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AÁÀÂÄÃÅBCČĆDĎEÉÈÊËĒĚĖFGHI ÍÌÎÏJKLĹMNÑŃOÓÒÔÖÕŐŌPQRŔŘS ŠŚTŤUÚÙÛÜŪŮŰVWXYÝŸZŽŻŹ #1234567890¶®©™∆@aáàâäãåābc čćdeéèêëēěėfghiíìîïıījklĺmnñńňoóò ôöõőōpqrŕřsšśßtuúùûüūůűvwxyýÿ zžżź•?!æœ �0123456789*$£¥€�™& Thffifchgicpffb�fksbfifftcky�ty† АБВГДЕЁЖЗИЙКЛМНОПРСТУФХЦ ЧШЩЪЫЬЭЮЯЌЉЊЎҐЃЄЇЏ±×÷‰ абвгдеёжзийклмнопрстуфхцчшщ ъыьэюяќґѓєїњљ{}@№(1234567890) abcdefghijklmnopqrstUvwxy*z #1234567890®©™¶?%&${}[]+abcd efghijklmnopqrstuvwxyz АБВГДЕЁЖЗИЙКЛМНОПРСТУФХЦЧШ ЩЪЫЬЭЮЯ«абвгдеёжзийклмнопрсту фхцчшщъыьэюя» Designed by Eugene Yukechev

Kafka F A M I L Y


Kafka Family the typefamily for the sharp minds

Š Eugene Yukechev, 2010 British Higher School of Art and Design. Course Type and Typography


Justus Erich Walbaum, – Type founder, type designer, punch cutter. Trained as a spice merchant and pastry cook in Braunschweig. : Berthold AG in Berlin gains possession of art of the Walbaum foundry and some of its matrices. Kafka Serif typeface uses the principle of “squareness” of the ovals. That is one of the definitive features of the Walbaum typeface, that distincts it in a row of modern faces.

Eugene Yukechev, British School of Art and Design. Course Type and Typography, . Tutor Ilya Ruderman Teachers: Dmitriy Aronov, Danila Vorobyov, Valery Golyzhenkov, Eugene Dobrovinsky, Vera Evstafieva, Vladimir Yefimov, Alexandra Korolkova, Denis Serikov, Alexander Tarbeev, Anton Terekhov, Alexey Shevtsov. The guests and master-classes: Yomar Augusto, Eugene Grigoryev, Vladimir Krichevsky, Yana Maurah, Julia Harina, Yury Yarmola, Yury Gordon

4 Kafka Family by Eugene Yukechev


Kafka Typefamily was designed for use in the publication of literature and intellectual magazines. ¶ Based in essence on the tradition modern face, Kafka Serif has recognizable nature not disturbing from a measured reading and moderate contrast. Kafka Sans, in turn, represents a contrast neo-grotesque, convenient to use as a companion to main text, as well as independently. ¶ Why Kafka? Typeface own his name to Franz Kafka with the story of its appearance and its crisp graphic details.

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Kafka Serif Regular Kafka Italic Regular Kafka Sans Regular

Kafka Typefamily is presented by a pair of serif and sans (italic is defined for future development). Text typefaces are designed with respect to use in large volume publications. Additional attention was paid to legibility and optimum contrast, inclining for a comfortable reading. Kafka Serif has modern nature, while basing on the classic image of modern face with possible German accent. Neo-grotesque Kafka Sans, designed on the basis of serif, is calm-natured and works well in the accompanying text, while not lacking expression and independence.

6 Kafka Family by Eugene Yukechev

English German French Spanish Dutch Italian Portuguese Finnish Swedish Polish Czech Slovak Russian Ukrainian


AÁÀÂÄÃÅBCČĆDĎEÉÈÊËĒĚĖFGHI ÍÌÎÏJKLĹMNÑŃOÓÒÔÖÕŐŌPQRŔŘS ŠŚTŤUÚÙÛÜŪŮŰVWXYÝŸZŽŻŹ #1234567890¶®©™†§∆@aáàâäãåābc čćdeéèêëēěėfghiíìîïıījklĺmnñńňoóò ôöõőōpqrŕřsšśßtuúùûüūůűvwxyýÿ zžżź•?!æœ�0123456789*$£¥€�™& Thffifchgicpffb�fksbfifftcky�ty† АБВГДЕЁЖЗИЙКЛМНОПРСТУФХЦ ЧШЩЪЫЬЭЮЯЌЉЊЎҐЃЄЇЏ±×÷‰ абвгдеёжзийклмнопрстуфхцчшщъ ыьэюяъќґѓєїњљ{}@№(1234567890) abcdefghijklmnopqrstUvwxy*z #1234567890®©™¶?%&${}[]+abcd efghijklmnopqrstuvwxyz АБВГДЕЁЖЗИЙКЛМНОПРСТУФХЦЧШ ЩЪЫЬЭЮЯ«абвгдеёжзийклмнопрсту фхцчшщъыьэюя»~ 7 British Higher School of Art and Design, 


