Tag Archives: Bruno Maag

Do I Miss Designing Letters?

I’ve been running and living Dalton Maag for a little over 22 years. The company has changed a fair amount over that time and I now find myself the Chairman of a business that employs more than fifty people in various roles. I’m getting further and further away from being a hands-on type designer as I’ve had to take on more responsibility for the overall vision of the business. I’m certain that I’m not the only designer turned manager who has gone through this, and I’m often asked: do I miss designing letters?

Yes, I do. There are often times I would like to get my hands dirty, muck around with curves, marvel at the shape of a serif, and even get bored over kerning and hinting. That is not to say that I haven’t been enjoying growing a business and all that comes with it: fretting over cashflow, threatening clients to pay up, encouraging my wonderful staff to do ever better things.

To fulfil my desire for creating letterforms I often doodle for myself, or I start drawing up a few letters on the screen. It allows me to make sure that I can still practice what I preach when I give lectures and presentations. But managing the growth of Dalton Maag, together with my team of directors, is consuming. As much as seeing one’s own typeface used in the world is highly satisfying, so is seeing the growth of a company and the people within it.


Bruno joins the team in drawing some letters

I started Dalton Maag out of necessity. I simply didn’t have a job to go to after returning to London from Chicago, where I had been working for Monotype. And type designer jobs didn’t really exist at the time. In the beginning, going ‘freelance’ was simply a means to make a living. It was only after a while that I realised that, with the right focus and determination, I could actually make this into a successful enterprise.

Dalton Maag when the team was still small

Dalton Maag when the team was still small

Like many others, I did the boring bits of running a business: collecting receipts and doing VAT accounts, chasing clients for money, cold-calling. These were mixed in with the exciting bits of clinching a project, coming up with great conceptual work, drawing typefaces, and meeting people. Today, I am managing a company that lets me be more creative again. Not so much in the sense of drawing letters but by evangelising about my passion: type. It lets me think about the next great project and how we deal with the challenges; it lets me help young people make a start in their life by giving them training, either as interns or as staff. It lets me realise that I must have one of the best jobs in the world.


Just a few years ago the team was only 20 people

No doubt, I have had dark days when I wanted to throw in the towel, when I asked myself why I am doing this? Why don’t I just go and draw letters for someone else? And then I remember the excitement that comes from managing my own business. Do I miss designing letters? Yes I do. But not as much as I would miss running my own business.


Dalton Maag now employs 50 people across the world

Type and Sound

What are the essential elements that make a brand unique? How do you create bespoke tools that capture the imagination to engage audiences visually and emotionally? Siegel+Gale are hosting a unique event at the London Design Festival which combines type and sound to answer these questions. Our very own Bruno Maag will be speaking on how fonts can enrich a brand, and he will be joined later by Massive Music for a session on demystifying how sound enhances a brand experience.

Bruno will be telling us why he likes the world’s most controversial typeface, Comic Sans, and getting the audience to jump into a debate on typeface choice. What does your typeface reveal about you? What are the motivations for using a specific type style? Has the digital world created a new Wild West for fonts? He’ll also be asking what’s really important when it comes to choosing a typeface for branding and giving an overview of how a corporate typeface is born.

The event takes place at Soho House on 18th September, starting at 12.30pm. You can register for tickets at http://typeandsound.eventbrite.co.uk/

Thalia Teasdale

Internships Should be a Learning Experience Not Free Labour

I recently wrote in this blog about my thoughts on education, stating that we ought to consider traditional apprenticeships as a way of giving the younger generation an opportunity to contribute to society in a meaningful way. I wanted to follow this up by commenting on the curse that is unpaid internships or work experience placements.

Despite unpaid internships being illegal in the UK the practice continues, and is endemic. Too often I hear from design graduates that agencies ask them to join them in an unpaid internship for several months. The carrot is that they may be offered a permanent position at the end. During the internship, the young person will work on projects and actually be a productive member of staff, contributing to the agency’s margins. Yes, the intern will gain invaluable experience, but where else do they have the chance to do so other than actually working on the job? I have certainly never heard of anybody ever coming out of university fully formed.

Too often, I also hear that young people are forced to undertake a number of unpaid internships in succession, all of them in an environment where they contribute to the income of the company. This seems, at the very least, excessive. Surely, at some point, the person will have the requisite experience for gainful employment and be worth payment for their work. Do employers not understand that young people need to eat, and pay rent in the same way as everyone else?

Unpaid internships and work experience are not only a curse within the design industry, but pervade right through our entire economy. It was not too long ago that reports of government agencies enforcing unpaid work schemes for jobseekers became public. Unpaid internships cause economic hardship, but more importantly, they undermine a person’s confidence in themselves and society as a whole.


Cosimo, our newest intern, learning the basics.

At Dalton Maag we regularly have interns, but they are learning and not working for us. We have built a thorough training program, that gives the intern an insight into how a professional digital type foundry operates. The interns are rarely involved in the production process, simply because they do not have the requisite experience to contribute commercially. For this reason we assist our interns with their living and travel expenses during their stay with us, rather than paying them a wage. Occasionally, we come across a talented person who we feel can add value to our output. In those circumstances the intern will be paid a living wage for the work they carry out under our instruction.

I believe that unpaid internships are not unlike unpaid pitches. None of us running a design agency wants to pitch for free, and many of us simply refuse to do so. So why are young people expected to work as unpaid interns? Is that not a contradiction?

