Ẅ Ẁ Ẃ Ŵ Ẅ Ẁ X Y Ý Ŷ Ÿ Ỵ Ỳ Ỷ Ȳ Ỹ Z Ź Ž Ż a á ă ắ ặ ằ ẳ ẵ ǎ â ấ ậ ầ ẩ ẫ ä ạ à ả ā ą å ã a á ă ắ ặ ằ ẳ ẵ ǎ â ấ ậ ầ ẩ ẫ ä ạ à ả ā ą å ã æ b c ć č ç ĉ ċ d ð ď đ d ď đ e é ĕ ě ê ế ệ ề ể ễ ë ė ẹ è ẻ ē ę ẽ ə f g ğ ǧ ĝ ģ ġ h ħ ĥ i ı í ĭ ǐ î ï ị ì ỉ ij ī į ĩ j ȷ ĵ k ķ k ķ k ķ l ĺ ľ ļ ŀ ł m n ń ň ņ ŋ ñ o ó ŏ ǒ ô ố ộ ồ ổ ỗ ö ọ ò ỏ ơ ớ ợ ờ ở ỡ ő ō ø õ œ p þ q r ŕ ř ŗ s ś š ş ŝ ș ß t ŧ ť ţ ț u ú ŭ ǔ û ü ǘ ǚ ǜ ǖ ụ ù ủ ư ứ ự ừ ử ữ ű ū ų ů ũ v w w w ẃ ŵ ẅ ẁ ẃ ŵ ẅ ẁ ẃ ŵ ẅ ẁ x y ý ŷ ÿ ỵ ỳ ỷ ȳ ỹ y ý ŷ ÿ ỵ ỳ ỷ ȳ ỹ z ź ž ż fi fl ff ft ffi ffl fft ª º ª Δ Ω 0 1 2 2 3 4 4 5 6 7 7 8 9 ⁰ ¹ ² ² ³ ⁴ ⁴ ⁵ ⁶ ⁷ ⁷ ⁸ ⁹ ⁄ ½ ¼ ¾ ⅔. ¼ ⅖ ⅛ ⅜ ⅝ ⅞. , : ; … ! ¡ ? ¿ · • * # / \ ( ) { } [ ] - – — _ ‚ „ “ ” ‘ ’ « » ‹ › " ' ¢ ¤ $ € ƒ ₺ ₽ £ ¥ + − × ÷ = ≠ > < ≥ ≤ ± ≈ ¬ ~ ^ ∞ ∫ Ω ∆ ∏ ∑ √ µ ∂ % ‰ ↑ ↗ → ↘ ↓ ↙ ← ↖ ↰ ↱ ↲ ↳ ⇆ ⇆ ⟲ ⟳ ◊ @ & & & ¶ § © ℗ ® ™ ° | ¦ † ‡ ℮ №
Language Coverage
Basic Latin-1 / Mac Roman
Latin Extended-A,
Western Europe, Central Europe,
South-West Europe,
Vietnamese, Pinyin
Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Atayal, Aymara, Azerbaijani, Bashkir, Basque, Belarusian, Bemba, Bikol, Bislama, Bosnian, Breton, Bulgarian Romanization, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Chinese Pinyin, Cimbrian, Cofan, Cornish, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kaingang, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Inari, Sami Lule, Sami Northern, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Vietnamese, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zazaki, Zulu, Zuni