The existence of the

writer is an argument against the existence of the soul, for the soul has obviously

taken flight

From The Real Ego but not improved itself, only become a writer

To Max Brod, July 5, 1922

Шрифтовая семья

для смелых МЫСЛЕЙ¶ Designed by Eugene Yukechev

8 Kafka Family by Eugene Yukechev


Sought out by leading avant-garde publishers, Kafka reluctantly published a few of his writings during his lifetime. These publications include two sections (1909) from Beschreibung eines Kampfes (1936; Description of a Struggle); Betrachtung (1913; Meditation), a collection of short prose pieces; and other works representative of Kafka's maturity as an artist — The Judgment, a long story written in 1912; two further long stories, Die Verwandlung (1915; Metamorphosis) and In der Strafkolonie (1919; In the Penal Colony); and a collection of short prose, Ein Landarzt (1919; A Country Doctor). Ein Hungerkünstler (1924; A Hunger Artist), four stories exhibiting the concision and lucidity characteristic of  Kafka's late style, had been prepared by the author but did not appear until after his death. In fact, misgivings about his work caused Kafka before his death to request that all of his unpublished manuscripts be destroyed; his literary executor, Max Brod, disregarded his instructions.

Sought out by leading avant-garde publishers, Kafka reluctantly published a few of his writings during his lifetime. These publications include two sections () from Beschreibung eines Kampfes (; Description of a Struggle); Betrachtung (; Meditation), a collection of short prose pieces; and other works representative of Kafka's maturity as an artist — The Judgment, a long story written in ; two further long stories, Die Verwandlung (; Metamorphosis) and In der Strafkolonie (; In the Penal Colony); and a collection of short prose, Ein Landarzt (; A Country Doctor). Ein Hungerkünstler (; A Hunger Artist), four stories exhibiting the concision and lucidity characteristic of Kafka's late style, had been prepared by the author but did not appear until after his death. In fact, misgivings about his work caused Kafka before his death to request that all of his unpublished manuscripts be destroyed; his literary executor, Max Brod, disregarded his instructions.

Kafka Serif /,

Kafka Sans /,

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ENG

universal declaration of human rights

Whereas recognition of the inherent dignity and of the equal and inalienable rights of all members of the human family is the foundation of freedom, justice and peace in the world. Whereas disregard and contempt for human rights have resulted in barbarous acts which have outraged the conscience of mankind, and the advent of a world in which human beings shall enjoy freedom of speech and belief and freedom from fear and want has been proclaimed as the highest aspiration of the common people.

FR

DÉCLARATION UNIVERSELLE DES DROITS DE L’HOMME

Considérant que la reconnaissance de la dignité inhérente à tous les membres de la famille humaine et de leurs droits égaux et inaliénables constitue le fondement de la liberté, de la justice et de la paix dans le monde. Considérant que la méconnaissance et le mépris des droits de l'homme ont conduit à des actes de barbarie qui révoltent la conscience de l'humanité et que l'avènement d'un monde où les êtres humains seront libres de parler et de croire, libérés de la terreur et de la misère, a été proclamé comme la plus haute aspiration de l'homme.

10 Kafka Family by Eugene Yukechev

ES

DECLARACIÓN UNIVERSAL DE DERECHOS HUMANOS

Considerando que la libertad, la justicia y la paz en el mundo tienen por base el reconocimiento de la dignidad intrínseca y de los derechos iguales e inalienables de todos los miembros de la familia humana. Considerando que el desconocimiento y el menosprecio de los derechos humanos han originado actos de barbarie ultrajantes para la conciencia de la humanidad, y que se ha proclamado, como la aspiración más elevada del hombre, el advenimiento de un mundo en que los seres humanos, liberados del temor y de la miseria, disfruten de la libertad de palabra y de la libertad de creencias.

DE

DIE ALLGEMEINE ERKLÄRUNG DER MENSCHENRECHTE

Da die Anerkennung der angeborenen Würde und der gleichen und unveräußerlichen Rechte aller Mitglieder der Gemeinschaft der Menschen die Grundlage von Freiheit, Gerechtigkeit und Frieden in der Welt bildet. Da die Nichtanerkennung und Verachtung der Menschenrechte zu Akten der Barbarei geführt haben, die das Gewissen der Menschheit mit Empörung erfüllen, und da verkündet worden ist, daß einer Welt, in der die Menschen Rede- und Glaubensfreiheit und Freiheit von Furcht und Not genießen, das höchste Streben des Menschen gilt.


NL

UNIVERSELE VERKLARING VAN DE RECHTEN VAN DE MENS

Overwegende, dat erkenning van de inherente waardigheid en van de gelijke en onvervreemdbare rechten van alle leden van de mensengemeenschap grondslag is voor de vrijheid, gerechtigheid en vrede in de wereld. Overwegende, dat terzijdestelling van en minachting voor de rechten van de mens geleid hebben tot barbaarse handelingen, die het geweten van de mensheid geweld hebben aangedaan en dat de komst van een wereld, waarin de mensen vrijheid van meningsuiting en geloof zullen genieten, en vrij zullen zijn van vrees en gebrek, is verkondigd als het hoogste ideaal van iedere mens.

