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Hi, I am Simon Thiefes,
student of typedesign at the University of Reading. I am drawing fonts, work with typography and try to make my designer life easier with code. You can drop me a line or take a look at my instagram or join me on twitter.



Vita:
↳ 2019: Studying Typeface Design @ University of Reading, Reading, UK
↳ 2019: B.A. Communication Design TYP/O @ FH Aachen, Aachen, Germany
↳ 2019: Research Assistant, Research programme TYP/O @ FH Aachen, Aachen, Germany
↳ 2018: Internship, intégral ruedi baur, Paris, France ↘irb paris
↳ 2017: Research Assistant, Typography and Letterpress @ FH Aachen, Aachen, Germany ↘Atelier_Bleidruck
↳ 2015: Abitur, Stolberg, Germany
↳ 2013: Exchange, Québec, Canada

Publications:
↳ 2017: Boxhorn #33, FH Aachen, Aachen, Germany ↘Boxhorn Magazine

About
De:Krypt

Research on the digital transcription of Egyptian Hieroglyphs.

Currently Egyptian Hieroglyphs are rendered mainly as images for screen and print. Complex arrangements of glyphs has made it impossible for former type designers, to work out adequate  hieroglyphic fonts offering the possibility to properly display glyph arrangements.
New technology now offers the possibilities to change this problem. »De:Krypt« thus is a research project exploring the possibilities for Hieroglyphs on computers and screens. The above project is a compendium of my findings to launch my bachelor’s thesis.
De:Krypt

flurbericht

Under the premise of conceiving and designing a »Bookazine« – a mixture of magazine and book – the first prototype edition of the periodical »flurbericht« was created in the summer semestre 2017 in the cooperation course »News & Stories« at the design department of the FH Aachen.

Topic of this issue: Japan

In terms of content, Flurbericht covers the classic weekly newspaper sections – politics, business, society, science, culture and nature – which deal with a specific country per issue. The start of the series is made interesting by the fact that Japan is socio-culturally very different from the West. Issue 1 offers more than just factual reports; for example a portrait of one of the world’s best sushi chefs, travel reports of exciting locations and interviews with extraordinary personalities.

The content claim of a factual, yet sensitive perspective is supported by the design: The simplicity of the layout is countered by typographic accents and detailed illustrations that convey an impression of the region under consideration. A special highlight is the Bookazine cover, which can be unfolded into an A0-format poster that offers an overview of the topics of the issue, especially in an aesthetically pleasing way.

↘https://www.designmadeingermany.de/2018/143118/

flurbericht

Boxhorn #33

Boxhorn Magazine is a student magazine and is thus published entirely by students. All interviews on the topic of communication are created by students.
↘https://boxhorn-magazin.de/

Boxhorn is the magazine from the design department of the FH Aachen. As early as 1998 the first issue of the magazine was published as part of a diploma thesis; the Boxhorn is thus one of the oldest university design magazines in Germany.

In the meantime Boxhorn has been established as a semestre project in which the student editors are able to work completely independently. A team of communication design students is responsible for the planning, organisation, editing, design, marketing, financing and distribution of the magazine.

Issue 33: Communication

What role or significance does communication have in different areas of life and work? How can these be defined, questioned and expanded at the same time? For this purpose we spoke, wrote, telephoned, in short: we communicated with different people from the respective subject areas. It resulted in a magazine communicating about communication.

Conception, design and implementation:
Theresa Bispinck, Tobias Küppers, Lars Quester, Konstantin Saller, Leonie Seitz and Simon Thiefes

Supervision:
Prof. Ilka Helmig

Boxhorn #33

Hinweis

A history of the arrow in hundred arrows.

“One can easily imagine […] that the arrow is one of the oldest signs of man.” Therefore this project deals with the arrow as drawing, sign, symbol and signal and shows the variance of the arrow in different cultural and reference areas.

↑ As an open collection of arrows, a website is available where anyone can submit arrows.

Hinweis

square grotesk

Developement of a geometric modular sans serif typeface.

↑ First explorative sketches in search for abstraction of form and letter construction.

↑ Testing of word compositions.

When will a typeface be recognized as typeface? Which parts of a letter do you need to recognize it without any doubt? Starting from high-contrast fonts, an experimental writing system gradually emerged which, due to its simplicity, is ideally suited for small font sizes. The absence of complicated contrast distributions, the reduction to essential components as well as a uniformly distributed complexity give this modular typeface, square grotesk, a unique, »grotesque« character.

↑ square grotesk in use in a letterpress workshop.
After my explorations in the sketching process I turned square grotesk in an »from-analog-to-digital-to-analog-process« into functional letterpress wooden letters. Printing with my own typeface was quite fun!

square grotesk

Contemporary Hebrew typedesign since 1948.

A research project analysing contemporary movements in Hebrew type design.

↑ A typeface for each designer is presented.
↑ Layout and design principles are derived from the horizontal letterforms of Hebrew letters.
Five Israeli key figures in type design are presented with their corresponding works and their contributions to the developement of Hebrew type design.
Contemporary Hebrew typedesign since 1948.

Between Blackletter and Roman

Poster design for a talk with Jérôme Knebusch at FH Aachen.

↑ Animated and adapted version for online and social media use.

Between Blackletter and Roman

Zainer Gotico-Antiqua

Revival of a typeface by Johann Zainer

Incorporated into a research project led by students of the ANRT in Nancy,  Zainer Gotico-Antiqua evolved as a  revival from scans we made from an Incunabula of Renaissance times. Apart from the three blackletter types (Textura, Bastarda, Rotunda) and Roman, a fifth form, Gotico-Antiqua, were cut between 1459 and 1482. Together, in a workshop we developed a full set of glyphs and accompanying initials.
↘http://gotico-antiqua.anrt-nancy.fr/en#caracteres/

 

Workshop participants:
Marco Bazelmans, Andreas Blindert, Annija Česka, Paula Dahlem, Robert Franke, Martha Ionnidou, Janusz Kendel, Tobias Küppers, Henry Monse, Carlotta Piontkowitz, Leonie Viola Sarbo, Jemmifer Schönlau, Paul Theisen, Simon Thiefes, Felix Wochnik.

Supervision:
Jérôme Knebusch, Alexis Faudot, Rafael Ribas

Zainer Gotico-Antiqua

Designing content — from yours to others

Poster design for a talk by Morgane Rébulard and Colin Caradec.

Designing content — from yours to others

Futura Super Extra Bold

Extension of Paul Renner’s Futura to match the style »Super Extra Bold«.

↑ The digitized glyph set.

In a workshop with Jérôme Knebusch at Mainz we hand-drew a super extra bold variant of Paul Renner’s Futura. From these sketches I developed a digitized version.
Futura Super Extra Bold