Title Goes Here

Title Goes Here Typography from the Academy of Fine Arts in Warsaw Ludka Biniek Andrzej Heidrich Michał Jarociński Błażej Ostoja Lniski Mateusz Machalski Ania Wieluńska Maciej Włoczewski

d o r t in adam o d r a tw 2 | Title Goes Here

☞ Adam Twardoch

n o i t c du Introduction

In 2018, Poland celebrated the 100 years’ anniversary of “regaining the national independence”. The constant search for a group identity among Poles during the turbulent century (from World War II through communist dominance all the way to joining the European Union) was reflected in humanities, arts and design. Type design has been a particularly interesting mirror of this soul-searching process.

In 1923 – 1928, Adam Jerzy Półtawski designed his Antykwa Półtawskiego, “the first truly Polish typeface”, which – according to the designer – addressed “problems specific to the Polish language” with regard to the form of some letters, such as y and w, but also somehow tried to express the Polish spirit or national identity. In the wake of the 21st century the typeface was revived digitally by Nowacki, Jackowski & Strzelczyk, while other designers (Frankowski, Mrowczyk, Wełna) created typefaces inspired by the Półtawski design. Some of them perpetuated the claim of Polish specificity and the need of a Polish solution to Polish typographic problems.

och

At the end of the 16th century, printers across the country used different letters to express the sounds of the Polish language. In 1594, Jan Januszowski proposed, with two other authors, a unified orthography, and created the Nowy karakter polski font. This project, now revived by Ania Wieluńska as Lazarus, was a utilitarian Polish solution to an actual Polish problem.

In 1928, the typeface Brygada 1918 was created (possibly also by Półtawski) to celebrate ten years of Polish independence. Last year Machalski, Kosmynka, Hoffer & Wieluńska revived this useful text typeface in the context of the independence anniversary, so its release, once again, opened the discussion on a “Polish national font”.

Some designers choose a distinctly opposite position: “I design my fonts specifically for all languages,” said Łukasz Dziedzic, the author of the globally acclaimed FF Clan and Lato. Lato is Polish because it has Polish diacritical marks, and a name that means something nice to Polish readers – no secret Polishness hidden in its dna. Lato is also international, because it is a solid design with an easy-to-spell name that has an international character set, and is widely and freely available from a major global font service.

3

d o r t in adam o d r a tw Outside this somewhat artificial and politicized debate, Polish type designers have been celebrating locality in the way that is closest to my heart: joyfully. After 30 years of “leaving the communist past behind” and “running towards the West”, younger designers rediscover local tradition and look for inspiration not in “national fonts”, but in the signs from the past that surround them: street lettering, hand-painted signs, neons, books and magazines. They appreciate the aesthetic qualities of those objects, even if these objects originated in the “communist era”. Machalski’s Magiel and Nocturne, Włoczewski’s Praho, or Ostoja Lniski’s Kapra and Merlo recreate or evoke Polish visual artefacts because the designers found these artefacts appealing or interesting. They’re an expression of the personal identity of the designers – which by extension is local, and national.

Other projects consciously celeberate a “world identity”, the fact that fonts with the Latin script are being used and designeed on all continents, and that the Latin script has a long tradition of gradual evolution, boasts contributions from master letterers from all over the world, and that it is owned by no-one. Andrzej Heidrich based his Bona (revived by Machalski as Bona Nova) on the work of Italian Renaissance calligraphy masters, and linked the national to the world identity using the name of the 16th century Italian-born Polish queen Bona Sforza. Biniek’s newspaper workhorse Geller is made here but could be made anywhere. Włoczewski’s designs are inspired by things here and there. Jarociński’s work is a systematic study of the tool and of the design process, and the Polish bit is subtly encoded in the fonts’ humorous names.

4 | Title Goes Here

☞ Adam Twardoch

n o i t c du Introduction

och 5

n e t n co contents Introduction | 3 Academy of Fine Arts | 7 Michał Jarociński | 14 Mateusz Machalski | 36 Leszek Bielski | 40 Andrzej Heidrich | 40 Przemysław Hoffer | 46 Borys Kosmynka | 46 Ania Wieluńska | 70 Maciej Włoczewski | 76 Ludka Biniek | 106 Błażej Ostoja Lniski | 112

6 | Title Goes Here

☞ Contents

nts

ACADEM INE F OF IN WARSAW 8 | Title Goes Here

☞ Academy of Fine Arts in Warsaw

Y ACADEM ARTS INE WARSAW Introduction

academy of fine arts in warsaw

In 1766, Marcello Bacciarelli, an Italian painter working at the court of the Polish king Stanisław August Poniatowski, prepared at his majesty’s request a design for an Academy of Fine Arts in Warsaw.

Although this never came to fruition, the role of art school began to be fulfilled by this painter’s own studio, established that same year at the Royal Castle in Warsaw, the so-called Royal Painting Studio.

The history of higher artistic education in Warsaw may be said to date from that time. In 1816, the Royal University of Warsaw was established, including a Department of Fine Arts, with Bacciarelli being appointed its Honorary Dean. All this took place against the background of Poland’s tragic fate – as a nation and a state – of partitions, uprisings and struggle.

The Academy, in the institutional shape as we now know it, combines the traditions of the Warsaw School of Fine Arts (founded in 1904) and the Municipal School of Decorative Arts and Painting (founded in 1920, but with roots dating back to 1844). Its history is usually considered to date back to 1904, although it was only awarded the status of Academy in 1932.

Today it is one of the largest art schools in Poland; in total some 1,600 full-time and external students are admitted. It educates artists, designers, art conservators and art historians in the following faculties: Painting, Sculpture, Media Art, Graphic Arts, Interior Design, Stage Design, Design, Conservation and Restoration of Works of Art, and Management of Visual Culture.

Students at the Academy specialize in easel and mural painting in and beyond the conventional sense, drawing and illustration, traditional sculpture encompassing the full spectrum of studios and scales (including medals). They also specialize in the building of structures/installations and the undertaking of various other activities or spatial interventions that also continually redefine sculpture’s meaning and place. And moreover, the space in which art can exist at all is redefined. Photography (experimental and social) and video arts make up another, performative specialization. Visual language is created and reworked – its messages, codes and channels, as well as intermedia communication, image recording formulas, animation of images and the staging of

9

ACADEM INE F OF IN WARSAW works (not necessarily as a conventional narrative). Contemporary visual culture, and even more so – audio-visual culture are conferred a certain tone. Sets are designed for theatre (including puppet theatre), opera, film and television. Another field is stage costume, and fashion along with artistic and experimental fabrics. There are graphic design and printmaking studios. Design encompasses products – utility items, industrial designs – interiors, exhibitions and visual communication. The cultural/artistic heritage is protected by means of scientific and technical conservation procedures and a deeper awareness of this field is instilled through a specially profiled theoretical education and art history studies. All of this is socially engaged, supported by an anthropological perspective and sensitive to the latest phenomena – and most importantly, set in a place where art is created.

The range of issues explored and special subjects offered at the Academy – and consequently the diversity of future career paths of graduates – is enormous. Their creative education is guided by openness – their instruction taking place in the conventions of multidisciplinary and interdisciplinary approaches, multimedia and intermedia.

In terms of its programme, the Academy is situated between tradition and experiment, innovation of ideas and technological developments – the classic and the modern. Not without reason the exhibition organized to mark the Academy’s 100th anniversary (Zachęta – the National Gallery of Art, 17.09 – 24.10.2004) was entitled Duty and Rebellion. What has distinguished the school from the very beginning is the equal treatment of pure and applied art – so that the two may remain in dialogue and permeate each other. Art may enjoy the privilege of autonomy and elitism, but – especially in the modern world – art is communication! Of the senses, facts, emotions and forms... Our intention is for students to achieve a high degree of efficiency in various fields; to not only create their own works of art or designs, but to also shape their role in contemporary reality and interact with it.

Apart from undergraduate and graduate studies, the Academy conducts post-graduate and doctoral studies. Within its framework there is the Intercollegiate Institute of Artworks Conservation and Restoration, the Public Space Research Institute and Salon Akademii, the highly renowned contemporary art gallery, founded

10 | Title Goes Here

☞ Academy of Fine Arts in Warsaw

Y ACADEM ARTS INE WARSAW Introduction

and headed by Professor Paweł Nowak – the venue for the exhibitions of the 26th Biennale. The Academy conducts didactic, artistic, design, research, and research service activities, along with art research and research in support of art and science, as well as its publishing and exhibition activities and the dissemination of artistic culture; it is both a thriving university and a cultural institution with a broader reach than an academic or artistic community. It is an open and opinion-forming Academy!

The school prides itself on its excellent teaching staff composed of highly valued artists and designers and is the alma mater of many eminent graduates, initiators of new artistic phenomena, who are also of international renown. Importantly, the Academy of Fine Arts in Warsaw has played a significant role in the development of Polish poster art, and most of the representatives of the famous Polish poster school are or have been its lecturers and graduates!