RU

Всеобщая декларация прав человека

Принимая во внимание, что признание достоинства, присущего всем членам человеческой семьи, и равных и неотъемлемых прав их является основой свободы, справедливости и всеобщего мира. Принимая во внимание, что пренебрежение и презрение к правам человека привели к варварским актам, которые возмущают совесть человечества, и что создание такого мира, в котором люди будут иметь свободу слова и убеждений и будут свободны от страха и нужды, провозглашено как высокое стремление людей.

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IT

DICHIARAZIONE UNIVERSALE DEI DIRITTI UMANI

Considerato che il riconoscimento della dignità inerente a tutti i membri della famiglia umana e dei loro diritti, uguali ed inalienabili, costituisce il fondamento della libertà, della giustizia e della pace nel mondo. Considerato che il disconoscimento e il disprezzo dei diritti umani hanno portato ad atti di barbarie che offendono la coscienza dell'umanità, e che l'avvento di un mondo in cui gli esseri umani godano della libertà di parola e di credo e della libertà dal timore e dal bisogno è stato proclamato come la più alta aspirazione dell'uomo.

UKR

ЗАГАЛЬНА ДЕКЛАРАЦІЯ ПРАВ ЛЮДИНІ ПРЕАМБУЛА

Беручи до уваги, що визнання гідності, яка властива всім членам людскої сім'ї, і рівних та невід'ємних їх прав є основою свободі, справедливості та загального миру. Беручи до уваги, що зневажання і нехтування правами людини призвели до варварських актів, які обурюють совість людства, і що створення такого світу, в якому люди будуть мати свободу слова і переконань і будуть вільні від страху і нужди, проголошено як високе прагнення людей.


In the struggle between

YOURSELF

And The World

the world zwischen always second

To Max Brod, July 5, 1918 Im Kampf

Dir und der Welt, sekundiere der Welt k a f k a s e r i f

12 Kafka Family by Eugene Yukechev

—

l a t i n


Kafka took some early stabs at writing a novel, but none of them really worked out. In 1903, he started The Child and the City. He abandoned it, and the manuscripts have since disappeared. He tried to collaborate with Max Brod on a work called Richard and Samuel, but that didn’t work out either. The fragment “Wedding Preparations in the Country” was supposed to be much longer than it was, but he gave up on it. Therefore, when talking about Kafka’s novels, we always have to start with Amerika. Kafka Serif Regular /,

Kafka took some early stabs at writing a novel, but none of them really worked out. In 1903, he started The Child and the City. He abandoned it, and the manuscripts have since disappeared. He tried to collaborate with Max Brod on a work called Richard and Samuel, but that didn’t work out either. The fragment “Wedding Preparations in the Country” was supposed to be much longer than it was, but he gave up on it. Therefore, when talking about Kafka’s novels, we always have to start with Amerika. Kafka Serif Regular /

Kafka took some early stabs at writing a novel, but none of them really worked out. In 1903, he started The Child and the City. He abandoned it, and the manuscripts have since disappeared. He tried to collaborate with Max Brod on a work called Richard and Samuel, but that didn’t work out either. The fragment “Wedding Preparations in the Country” was supposed to be much longer than it was, but he gave up on it. Therefore, when talking about Kafka’s novels, we always have to start with Amerika. Kafka Serif Regular ,/,

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ABCDEFGHI JKLMNOPQR STUVWXY&Z 1234567890@ abcdefghijklmn opqrstuvwxyz #1234567890¢ {©?£$€¥!§&¶®} 14 Kafka Family by Eugene Yukechev


ga Serif combines sharp forms along with smooth classical strokes. Squareness of ovals gives the form of characters its

k 4

accuracy and neatness. Diagonal strokes are slightly expanded, thereby reducing

the contrast at the point of meeting with the horizontal serif.

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моя судьба проста:

желание

ЖИЗНЬ изобразить мою исполненную фантазией

я взлетаю так меня и бросает из стороны в сторону

непрестанно на вершину горы, но ни на мгновение

не могу удержаться

Фелиции Бауэр, 2-е июля, 1918 k a f k a s e r i f

16 Kafka Family by Eugene Yukechev

— c y r i l l i c


Он думал, что уже издали узнает дом по какому-нибудь признаку, хотя не представлял себе, по какому именно, а может быть, и по необычному оживлению у входа. Но, задержавшись в начале Юлиус­ штрассе, на которой находился дом, куда его вызвали, К. увидел по обе стороны улицы почти одинаковые здания: высокие, серые, населенные беднотой доходные дома. В это воскресное утро почти из всех окон выглядывали люди. Kafka Serif Regular /,

