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FontBooklet no 2

Sizzesppecifificc

FontBooklet no 2

ITC Bodoni Borges Cronos™ Eldorado Farnham Freight Garamond Premier ™ Pro King’s Caslon Locator Miller ff Reminga Rumba mvb Sirenne ™

®

As well as ff Unit™ (used for the text and captions), this brochure contains just a few of the more than 100,000 fonts available from FontShop. see more at www.fontshop.com

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we’re not calling for a return to “the good old days”, but there are some things the early type founders got just right. In the era of metal and wood type, fonts were designed specifically for the size at which they were to be used, with subtle variations in weight, contrast, and proportion to make them as legible at 6pt as they were beautiful at 72pt. With the dawn of scalable digital type, any font could be used at any size, and the timehonored mastering process was abandoned. As a result, many designs suffer in this new age of convenience: display fonts are often too ornate or fragile at small sizes; text fonts are clunky and dull when set large. Fortunately, recent type design has learned from the past, and we are now seeing a return to the practice of optical size mastering. A few type families offer sturdy, readable cuts for text, and showy titling styles for the big stuff — modern technology infused with the wisdom of the originals. Here are a few of our favorites.

© 2008 fsi FontShop International. All rights reserved. All trademarks named herein remain the property of their respective owners. The contents of this publication may not be repurposed or duplicated without express prior written permission.

Borges

6 Alejandro lo Celso pampatype, 2004

Borges

Poema Blanca Gris Negra SuperNegra

B

abcdefghijklmnopqrstu [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Blanca, +15‰

Borges is a family created by Argentine designer Alejandro lo Celso out of admiration for the 28/31pt, Título Blanca

writer Jorge Luis Borges, whose writing technique— that of a thorough, tireless goldsmith—suggested a typeface of clean, economical, elegant letterforms. Borges had a very original writing style, dipping into 18/22pt

12/15pt, Blanca all manner of topics and literary genres. The Borges family is an attempt to reflect that state of diversity, a typeface that can express precision, moderation, character, and economy – qualities with which the

10/13pt writer conceived his words. The text versions were designed first, as it was the poet’s text that so inspired lo Celso. Later, titling and open face versions with space saving proportions were added for large sizes. Borges is a classic typeface that combines the dignity and grace of the Renaissance with a more contemporary flavor, not far from today’s Dutch type design. Its letterforms are slightly narrow, with a fairly large x-height, and short ascenders and descenders. Its shapes bring a subtle horizontal stress to a line of text. All this adds to the family’s versatility and readability.

The result of painstaking research, ITC Bodoni is perhaps the most faithful interpretation of Bodoni available. While most digital versions of Giambattista’s masterpiece are too delicate to be used at small sizes, ITC Bodoni is as usable for text as the original, thanks to its roots in various sizes of Bodoni’s actual metal type. 29/38pt, Seventy-Two

6/7.5pt, Six The design process involved

two trips to Parma, Italy and intensive study of Bodoni’s 1818 Manuale Tipografico as a benchmark for accuracy. In the words of Sumner Stone, the project’s ART DIRECTOR,“The search for Bodoni took on a new dimension and meaning. We were there not only to look at old books and old metal punches. We traveled to Parma to find the spirit of Bodoni — the real Bodoni.” The design process involved two trips to Parma, Italy and intensive study of Bodoni’s 1818 Manuale Tipografico as a

7/8.5pt, Six The design process

involved two trips to Parma, Italy and intensive study of Bodoni’s 1818 Manuale Tipografico as a benchmark for accuracy. In the words of Sumner Stone, the project’s ART DIRECTOR, “The search for Bodoni took on a new dimension and meaning. We were there not only to look at old books and old metal punches. We traveled to Parma to find the

The design process involved two trips to Parma, Italy and intensive study of Bodoni’s 1818 Manuale Tipografico as a benchmark for accuracy. In the words of Sumner Stone, the project’s ART DIRECTOR,“The search for Bodoni took on a new dimension and meaning. We were there not only to look 8/10pt, Six