The organizer of the 26th Biennale is the Academy of Fine Arts in Warsaw and – understandably – the greatest effort in its organization is being made by the Faculty of Graphic Arts.

It is the Warsaw Academy’s largest and most dynamically developing department. With a total of 430 students (full-time and external: those attending evening classes and extramural studies), it can boast some 80 lecturers, who are assisted by over 30 doctoral students. It offers both artistic and specialist courses based on a substantial foundation in the arts and theoretical subjects. This education includes such majors as: printmaking, visual communication, book design, illustration, poster design, and multimedia. The department also offers classes in the design of digital publications, magazines, computer games, typefaces and typography.

At the initiative of the Faculty of Graphic Arts, in 1994 the Academy awarded its first honorary doctorate to the Japanese graphic designer, Yūsaku Kamekura. Subsequent laureates have included Umberto Eco (1996), Andrzej Wajda (2000), Boris Voznickij (2004) and Ryszard Horowitz (2010). Another of the department’s valuable initiatives was the revival of outmoded graphic arts professions, such as typesetter and lithographer.

Magdalena Sołtys

11

r o h t u a

12 | Title Goes Here

☞ Authors

rs

Ĺ‚ a h c mi

Biography

Born in 1980. Graduate of the faculty of graphic arts at the Academy of Fine Arts in Warsaw.

Type designer, one of few professionals in Poland.

Since 2007 he has operated under Dada Studio brand.

Head of the studio of Type Design at the Warsaw Academy. Originator of the Capitalics Warsaw Type Foundry project.

i

15

e o g title About

Designer:

Michał Jarociński Design date: 2014

Styles:

18 styles Languages: CE, SE, WE & more...

Shop: www.capitalics.wtf

This family is very special to me. I started working on it right after my first son was born. I decided to name the typeface Servus which means Hello in my country. The whole idea of the family symbolizes a child’s growth. It starts with Thin and Narrow weights – just like a newborn baby – then it slowly grows to Black and Wide. As you can guess, my son is quite chubby now! And I can assure you that I put all my love into details. Servus consists of 9 weights which gives us 18 fonts with matching italics. Lights and Bolds, due to their strong personality, are perfect for display uses. At the same time, Regulars create a harmonious structure that provides good legibility in long texts. Servus covers all Latin languages. It contains a wide set of numerals, small capitals, fractions, ligatures and other OpenType goodies.

Family Name

Servus Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Hello » hello

2019 » 2019

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & Lining Figures [ osf lnum ]

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19/84

fiffka » fiffka

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

Ligatures [ liga ]

16 | Title Goes Here

☞ Servus – Michał Jarociński

e r e h es Test ride

Servus 10/12 pt

Small Caps

Italic

Bold

It should not have been omitted that previous to completely stripping the body of the leviathan, he was beheaded. Now, the beheading of the Sperm Whale is a scientific anatomical feat, upon which experienced whale surgeons very much pride themselves: and not without reason.

Consider that the whale has nothing that can properly be called a neck; on the contrary, where his head and body seem to join, there, in that very place, is the thickest part of him. Remember, also, that the surgeon must operate from above, some eight or ten feet intervening between him and his subject, and that subject almost hidden in a discoloured, rolling, and oftentimes tumultuous and bursting sea. Bear in mind, too, that under these untoward circumstances he has to cut many feet deep in the flesh; and in that subterraneous manner, without so much as getting one single peep into the ever-contracting gash thus made, he must skilfully steer clear of all adjacent, interdicted parts, and exactly divide the spine at a critical point hard by its insertion into the skull. Do you not marvel, then, at Stubb’s boast, that he demanded but ten minutes to behead a sperm whale? When first severed, the head is dropped astern and held there by a cable till the body is stripped. That done, if it belong to a small whale it is hoisted on deck to be deliberately disposed of. But, with a full grown leviathan this is impossible; for the sperm whale’s head embraces nearly one third of his entire bulk, and completely to suspend such a burden as that, even by the immense tackles of a whaler, this were as vain a thing as to attempt weighing a Dutch barn in jewellers’ scales. The Pequod’s whale being decapitated and the body stripped, the head was hoisted against the ship’s side—about half way out of the sea, so that it might yet in great part be buoyed up by its native element. And there with the strained craft steeply leaning over to it, by reason of the enormous downward drag from the lower mast-head, and every yard-arm on that side projecting like a crane over the waves; there, that blood-dripping head hung to the Pequod’s waist like the giant Holofernes’s from the girdle of Judith. When this last task was accomplished it was noon, and the seamen went below to their dinner. Silence reigned over the before tumultuous but now deserted deck. An intense copper calm, like a universal yellow lotus, was more and more unfolding its noiseless measureless leaves upon the sea. A short space elapsed, and up into this noiselessness came Ahab alone from his cabin. Taking a few turns on the quarter-deck, he paused to gaze over the side, then slowly getting into the main-chains he took Stubb’s long spade—still remaining there after the whale’s decapitation— and striking it into the lower part of the half-suspended mass, placed its other end crutch-wise under one arm, and so stood leaning over with eyes

17

Overview

Hąndglòves in 1284 jaketini də papagını

Dolphins Abduct by Awkward Proxy

Desember 1948

Tekintettel arra Ríkisstjórn or Brjálaður Sznur śliw. Chłód gąb. Pot męk. Jaźń żyć. Fe!

Headline in Goshawk Jeszcze Polska nie zginęła

FÖRKLARING 18 | Title Goes Here

☞ Servus – Michał Jarociński

Quote

I’m about to do to you what Limp Bizkit did to music in the late ’90s.

Deadpool

19

e o g title About

Macho has a complex nature. He’s a true “gentle giant”. He kicks asses as a splendid fighter, but also, being a gentle lover, leaves girls breathless. You can count on him in any situation and it’s always good to have him by your side. The brave Macho supports all Latin languages, as well as Cyrillic. His família consists of nine weights plus matching italics. It is stuffed up with various OpenType features such as small capitals, fractions, local forms, ordinals, alternates, ligatures and a full set of superscript and subscript glyphs.

Designer:

Michał Jarociński Design date: 2015

Styles:

18 styles Languages: CE, SE, WE & more...

Shop: www.capitalics.wtf

Family Name

Macho Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Hello » hello

2019 » 2019

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & Lining Figures [ osf lnum ]

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19/84

fiffka » fiffka

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

Ligatures [ liga ]

20 | Title Goes Here

☞ Macho – Michał Jarociński

e r e h es Test ride

Macho 10/12 pt

Oldstyle Figures

Small Caps

Italic

Bold

Ere quitting, for the nonce, the Sperm Whale’s head, I would have you, as a sensible physiologist, simply—particularly remark its front aspect, in all its compacted collectedness. I would have you investigate it now with the sole view of forming to yourself some unexaggerated, intelligent estimate of whatever battering-ram power may be lodged there.

Here is a vital point; for you must either satisfactorily settle this matter with yourself, or for ever remain an infidel as to one of the most appalling, but not the less true events, perhaps anywhere to be found in all recorded history. You observe that in the ordinary swimming position of the Sperm Whale, the front of his head presents an almost wholly vertical plane to the water; you observe that the lower part of that front slopes considerably backwards, so as to furnish more of a retreat for the long socket which receives the boom-like lower jaw; you observe that the mouth is entirely under the head, much in the same way, indeed, as though your own mouth were entirely under your chin. Moreover you observe that the whale has no external nose; and that what nose he has—his spout hole—is on the top of his head; you observe that his eyes and ears are at the sides of his head, nearly one third of his entire length from the front. Wherefore, you must now have perceived that the front of the Sperm Whale’s head is a dead, blind wall, without a single organ or tender prominence of any sort whatsoever. Furthermore, you are now to consider that only in the extreme, lower, backward sloping part of the front of the head, is there the slightest vestige of bone; and not till you get near twenty feet from the forehead do you come to the full cranial development. So that this whole enormous boneless mass is as one wad. Finally, though, as will soon be revealed, its contents partly comprise the most delicate oil; yet, you are now to be apprised of the nature of the substance which so impregnably invests all that apparent effeminacy. In some previous place I have described to you how the blubber wraps the body of the whale, as the rind wraps an orange. Just so with the head; but with this difference: about the head this envelope, though not so thick, is of a boneless toughness, inestimable by any man who has not handled it. The severest pointed harpoon, the sharpest lance darted by the strongest human arm, impotently rebounds from it. It is as though the forehead of the Sperm Whale were paved with horses’ hoofs. I do not think that any sensation lurks in it. Bethink yourself also of another thing. When two large, loaded Indiamen chance to crowd and crush towards each other in the docks, what do the sailors do? They do not suspend between them, at the point of coming contact, any merely hard substance, like iron or wood. No, they hold there a large, round

21

Overview

hämbūrġęfõŋtsíck Živio je oko 130 tisuća godina Розвиток образотворчого мистецтва

Rzeczypospolita Chwyć małżonkę, strój bądź pleśń z fugi

Jak to – po co? To jest praca

Macho Font Family Organizacije Sjevernoatlanskog

Главой государства является

Živio je oko 130 tisuća godina

Koń i żółw grali w kości z piękną ćmą u źródła

Málstaður ellilífeyrisþegi 22 | Title Goes Here

☞ Macho – Michał Jarociński

Quote

This is a very complicated case, Maude. You know, a lotta ins, lotta outs, lotta what-have-you's. And, uh, lotta strands to keep in my head, man. Lotta strands in old Duder's head. Luckily I'm adhering to a pretty strict, uh, drug regimen to keep my mind, you know, limber.

