Round but angular.
Straight and stable, yet smooth:
A low contrast sans-serif type family for
display and editorial use.

About this Typeface

Maschek grotesk is a versatile and distinctive type family specifically designed for display and editorial use. It radiates a clear and reliable stability in accordance with a soft and warm appearance. Its letterform proportions and construction details result in a trustworthy and serious yet friendly personality – garnished with a pinch of humor.

While the heavy weights are perfectly suited for impactful display use, the well balanced text weights achieve remarkable legibility results. The large character set of 936 glyphs per style offers extended latin language support as well as various OpenType features such as small caps, ­case sensitive forms, 12 different figure sets, 9 stylistic sets, fractions, contextual alternates and many more.

This type family consists of 22 fonts: eleven weights plus corresponding italics, offering
a wide range from razorblade
thin to well balanced text weights
and even expressive ultra-fat display styles.

Hover for Italics!

Watch Variable Font!

Two-thirds of the Austrian comedian trio »Maschek«: Peter Hörmanseder & Robert Stachel.*

Why Maschek, why grotesk?

»Maschek« is a specific Viennese term meaning something like »other« or »other­ness«, deriving from the hungarian word »másik«. People in Vienna say someone comes from the »maschek-side« referring to the back side or the other side, or when things are done in a different way than expected.

It is also the name of an austrian comedy trio, well-known for their absurd-grotesque satirical live voice-overs of tv-footage. Developed from hand-crafted letterings for their posters and flyers, this typeface is scheduled to become Maschek’s official »corporate typeface« in the near future, and will consequently be showcased in all of the comedians’ print-, web- and tv-broadcasting-publications.

In German language use »grotesk« is the general term for sans serif type­faces (including, but not limited to »grotes­ques«). Furthermore the adjective »grotesk« means preposterous or bizarre, »[…], and thus is often used to describe weird shapes and distorted forms …« (Wikipedia – grotesque)

These are attributes that match both, the comedians‘ exploits – creating grotesque situations – , as well as how the letterforms are constructed: When you closely look at Maschek Grotesk’s curves you will notice that every curvature includes a corner somewhere. That’s just like squaring the circle. Grotesque, isn’t it? Similarily the type­face’s stems are neither soley angular nor rounded. Rather they have influences from both sides: the usual one and the »maschek-side«.

Affectionately constructed with passion
and hand-carved precision.

And there’s even more going on behind the
scenes – have a look at some of
Maschek Grotesk’s technical aspects:

About the Designer

Stefan Biedermann is a type designer from Vienna/Austria.

While dedicating his life to music for many years, he had an international standing as a DJ and music producer, known as »DJ DSL«. In addition to his love of music there’s always been a strong interest in graphic design and typography, which he intensified during recent years. Next to various graphical activities such as creating all kinds of printed matters as well as lettering and logo- calendar- and book design this resulted in an ever-growing attraction towards the field of type design, on which he puts his main focus now.

So far he has produced a few display fonts for private use and clients such as the famed German football club FC St. Pauli, now with »Maschek Grotesk« Biedermann is launching his first take on a professional, well-equipped type family.

For more detailed information about »Maschek Grotesk«
and extended text-setting examples
please have a look at the pdf-specimen or get in contact:


all rights reserved – Stefan Biedermann 2021

*Maschek Illustration drawn by Birgit Biedermann-Eschenlor /
More info about the comedians »Maschek«: 

Thanks to Stefan Willerstorfer for providing assistance in phrasing the texts, Tommy Allamoda for translations into English,
everyone from the Viennese »Typo-Stammtisch« for their valuable input, Johannes Lang, the Glyphs-forum, Peter and Robert (Maschek), Elmar Schmidinger, and to my family.
Extra special thanks to my wife Birgit and my daughter Emma.