THE TEAM DREW THREE MASTERS: ITC Bodoni Six, a weight specifically designed for small captions and settings, ITC Bodoni Twelve, a version intended for text setting, and ITC Bodoni Seventy-Two, a display design patterned after Bodoni’s 72-point “Papale”” font (and also including swash variants in the italics). The newly released OpenType version offers the best access to the SMALL CAPS, figure styles, swashes and other typographic features. The team drew three masters: ITC Bodoni Six, a weight specifically designed for small for 9/12pt, Twelve

THE TEAM DREW THREE MASTERS: ITC Bodoni Six, a weight specifically designed for small captions and settings, ITC Bodoni Twelve, a version intended for text setting, and ITC Bodoni Seventy-Two, a display design patterned after Bodoni’s 72-point “Papale”” font (and also including swash variants in the italics). The newly released OpenType version offers the best access to the SMALL CAPS, figure styles, swashes and other typographic 10/13pt, Twelve

THE TEAM DREW THREE MASTERS: ITC Bodoni Six, a weight specifically designed for small captions and settings, ITC Bodoni Twelve, a version intended for text setting, and ITC Bodoni Seventy-Two, a display design patterned after Bodoni’s 72-point “Papale” font (and also including swash variants in the italics). The newly released OpenType version 12/15pt, Twelve

ITC Bodoni abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Twelve, +30‰

d n e

itc Bodoni

6

G. Bodoni, S. Stone J. Prescott Fishman H. Goldsmith J. Parkinson itc fonts, 1994

The design process involved two trips to Parma, Italy and intensive study of Bodoni’s 1818 Manuale Tipografico as a benchmark for accuracy. In the 18/24pt, Seventy-Two

words of Sumner Stone, the project’s art director, “The search for Bodoni took on a new dimension and meaning. We were there not 18/24pt,Twelve

only to look at old books and old metal punches. We traveled to Parma to find the spirit of Bodoni — the real Bodoni.” 18/24pt,Six

Light

N Display

Subhead

Regular

Caption

ag ag ag ag Semibold

Cronos

sp Bold

29

abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ /1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Subhead Regular, +15‰

Cronos is a sans serif typeface family that embodies the warmth and readability of oldstyle roman typefaces. Because it derives much of its appearance from the calligraphically inspired type of the Italian Renaissance, Cronos has an almost handwritten appearance, setting it apart from most other sans serif designs and making it an effective choice for text composition. The italic design was inspired by early chancery style italics and is both elegant and distinguished.

Cronos is a sans serif typeface family that embodies the warmth and readability of oldstyle roman typefaces. Because it derives much of its appearance from the calligraphically inspired type of the Italian Renaissance, Cronos has an almost handwritten appearance, setting it apart from most other sans serif designs and making it an effective choice for text composition. The italic design was inspired by early chancery style italics and is both elegant and

The breadth of the Cronos family adds to its appeal among less complete sans serifs. Four size-specific grades, from Caption to Display, provide legibility for fine print and personality and detail for titles. Every style includes small caps, lining and oldstyle figures in tabular and proportional widths, fractions and casesensitive punctuation. The italic can set like a standard humanist sans or dress up with tasteful swash caps. Like any Pro font from Adobe, the Central European character set is covered.

The breadth of the Cronos family adds to its appeal among less complete sans serifs. Four size-specific grades, from Caption to Display, provide legibility for fine print and personality and detail for titles. Every style includes small caps, lining and oldstyle figures in tabular and proportional widths, fractions and case-sensitive punctuation. The italic can set like a standard humanist sans or dress up with tasteful swash caps. Like any Pro font from Adobe, the Central European character set is covered.

