I enjoyed the work I did, and considered working on our own font library only when I had time.
When I first started out I needed money, so I took on commissions. I think this is more of a historical development. Compared to making fonts for the retail market, did you find that the more interesting option? The company has grown steadily and organically over the last twenty years, and today Dalton Maag employs over forty people, most of us based in London but also in Boston, Brazil, Vienna and most recently in Hong Kong.Ĭontrary to most type design companies, your studio mainly develops custom typefaces for a broad range of clients. I simply couldn’t find the right job in the type design industry, and really, I wanted to be my own boss.
We were both huddled around the only Mac in the company doing fun stuff, whilst the Monotype staff were merely shaking their heads.Īfter my work at Monotype, both in the UK and the US, I started Dalton Maag with Liz Dalton, my wife. The day I started was also when I first met Just van Rossum, who spent a couple of months at Monotype for work experience. He invited me to join Monotype to start up a Custom Type department. During some work experience at Stempel (yes, I am that old), I met Rene Kerfante who eventually moved to Monotype in the UK. Doing Visual Communication was simply an extension of my desire to continue my design education and deepen my understanding of type design.Īs my education came to an end, I knew I wanted to be a type designer for the rest of my life. It was during this first bit of further education at Basel that I was introduced to type design. My background has always been in typography, starting with a typesetting apprenticeship and followed by a typographic design degree at the Basel School of Design. Bruno, how does a Swiss designer with a degree in Visual Communications from the Basel School of Design end up in London running a type design company?
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