Publico Font Specimen

Publico Headline

P a family of 12 styles designed by Paul Barnes & Christian Schwartz

Commercial Type

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Publico & Commercial Type

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Based in New York and London, Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Barnes and Schwartz, their staff, and outside collaborators. Following the redesign of The Guardian, the team headed

by Mark Porter, including Barnes and Schwartz, was awarded the coveted Black Pencil by the D&AD. The team was also nominated for the Design Museum’s “Designer of the Year” prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper*.

the typeface and his foundry Publico originated as one of many stops on the long road to The Guardian’s 2005 redesign.

It was later nished for Mark Porter and Simon Esterson’s redesign of Público in Lisbon.

Because Publico and the Guardian typefaces share an underlying skeleton, they make ideal companions. Structurally, Publico takes many cues from contemporary Dutch type design with its narrow proportion, his square and sturdy skeleton, consistent character widths, and pleasant sense of openness.

The wide range of weights makes Publico Headline well-suited to any kind of publication design. All styles of Publico Headline include small caps, fractions, and both lining and oldstyle gures.

Bold 10 pt & Bold Italic 30 pt

Published 2010 Designed by Paul Barnes Christian Schwartz Design assistance Kai Bernau Production assistance Ross Milne 12 styles 6 weights/italics Features Small Caps Proportional lining Oldstyle figures Fractions Superscript/subscript Roman & Italic 8 pt

Publico Headline exhibits a balanced interplay between sharp serifs and soft ball terminals. It’s lack of fussy details gives the face a clean, contemporary look and a quiet elegance, and the wide range of weights allows it to bring a variety of tones to the page.

Medium 30 pt pt

12 styles Bold Italic 120 pt

Publico Headline Light Publico Headline Roman Publico Headline Medium Publico Headline Light Italic Publico Headline Italic Publico Headline Medium Italic

Publico Headline Bold Publico Headline Extrabold Publico Headline Black Publico Headline Bold Italic Publico Headline Extrabold Italic Publico Headline Black Italic Different styles 20 pt

ff

Roman & Italic 330 pt

aa

Roman & Italic 330 pt

TURED ORIES

“There’s a copper pan that hangs in our kitchen on The Fosters set and I don’t know what happened, but the last episode, it was just gone,” she said.

DeGeneres concluded the segment by giving the cast a “wrap gift” of a single shared family sweater.

Watch the clip above, and see the gang play blindfolded musical chairs below.

•

page 12

er Lawrence is king a year off from acting

•

page 15

osters cast tells DeGeneres about nal day of filming

•

page 18

“It was like having a cordial end to a beautiful relationship”

Roman 9 pt & Medium Italic 28 pt

Benedict

Light & Light Italic 50/23 pt

ashing Pumpkins creating mese Dream um cover with inal models

Taped just after the actors finished their last days of filming the fifth and final season (which will end with a three-night event this summer), the host asked the stars who make up the entire Adams-Foster family — that’s Teri Polo, Sherri Saum, Maia Mitchell, David Lambert, Cierra Ramirez, Hayden Byerly, and Noah Centineo — about their last day on set.

U

CUMBERBATCH

by Thom YORKE

I

t seems like a lot more than seven years have gone by since Benedict Cumberbatch first donned his deerstalker as Sherlock Holmes, the alarmingly incisive yet socially inept detective in the BBC series that catapulted his Hollywood career. That’s because, in the ensuing time, the London-born actor has graduated from fan-girl obsession to franchise superstar, while steadily appearing in a succession of prestige projects in theater, film, and television.His mix of gravitas and humility works exceptionally well in fantastical worlds: as Khan in Star Trek Into Darkness (2013); as Smaug the dragon and the Necromancer in The Hobbit film series (2012, 2013, 2014); and as Dr. Stephen Strange in Marvel’s Doctor Strange (2016), a role to which he will return in next year’s Avengers: Infinity War. Back on planet Earth, Cumberbatch has a knack for inhabiting the minds of geniuses, empathetically depicting WikiLeaks founder Julian Assange in The Fifth Estate in 2013; Alan Turing in The Imitation Game the following year (for which he earned Golden Globe and Academy Award nominations); and, most recently, Thomas Edison in The Current War, in theaters next year. Now 41, Cumberbatch is considered one of the most accomplished and ambitious actors of his generation. It would be an understatement to suggest that he has a serious streak, but as his friend, the legendary Radiohead rocker Thom Yorke, is determined to prove, all men—no matter how focused—contain multitudes.