Big Lebowski

23

e o g title About

Designer:

Michał Jarociński Design date: 2013

Styles:

18 styles Languages: CE, SE, WE & more...

Shop: www.capitalics.wtf

Clavo is a multipurpose font family. Its warmth comes from subtle details, classical proportions and traditional forms, while harmonious structure prevents distraction while reading. This makes Clavo a universal typeface. In all sizes, from caption to display.

The family consists of ten weights. They were not created in a linear way. The steps between the weights were adjusted carefully to avoid a mechanical graduation, in favor of optical harmony.

Clavo covers all Latin languages. It contains a wide set of numerals, small capitals, fractions and other OpenType goodies. And of course every weight comes with matching italics.

Family Name

Clavo Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Hello » hello

2019 » 2019

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & Lining Figures [ osf lnum ]

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19/84

fiffka » fiffka

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

Ligatures [ liga ]

24 | Title Goes Here

☞ Clavo – Michał Jarociński

e r e h es Test ride

Clavo 10/12 pt

Small Caps

Italic

Standard Ligatures

It was a Saturday night, and such a Sabbath as followed! Ex officio professors of Sabbath breaking are all whalemen. The ivory Pequod was turned into what seemed a shamble; every sailor a butcher. You would have thought we were offering up ten thousand red oxen to the sea gods. In the first place, the enormous cutting tackles, among other ponderous things comprising a cluster of blocks generally painted green, and which no single man can possibly lift—this vast bunch of grapes was swayed up to the main-top and firmly lashed to the lower mast-head, the strongest point anywhere above a ship’s deck. The end of the hawser-like rope winding through these intricacies, was then conducted to the windlass, and the huge lower block of the tackles was swung over the whale; to this block the great blubber hook, weighing some one hundred pounds, was attached. And now suspended in stages over the side, Starbuck and Stubb, the mates, armed with their long spades, began cutting a hole in the body for the insertion of the hook just above the nearest of the two side-fins. This done, a broad, semicircular line is cut round the hole, the hook is inserted, and the main body of the crew striking up a wild chorus, now commence heaving in one dense crowd at the windlass.

When instantly, the entire ship careens over on her side; every bolt in her starts like the nail-heads of an old house in frosty weather; she trembles, quivers, and nods her frighted mast-heads to the sky. More and more she leans over to the whale, while every gasping heave of the windlass is answered by a helping heave from the billows; till at last, a swift, startling snap is heard; with a great swash the ship rolls upwards and backwards from the whale, and the triumphant tackle rises into sight dragging after it the disengaged semicircular end of the first strip of blubber. Now as the blubber envelopes the whale precisely as the rind does an orange, so is it stripped off from the body precisely as an orange is sometimes stripped by spiralizing it. For the strain constantly kept up by the windlass continually keeps the whale rolling over and over in the water, and as the blubber in one strip uniformly peels off along the line called the “scarf,” simultaneously cut by the spades of Starbuck and Stubb, the mates; and just as fast as it is thus peeled off, and indeed by that very act itself, it is all the time being hoisted higher and higher aloft till its upper end grazes the main-top; the men at the windlass then cease heaving, and for a moment or two the prodigious blood-dripping mass sways

25

Overview

Multipurposer Font Family

Our seo of gmo!

W szczebrzeszynie chrząszcz brzmi w trzcinie

Sixty Handgloves Zażółć gęślą jaźń Förenta Nationernas generalförsamling

Kerning and samples Pójdźże, kiń tę chmurność w głąb flaszy

Rulleskøjte & tørrestativ Considerînd că recunoaşterea demnităţii

Puszcza Kampinowska 26 | Title Goes Here

☞ Clavo – Michał Jarociński

Quote

Martini. Gin, not vodka.

Obviously. Stirred for 10 seconds while glancing at an unopened bottle of vermouth.

Kingsman: The Secret Service

27

e o g title About

Designer:

Michał Jarociński Design date: 2018

Styles:

22 styles Languages: CE, SE, WE & more...

Shop: www.capitalics.wtf

Tzimmes is a tasty morsel for those who love tasty letters. The fleshy serifs combined with the subtle references to calligraphy create a distinctive character that will turn every text into a feast for the eyes. The family consists of 22 weights including true italics. This will allow you to freely compose even the most demanding projects.

Book? Magazine? Logotype? Everything available à la carte!

Light and Bold weights, due to their strong personality, are perfect for display uses. At the same time, Regulars create a harmonious structure that provides good legibility in long texts. Tzimmes covers all Latin languages and Cyrillic. It contains a wide set of numerals, small capitals, fractions, ligatures and other OpenType goodies.

Bon appétit!

Family Name

Tzimmes Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Hello » hello

2019 » 2019

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & Lining Figures [ osf lnum ]

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19/84

agy » agy

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

Alternates [ salt ]

28 | Title Goes Here

☞ Tzimmes – Michał Jarociński

e r e h es Test ride

Tzimmes 10/12 pt

Small Caps

Italic

Bold

Ere quitting, for the nonce, the Sperm Whale’s head, I would have you, as a sensible physiologist, simply—particularly remark its front aspect, in all its compacted collectedness. I would have you investigate it now with the sole view of forming to yourself some unexaggerated, intelligent estimate of whatever battering-ram power may be lodged there. Here is a vital point; for you must either satisfactorily settle this matter with yourself, or for ever remain an infidel as to one of the most appalling, but not the less true events, perhaps anywhere to be found in all recorded history. You observe that in the ordinary swimming position of the Sperm Whale, the front of his head presents an almost wholly vertical plane to the water; you observe that the lower part of that front slopes considerably backwards, so as to furnish more of a retreat for the long socket which receives the boom-like lower jaw; you observe that the mouth is entirely under the head, much in the same way, indeed, as though your own mouth were entirely under your chin. Moreover you observe that the whale has no external nose; and that what nose he has—his spout hole—is on the top of his head; you observe that his eyes and ears are at the sides of his head, nearly one third of his entire length from the front. Wherefore, you must now have perceived that the front of the Sperm Whale’s head is a dead, blind wall, without a single organ or tender prominence of any sort whatsoever. Furthermore, you are now to consider that only in the extreme, lower, backward sloping part of the front of the head, is there the slightest vestige of bone; and not till you get near twenty feet from the forehead do you come to the full cranial development.

So that this whole enormous boneless mass is as one wad. Finally, though, as will soon be revealed, its contents partly comprise the most delicate oil; yet, you are now to be apprised of the nature of the substance which so impregnably invests all that apparent effeminacy.

In some previous place I have described to you how the blubber wraps the body of the whale, as the rind wraps an orange. Just so with the head; but with this difference: about the head this envelope, though not so thick, is of a boneless toughness, inestimable by any man who has not handled it. The severest pointed harpoon, the sharpest lance darted by the strongest human arm, impotently rebounds from it. It is as though the forehead of the Sperm Whale were paved with horses’ hoofs. I do not think that any sensation lurks in it. Bethink yourself also of another thing. When two large, loaded Indiamen chance to crowd and crush towards each other in the docks, what do the sailors do? They do not suspend between them, at the po-

29

Overview

Pawęż chwyć, źródła broń kąśliwie

10.000 GRAINS Książęcych spóźnień czułość Declaración Universal de Derechos Humanos

the fair Ophelia

Sixty Handgloves MÄNSKLIGA RÄTTIGHETERNA

How does your honor heavy headlines A quick brown fox jumps Rebelión Contra La Tiranía 30 | Title Goes Here

☞ Tzimmes – Michał Jarociński

Quote

IT WASN'T MY FAULT, I SWEAR TO GOD!!!

Blues Brothers

31

e o g title About

Designer:

Michał Jarociński Design date: 2013

Styles:

18 styles Languages: CE, SE, WE & more...

Shop: www.capitalics.wtf

Sharik (named after the brave and smart dog-hero from my favorite TV series) has a warm and gentle personality. It does not shout; it does not stand out. Sharik serves his master in everyday work. Although it is a sans serif, you can feel a calligrapher’s touch in its subtle details and endings. They shine out, especially at display sizes. The family consists of nine weights plus matching italics. It meets most of the needs designers deal with on a daily basis, including web usage. It is stuffed up with various OpenType features such as small capitals, a wide set of numerals, fractions, ordinals, alternates, and, of course, ligatures.