14/16.5pt, Regular

14/16.5pt, Subhead Light

9/11pt, Bold

7/8.5pt, Caption Bold

Cronos

6 Robert Slimbach adobe, 1996

at first glance, Eldorado feels like a classical serif in the tradition of Garamond and Granjon, but subtle liveliness can be found in the details. These endearing traits—the entry strokes on the ascenders, the straight topped ‘a’ bowl, the splayed ‘Y’, the variable angle of stress and high contrast—come out of hiding and dance gracefully in the delightful Display cuts. 18/25pt, Text Light

William Addison Dwiggins (or wad to his friends) was one of America’s preeminent type designers. He began in the early 1900s as an advertising and book cover designer, and even coined the term graphic artist. Later, his 27 years of work for Mergenthaler-Linotype produced some of the most popular types of the 20th century, such as Metro, Caledonia, and Electra. 10/13pt, Roman

One of WAD’s types that hasn’t seen as much use in modern design is Eldorado, released in 1953. With unusual fidelity, he followed an early roman lowercase, cut in the 16th century by Jacques de Sanlecque the elder. Berlow, Frere-Jones, and Rickner revived and expanded the series in 1993–94 for Premiere magazine. They worked from various sizes of the metal type for a set of fonts made not only for text and display, but a Micro for six point and smaller. 8/10pt, Bold

At first glance, Eldorado feels like a classical serif in the tradition of Garamond and Granjon, but subtle liveliness can be found in the details. These endearing traits— the entry strokes on the ascenders, the straight topped ‘a’ bowl, the splayed ‘Y’, the variable angle of stress and high contrast—come out of hiding and dance gracefully in the delightful Display cuts. 6/7.5pt, Micro

Eldorado

6

W.A. Dwiggins David Berlow Tobias Frere-Jones Tom Rickner font bureau, 1997

a aa

Display, 150pt

Text, 150pt

Micro, 150pt

Eldorado abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Text Roman, +15‰

Garamond Premier Pro had its genesis in 1988 when Robert Slimbach visited the Plantin-Moretus Museum in Antwerp, Belgium, to study their collection of Claude Garamond’s metal punches and type designs. 8/10pt, Text



8/10pt, Caption While fine-tuning Adobe Garamond (released in 1989) as a design better suited to modern publishing, Slimbach started planning an entirely new interpretation based on the large range of unique sizes he had seen, and on the comparable italics cut by Garamond’s contemporary, Robert Granjon.

Claude Garamond, a French punchcutter,

produced a refined array of book types in the mid-1500s that combined an unprecedented degree of balance and elegance. Robert Slimbach’s Adobe Garamond has been the most popular digital rendition of Garamond’s roman types for years, being the go-to typefacee for those wanting a little more beauty and old world charm than a Caslon or Timess could produce. That staple may soon be supplanted by this, Slimbach’s second take on the st yle. 36pt Display Italic & 18pt Subhead Regular

Garamond Premier Pro abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Regular, +30‰

7/8.5pt, Caption & Semibold Caption Claude

Garamond and Robert Granjon were among the first punchcutters to produce a range of sizes of their roman and italic typefaces. By modeling Garamond Premier Pro on these hand-cut type sizes, Slimbach has retained the varied optical size characteristics and freshness of the original designs, while creating a practical 21st-century type family.

6/7pt, Medium & Bold Caption Garamond Premier Pro contains an extensive glyph complement, including Central European, Cyrillicc and Greek k characters, and is offered in five weights ranging from Light to Bold, and four optical sizes from Caption to Display.

Garamond Premier Pro

6

fr

Q

Claude Garamond Robert Slimbach adobe, 2005

fft Display

& Subhead

₤ Text

ῴ Caption

Gg Gg Gg Gg Ж m

β



k

é

&

Regular & Italic text

Medium & Italic text

Garamond spent much of his life refining his lettercutting skills to produce a series of sizes of roman type that approach an ideal form. Robert Granjon’s life-long persistence and consummate skill led him, like Garamond, to create a large body of work – most notably a series of italics that define the French oldstyle cursive form. There is little left unresolved in either designer’s work – Garamond’s romans are elegant and staid, while Granjon’s italics are lacy and energetic. The pairing of these distinctive styles results in a tense yet pleasing combination, ideally suited for complex roman and italic settings.