THOM YORKE: «I don’t have any chronology to my questions. My approach is a bit more random, a bit more Just Seventeen [an out-of-print British teen

Medium & Medium Italic 60/30 pt

magazine]. I actually want to start with the year you taught in a monastery in Darjeeling when you were 19. How was that experience?»

YORKE: «That’s the ultimate

BENEDICT CUMBERBATCH: «It was in an exiled Tibetan community, just outside of Darjeeling, on the border. It was a little hill station town. I was one of five teachers who had done a training course.

It was extraordinary, but it was quite an isolated experience.»

CUMBERBATCH: «It is. By th to know what the hell they we were doing what they were d myself. I was like, “How do I go ld?” After the course, I did a one of the other teachers.»

YORKE: «How long did you do that?»

CUMBERBATCH: «It was five months. I spent half a year working odd jobs to build up funds for the airfare and to pay for the course. You’re not paid for the teaching; you’re paid in experience. You’re surrounded by the monks and their lives. It was a small monastery, and the top floor was the temple.

I was living on the bottom floor, which was pretty damp and had huge spiders. I think it was just near the end of the rainy season; It was cold. And because it was so high up, you would open your window, and the clouds were like dry ice rolling across your desk.

Nature was ever present; that was gobsmackingly beautiful, as was the spirit and nature and philosophy and way of life of these monks.»

YORKE: «It sounds like you absorbed a lot of that, just by being there. You didn’t have to study it.»

CUMBERBATCH: «Exactly, it just seeped in. The personalities of the monks were louder than any lesson.»

BY THE END I WAS SO

CURIOUS

YORKE: «You were 19 and sig on a cushion for how many h

CUMBERBATCH: «Many. An four, and eating, like, porrid stew. We were with the monk pline they had. It was revela stories and parables and too nel your focus and meditati begin the path to enlightenm there were a few nervous, ou eye looks between us Wester was overseeing us saw that w ted, and he also saw that it w busy minds had to be really s the chance to begin somethin had that experience.»

YORKE: «It surprises me th gned that at that age, up for t that at that age, I probably and found something to drin

o tell her that I'm getting be Roman 84 pt

Altogether they gained $74,7 billion just in a m

extraordinar Light Italic 55 pt

MARKETING CAMPAIGNS Black Italic 170 pt

Medium 90 pt

ing white zebra

wo years ago, it did not appear evident that they were all obliged to unite into Italic 30 pt

Light 160 pt

ese days they have learned to become Bold Italic 60 pt

Extrabold 120 pt

SO small

uppercase

small caps

Roman 100 pt

RR

uppercase

lowercase

accented uppercase

ABCDEFGHIJKLMNOPQRST UVWXYZ abcdefghijklmnopqrstuvw xyz ÀÁÂÃÄÅǺÆǼÇÈÉÊËÌÍÎÏÐÑÒÓ ÔÕÖØÙÚÛÜÝÞßĀĂĄĆĈĊČĎĐĒ ĔĖĘĚĜĞĠĢĤĦĨĪĬĮİIJĴĶĹĺĻĽľĿ ŀŁŃŅŇŊǾŌŎŐŒŔŖŘŚŜŞŠȘŢŤ ŦŨŪŬŮŰŲŴŶŸŹŻŽ���

Roman 150 pt

accented lowercase

àáāăâąãäåæçćĉčċďèēĕėěęéêë ĥħĝğġģìĩíīĭîįïijĵıļłķðñńņňʼnŋ

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ōŏòóôõöőœùúûŭũūüůűųŵýŷ źżžþÿƒǻǽǿøŕřśŝšŝşșţťŧȷ

ascendent line caps height

x height

punctuation and symbols

discendent line

■□▲△►▼▽◄○●★☆����←→ ×÷= !”#%&’()*,-./:;?@[\]_†‡•… ‹›“”„_–

baseline

Roman 130 pt

{ } | ~ ¡ ¢ £ ¥ ¦ § ¨ © ª « » ® ¯ ° ´ ¶ · ¸º ¿ ™

numbers, fractions

& currency

0 1 2 3 4 5 6 78 9 H 0 1 2 3 4 5 6 7 8 9 H 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ ⅓ ⅔ ⅛ ⅜ ⅝ ⅞ $ ¢ £ ¥€

legature standard medium contrast

old-style serif

ball terminal

fb ff ffb ffh ffi ffj ffk ffl fh fi fj fk fl

Medium 16 pt

In 1928, Vincent Steer, the self-described “advertising typographer” behind the book Printing Design and Layout (1934), established the International Society of Typographic Designers (ISTD) in the UK. Steer’s aim was “to bring together in friendship and mutual help, all those with a love of the printed word”. From these guild-like beginnings, the ISTD has evolved to wield a growing international

influence, gaining recognition (as its tagline notes) for “setting and promoting typographic standards worldwide”.