Family Name

Sharik Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Hello » hello

2019 » 2019

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & Lining Figures [ osf lnum ]

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19/84

fiffka » fiffka

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

Ligaturs [ liga ]

32 | Title Goes Here

☞ Sharik – Michał Jarociński

e r e h es Test ride

Sharik 10/12 pt

Small Caps

Italic

Bold

Standard Ligatures

I have given no small attention to that not unvexed subject, the skin of the whale. I have had controversies about it with experienced whalemen afloat, and learned naturalists ashore. My original opinion remains unchanged; but it is only an opinion. The question is, what and where is the skin of the whale? Already you know what his blubber is. That blubber is something of the consistence of firm, close-grained beef, but tougher, more elastic and compact, and ranges from eight or ten to twelve and fifteen inches in thickness. Now, however preposterous it may at first seem to talk of any creature’s skin as being of that sort of consistence and thickness, yet in point of fact these are no arguments against such a presumption; because you cannot raise any other dense enveloping layer from the whale’s body but that same blubber; and the outermost enveloping layer of any animal, if reasonably dense, what can that be but the skin? True, from the unmarred dead body of the whale, you may scrape off with your hand an infinitely thin, transparent substance, somewhat resembling the thinnest shreds of isinglass, only it is almost as flexible and soft as satin; that is, previous to being dried, when it not only contracts and thickens, but becomes rather hard and brittle.

I have several such dried bits, which I use for marks in my whale-books.

It is transparent, as I said before; and being laid upon the printed page, I have sometimes pleased myself with fancying it exerted a magnifying influence. At any rate, it is pleasant to read about whales through their own spectacles, as you may say. But what I am driving at here is this.

That same infinitely thin, isinglass substance, which, I admit, invests the entire body of the whale, is not so much to be regarded as the skin of the creature, as the skin of the skin, so to speak; for it were simply ridiculous to say, that the proper skin of the tremendous whale is thinner and more tender than the skin of a new-born child. But no more of this. Assuming the blubber to be the skin of the whale; then, when this skin, as in the case of a very large Sperm Whale, will yield the bulk of one hundred barrels of oil; and, when it is considered that, in quantity, or rather weight, that oil, in its expressed state, is only three fourths, and not the entire substance of the coat; some idea may hence be had of the enormousness of that animated mass, a mere part of whose mere integument yields such a lake of liquid as that. Reckoning ten barrels to the ton, you have ten tons for the net weight of only three quarters of the stuff of the whale’s skin. In life, the visible surface of the Sperm Whale is not the least among the many marvels he presents. Almost invariably it is all over obliquely crossed and re-crossed with numberless straight marks in thick array, something like those in the finest Italian

33

Overview

Vers la Réconciliation

are willing to pay your tax fee

Qvinde Wienerbrød Vo vedomí že uznanie prirodzenej

Weź maść miętową w dłoń

MANIÈRE DE VOIR Jours heureux sur l’île

Bolimowski Park

Conseqüência Cãibra

Mannréttindayfirlýsing 34 | Title Goes Here

☞ Sharik – Michał Jarociński

Quote

Why is it that the landscape is moving, but the boat is still?

Dead Man

35

fot. Paweł‌starzec (printcontrol)

z s u e mat

z

Biography

Born in 1989. Graduate of the faculty of graphic arts at the Academy of Fine Arts in Warsaw with honours. five-time winner of the Scholarship of the Minister of Culture, as well as MĹ‚oda Polska (Young Poland) scholarship. Focused on the fields of visual identity, graphic design in general, and type design. Member of the Board in Association of Polish Graphic Designers and member of the programme Council in International Poster Biennale in Warsaw.

i

37

e o g title About

Designer:

Mateusz Machalski Andrzej Heidrich Leszek Bielski

Ania Wieluńska

Michał Jarociński Design date: 2017-2018 Styles: 9 styles (3 free) Languages: CE, SE, WE & more...

Shop: www.capitalics.wtf

Bona Nova is a collective revival project of Bona typeface designed in 1971 by the author of Polish banknotes Andrzej Heidrich. Besides giving the project a digital font form the aim was to expand the base character set: preparation of small caps, designing the alternative glyphs and multiple OpenType Features. Working together with the author we designed two new text versions: regular and bold – to give the family a form of a classic script triad. ☞ It is accompanied by three title versions and three contour styles under the name of Bona Sforza. All styles contains over 1200 glyphs.

Bona Nova is an unprecedented typographic adventure for our team.

We hope that our work will allow the cultural heritage of Bona and the work of Andrzej Heidrich to gain new followers and fans.

This project connected three generations of graphic designers who graduated the same school – the Academy of Fine Arts in Warsaw.

Family Name

Bona Nova Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Hello » hello

2019 » 2019

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & Lining Figures [ osf lnum ]

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19/84

fiffka » fiffka

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

Ligaturs [ liga ]

38 | Title Goes Here

☞ Bona Nova – Mateusz Machalski, Andrzej Heidrich, Leszek Bielski, Ania Wieluńska, Michał Jarociński

e r e h es Test ride

Bona Nova 9/12 pt

Oldstyle Figures

Small Caps

Italic

Lining Figures

Pointing hand

Standard Ligatures

Dictionary Ligatures

Bona Sforza d’Aragona (ur. 2 lutego 1494 w Vigevano, zm. 19 listopada 1557 w Bari) – od 1518 królowa Polski i wielka księżna litewska, księżna Rusi, Prus i Mazowsza itd., księżna Bari i Rosano, spadkobierczyni pretensji do Królestwa Jerozolimy od 1524. Żona Zygmunta Starego, matka królów Polski Zygmunta Augusta i Anny Jagiellonki, królowej Węgier Izabeli Jagiellonki – żony Jana Zápolyi, królowej Szwecji Katarzyny Jagiellonki – żony Jana Wazy, Zofii Jagiellonki (zw. Brunszwicką) – żony księcia brunszwickiego Henryka II oraz Olbrachta Jagiellończyka (którego poroniła podczas polowania w Niepołomicach).

Pełna tytulatura królowej: Bona Dei gratia regina Poloniae, magna dux Lithuaniae, Barique princeps Rossani, Russiae, Prussiae, Masoviae etc. domina.

(Bona, z Bożej łaski królowa Polski, wielka księżna Litwy, księżna Bari i Rossano, pani Rusi, Prus, Mazowsza itd.)2.

Tytulatura skrócona: Bona Sfortia Dei gratia regina Poloniae (Bona Sforza, z Bożej łaski królowa Polski). Pochodziła z możnego włoskiego rodu książąt Mediolanu – Sforzów. Była córką Giana Galeazza Sforzy i Izabeli Aragońskiej. Mimo iż jej ojcu należała się władza w Księstwie Mediolanu, został on odsunięty przez Ludovica il Moro. Sprawował on władzę w imieniu młodego księcia aż do jego śmierci w 1494 na zamku w Pawii.

Wkrótce po tym księżna Izabela wraz z córkami wyjechała do Bari. ☞ Chcąc odzyskać znaczenie polityczne i swe dawne posiadłości, dążyła do jak najkorzystniejszego wydania za mąż Bony (jej siostra Ippolita zmarła wcześniej podczas rocznego pobytu na wyspie Ischia). Pierwsze próby zakończyły się niepowodzeniem ze względu na niekorzystne położenie polityczne Izabeli, ale dzięki wsparciu Habsburgów udało się doprowadzić do jej małżeństwa z owdowiałym królem polskim Zygmuntem Starym. Uroczystości zaślubin i koronacji Bony odbyły się w Krakowie 18 kwietnia 1518. Bazylika kolegiacka Grobu Bożego w Miechowie-Kaplica Grobu Chrystusa, herb królowej Bony (Sforzów) z 1530 r.

W młodości Bona zdobyła staranne wykształcenie. Jej nauczycielem był Crisostomo Colonna, członek Akademii Pontana, a nad jej wychowaniem czuwał również Antonio Galateo. Bona poznała dzięki nim dzieła Wergiliusza, Cycerona i Ojców Kościoła, nauczyła się wypowiadać w uczony sposób, posiadła również wiedzę z zakresu historii, prawa, administracji i teologii. Była osobą gospodarną, oszczędną, a jednocześnie potrafiącą wywierać wpływ na ludzi. Wykazywała przy tym ambicję we wszystkich swoich działaniach. Niemal od początku swego pobytu w Polsce królowa Bona starała ać wpływ na ludzi. Wykazywała przy tym ambicję we wszystkich swoich działaniach. Niemal od początku swego pobytu w Polsce królowa Bona starała się zdobyć silną pozycję politycz-

39

Overview

đ&#x;¤˜ Zaşółć gęślÄ… jaźń đ&#x;¤˜ ă€ˆH〉2S1/5+(x{šá²4Ă—7})+√6„≠„1„1 → Ď€r²O(3est)

Chopinowskie

đ&#x;‘? LÄ™dĹşwica – Nerka đ&#x;‘Ž W Biblii KrĂłlowej Zofii z 1455 czytamy: Dwie lÄ™dĹşwicy z Ĺ‚ojem swym zakadzi na oĹ‚tarzu...