Он думал, что уже издали узнает дом по какому-нибудь признаку, хотя не представлял себе, по какому именно, а может быть, и по не­ обычному оживлению у входа. Но, задержавшись в начале Юлиус­ штрассе, на которой находился дом, куда его вызвали, К. увидел по обе стороны улицы почти одинаковые здания: высокие, серые, на­ селенные беднотой доходные дома. В это воскресное утро почти из всех окон выглядывали люди. Kafka Serif Regular /

Он думал, что уже издали узнает дом по какому-нибудь признаку, хотя не представлял себе, по какому именно, а может быть, и по не­обычному оживлению у входа. Но, задержавшись в начале Юлиус­ штрассе, на которой находился дом, куда его вызвали, К. увидел по обе стороны улицы почти одинаковые здания: высокие, серые, на­селенные беднотой доходные дома. В это воскресное утро почти из всех окон выглядывали люди. Kafka Serif Regular ,/,

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АБВГДЕЁЖЗ ИЙКЛМНОПР СТУФХЦЧШ ЩЪЫЬЭЮЯ №1234567890� абвгдеёжзийк лмнопрстуфх цчшщъыьэюя «1234567890» 18 Kafka Family by Eugene Yukechev


Жб Я Д Cyrillic characters acquire vivid details,

combining the aesthetics of smooth curves

and hard lines. Squarely ovals are supported by flame-shaped elements.

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In the struggle between

YOURSELF and the world always second

the world zwischen To Max Brod, July ,  Im Kampf

Dir und der Welt, sekundiere der Welt k a f k a s a n s

20 Kafka Family by Eugene Yukechev

— b a s i c l a t i n


Kafka took some early stabs at writing a novel, but none of them really worked out. In , he started The Child and the City. He abandoned it, and the manuscripts have since disappeared. He tried to collaborate with Max Brod on a work called Richard and Samuel, but that didn’t work out either. The fragment “Wedding Preparations in the Country” was supposed to be much longer than it was, but he gave up on it. Therefore, when talking about Kafka’s novels, we always have to start with Amerika. Kafka Sans Regular /,

Kafka took some early stabs at writing a novel, but none of them really worked out. In , he started The Child and the City. He abandoned it, and the manuscripts have since disappeared. He tried to collaborate with Max Brod on a work called Richard and Samuel, but that didn’t work out either. The fragment “Wedding Preparations in the Country” was supposed to be much longer than it was, but he gave up on it. Therefore, when talking about Kafka’s novels, we always have to start with Amerika. Kafka Sans Regular /

Kafka took some early stabs at writing a novel, but none of them really worked out. In , he started The Child and the City. He abandoned it, and the manuscripts have since disappeared. He tried to collaborate with Max Brod on a work called Richard and Samuel, but that didn’t work out either. The fragment “Wedding Preparations in the Country” was supposed to be much longer than it was, but he gave up on it. Therefore, when talking about Kafka’s novels, we always have to start with Amerika. Kafka Sans Regular ,/,

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ABCDEFGHI JKLMNOPQR STUVWXY&Z 1234567890 abcdefghijklmn opqrstuvwxyz # {©?$!&¶®} 22 Kafka Family by Eugene Yukechev


ga k 4

Sans combines flexible oval shapes and

contrast, creating a gentle friendly nature.

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моя судьба проста:

желание изобразить мою исполненную фантазией

ЖИЗНЬ я взлетаю Так меня и бросает из стороны в сторону,

непрестанно на вершину горы, но ни на мгновение

не могу удержаться Фелиции Бауэр, -е июля,  k a f k a s a n s

24 Kafka Family by Eugene Yukechev

— c y r i l l i c


Он думал, что уже издали узнает дом по какому-нибудь признаку, хотя не представлял себе, по какому именно, а может быть, и по необычному оживлению у входа. Но, задержавшись в начале Юлиус­штрассе, на которой находился дом, куда его вызвали, К. увидел по обе стороны улицы почти одинаковые здания: высокие, серые, населенные беднотой доходные дома. В это воскресное утро почти из всех окон выглядывали люди. Kafka Sans Regular /,

Он думал, что уже издали узнает дом по какому-нибудь признаку, хотя не представлял себе, по какому именно, а может быть, и по не­обычному оживлению у входа. Но, задержавшись в начале Юлиус­штрассе, на которой находился дом, куда его вызвали, К. увидел по обе стороны улицы почти одинаковые здания: высокие, серые, на­селенные беднотой доходные дома. В это воскресное утро почти из всех окон выглядывали люди. Kafka Sans Regular /

Он думал, что уже издали узнает дом по какому-нибудь признаку, хотя не представлял себе, по какому именно, а может быть, и по не­обычному оживлению у входа. Но, задержавшись в начале Юлиус­штрассе, на которой находился дом, куда его вызвали, К. увидел по обе стороны улицы почти одинаковые здания: высокие, серые, на­селенные беднотой доходные дома. В это воскресное утро почти из всех окон выглядывали люди. Kafka Sans Regular 8,6/3,5

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АБВГДЕЁЖЗ ИЙКЛМНОПР СТУФХЦЧШ ЩЪЫЬЭЮЯ №1234567890 абвгдеёжзийк лмнопрстуфхц чшщъыьэюя «» 26 Kafka Family by Eugene Yukechev


Жб Я Д Complex forms of Cyrillic characters

require a somewhat different distribution of contrast, which differs from logic

of constructing contrast characters, for example, in Latin.