Bruno Maag

Education, Education, Education…

It was not so long ago that Michael Gove, minister for Education in the UK, proposed scrapping design and art education from his plans for the introduction of the EBacc certification. This provoked outrage from the art and design community, and rightly so. It is a slap in the face to all of us when the government’s website states that they are proud of the creative industries which contribute over £36 billion a year, and provide around 1.5 million jobs. Not only that, but 29.17 million people are employed in the creative industries, nearly 20% of all UK employment. And, it contributes about 10% of all exports*.

Clearly, this shows that design and art education is not just about getting your colour crayons out and doing some nice doodling for your mum and dad. Design and art provide not only tangible financial returns but our work, from any area of the creative industries, improves the quality of life for many groups in society.

For me the entire EBacc debate has again made me think whether our professional education system serves our young people. Is it really such a good idea to push everyone through a university mill, leaving people tens of thousands of pounds in debt, and possibly with degrees that have little weight once the job market is entered? Can we really expect everybody to be academically minded? Should we not go back to a traditional apprenticeship system that allows people to learn a trade in a mixture of practical skills and theoretical knowledge, and that enables them to compete in the job market with tangible skills?

I benefitted from a four year traditional apprenticeship, as a typesetter in Zurich, Switzerland, that I started at the tender age of 16. When I look back, I realise that not only was I able to gain skills but more importantly, I was in an environment that allowed me the space to grow up, and to gain confidence as a human being. This was possible because in this working environment I was exposed to role models, both male and female, outside the family. To me this was probably more important than the grades I received during the regular tests.

 Bruno certificate (web)

Traditional apprenticeships provide an opportunity for many young people to learn valuable life and professional skills. Not everyone is academically minded, not everyone wants to do A-Levels, or any exams necessary to progress to university, and not everyone actually wants to spend years in higher education. But without those vital grades, without the university degree, life simply stops, and young people end up either unemployed, or in low-wage jobs. This is fundamentally wrong since it affects society for generations to come.

Youth unemployment amongst the 16-24 year group is over 20%**. This simple statistic lets us project the impact on society in 15 years time, and research explains that the long term damage to individuals and the economy is staggering ***. By introducing traditional apprenticeship schemes, funded and supported by both government and industry, we would allow for a non-academic approach to education, with the added benefit of creating a highly skilled workforce that is able to compete in both national and international markets.

I agree that a professional education must include an introduction to academic rigour, but it has to be provided in tandem with rigorous manual and craft skills. When I hire a young designer, I need that person to be able to space a line of type. It is no good to me that they can write a 10,000 word essay about it. I need that person to have experienced first hand the impact of colour choice in practical terms, how it affects different printing techniques, or how it reacts to different papers; they must be able to do more than debate the various colour theories.

I believe that many aspiring graphic designers are badly let down by the current graphic design education. They are being educated in overcrowded classrooms, are in many cases given only minimal access to tutors, and generally have to find their own way in the world. This is at a crucial time when they face many different challenges in their lives. It is our responsibility as a society, and as the parent generation, to ensure they get all the support we can give them to form them into rounded human beings, who will one day fulfil their responsibility in society. And never forget, it is the generation that will one day pay our generation’s pension.

It is not enough that we just debate education and how to prepare young people for the future. It is time that we as a society take our responsibility seriously. For this reason, Dalton Maag has always offered internships to allow design students to gain more in-depth typographic skills, and for this reason we continue to have ideas on how we can make this even more beneficial to young people and the design industry.

It is also for this reason that we must stay vigilant and look out for people like Michael Gove, people with a misguided approach to social justice, whose ambition appears to be not to improve education for all, but to create a divided society.

Bruno Maag


* See https://www.gov.uk/government/policies/making-it-easier-for-the-media-and-creative-industries-to-grow-while-protecting-the-interests-of-citizens
** See http://www.parliament.uk/briefing-papers/sn05871
*** See http://www.cesi.org.uk/sites/default/files/event_downloads/ACEVO_report.pdf

Aktiv Grotesk Advance


Over the last few years we’ve gained quite some experience designing the more complex non-Latin scripts. This has mostly been through our work with Nokia, but also with some other projects such as the dual language Arabic-Latin signage font for Metro Dubai, or the packaging for McDonald’s which also has an Arabic script.

In our own library we’re laying the foundation for a ‘global’ font with Aktiv Grotesk Advance, that one day will hopefully contain enough scripts to cover the majority of languages that are spoken in the world. This is, of course, a huge undertaking, considering that Aktiv Grotesk now consists of 16 font styles, and that in excess of 100,000 glyphs will have to be created to add the new scripts. We feel we’re ready to tackle it.

We’re planning to release Aktiv Grotesk Advance by the middle of May 2013. This project has been quietly under way for some time and does not yet include the new font weights recently published. The Advance Edition is an extension of the existing Corporate Edition and will include many more Latin glyphs for many minority languages and Greek Polytonic, to allow setting and reading of classical Greek. It will also feature Hebrew and Arabic Extended, supporting the many and various languages that use the Arabic script. Hebrew and Arabic will also be separately available as Aktiv Grotesk ME Edition.

We will also be publishing Cordale Arabic at the same time, to expand the range of our Arabic font styles with an elegant Naskh style typeface. Cordale Arabic can already be seen being used by the Qatari based bank QNB, who received a special advance copy of the font.

Bruno Maag