Ostylowanie

DĂ˜LÇE & GĂƒBĂ„NŇĄ To, czego nie przeĹźyĹ‚eĹ›, nie jest prawdziwe

Mordo, jak tam zdrowie?

GroĂ&#x;e kreisangehĂśrige 40 | Title Goes Here

☞ Bona Nova – Mateusz Machalski, Andrzej Heidrich, Leszek Bielski, Ania WieluĹ„ska, MichaĹ‚ JarociĹ„ski

Quote

Nulla dies sine linea.

Ani dnia bez kreski.

Starałem się, by były co najmniej dwie. ☝ Andrzej Heidrich

41

e o g title About

Favela is an experimental and geometric sans-serif type family. It is characterised by scalable construction of glyphs – Hairline version is at the same time condensed, Regular is normal, and Black is super extended, with short ascenders. Favela was made mainly for branding and display purposes but middle weights are prefect for short texts. Thanks to characteristic features, compilation of extreme styles will work on layouts, websites and prints. Favela type family consist of 18 styles with scalable x-height and width. All styles includes over 500 glyphs with set of small caps.

Designer:

Mateusz Machalski Design date: 2016

Styles:

20 styles Languages: CE, SE, WE Shop: www.capitalics.wtf

Family Name

Favela System Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

Styles

z˙eˆa˜ » żêã

Hello » hello

ŞŢşţ » ȘȚșț

Combining Marks [ ccmp ]

Small Caps [ smcp & c2sc ]

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19/84

€∅∏∑◊∞∫

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

Symbols

42 | Title Goes Here

☞ Favela – Mateusz Machalski

e r e h es Test ride

Favela 10/12 pt

Small Caps

Italic

Superscript

Candida albicans (C.P. Robin) Berkhout – gatunek grzybów zaliczany do rzędu drożdżaków (Saccharomycetes). Jest to grzyb bezotoczkowy, wywołujący zakażenia oportunistyczne u chorych z obniżoną odpornością. Stanowi on florę fizjologiczną przewodu pokarmowego u 40-80% populacji. Pozycja w klasyfikacji według Index Fungorum: candida, Incertae sedis, Saccharomycetales, Saccharomycetidae, Saccharomycetes, Saccharomycotina, Ascomycota, Fungi. Po raz pierwszy takson ten zdiagnozował w 1853 r. C. P. Robin nadając mu nazwę Oidium albicans. Obecną, uznaną przez Index Fungorum nazwę nadał mu w 1923 r. C. M Berkout, przenosząc go do rodzaju Candida. Gatunek ten ma ponad 200 synonimów. Niektóre z nich: Candida stellatoidea (C.P. Jones & D.S. Martin) Langeron & Guerra i Oidium albicans C.P. Robin: Obecność 34 antygenów (zbudowanego głównie z mannanu) pozwala na różnicowanie w obrębie gatunku. Ze względu na różnicę jednego antygenu wyodrębniono C. albicans typ A (który posiada składnik antygenowy o numerze 6) od typu B, który tego składnika nie posiada. Według analizy rRNA małej podjednostki rybosomu (18S), C. albicans razem z innymi przedstawicielami rodzaju Candida (C. tropicalis, C. parapsilosis i C. viswanathii) tworzy silnie wyodrębnioną od innych patogennych grzybów grupę. C. albicans jest gatunkiem diploidalnym, posiada 8 par chromosomów.

Genom C. albicans został w całości zsekwencjonowany w 2004 roku, liczy nieco ponad 14 milionów par zasad (wielkość haploidalnego genomu). Charakterystyczną cechą tego gatunku są często występujące rearanżacje chromosomowe (translokacje, delecje fragmentów chromosomów oraz aneuploidie) mogące prowadzić do zmian fenotypowych, co jest częścią strategii adaptacyjnej.

Zmiany w kariotypie występują często wśród izolatów klinicznych.

C. albicans korzysta z niestandardowego kodu genetycznego. Triplet CUG oznacza serynę, a nie leucynę, jak w standardowym kodzie genetycznym9. Podobna sytuacja ma miejsce w przypadku innych grzybów z rodzaju Candida (np. C. parapsilosis, C. dubliniensis, C. tropicalis, ale nie u C. glabrata), a także m.in. u Debaryomyces hansenii, Pichia stipitis i Pichia farinsa. Gatunki te należą do jednostki systematycznej określanej mianem kladu CTG. Candida albicans (C.P. Robin) Berkhout – gatunek grzybów zaliczany do rzędu drożdżaków (Saccharomycetes). Jest to grzyb bezotoczkowy, wywołujący zakażenia oportunistyczne u chorych z obniżoną odpornością. Stanowi on florę fizjologiczną przewo-

43

Overview

Rozvoj Priateľských Vzťahov

Overwegende

Whereas recognition of the inherent

aaaaaaaaa

Considérant que la reconnaissance

Tekintettel arra

Internationale Maßnahmen

THAILAND, VIETNAM OR CAMBODIA Það ber að viðurkenna asp w Warszawie 44 | Title Goes Here

☞ Favela – Mateusz Machalski

Quote

Favelas are not always a problem.

Favelas can sometimes really be a solution.

Eduardo Paes (https://www.azquotes.com/quotes/topics/favelas.html)

45

e o g title About

Designers:

Mateusz Machalski Borys Kosmynka

Przemysław Hoffer Ania Wieluńska Design date: 2018 Styles: 6 styles (free) Languages:

CE, SE, WE, Cyrillic, Greek, IPA Shop: www.capitalics.wtf

brygada 1918 is a digital revival project of Brygada typeface done thanks to the support of the Independent program and the President of the Republic of Poland. The source of inspiration lies in casting matrices found by Janusz Paweł Tryzno in the Book Art Museum in Łódź. We hope that through its use the brygada 1918 project will benefit the building common conscience of type design – a domain of significant, culture building character.

Apart from redrawing, the shapes were adjusted and corrected, and the available glyph coverage was greatly expanded. Regarding the character set, brygada 1918 type family contains extended Latin, extended Cyrillic, basic Greek, International Phonetic Alphabet, 4 figure versions (oldstyle, lining, tabular oldstyle, tabular lining), small caps, subscript and superscript, currency symbols, mathematical signs, and a wide set of ornaments, in all 6 versions.

Family Name

BRYGADA 1918 Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Hello » hello

2019 » 2019

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & Lining Figures [ osf lnum ]

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19/84

fiffka » fiffka

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

Ligatures [ liga ]

46 | Title Goes Here

☞ BRYGADA 1918 – Mateusz Machalski, Borys Kosmynka, Przemysław Hoffer, Ania Wieluńska

e r e h es Test ride

Brygada 1918 10/12 pt

Greek

Small Caps

Cyrillic Oldstyle Figures

Lining Figures

Polish Trzecia Sesja Ogólnego Zgromadzenia ONZ, obradująca w Paryżu, uchwaliła 10 grudnia 1948 roku jednomyślnie Powszechną Deklarację Praw Człowieka. Dokument ten stanowi niewątpliwie jedno z największych i najtrwalszych osiągnięć ONZ. Przetłumacztona na większość języków świata Powszechna Deklaracja Praw Człowieka zbiera oraz porządkuje osiągnięcia i postulaty człowieka, który od wielu setek lat toczy nie skończoną jeszcze walkę o pokój... Greek Θαμκυαμ δεφινιεβας αδ πρι, πρι δισο ωφφενδιθ περπετυα νε, περ ατ φερρι ιμπερδιετ δετερρυισεθ. Ιν φυγιθ μανδαμυς σιθ, συ μοδυς υθροκυε ινθερεσετ περ. Πυθενθ ορναθυς σωνσεπθαμ εαμ ει. Αλθερυμ ιμπερδιετ δισενθιετ ευ ηας. Ετιαμ επισυρι ηας νο, ειρμωδ σενσεριτ ευ μελ. Υθ σωνσυλ ινδοστυμ κυι, υβικυε δεβιθις δενικυε θε κυο. Ευ πλαθονεμ συσιπιαντυρ δελισαθισιμι μεα. Dannish Den 10. december 1948 vedtog og offentliggjorde FNs tredie generalforsamling Verdenserklæringen om Menneskerettighederne. Erklæringen blev vedtaget med 48 landes ja-stemmer Ingen lande stemte imod. 8 lande afstod. Umiddelbart efter denne historiske begivenhed henstillede generalforsamlingen til alle medlemslande, at de offentliggjorde erklæringens fulde tekst. De skulle desuden "foranstalte, at den bliver omdelt, fremlagt, læst og forklaret. Russian Главой государства является Президент России, избираемый всенародным голосованием сроком на 6 лет (до 31 декабря 2008 года[23] на 4 года). Согласно действующей Конституции, он обладает рядом важнейших полномочий: руководит внешней политикой, является Верховным главнокомандующим Вооружёнными силами, назначает с согласия Государственной думы źосвобождает их от должности. Президент. Dutch 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. English 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. Finnish Yhdistyneiden kansakuntien kolmas yleiskokous hyväksyi ja julkisti ihmisoikeuksien yleismaailmallisen julistuksen joulukuun 10. päivänä 1948. Julistuksen hyväksymisen puolesta äänesti 48 maata.

