Achaz Reuss is a former URW type designer. He founded his own design agency Reuss Design in 1995, specializing in corporate design and corporate type, including the NIVEA brand typeface. He is the designer behind FF QType and also contributed to Albert-Jan Pool’s typeface FF DIN.
In our latest ‘At Home With’ series, we caught up with our founder Erik Spiekermann as he takes us through the Berlin townhouse he shares with Susanna Dulkinys and talks about printing presses, his most hated typefaces and what led him to become a typomaniac.
Alright, this isn’t necessarily about using type—more like using text—but hang with me and you’ll find the information is still applicable if not ultimately very handy. Much of the initial work of typesetting is rearranging and stripping the junk out of your text, including removing that pesky second space after each period.
Our ‘At Work With’ series takes a peek behind the scenes of our FontFont designers at work. For the first in our
series, we visited Ralph du Carrois who worked on the Cyrillic and Greek character sets for one of our most popular FontFonts, FF Meta Serif. Working alongside Botio Nikoltchev, Ralph also contributed to the Extra Bold and Light weights of FF Meta Serif. Ralph’s studio Carrois Type Design is located very close to the Ostkreuz S-Bahn station in Berlin. A live/work arrangement set over three floors, his space is a visual treat with exposed concrete and a treasure trove of type treats.
Let’s dive in. In this article I’ll give a few pointers on setting the appropriate baseline interval, some specifics on how to set up an InDesign document, and I’ll likely keep it pretty vague discussing baseline grids on screen media.