Garamond spent much of his life refining his lettercutting skills to produce a series of sizes of roman type that approach an ideal form. Robert Granjon’s life-long persistence and consummate skill led him, like Garamond, to create a large body of work – most notably a series of italics that define the French oldstyle cursive form. There is little left unresolved in either designer’s work – Garamond’s romans are elegant and staid, while Granjon’s italics are lacy and energetic. The pairing of these distinctive styles results in a tense yet pleasing combination, ideally suited for complex roman and italic settings.

Regular & Semibold text

Medium & Bold text

Garamond spent much of his life refining his lettercutting skills to produce a series of sizes of roman type that approach an ideal form. Robert Granjon’s life-long persistence and consummate skill led him, like Garamond, to create a large body of work – most notably a series of italics that define the French oldstyle cursive form. There is little left unresolved in either designer’s work – Garamond’s romans are elegant and staid, while Granjon’s italics are lacy and energetic. The pairing of these distinctive styles results in a tense yet pleasing combination, ideally suited for complex roman and italic settings.

Garamond spent much of his life refining his lettercutting skills to produce a series of sizes of roman type that approach an ideal form. Robert Granjon’s life-long persistence and consummate skill led him, like Garamond, to create a large body of work – most notably a series of italics that define the French oldstyle cursive form. There is little left unresolved in either designer’s work – Garamond’s romans are elegant and staid, while Granjon’s italics are lacy and energetic. The pairing of these distinctive styles results in a tense yet pleasing combination, ideally suited for complex roman and italic settings.

9/12pt

9/12pt

9/12pt

9/12pt

≤ ≥ ≤ ≤ ≤ ≥ ≤ 21/24pt, Display Bold

21/24pt, Text Bold

The Text & Display faces di≠er most obviously in their italics.

Farnham Text has a more conventional set of caps, and is also more open, with slightly less contrast for the sake of clarity. 16/20pt, Text Regular

Farnham

6 Christian Schwartz font bureau, 2004

§

Δ

Farnham Display features a sharper italic incline and decorative details, and includes a set of optional Swash Caps inspired bby Fleischman, F but also reminiscent of the flamboy o ant work rk of ITC and Photolettering. P 16/20pt, Display Regular

Farnham Regular & Italic

Farnham Regular & Bold

9/12pt

Farnham is based on work by Johannes Fleischman, a German punchcutter who worked for the Enschedé Foundry in Haarlem, Holland in the mid-to-late 1700s. Truly part of the transition from oldstyle to modern, Fleischman’s romans are remarkable for their energy and “sparkle” on the page, as he took advantage of better tools and harder steel to push the limits of how thin strokes could get. The stress on the curves is a mix of vertical and angled — still an unusual combination today and another reason why the type appears so active.

Farnham is based on work by Johannes Fleischman, a German punchcutter who worked for the Enschedé Foundry in Haarlem, Holland in the midto-late 1700s. Truly part of the transition from oldstyle to modern, Fleischman’s romans are remarkable for their energy and “sparkle” on the page, as he took advantage of better tools and harder steel to push the limits of how thin strokes could get. The stress on the curves is a mix of vertical and angled — still an unusual combination today and another reason why

Farnham Semibold & Italic

Farnham Bold & Italic

9/12pt

Farnham is based on work by 9/12pt Farnham is based on work by Johannes Fleischman, a German punchcutJohannes Fleischman, a German punchcutter who worked for the Enschedé Foundry ter who worked for the Enschedé Foundry in Haarlem, Holland in the mid-to-late in Haarlem, Holland in the mid-to-late 1700s. Truly part of the transition from 1700s. Truly part of the transition oldstyle to modern, Fleischman’s romans from oldstyle to modern, Fleischman’s are remarkable for their energy and “sparkle” romans are remarkable for their energy and on the page, as he took advantage of better “sparkle” on the page, as he took advantage tools and harder steel to push the limits of of better tools and harder steel to push how thin strokes could get. The stress on the limits of how thin strokes could get. the curves is a mix of vertical and angled — The stress on the curves is a mix of still an unusual combination today vertical and angled — still an unusual and another reason why the type appears combination today and another 9/12pt