Mikään maa ei äänestänyt vastaan. Kahdeksan maata pidättyi äänestämästä.

47

Overview

brygada 1918 Кириллица & Ελληνικά

AÐĂm PółŢÄŴȘki ¶ Trzecia Sesja Ogólnego Zgromadzenia onz, obradująca w Paryżu, uchwaliła 10 grudnia 1948 roku jednomyślnie Powszechną Deklarację Praw Człowieka ☛ Ten dokument onz stanowi niewątpliwie jedno z największych i najtrwalszych osiągnięć onz. ☛ Przetłumaczona na większość języków świata Powszechna Deklaracja Praw Człowieka [...].

Международный 07.10.1918 czy 11.11.1918 ¶ Национальный праздник независимости Польши (польск.

Narodowe Święto Niepodległości) – польский национальный праздник, отмечаемый 11 ноября в память обретения независимости Польским царством (1815–1918) в 1918 году, после 123 лет, прошедших с момента третьего раздела Речи Посполитой (1795 год).

Διεθνής γραμματοσειρά 48 | Title Goes Here

☞ BRYGADA 1918 – Mateusz Machalski, Borys Kosmynka, Przemysław Hoffer, Ania Wieluńska

Quote

[...] Nie ulega najmniejszej wątpliwości, że krój skierowano na ścieżkę produkcyjną. Świadczą o tym pracochłonnie wygrawerowane i wyjustowane (zwymiarowane) matryce.

Przedruk artykułu autorstwa Andrzeja Tomaszewskiego, który ukazał się w magazynie „Acta Poligraphica” nr 11/2018

49

e o g title About

Migrena Grotesque designed by Mateusz Machalski is a classical sans-geometric family. This typeface is characterised by a lot of details, which gives it a friendly character. Scalable x-height, rounded corners makes Migrena Grotesque good choice for many purposes.

The family consists of 18 styles with italics from Hairline to Black.

Designers:

Mateusz Machalski Design date: 2016

Styles:

18 styles Languages: CE, SE, WE Shop: www.capitalics.wtf

Family Name

Migrena Grotesque Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

z˙eˆa˜ » żêã

2019 » 2019

ŞŢşţ » ȘȚșț

Combining Marks [ ccmp ]

Oldstyle & Lining Figures [ osf lnum ]

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19/84

∂∅∏∑√∞∫

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

Symbols

50 | Title Goes Here

☞ Migrena Grotesque – Mateusz Machalski

e r e h es Test ride

Migrena Grotesque 10/12 pt

Bold

Oldstyle Figures

Italic

Lining Figures

The Enigma machines were a series of electro-mechanical rotor cipher machines developed and used in the early to mid-twentieth century to protect commercial, diplomatic and military communication. Enigma was invented by the German engineer Arthur Scherbius at the end of World War I. Early models were used commercially from the early 1920s, and adopted by military and government services of several countries, most notably Nazi Germany before and during World War II. Several different Enigma models were produced, but the German military models are the most commonly recognised. However, Japanese and Italian models have been used. German military messages enciphered on the Enigma machine were first broken by the Polish Cipher Bureau, beginning in December 1932. This success was a result of efforts by three Polish cryptologists, Marian Rejewski, Jerzy Różycki and Henryk Zygalski, working for Polish military intelligence. Rejewski reverse-engineered the device, using theoretical mathematics and material supplied by French military intelligence. Subsequently the three mathematicians designed mechanical devices for breaking Enigma ciphers, including the cryptologic bomb.

From 1938 onwards, additional complexity was repeatedly added to the Enigma machines, making decryption more difficult and requiring further equipment and personnel—more than the Poles could readily produce. On 26 and 27 July 1939, in Pyry near Warsaw, the Poles initiated French and British military intelligence representatives into their Enigma-decryption techniques and equipment, including Zygalski sheets and the cryptologic bomb, and promised each delegation a Polish-reconstructed Enigma. The demonstration represented a vital basis for the later British continuation and effort. During the war, British cryptologists decrypted a vast number of messages enciphered on Enigma. The intelligence gleaned from this source, codenamed “Ultra” by the British, was a substantial aid to the Allied war effort. Though Enigma had some cryptographic weaknesses, in practice it was German procedural flaws, operator mistakes, failure to systematically introduce changes in encipherment procedures, and Allied capture of key tables and hardware that, during the war, enabled Allied cryptologists to succeed and “turned the tide” in the Allies’ favor. The mechanical parts act in such a way as to form a varying electrical circuit. When a key is pressed, one or more rotors move to form a new rotor configuration, and a circuit is completed.

Current flows through various components in the new configuration, ultimately lighting one display lamp, which shows the output letter. For example, when encrypting a message starting ANX..., the operator would first press the A key, and the Z lamp might light, so Z would be the first letter of the ciphertext. The operator would next press N, and then X in the same

51

Overview

Funkschlüssel Scherbius & Ritter

TYPOGRAPHY London Gowshawk

Mateusz Machalski

Choćby król świń dźgnął męża, ty psuj fez

Steckerverbindungen

Musikakademie Starčevačka Filmuj rzeź żądań, pość, gnęb 52 | Title Goes Here

☞ Migrena Grotesque – Mateusz Machalski

Quote

Enigma była używana od lat 20. XX wieku, a później została źąãđáþţòŵäŋă przez instytucje państwowe wielu różnych krajów. source: https://en.wikipedia.org/wiki

53

e o g title About

Magiel pro is a geometric, display type family, inspired by old Polish banners, from prl period. Letters have a lot of construction mistakes, based on an original designs from 1945 – 1989. Whole family consist of two styles – Black and Hairline, with Cyrillic (also Bulgarian set). Magiel pro also has a lot of stylistic sets. Magiel is a part of Warsaw Types project.

Designers:

Mateusz Machalski Design date: 2017

Styles:

2 styles Languages: CE, SE, WE, Cyrillic Shop: www.capitalics.wtf

Family Name

Magiel PRO Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

aa a a Styles

54 | Title Goes Here

☞ Magiel PRO – Mateusz Machalski

e r e h es Test ride

AÁĂÂÄÀĀĄÅÃÆBCĆČÇĊ DÐĎĐEÉĚÊËĖÈĒĘFGĞĢĠH ĦIÍÎJKĶLĹĽĻŁMNŃŇŅŊÑO ÓÔÖÒŐŌØÕŒPÞQRŔŘŖ SŚŠŞȘTŦŤŢȚUÚÛÜÙŰŪŲŮ VWẂŴẄẀ X YÝŶŸỲ Z Ź Ž Ż aáăâäàāąåãæbcćčçċdðďđe éěêëėèēęfgğģġhħiıíîïìīįjkķlĺľ ļłmnńňņŋñoóôöòőōøõœp þqrŕřŗsśšşșßtŧťţțuúûüùű ūųůvwẃŵẅẁxyýŷÿỳzźžż 0 1 2 3 4 5 6 7 8 9 · • : , … * \ ! ¡ # .?¿" ' ; // _{}[]()—–-«»‹›„“”‘’‚¢¤$€£¥ +−×÷=≠><≥≤±≈~¬∞∫∏∑ %‰◊@&¶§©®™°|¦†‡^ 55

Overview

Telefunken

Kebab Cienkie Ciasto

Кукольный

варсзава Mateusz Machalski Konkubina

Degrengolada Balsam померанский

Польский Hennesy

Oporowa odpalinka

56 | Title Goes Here

☞ Magiel PRO – Mateusz Machalski

Quote

Dość gróźb!

Fuzją, klnę pyszność małżeństw.

Filmuj rzeź żądań, puść gnębicieli.