The society exists for — and is run for and by — typographers, graphic designers, and educators, who share and support its goal of creating and inspiring interest in all forms of typographic communication. Ultimately, the society proposes to create what Etienne and

In 1928, Vincent Steer, the self-described “advertising typographer” behind the book Printing Design and Layout (1934), established the International Society of Typographic Designers (ISTD) in the UK. Steer’s aim was “to bring together in friendship and mutual help, all those with a love of the printed word”. From these guild-like beginnings, the ISTD has evolved to wield a growing international influence,

gaining recognition (as its tagline notes) for “setting and promoting typographic standards worldwide”. The society exists for — and is run for and by — typographers, graphic designers, and educators, who share and support its goal of creating and inspiring interest in all forms of typographic communication.

Ultimately, the society proposes to create what Etienne and Beverly Wenger-Tray-

Light 12 pt

Roman 12 pt

Light Italic 12 pt

Italic 12 pt

Beverly Wenger-Trayner describe as a “community of practice” around typographic design. It does this through a rigorous, peer-reviewed membership model wherein interested applicants submit a portfolio of work for review by the Society’s board. Membership in the society indicates a level of typographic skill and creates an affiliation that means more than just a desire to

be part of a community. In this way, the ISTD recognizes dedication to craft; membership serves as a credential as much as an affiliation. This member-driven community includes noteworthy typographers, graphic designers, type designers, and educators like Astrid Stavro (Atlas), Freda Sack (Foundry Type), Allan Haley (Monotype), Ivan Chermayeff (Cher-

ner describe as a “community of practice” around typographic design. It does this through a rigorous, peer-reviewed membership model wherein interested applicants submit a portfolio of work for review by the Society’s board. Membership in the society indicates a level of typographic skill and creates an affiliation that means more than just a desire to be part of a community. In

this way, the ISTD recognizes dedication to craft; membership serves as a credential as much as an affiliation.

This member-driven community includes noteworthy typographers, graphic designers, type designers, and educators like Astrid Stavro (Atlas), Freda Sack (Foundry Type), Allan Haley (Monotype), Ivan Chermayeff (Chermayeff, Geismar & Haviv), and

Medium 12 pt

Bold 12 pt

Medium Italic 12 pt

Bold Italic 12 pt

mayeff, Geismar & Haviv), and Paul Woods (Edenspiekermann LA). A glance through ISTD’s membership list reveals acclaimed typographic exponents and practitioners alongside emerging and early-career talents. This integrated ethos lies at the heart of the ISTD’s scope of work, which strives to bridge industry and education. To this end,

the organization’s Annual Student Assessment Scheme accepts submissions in and from institutions around the world for evaluation against the Society’s standards of excellence. Students who wish to enter must complete typographic projects based on a selection of briefs written and distributed by the ISTD Education Team. If suc-

Paul Woods (Edenspiekermann LA).

A glance through ISTD’s membership list reveals acclaimed typographic exponents and practitioners alongside emerging and early-career talents.

This integrated ethos lies at the heart of the ISTD’s scope of work, which strives to bridge industry and education.

To this end, the organization’s Annual Student Assessment Scheme accepts

submissions in and from institutions around the world for evaluation against the Society’s standards of excellence. Students who wish to enter must complete typographic projects based on a selection of briefs written and distributed by the ISTD Education Team. If successful, the students are awarded membership to the society, and their work is

Extrabold 12 pt

Black 12 pt

Extrabold Italic 12 pt

Black Italic 12 pt

supported languages

n w rj u y ki s h g

Afrikaans, Albanian, Asturian, Basque, Breton, Bosnian, Catalan, Cornish, Croatian, Czech, Danish, Dutch,

English, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Greenlandic, Guarani, Hawaiian,

Hungarian, Ibo, Icelandic, Indonesian, Irish, Gaelic, Italian, Kurdish, Latin,

Latvian, Lithuanian, Livonian, Malagasy, Maltese, Maori, Moldavian, Norwegian,

Occitan, Polish, Portuguese, Romanian, Romansch, Saami, Samoan, Scots, Scottish Gaelic, Slovak, Slovenian,

Spanish (Castillian), Swahili, Swedish,

Tagalog, Turkish, Walloon, Welsh, Wolof

Medium 16 pt

z v

Francesca Guagliardo 873481