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Design Process of Aquavit
Work on Aquavit started with the idea Felix Braden had of creating a contemporary typeface influenced by the art movement Jugendstil – in German, named after the Munich-based revolutionary art magazine Jugend (1896–1940). Internationally, the art style is called Art Nouveau, as in French. Exploring Jugendstil's emphasis on organic elements, flowing lines, and expressive features sparked the initial ideas for Aquavit's design. This phase focused on capturing the essence of Jugendstil while envisioning how these influences could manifest in the final typeface.
Initially, he was uncertain regarding the direction of Aquavit's design. Should it lean towards a highly experimental, challenging-to-read typeface, or should it adopt a more simplistic approach? In the end, he opted for clarity and precision and chose clearer, more defined shapes. During the entire design process, the serifs became more and more subtle, and in some cases, were only indicated. This simplification improved legibility and, at the same time, preserved the essence of Art Nouveau with its flowing and expressive forms.
In sans serif typefaces with high contrast, the ends of the hairlines often lack visual emphasis, which poses a challenge for legibility, especially in small point sizes. To solve this problem, he used a broad nib pen to create a calligraphic swash at the end of each hairline. This new element not only adds visual impact but also serves as an eye-catcher that gives the typeface a sense of stability and works similarly to serifs. In the end, the typeface became much more legible and versatile, creating a balance between contemporary aesthetics and a cozy retro charm. Incidentally, alternates of these swashes for the capital letters are available as an OpenType feature.
Get to know Felix
Felix Braden, the mind behind Aquavit, works and lives in Cologne, Germany. He studied communication design at the Trier University of Applied Sciences, sharpening his skills under Prof. Andreas Hogan, and is an alumnus of Jens Gehlhaar's Gaga Design. In 2000, he launched his own type foundry, Floodfonts — a playground for his growing collection of characterful fonts — and went on to co-found the design studio Glashaus.
These days, he brings his creative spark to MWK Cologne, where he leads branding projects like the visual identity for Malteser International and the logo for the Romano-Germanic Museum. His work has caught international attention, earning nods from the Communication Arts Typography Annual, the European Design Awards, and a nomination for the German Design Award. In his free time, rather than pushing pens he sometimes likes to push balls, because he is a passionate boules player. When the skies turn grey, he follows in the creative footsteps of his idol Rian Hughes, diving into illustration. And for a louder change of pace, he enjoys losing himself in the energy of indie and punk rock concerts.
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