Originally created with cutting in red litho film, as a headlining typeface for Vinyl music magazine. Its geometric structure was very applicable for early type design experiments on the computer. First published in Emigré magazine: “...the reduced template of angles which generates Max Kisman’s 1988 Zwartvet, akin to the minimal vocabulary of geometric elements employed in Albers’s 1925 stencil letters;...” (Ellen Lupton and J. Abbott Miller, Signs of Novelty, Emigré 15, 1990)

...in the early 1980s, he (Max Kisman) became the designer of a small, independent music magazine Vinyl. This Amsterdam-based publication was set up very much as a response to the innovative British magazine, The Face. Responding to Neville Brody’s radical designs for that magazine, Kisman began to experiment by creating new headline typefaces for each issue... (Emily King. New Faces: type design in the first decade of device-independent digital typesetting. 1987-1997.