Farnham abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Regular, +30‰

abc As tastes changed in the 1800s, Fleischman’s work fell into obscurity. Interest was renewed in the 1990s as digital revivals were made, each focusing on a di≠erent aspect of the source material. Starting from those same sources, designer Christian Schwartz tried to create a contemporary text face that used the basic structure and character of Fleischman, but without duplicating aspects that he found to be outdated or distracting. 18/24pt, Display

&c. A FontShop Exclusive

King’s Caslon on abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ / (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Regular, +15‰

W

HEN IN DOUBT, USE CASLON went the book publisher’s adage. These days, there are many digital interpretations of the classic face, but most are anemic at text sizes – the very setting where Caslon is supposed to shine. King’s College London approached D D M to address this problem with their house face Caslon ; designer Ron Carpenter returned to Caslon’s original drawings to create a set of fonts fit for a king. King’s Caslon D (above) differs considerably from this, the Text version. The former is designed to attract and charm, with an extrovert authority signified by high contrast strokes and fine detail. The latter, meanwhile, is all about functionality: each stroke is drawn to provide the best readability at text sizes, with no fussy design details. King’s Caslon T T is the quiet cousin that will perform page aer page. 11/15pt, Typo

The King’s Caslon fonts are available in a Standard OpenType package, but we recommend the Typographic sett with   and historic ligatures. 12/16pt

King’s Caslon

6 Ron Carpenter dalton maag, 2007

Eric Olson’s creation is one of the few sans serif typefaces with a distinct companion for headlines and other titling work. Locator Display is a family of six capital fonts flexible enough for a range of settings. Designed to fit with Locator, all six weights share the same line weight, cap height, and spacing approach. What differs is the unique character of the Display letterforms, from the single-stroke ‘E’ and ‘F’ to the ‘C’ with its sweeping overhang. Locator Display adds the extra impact that’s sometimes needed even while you’re conveying information, and because it shares the spacing of the regular fonts, you can swap in any Display character at will. 12/15.5pt

C

c

E

e

F

f

G

g

Originally proposed as a custom typeface for the Design Institute at the University of Minnesota, Locator is now a complete family of twelve fonts with a true italic. Since its release, Locator has been used for a range of projects including books, magazines, signage, and corporate identities. Its open, no-nonsense letterforms are ideal for situations where legibility and clarity are crucial, yet it achieves this without appearing staid or sterile. With its crisp, modern approach and Dutch-inspired italics, Locator is a subtle but stylish communicator, a Frutiger for the 21st century. 9/12pt Light & Medium

Locator

6 Eric Olson process type foundry, 2004

m

Q q

locator abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Light, +30‰

Freight

6 Joshua Darden garagefonts, 2005

Light Book Medium Bold Black

Big

Display

Text

Micro

Aa Aa Aa Aa Sans

Aa

Freight abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Freight Text Book, +15‰

Freight Micro Light, Bold & Italic

Freight Micro Book, Black & Italic

Four sizes and a sans companion are available. At the small print end of the spectrum is Freight Micro, “an exercise in whispering very loudly..” Designed for use below 9 point in print and at text sizes on digital screens, Freight Micro’s angular forms result from the decision to modulate entire strokes and contours rather than to merely pare out problem areas with inktraps. Micro needn’t be used as prescribed – its unconventional voice makes for striking logotypes and d magazine headlines too. Four sizes and a sans companion are available. At the small print end of the

Four sizes and a sans companion are available. At the small print end of the spectrum is Freight Micro, “an exercise in whispering very loudly.” Designed for use below 9 point in print and at text sizes on digital screens, Freight Micro’s angular forms result from the decision to modulate entire strokes s and contours rather than to merely pare out problem areas with inktraps. Micro needn’t be used as prescribed – its unconventional voice makes for striking logotypes and magazine headlines too. Four sizes and a sans companion are available.

