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Seraina Baumgartner is a contemporary Swiss graphic designer and letterform artist known for her refined use of classical Roman lettering traditions within modern design contexts. Her work frequently draws on historical serif typefaces such as Caslon, Baskerville, and Trajan, using their proportions and structural logic as a foundation rather than treating them as decorative pastiche. Baumgartner’s approach reflects a kinship understanding of inscriptional Roman capitals and early print book typography. Typefaces like Caslon and Baskerville populate her work through their balance of calligraphic stroke contrast and elegant forms, while Trajan’s influence is evident in her use of monumental capitals, classical spacing, and stone-carved strength. Her design agility references her work with a sense of classicism, authority, and legibility. The core qualities closely associated with Roman letterforms and her Italian/Swiss origins. What distinguishes Baumgartner’s use of these styles is her restraint and controlled scaling. Rather than falling into the common trap of many young graphic designers of overt overdressed graphic historicism. Seraina retains their essential principles — proportion, rhythm, and spacing hierarchy — and applies them to contemporary commercial worlds of retail layouts, wayfinding, and private house titles and numerals. This aligns her own heritage and design practice with a humanist modernist tradition, embracing classical Roman typography via the lens of Swiss graphic design precision.
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Seraina Baumgartner is a contemporary Swiss graphic designer and letterform artist known for her refined use of a wide range of popular type. She has a love for classical Roman lettering traditions within modern design contexts of her current lettering and signage projects.

A serious lettering artist, her work frequently draws on historical typefaces such as Johnston, Gill, Bodoni, Caslon, Baskerville, Helvetica and Trajan, revering their structural beauty as a grail foundation rather than decorative gloss.

Baumgartner’s approach reflects a kinship understanding of inscriptional Roman capitals and early print book typography. Typefaces like Caslon and Baskerville populate her work through their balance of calligraphic stroke contrast and elegant forms, while Trajan’s influence is evident in her use of monumental capitals, classical spacing, and stone-carved strength.

Her design agility references her work with a sense of classicism, authority, and legibility. The core qualities closely associated with Roman letterforms and her Italian/Swiss origins.

What distinguishes Baumgartner’s use of these styles is her restraint and controlled scaling. Rather than falling into the common trap of many young graphic designers of overt overdressed graphic historicism. Seraina retains their essential principles — proportion, rhythm, and spacing hierarchy — and applies them to contemporary commercial worlds of retail layouts, wayfinding, and private house titles and numerals. This aligns her own heritage and design practice with a humanist modernist tradition, embracing classical Roman typography via the lens of Swiss graphic design precision.

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