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e o g title About

Nocturne Serif is inspired by the lettering from stone tablets commemorating the victims of World War II and by Warsaw architecture. Nocturne is a text font that features clean geometrical shapes, high contrast and is modernist in character. All family consist of over 750 glyphs including: Latin, Cyrillic, Small Caps and much others…

Designer:

Mateusz Machalski Design date: 2016-2017 Styles:

20 styles Languages: CE, SE, WE, Cyrillic Shop: www.capitalics.wtf

Family Name

Nocturne Serif Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Hello » hello

2019 » 2019

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & Lining Figures [ osf lnum ]

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19/84

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

58 | Title Goes Here

☞ Nocturne Serif – Mateusz Machalski

fiffka » fiffka Ligatures [ liga ]

e r e h es Test ride

Nocturne 9/12 pt

Small Caps Italic

Oldstyle Figures

Lining Figures

Standard Ligatures

Według legendy, Chopin urodził się w czasie, gdy w pobliżu jego ojciec Mikołaj grał na skrzypcach w jednej z dworskich oficyn Kaspra Skarbka, w której mieszkała rodzina Mikołaja i Tekli Justyny z Krzyżanowskich. Na chrzcie nadano mu imiona Fryderyk Franciszek (na cześć ojca chrzestnego i zapewne dziadka – François). W księdze metrykalnej z kościoła w brochowie jako chrzestni widnieją Franciszek Grembecki ze wsi Ciepliny wraz z panną Anną Skarbkówną, hrabianką z Żelazowej Woli. Sami Chopinowie jako chrzestnego zwyczajowo traktowali młodego hrabiego Fryderyka Skarbka oraz jego rok młodszą siostrę Annę Emilię.Jesienią 1810 Mikołaj i Justyna wraz z dziećmi przenieśli się do Warszawy. W październiku zamieszkali w nieistniejącej obecnie kamienicy należąca do Jana Böhma przy Krakowskim Przedmieściu nr hipoteczny 411 (obecnie w tym miejscu znajduje się kamienica Józefa Grodzickiego pod nr 7). Tam w lipcu 1811 przyszła na świat ich druga córka, Izabella. Wkrótce potem Chopinowie przeprowadzili się do służbowego mieszkania w pałacu Saskim, w którym mieściło się Liceum Warszawskie, gdzie Mikołaj miał uczyć języka francuskiego. Przeprowadzka do Warszawy wynikała prawdopodobnie z pogarszającej się sytuacji finansowej Skarbków.

Kasper Skarbek prowadził hulaszczy tryb życia i popadał w długi, a po rozwodzie z Ludwiką (1807) uciekł z Księstwa Warszawskiego do Wielkiego Księstwa Poznańskiego. Również dorastające dzieci Skarbków nie wymagały już opieki guwernera. Prawdopodobnie Mikołaj myślał o przeprowadzce do dawnej polskiej stolicy jeszcze przed urodzeniem się syna. Po wyjeździe na stałe do Warszawy Chopinowie utrzymywali oficjalne kontakty z rodziną Skarbków – Fryderyk jeździł tam na wakacje, a młody Fryderyk Skarbek wydał pierwsze polonezy Chopina. Na przełomie czwartego i piątego roku życia Chopin rozpoczął naukę gry na fortepianie, początkowo u swej matki.

W 1816 zaczął brać lekcje u Wojciecha Żywnego. Bardzo szybko się uczył.

27 listopada 1831 Mikołaj pisał do Fryderyka:Technika gry zabrała Ci bardzo niewiele czasu [...]. Twoje palce mniej się natrudziły niż umysł [...] inni trawili całe dni, przebierając palcami po klawiaturze, Ty [...] rzadko spędzałeś przy niej godzinę. Żywny sam nie był wybitnym muzykiem, a zdolnego i pojętnego ucznia uczył techniki palcowania i tradycyjnego ułożenia ręki. Podczas lekcji koncentrował się głównie na zaznajamianiu ucznia z dziełami muzyki barokowej i klasycznej oraz objaśnianiu budowy utworów fortepianowych Johanna Sebastiana Bacha, Josepha Haydna, Wolfganga Amadeusa Mozarta oraz (w mniejszym stopniu) Johanna Nepomuka Hummla. Pozostałością po tej niekonwencjonalnej edukacji było zamiłowanie Fryderyka do dawnych kompozytorów. Następnym nauczycielem Fryderyka był, pochodzący – tak samo jak Żywny – z Czech, Wilhelm Wacław Würfel. Przed ukończeniem 7 roku życia był już autorem kilku drobnych kompozycji (były to polonezy...

59

Overview

Czcigodny Książulek Øßcar Hansen

Mateusz Machalski Lata 1829–1831 były dla F.Chopina okresem pierwszej miłości (do śpiewaczki Konstancji Gładkowskiej) i pierwszych ogromnych sukcesów kompozytorskich. W liście do swojego przyjaciela, Tytusa Woyciechowskiego – Chopin nazywał Konstancję ideałem.

Rzeczypospolita Polska

{MÕDÊRNIŽM} Szczebrzeszyńskie Specjały

Шопен & Варшава

Фридерик Шопен 60 | Title Goes Here

☞ Nocturne Serif – Mateusz Machalski

Quote

Było dosyć osób...

W przeciągu wieczora grał na fortepianie młody Chopin, dziecię w ósmym roku życia, obiecujące jak twierdzą znawcy, zastąpić Mozarta...

Aleksandra Tarczewska, Izabela Kaniowska-Lewańska: Historia mego życia: wspomnienia warszawianki. Wrocław: Ossolineum, 1967, s. 243

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e o g title About

Bilbao is a hybrid between sans, slab, and monolinear fonts with geometric details. This typeface is defined by multiple features, which give it a friendly feeling. Bilbao is perfect for branding and display purposes. Entire family consists of 18 styles with italics from Thin to Bold.

Designer:

Mateusz Machalski Design date: 2018

Styles:

18 styles Languages: CE, SE, WE Shop: www.capitalics.wtf

Family Name

Bilbao Semislab Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

ze ̇ â ̃ » żêã

∂∅∏∑√∞∫

ŞŢşţ » ȘȚșț

Combining Marks [ ccmp ]

Symbols

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19/84

SÒÓN

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

More OT Features Soon

62 | Title Goes Here

☞ Bilbao Semislab – Mateusz Machalski

e r e h es Test ride

Bilbao 9/12 pt

Bold Italic

Oldstyle Figures

Lining Figures

Lining Figures

Bilbao (bask. Bilbo, kast. Bilbao) – stolica prowincji Bizkaia (kast. Vizcaya), największe miasto Kraju Basków w północnej Hiszpanii, liczące 345 tysięcy mieszkańców, wraz z przyległymi miejscowościami tworzące metropolię Gran Bilbao. Według danych hiszpańskiego Ministerstwa Rozwoju tzw. Wielki Zespół Miejski Bilbao (hiszp. Grande Área Urbana) ma 910 578 mieszkańców na powierzchni 504 km2, w latach 2001–2011 nastąpił wzrost ludności o 14 809 osób, co stanowi wzrost o 1.65%. Bilbao prawa miejskie nadane zostały w 1300 roku. Przez wieki był to port eksportujący żelazo i wełnę. Od XIX wieku miasto stało się jednym z głównych ośrodków przemysłowych Hiszpanii oraz centrum baskijskiego ruchu narodowego. W latach 1936–1937 stolica autonomicznej Republiki Baskijskiej, krwawo spacyfikowanej przez wojska gen. Francisco Franco. Obecnie główny ośrodek gospodarczy i najważniejsze miasto regionu. Różnorodny przemysł; wydobycie i przetwórstwo rud żelaza i metali nieżelaznych, zakłady przemysłu maszynowego, chemicznego, przetwórstwa spożywczego, stocznia. Ośrodek kulturalny Kraju Basków (2 uniwersytety). Bilbao stara się przyciągnąć turystów, budując muzea (słynne Muzeum Guggenheima), sale wystawowe i koncertowe (Palacio Euskalduna), zagospodarowując dawne tereny przemysłowe i ściągając sławnych architektów (Frank Gehry, Norman Foster, Santiago Calatrava). Największym wieżowcem jest Torre Iberdrola. Bilbao znajduje się w strefie klimatu subtropikalnego typu oceanicznego, z łagodnymi zimami i umiarkowanie ciepłymi latami. Średnia roczna temperatura wynosi 19 °C w dzień i 10 °C w nocy. Według Europejskiej Agencji Środowiska, Bilbao leży w obrębie Atlantyckiego regionu biogeograficznego. Średnia temperatura najchłodniejszych miesięcy – grudnia, stycznia i lutego wynosi około 14 °C w dzień i 5 °C w nocy. Średnia dobowa temperatura morza w zimie wynosi 13 °C. Opady śniegu są rzadkie, średnio 2 dni rocznie. Nocne przymrozki występują...

Bilbao jest tematem piosenki Bilbao song pochodzącej z musicalu autorsko-kompozytorskiego trio Hauptmann – Brecht – Weil zatytułowanego Happy End. Song for Bilbao - utwór amerykańskiej grupy muzycznej Pat Metheny Group jako hołd dla miejscowej publiczności. Miasto pojawia się też na początku filmu z Jamesem Bondem z 1999 roku Świat to za mało. W tym mieście znajduje się też teatr operowy, wystawiający opery światowego repertuaru – Teatro Arriaga. Z tą instytucją współpracują artyści światowej. Bilbao (bask. Bilbo, kast. Bilbao) – stolica prowincji Bizkaia (kast. Vizcaya), największe miasto Kraju Basków w północnej Hiszpanii, liczące 345 tysięcy mieszkańców, wraz z przyległymi miejscowościami tworzące metropolię Gran Bilbao. Według danych hiszpań-

63

Overview

Scalable City

bilbao@goshawk.wtf Candida & Albicans MATEUSZ MACHALSKI

Jest tematem piosenki Bilbao song pochodzącej z musicalu autorskokompozytorskiego trio Hauptmann – Brecht – Weil zatytułowanego Happy End. Song for Bilbao - utwór amerykańskiej grupy muzycznej Pat Metheny Group jako hołd dla miejscowej publiczności. Miasto pojawia się też na początku filmu z Jamesem Bondem z 1999 roku Świat to za mało. W tym mieście znajduje się też teatr operowy, wystawiający opery światowego repertuaru – Teatro Arriaga. Z tą instytucją współpracują...