Freight Text Light, Bold & Italic

Freight Text Book, Black & Italic

As the primary text design in the series, Freight Text offers a variety of degrees of emphasis, from the spare, bony Lightt to the beefy Black. Designed concurrently, the romans and italics differ in texture but move with one calligraphic accord: neither is necessarily subject to the other. As the primary text design in the series, Freight Text offers a variety of degrees of emphasis, from the spare, bony Light to the beefy Black. Designed concurrently, the romans and italics differ in texture but move with one calligraphic accord: neither is necessarily subject to the other. As the primary text design in the series, Freight Text offers

As the primary text design in the series, Freight Text offers a variety of degrees of emphasis, from the spare, bony Lightt to the beefy Black. Designed concurrently, the romans and italics differ in texture but move with one calligraphic accord: neither is necessarily subject to the other. As the primary text design in the series, Freight Text offers a variety of degrees of emphasis, from the spare, bony Light to the beefy Black. Designed concurrently, the romans and italics differ in texture but move with one calligraphic accord: neither is necessarily subject to the other. As the primary text design in the

9/12pt

9/12pt

9/12pt

9/12pt

Freight demonstrates a respect for the past yet follows no particular historical model, making for one of the most refreshing and useful families of the mid-oughts. Joshua Darden proofed his design extensively on press during its development, finely tuning the forms to anticipate the specific problems of print reproduction. 18/24pt, Text

ffff Freight Display is an ideal foil for headlines and decks in recurring news formats, type reversed out of color, and pull quotes. Its more delicate sibling, for use at the largest settings, is Freight Big, with an average hairline weight of 1% of its point size. Mildly condensed proportions and tight spacing give it a bright finish. 30pt, Display

Display

Text

Miller

6

Light Italic Roman Italic Roman Small Caps Semibold Italic Bold

Roman Italic Roman Small Caps

Matthew Carter Tobias Frere-Jones Cyrus Highsmith font bureau, 1997

Bold Italic

Miller abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Roman, +15‰

Types cut by Richard Austin around 1810 for two foundries in Glasgow were imported to the US by the Dickinson foundry and became known as Scotch Roman. This class of sturdy, general purpose types were widely used during the 1800s, but were then neglected for many years. The development of Miller, among other Scotch revivals, led to the resurgence of the style in many of today’s magazines and newspapers. 18/24pt, Display

In creating Miller, Matthew Carter was faithful to the genre, though not to any one historical example. The upright stature, low contrast, and rugged serifs of the Text fonts make them well suited for use on newsprint. 9/11pt, Text

8/10pt Yet the family’s stately demeanor and elegant details, particularly in the italics, have endeared Miller to designers of “prettier” material as well. It has been employed as successfully in fine paper promotions and d letterpressed wedding announcements as well as it has on gray broadsheets.

In addition to the benefit of dedicated text and display cuts, the family also features both roman and italic small caps—a facet of the original Scotch typefaces—as well as an optionall cap ‘≤’ and ornamental ampersand (^). 7/9pt

Dupré sums up his latest achievement with characteristic humility: “FF Reminga is now more useful. I think it is an interesting family.” 18/24pt, Titling

Xavier Dupré is a type designer whose creations are not purely utilitarian, but rather a celebration of the letterform. For him, drawing type is an artistic reflex – it comes as naturally as breathing or eating. He continually sketches, and whenever something promising emerges from his doodles, he develops it into a typeface. This is why his creations are often playful and witty. He sometimes references seminal typefaces from influential designers, whom he gladly acknowledges. 7/9pt, Medium

ff Reminga

6 Xavier Dupré fontfont, 2008

ff Reminga a is a fresh take on the Garamond tradition, rather sober (for Dupré’s work) and especially legible at 10–12 points. Dupré wanted to draw a contemporary text face, something which would incorporate a number of what he calls “calligraphic accidents””. It was designed immediately after ff Parango P , a response to classic French typography which he created during his studies at the Scriptorium in Toulouse. ff Reminga a also comes in an elegant Titling version, which is narrower and even more calligraphic. 10/13pt, Regular