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28 Kafka Family by Eugene Yukechev


Examples of use

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30 Kafka Family by Eugene Yukechev


Designed — Natasha Bayduzha

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76 Unique architectural monuments

Another place is a piece of modern sculpture by Antony Gormley

/ Conservationists had also complained that bird-feeding areas had been compromised by the extra tourist traffic

A

nother Place is a subject of local controversy in Crosby. Some consider the statues to be “pornographic” due to the inclusion

of a simplified penis on the statues, whilst others see them as beautiful pieces of art which have brought increased tourism revenue to the local area. Originally the statues were due to be relocated in November 2006. Those who use the front for watersports voice thestrongest resistance to the iron men staying, as thestatues do pose a safety problem — especially asthe local marina is being closed to public use. While these sportsmen have a serious claim to getting rid of the statues.

* One of the figures on Crosby Beach


I

n October 2006, the local council refused permission for the statues to stay, prompting Gormley to criticise what he called Britain's “risk-averse culture”. He said “When I have been down on the beach myself, the majority of people have been intrigued, amused, sometimes very moved”, he said. Graham Haywood, Chief Executive of Sefton

186 cm is length of figures

3,2

Council, said in a statement “Despite some controversy, this internationally renowned artwork has aroused national and international public and media support”. Saying that "The Iron Men have placed Crosby and Sefton firmly in the spotlight and the knockon benefits of this should be felt for years to come.

*

All of the figures stare out over the Irish Sea and most get submerged at high tide

Designed — Natasha Bayduzha

is spread over stretch of the beach


Designed — Timofey Pokrichuk

34 Kafka Family by Eugene Yukechev


Проснувшись однажды утром после беспокойного сна, Грегор Замза обнаружил, что он у себя в постели превратился в страшное насекомое. Лежа на панцирнотвердой спине, он видел, стоило ему приподнять голову, свой коричневый, выпуклый, разделенный дугообразными чешуйками живот, на верхушке которого еле держалось готовое вот-вот окончательно сползти одеяло. Его многочисленные, убого тонкие по сравнению с остальным телом ножки беспомощно копошились у него перед глазами. «Что со мной случилось?» — подумал он. Это не было сном. Его комната, настоящая, разве что слишком маленькая, но обычная комната, мирно покоилась в своих четырех хорошо знакомых стенах. Над столом, где были разложены распакованные образцы сукон — Замза был коммивояжёром, — висел портрет, который он недавно вырезал из иллюстрированного

Als Gregor Samsa eines Morgens aus unruhigen Träumen erwachte, fand er sich in seinem Bett zu einem ungeheuren Ungeziefer verwandelt.

журнала и вставил в красивую золоченую рамку. Als Gregor Samsa eines Morgens aus unruhigen Träumen erwachte, fand er sich in seinem Bett zu einem ungeheuren Ungeziefer verwandelt. Er lag auf seinem panzerartig harten Rücken und sah, wenn er den Kopf ein wenig hob, seinen gewölbten, braunen, von bogenförmigen Versteifungen geteilten Bauch, auf dessen Höhe sich die Bettdecke, zum gänzlichen Niedergleiten bereit, kaum noch erhalten konnte. Seine vielen, im Vergleich zu seinem sonstigen Umfang kläglich dünnen Beine flimmerten ihm hilflos vor den Augen.

[5]

35 British Higher School of Art and Design, 

Проснувшись однажды утром после беспокойного сна, Грегор Замза обнаружил, что он у себя в постели превратился в страшное насекомое.


Designed — Andrew Kitsen


Designed — Eugene Yukechev

WZV ARTREVI Мог бы издавать Центр современного искусства «Винзавод»

Специальный вы

Sotheby’s про самый больш автопортрет


2 VD IEW 7

ыпуск,  июня  года © Евгений Юкечев

одал шой т Энди

Музыкальный фестиваль TransMusicales, который пройдёт в Москве  и  мая в рамках Года Франция — Россия , переносится из Центра современного искусства «Винзавод» на площадку Arena.

 мая завершился -й Международный Каннский кинофестиваль. «Золотая пальмовая ветвь» присуждена тайскому режиссёру Апичатпонгу Вирасетакуну за фильм «Дядюшка Бунми, который помнит свои прошлые жизни».


2 WZVD ARTREVIEW 7 Мог бы издавать Центр современного искусства «Винзавод»

Специальный выпуск,  июня  года © Евгений Юкечев

Designed by Eugene Yukechev

Sotheby’s продал самый большой автопортрет Энди

8

Музыкальный фестиваль TransMusicales, который пройдёт в Москве  и  мая в рамках Года Франция — Россия , переносится из Центра современного искусства «Винзавод» на площадку Arena.

