First sketched with a nostalgic reverence to an earlier era of dry transfer lettering (1960s–1980s), prototype versions were drawn with multiple in-lines, but during the design phase were simplified down to one² . In-line letters have a long history of being modified in order to create a harmonious logo. SEGA’s iconic wordmark was based on Teruoki Yagi’s Yagi Double³ , with modified proportions. Ronald Clyne’s colorful use of Dubbeldik for an LP entitled: André Charles & His Quisqueya Ibo Combo Group – uses filled-in counter forms and overprinting for a dynamic effect⁴ .

Type designer Malte Bentzen has kept this history of display modification in mind and features an innovative stylistic set of optional ligatures, allowing a ‘connected’ set to be activated – building word marks faster than your undergraduate university typography professor can break out the burnisher. The ‘connected’ ligature set is optimized for most letter pairings, linking letters with horizontal, vertical and diagonal stems, while also creating variation in rhythm within a word when multiple routes of connections are possible (maintaining a sequence of top>bottom>top, to create alternating movement within words). Additional levels of customization are available through a ‘soft’ stylistic alternate set, including alt forms for ‘A’ ‘R’ ‘M’ ‘m’ ’n’ ‘a’ ‘r’ ‘u’ and ’t’ – these kawaii-like alternate forms would feel at home on translucent consoles, and early aughts optimism⁵.

Logistik has been carefully engineered for bold headlines and hi-vis logotypes – it is nearly monolinear, but definitely not monotone. Instead its innovative construction and scripting results in dynamic wordmarks, whether outputted onto reflective 3M substrates, your favorite fluorescent pantone (hit 2X on the offset press, bitte), or a simple one colour job on bond paper – Logistik retains visibility in all conditions.