ǻ

E

When ff Reminga was recently converted to OpenType, Dupré took the opportunity to do what he does best and reexamine the letter shapes. This led to a complete overhaul of the family. The text cuts are now even better suited for use at small sizes, thanks to heavier serifs and better proportions. The Bold weights are slightly narrower, the Medium and Medium italic cuts re-interpolated, and the kerning tables rebuilt. Dupré also revitalized the italics by energizing their design and improving their rhythm. He also perfected the Titling cuts, refining forms and adding new ligatures. 9/12pt, Regular & Bold

FF Reminga abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Regular, +30‰

Rumba

6 Laura Meseguer type-ø-tones, 2007

hhh hhh Small, 134pt

Large, 134pt

Extra, 134pt

Rumba abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Large, +15‰

Rumba is a lively demonstration of informal handwriting and calligraphy. Hailing from Barcelona, designer Laura Meseguer created Rumba as part of her postgraduate studies at the Royal Academy of Fine Arts in The Hague. In a review for Typographica.org, Jan Middendorp remarked on her combination of influences: “I found it fascinating to see how she managed to reconcile the Hague insights (some call it a doctrine) with her own Latin sensibilities and idiosyncrasies.” 12/16pt, Large

Rumba is based on the concept of a font family with interrelated members – not in the classic range of widths and weights, but via differences in contrast, expressiveness, and usage. Such relationships become evident when comparing the three size-specific fonts: Small, Large, and Extra. 10/14pt, Small

Meseguer designed Rumba specifically, but not exclusively, for the languages spoken in her native Spain. Special attention was therefore paid to the design of accents, special characters and ligatures, elements that are often afterthoughts in Anglocentric typefaces. She later extended the family to accommodate all the characters of Central European languages too. 8/10.5pt, Small

7/8.5pt, Small Its ingenuity and spirit

earned Rumba a Certificate of Excellence from the Type Directors Club Type Design Competition.

Extra

W Ę X

Large

Small

The delicate seriffed ff lettering found on pre-digital maps has an appealing character that very few digital typefaces can capture. One of the few is the under-appreciated mvb Sirenne. 20/30pt, Eighteen

Seventy Two

Eighteen

Text

mvb Sirenne

Six

ga ga ga ga

the design challenge was to retain a rustic quirkiness to the forms, yet have a typeface that was useful for more than display. The solution was to make optical sizes. The Six faces are full of character, but strong and open for clarity at small sizes. The design of the Text faces is more subtle, so that they can be used for passages of text, but retain the feel of their model. The most flourished members of the family are Display Eighteen and Seventy Two. Each size includes small caps and italics. 12/15pt, Text

6 Alan Greene Mark van Bronkhorst mvb fonts, 2002

A rare, 18th-century book published by Louis Renard, and based upon the work of Samuel Fallours, served as inspiration for mvb Sirenne. The plates used to print the illustrations in Renard’s book were copper, the letterforms hand engraved by an artisan with a peculiar style of lettering. Alan Greene and Mark van Bronkhorst found the distinctive quirks of the roman letterforms and the eccentric stress of the italicc irresistible, most notably in the descriptive captions. As these were hand lettered, there was a great degree of variation, making a direct “revival” impossible. Greene skillfully interpreted the characteristics of the letterforms into a workable typeface design. 6/8.8pt, Six

mvb Sirenne abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßfiflæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Eighteen, +30‰

FontShop 149 9th Street, Suite 302 San Francisco, CA 94103 1 888 FF FONTS toll-free 1 415 252 1003 local www.fontshop.com

Cert no. SCS-COC-00781

This brochur r re is printed with vegetable based inks which are r low VOC


FontBooklet No. 2