 мая завершился -й Международный Каннский кинофестиваль. «Золотая пальмовая ветвь» присуждена тайскому режиссёру Апичатпонгу Вирасетакуну за фильм «Дядюшка Бунми, который помнит свои прошлые жизни».

Из парижского Музея современного искусства украдено пять картин, в том числе работы Пикассо и Матисса, общей стоимостью около  млн евро. По данным полиции, ограбление совершил вор-одиночка.

£23 миллиона

П

/ Базель: Art Basel; / Париж: Обещания прошлого; / Лондон: Гласность, Советское неофициальное искусство; 19/10 Киев: Сексуальность и трансцен­дент­ность; / Эйндховен: Лисицкий плюс. Победа над солнцем; / Нью-Йорк: Биеннале Уитни; / Берлин: Берлинская биеннале современного искусства; 19/10 Брисбейн: Триеннале стран Азии и Тихоокеанского региона; / Роттердам: Международный кинофестиваль в Роттердаме

В этом году жюри Притцкеровской премии вновь обратило свое внимание на архитекторов,

Кирилл Масс

чьи произведения отличаются внешней простотой. Работы sanaa отличают абсолютная отточенность, доведенная до крайности, чистота и ясность идей. Они известны и популярны в профессиональных кругах.

12.06

Шрифт и типографика. Уникальный курс, не имеющий аналогов в российской практике.

роходящий в Нью-Йорке аукцион Sotheby’s в области современного искусства установил рекорд для автопортретов Энди Уорхола. Как пишет Artdaily.org, трехметровое полотно 1986 года ушло вечером 12 мая за 32,56 млн долларов. За право купить монументальную работу Уорхола (размер 274,3 × 274,3 см) боролись шесть участников торгов, и в результате эстимейт, составлявший 10–15 млн долларов, был превышен более чем в два раза. Автопортрет был создан художником за год до смерти и входит в последнюю серию автопортретов, которую считают главной в его творчестве. Уорхол остается одним из самых дорогих художников xx века: осенью 2009 года его «200 однодолларовых купюр» были проданы на аукционе Sotheby’s за 43,7 млн долларов.


£23 миллиона

П

бещания прошлого; / Лондон: Гласность, Советское неофициальное истрансцен­дент­ность; / Эйндховен: Лисицкий плюс. Победа над солнцем;  Берлин: Берлинская биеннале современного искусства; 19/10 Брисбейн: го региона; / Роттердам: Международный кинофестиваль в Роттердаме

юри Притцкеровской премии о свое внимание на архитекторов,

отличаются внешней простотой. Работы солютная отточенность, доведенная до крайность идей. Они известны и популярны в х кругах.

12.06

Шрифт и типографика. Уникальный курс, не имеющий аналогов в российской практике.

роходящий в Нью-Йорке аукцион Sotheby’s в области современного искусства установил рекорд для автопортретов Энди Уорхола. Как пишет Artdaily.org, трехметровое полотно 1986 года ушло вечером 12 мая за 32,56 млн долларов. За право купить монументальную работу Уорхола (размер 274,3 × 274,3 см) боролись шесть участников торгов, и в результате эстимейт, составлявший 10–15 млн долларов, был превышен более чем в два раза. Автопортрет был создан художником за год до смерти и входит в последнюю серию автопортретов, которую считают главной в его творчестве. Уорхол остается одним из самых дорогих художников xx века: осенью 2009 года его «200 однодолларовых купюр» были проданы на аукционе Sotheby’s за 43,7 млн долларов.


42 Kafka Family by Eugene Yukechev


The history of the project

43 British Higher School of Art and Design, 


Project theme

There is only a small selection of Cyrillic typefaces, that solve the task of publication of literary and intellectual magazines.

44 Kafka Family by Eugene Yukechev

I had the initial idea for the project that came for a long time ago ­— I wanted to publish diaries of Franz Kafka, using specially designed book typeface. As the time will show, this moment will be enough to take a broader look at the task of designing a text type and allowing its use in a wider range of applications. But, of course, some fraction of inspiration and searching for the look is tied with the name of Franz (sometimes helping, and sometimes, setting traps). As a result, I set the theme of my diploma as: “Modern type family for typesetting of literature and magazines, inclining for a relaxed reading”. One of my interests was to develop a type family with both serif and sans-serif, supplementing and extending to each other (originally sans-serif was to serve as “assistant”).


Walbaum typeface in books of Franz Kafka (), publisher Kurt Wolf Ferlag

Search for aesthetics and graphic ideas Being interested in editions of Kafka, I turned to the archives of the Library of Foreign Literature, where I managed to find first editions of his works (1916). This led me to the Walbaum typeface (Justus Erich Walbaum, 1768–1839), which was used in typesetting of all the books of Leipzig publisher Kurt Wolf Ferlag (kwf). I found a starting point, but I did not know exactly how to deal with it, because resurrecting historical prototype with Cyrillics appeared not to be acceptable (despite the fact that there is no Cyrillic version of the Walbaum typeface in existance). After consulting with teachers, I decided to create a “Walbaum aesthetics” typeface, which meant crossing the approach of “squarely contour” and traditions of modern face, with the introduction of reverence towards the famous ancestor. I liked this approach in the Farnham by Christian Schwartz, based on the aesthetics of Fleischman typeface (Johann Michael Fleischmann, 1707–1768). For me, it was also important to “live through” the form, to verify my assumptions, and make use of existing experience.

