Custom

Custom Type

For us, commissioned work is the rule rather than the exception. Many of the custom projects below were undertaken by Luc(as) de Groot’s FontFabrik label.

New custom font for Miele

LucasFonts has developed the Miele Elements sans serif neo-grotesque family for Miele. How do you go about designing a custom typeface, what challenges do you face, and how do you deal with the many different icons of this particular client?

Our Clients

We have designed custom fonts for a number of partners in the automotive, consumer electronics, journalism, and telecommunications industries.

ARD Logos

When Munich-based design agency Luxlotusliner was tasked with redesigning ARD’s logos, Luc(as) de Groot was asked for advice and fine-tuning.

Karwath+Todisko pixel fonts

LucasFonts works with a wide base of clients – including artists. In 2018, Karwath+Todisko used a custom pixel font we created for an installation at the TU Darmstadt.

Fonts for Der Spiegel

When Uwe Beyer’s redesign of Germany’s Der Spiegel news magazine went to press in 1997, it introduced new fonts from Luc(as) de Groot. Over the next two decades, he developed more typefaces for the magazine with FontFabrik and LucasFonts. These are used on the Der Spiegel’s website, too.

Calibri

The famous Calibri type family was designed by LucasFonts for Microsoft early in the 21st century. Part of the ClearType Font Collection, it quickly became the default family inside Microsoft Word, making it one of the most-used fonts anywhere.

Consolas

Beloved by programmers, the monospaced Microsoft Consolas was designed at LucasFonts. Launched as part of Microsoft’s ClearType Font Collection, the fonts are also a very readable choice for use in Excel spreadsheets.

Slab Serif for Carlsberg

Together with Kontrapunkt in Copenhagen, LucasFonts designed a small slab serif typeface family for Carlsberg, the global brewing company headquartered in Denmark. The typeface received a Red Dot Design Award in 2015.

Carlsberg Font Extensions

For Taxi Studio’s Carlsberg rebranding, the agency commissioned a bespoke bold-weight sans serif font from a British designer. They then worked with us to expand that in two directions: First, we developed lighter weights Then we gave all of the fonts more language support.

Futura for Volkswagen

Back in the 1990s, good digital versions of the classic Futura weren’t readily available yet. Still working at MetaDesign, Luc(as) drew two weights to fix this. Volkswagen used those fonts for their body copy and headlines from 1996 all the way until 2015.

Volkswagen Group Fonts

Together with MetaDesign in Berlin, we created customized versions of TheAntiqua and TheSans for the Volkswagen Group’s corporate design. The changes we made to TheAntiqua were significant; because of the added high-contrast, they resulted in what is practically a brand new typeface.

Heineken Corporate Fonts

Heineken has one of the world’s best-known beer identities. The company’s famous CEO Alfred Henry “Freddy” Heineken (1923–2002) is said to have played a major role in the conception of its logo. Luc(as) had a hand in a 1999/2000 corporate design revision.

V&A Stencil fonts

For a 2017 exhibition on rock music from the 1960s at the Victoria & Albert Museum in London, Luc(as) created an all-caps stencilled version of TheSans. This was a great extension to TheSans, which the museum had been using in their general design since 2002.

New Fonts for Jungle World

When the in-house design team of the German political weekly Jungle World was preparing a drastic redesign in the late 1990s, Luc(as) de Groot was called in as a consultant. He provided the hand-painted nameplate and a special version of Sun for headlines.

Taz – Die Tageszeitung

When the daily newspaper Die Tageszeitung (taz) came to FontFabrik in 1996 for an overhaul, its look was out of the ’70s: Futura Condensed Bold headlines and a nameplate in American Typewriter. Luc(as) proposed a custom headline face with similar characteristics.

Corpid Additions for Metro

Metro is a free daily newspaper in many different countries, with multiple editions. For its basic design template, Ole Munk chose to use the Corpid family. Yet his typographic design required a version in-between the standard Bold and ExtraBold weights.

Icons for Miele

Household appliances are used by the young and old, around the globe by speakers of many languages. Icons make them easier to understand and operate. For almost two decades, we’ve collaborated with Miele to expand the palette of product icons.

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