45 British Higher School of Art and Design, 


After forming the first impression and drawing some unsound sketches (I realized the indispensability and practical benefit of sketching much later, at the final stages of the project), I proceeded to construct first characters, trying to find a comfortable reading contrast.

Kafka Serif Regular, February 

At the first intermediate viewing teachers drew attention to the lack of generality in this approach, and limited use of typeface under construction. So I decided to keep searching for the form and style.

At this stage, a decision should be made: whether this typeface is only for setting of Kafka's books, or is it a more versatile tool. Ilya Ruderman, tutor

This step has led me to understanding the importance of formulating issues. Keeping the chosen approach, I expanded the scope of application — the typefamily for books and magazines. I also became firmly assured that it should be a tradition of pointed nib.

46 Kafka Family by Eugene Yukechev


Searching for the basic forms of Kafka Serif

Latin and Cyrillic characters, despite the whole logic of construction, look too different. Cyrillic is curly and sends to the Schoolbook typeface.

I focused the first searches in field of general aesthetics on the form of serifs, which gave a certain poignancy to the desired character. As a result, the first versions came out deliberately sharp and angular, causing a feeling of “fancyness.”

Yuri Ostromentsky, guest, art director

Kafka Serif Regular, March 

By applying the approach of sharp lines and smooth ovals, I came to the first version of the system, which was a combination of elements from modernface and transitional serif with some internal provocation of “cut drops”.

47 British Higher School of Art and Design, 

Possessing the basic skills of constructing characters, I concentrated on getting the full set of Latin and Cyrillic, to perform the first tests on a fully typeset page. With this first design came from the Latin. Now, I have dealt not with an allegation about the difference between Latin and Cyrillic, but with their my conclusions based on experiences from the design and construction of characters. This was the cardinal stage in the search for “graphic unity of characters”.


Serif Display Accident

Serif Dysplay

There are two breeds of dogs. And I do not see the point of cross-breeding them without valid reason.

Serif Regular

Sans Regular

Serif Regular

Alexander Tarbeev, teacher

Kafka Family, March 

As a part of the problem of designing a typefamily other than a pair of serif-sans, it was important to work out the size of the optical tracings. Thus there was a need to make sizes for headers and small print. Also, I tried to see display type, emphasizing the “poignant” nature, which fascinated me for some time. Following the presentation of each member of the family I had to hold a series of works on finding a common tone and continuity in solutions. An important acquisition for me was the experience of finding some form of sans characters in serif and vice versa.

48 Kafka Family by Eugene Yukechev

After some experimentation, I came to a more peaceful forms of serifs, but tried to keep “playing originally”, using asymmetric forms. In addition to revocation of teachers, I was not satisfied with the work of these elements in the text.

In character “a” I tried to convey greetings to Justus Walbaum. It should be noted that this character was refined and revised throughout the project, and the urge to get back to it is still present.


Kafka Serif Regular, April 

Sometimes, at the stage of detail refinement there are issues arising, which require systemic responses, which in most cases affect the whole group of characters, and sometimes the whole type. So, once again, attention to the form of serif led me to revise the nature of the crossing (and compensation) of thin strokes with serifs.

The letter “z” stands out too much because of softness of its serifs. Think over the logic and unity of all glyphs. Vladimir Yefimov, teacher

49 British Higher School of Art and Design, 


Gaining moment for the introduction of sharp triangular compensators and adding mass to the intersection of serifs and thin strokes, I reviewed the relationships between all the elements and came to a systematic solution that brought together and harmonized the sharp drop, flat serifs, and triangular thin strokes strengtheners. Since then, aesthetics of type was finalized, allowing me to move on to exploring the forms and widening the font case.

Discussing the construction of internal and external contours was an important point in understanding of the work with the form. By understanding the conclusion that there are no random trajectories and each time I need to rely on the logic of the stroke, which lasts (extends across the borders of the outline), I began to look differently at the white inside the letters and its relationship with black. This way I managed to find a lot of characters.

It is important to see the logic of such element inside each curve and to understand that it's a part of a potentially harmonious shape (eg, circle). Valery Golyzhenkov, teacher

This way of finding to position of the curve at the intersection of lines, suggested by educators, saved me a lot of time and effort.

50 Kafka Family by Eugene Yukechev


Finding solutions in Kafka Sans

When trying to find noncontrast sans on the basis of modernface type, there is a risk of bumping into Helvetica. Ilya Ruderman, tutor

Even the early stages of work on the contrast sans have clearly shown that this is a non-trivial task. The first thought that a giant leap is possible thanks to the subtraction of serifs, surrendered as soon as characters with diagonals and Cyrillic appeared. Moreover, I faced the fact that “squareness” in sans is presented quite differently: to achieve an equal effect, one should be “squaring” not only an inner white field, but the external outline as well.

As an approach for the search of sans form, I relied on serif, refining solutions in both types in parallel. It was important to find the optimal balance between the general and individual and let sans carry extra intonation. Soon enough, I abandoned the introduction of various kinds of jibes and jokes into the form, and concentrated on finding the optimum contrast of characters and “squarely” style.

51 British Higher School of Art and Design, 

Search for contrast and continuity in sans forms

In order to achieve proximity between both types in the text, and between the feelings of the forms as such, the entrance to the stem and the shape of ovals had to be revised in these (such as “no” pair) and other least creative signs.


Kafka Serif Basic Latin set, June 

As work on sans progressed, I kept returning to serif, in order to understand the relations between both outlines. An important acquisition at this stage for me was the understanding of the place of “stroke turn”, I saw the image of “the speed of the turn”, which helped me to reach the required forms in the most challenging locations (б, ж, с, у, я).

As for now, sans and serif are twin brothers, their relationship should be rethought. Alexandra Korolkova, teacher

I could not at once answer a question of the desired character. Basically this was aided by experiments with simultaneous use of both types on page. At this very moment, I considered a potential for personal use of sans.

52 Kafka Family by Eugene Yukechev

many people, including some who claim to be outraged by the deficit, still haven’t acknowledged the disconnect. just last weekend, tea party members helped deny senator robert bennett, the utah republican, his party’s nomination for his re-election campaign, in part because he had co-sponsored a health reform plan with a democratic senator. economists generally think the plan would have done more to reduce medicare spending than the bill that passed. whatever its intentions, the tea party effectively punished mr. bennett for not being a big enough fan of big government. Kafka Sans Serif — mix, June 

After an sudden glitch in the file, I got a paragraph of text in which all the characters were mixed. After a surprise, I was happy to conduct the experiment and carefully inspected the result. Despite the varying thickness of strokes and differing contrast, two types created quite a uniform texture of the text. Continuing to search for and refine the basic forms, I was searching for functional solutions to overcome the critical subtlety of diagonal and horizontal strokes.


TEWN Strengthening the weak bar is only possible by widening it, but exactly how active it should be, and what happens with the general feeling — ­ this could only be answered during a series of tests. In the end I came to the extension of all thin strokes, including vertical, which gave the typeface a more emotional look and solved a number of functional problems.

Kafka Sans, June 

53 British Higher School of Art and Design, 

There isn't a lot of highcontrast grotesques, despite the fact that their aesthetics, in general, is rather interesting. Danila Vorobyov, teacher

While working on the sans I managed to come to a nature that will allow developing the type in the spectrum of styles, including expressive display. It was a pleasant discovery that the received text face can be used in small size (6-7 points) without readability loss (despite the fact that it closed forms).

In the early stages many of the characteristic glyphs went through several stages of the form search, each time checking with the forms of serifs. In the second half of the work on the sans all attention was focused on the internal harmonization of the type, which resulted in the possibility of independent development.


Italic and ligatures

abcdefghijklmn opqrstuvwxyz abcdefghijklmn opqrstuvyz During the project I put my effort in to try to work out forms unknown to me yet, such as italics. This part of the project is not finished yet, but for me it was important to get the basic experience and the opportunity to discuss the nuances of different directions with teachers for future self-sustained efforts.

Does “f” share its drop with “i” or does it borrow its point? In my case, enough arguments for the second assertion were found.

54 Kafka Family by Eugene Yukechev

ffb tw Th cky gi cp ty

ft sky ct gg � fy gg


Сonclusion

/

/

/

/

/

/

/

/

/

During the work I've passed the first stage in understanding the design of the typeface, nuances of harmonization of a form as a system, the importance of details and characters. I plan to develop Kafka Typefamily in the 12 weights and bring it to a complete form.

55 British Higher School of Art and Design, 


Kafka Typefamily was designed by Eugene Yukechev during the learning process in the British Higher School of Art and Design, Type andTypography course . Tutor Ilya Ruderman ¶ Special thanks to: Ilya Ruderman, Dmitriy Aronov, Danila Vorobyev, Valery Golyzhenkov, Eugene Dobrovinsky, Vera Evstafieva, Vladimir Yefimov, Alexandra Korolkova, Denis Serikov, Alexander Tarbeev, Anton Terekhov, Yuri Ostromentsky, Yury Gordon. ¶ Rita Yukecheva, Julia Maslova, Anton Belov, Anna Karpova, Viktor Krutelev. Studio MartDesign. My parents and my family.

The presented examples are designed by Natasha Bayduzha, Andrew Kitsen, Timofey Pokrichuk, Eugene Yukechev. Look forward for your comments: e.yukechev@gmail.com


58 Kafka Family by Eugene Yukechev

Kafka Typefamily  

Kafka Typefamily was designed by Eugene Yukechev during the learning process in the British Higher School of Art and Design, Type andTypogra...

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