Species and Relatives

TRADEMARK

Akademia Sztuk Pięknych 64 | Title Goes Here

☞ Bilbao Semislab – Mateusz Machalski

Quote

What did you do to save the world today? source: https://en.wikipedia.org/wiki

65

e o g title About

Designer:

Mateusz Machalski Design date: 2012-2019 Styles:

234 styles Languages: CE, SE, WE Shop: www.capitalics.wtf

PODIUM Sharp is extended version of DUDU typeface designed in 2012. After many years I’ve decided to rebuild and develop this typeface by adding new masters and weights. Finally PODIUM Sharp consist of 234 styles: from Ultra Compressed Hairline to Extra Expanded Heavy. Main idea of this project was to make hybrid between different modular and geometric woodtypes that I found in old Polish specimens: Rex, Blok, Bacarat etc. Thanks to big range of different styles, PODIUM will be a perfect choice for visual identities, posters and display usage. For a better comfort of using PODIUM I’ve prepared a new idea of naming styles, based on Frutiger’s Universe and Climbing evaluation. First digit means width and the second weight is a style. (So for example style 1.1 is Ultra Compressed Hairline, 6.5 is something like Regular and 9.13 is Ultra Expanded Heavy.

Family Name

PODIUM Sharp Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

Masters

aaaaaa 66 | Title Goes Here

☞ PODIUM Sharp – Mateusz Machalski

e r e h es Test ride

H

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1.1

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H H H H H H H H H H 5.13

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67

Overview

WOODTYPES

Modular Headlines in Goshawk Gloves

HEGEMONIA

OLDSCHOOL PRINT

Let erpress Studio / Academy of Fine Arts in Warsaw

NOUAKCHOTT

Geometric Vibes

TYPE & TRAVEL

BREAKING NEWS IN MAURETANIA 68 | Title Goes Here

☞ PODIUM Sharp – Mateusz Machalski

Quote

PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM PODIUM 69

fot. MACIEJ WELK

Ania wieluń

Biography

e h t om r f d e t a du a r G .

92 19 in Born faculty of graphic arts of in s t r A e in F of y m e d ca A e th s.

Warsaw in 2017 with honour FOUR-TIME WINNER of the Scholarship of the Minister of C u ltu r e , as well as the Beatrice Warde Monotype/TDC Scholarship.

71

e o g title About

Designer:

Ania Wieluńska Design date: 2016-2018 Styles:

4 styles Languages: CE, SE, WE Shop: www.capitalics.wtf

The New Polish Karakter from 1594, by Jan Januszowski, Jan Kochanowski and Łukasz Górnicki was one of the first attempts to unify the way that Polish language is written in text. All texts form this book, have been set with a new, innovatory system – for the purposes of contemplating orthography, Januszowski developed two new fonts – straight one and italic. Lazarus is a family of 4 typefaces, digitized on the basis of the New Karakter fonts. Work on the project took over two years and assumed long and insightful research on the original, the development of individual method of digitalization and a significant extension of the original sets of characters. The final set consists of two historicizing fonts, created on the basis of Januszowski's project – Italic and Upright Italic, of Regular, which is an interpretation of the antiqua used by Januszowski for Latin texts, and of Fraktur, which is an interpretation of the Mytel Polski, that was also used in the New Karakter.

Family Name

Lazarus Project Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Hello » hello

2019 » 2019

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & Lining Figures [ osf lnum ]

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19/84

fiffka » fiffka

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

Ligatures [ liga ]

72 | Title Goes Here

☞ Lazarus Project – Anna Wieluńska

e r e h es Test ride

Lazarus 9/12 pt

Dictionary Ligatures

Small Caps

Italic

Lining Figures

Oldsytle Figures

Historia druku i masowej produkcji książki ma swoje początki w VIII wieku, w Chinach i Korei. Chińscy rzemieślnicy opracowali wówczas metodę polegającą na rzeźbieniu słów oraz obrazów w drewnianych blokach. Odpowiednio opracowane matryce pokrywali farbą, aby następnie odcisnąć je na papierze. Bloki zawierały całą stronę tekstu, lub ilustracji. Wprowadzenie tego typu druku znacząco obniżyło cenę książek, a tym samym przyczyniło się do rozszerzenia umiejętności czytania i pisania, a także do rozwoju dramatu i innych form kultury popularnej. Ciekawym przykładem zachowanych do dziś drewnianych matryc jest tripitaka koreana. Zbiór pism buddyjskich, stanowiący syntezę wszystkich nauk Buddy, został wyrzeźbiony na ponad osiemdziesięciu tysiącach drewnianych bloków, w XII wieku, na zlecenie koreańskiej dynastii Goryeo. Komplet matryc przechowywany jest obecnie w klasztorze Haein, w Korei Południowej.

Za sprawą Instytutu Badawczego Tripitaka Koreana, zbiór dostępny jest również w wersji cyfrowej. Warto nadmienić, iż pierwsza wersja Tripitaki rzeźbiona w drewnie powstała już w X wieku, jednak została zniszczona w wyniku inwazji dynastii Jin. Znane są również azjatyckie próby używania czcionek glinianych, fajansowych i porcelanowych. W XI w. została wymyślona ruchoma czcionka (jeden blok dla każdego znaku), która nie przyjęła się w Chinach, ze względu na materialny aspekt. Druk z całego bloku, stanowiącego jedną stronę był bardziej ekonomiczny niż układanie jej z poszczególnych, małych bloczków.

Pierwszym twórcą ruchomej czcionki był Bi Sheng (990-1051), który stosował pieczoną, kruchą glinkę. Za wynalazcę ruchomej czcionki drewnianej uważany jest Wang Zhen z dynastii Yuan. Jego odkrycie datowane jest na koniec XIII wieku. Ruchome czcionki metalowe pojawiły się w Korei na początku XIII wieku.

Jedną z pierwszych znanych książek, wyprodukowanych giserskimi czcionkami, był pochodzący z XIII wieku kodeks Sangdźón jemun, będący zbiorem zasad i obyczajów królestwa Korojó. Równocześnie datowaną książką, drukowaną w tej samej technice, była Pieśń mnicha Ch’uan z Sudming o prawdziwości dogmatu z 1239 roku. Pierwszą koreańską wytwórnię produkującą czcionki na masową skalę otwarto w marcu 1403 roku. O rozwoju sztuki projektowania krojów pism w Europie, możemy mówić od momentu wynalezienia ruchomej czcionki, a zasadniczo prostego aparatu do jej odlewania, przez Jana Gutenberga, w 1450 roku. Wcześniejsze, ręczne wzory mimo swego wizualnego podobieństwa, zawsze cechowała pewna indywidualność, spowodowana osobistym charakterem pisma i gestem dłoni poszczególnych skrybów. Ruchoma czcionka pozwoliła różnym autorom, czy też drukarzom, posługiwać się identycznym wzorem pisma, niezależnie od siebie. Większość zdobyczy wczesnej historii projektowania czcionek, wywodziła się z pisma ręcznego. Od tego czasu zarówno mody i wzory pism, jak i techniki druku zmieniały się na przestrzeni wieków. W dzisiejszych czasach projektowanie krojów niemal w całości przeniosło się do świata cyfrowego.

73

Overview

M. Panu Hyacintowi

Już temu lat siedemnaście moi wielce Miłościwi Panowie iako puściwszy się Dworu u któregom lata przeszłe swoie trawił: puściwszy insze genera vitę dosyć zacne, usiadłem na oyczystey roli.

Nie abym próżnował, co dobremu nieprzystoi: nie abym inter caulas et. haras sobie gwoli tylko mieszkać miał, co było podobno lepiey: nie abym też skrzynie żelazne wiatrem nabiać miał, własne sumienie świadkiem: y krótko mówiąc, nie dla priwaty swoiey [...].

Life of Pablo Secundo

Beatus vir. Pſalm 12

Kochanowskiego Podobnoć się godziło każdą Ortografię wydać osobno: ale iż jedna materia, i jednej rzeczy służy, choć różnych osób, zdało mi się dróżniej nowym pismem wszystko wespół wydać. Nic jednak tym żadnemu nieujmuję: owszem co czyjego jest, całe zostawię. Rozsądkom tylko ludzkim, aby tym prędzej wszystko na oko baczyć mogli, i karakterowi nowemu folguję. Czytelnik łaskawy, tym się nieobrażając...

Pontificis max liberalitate 74 | Title Goes Here

☞ Lazarus Project – Anna Wieluńska

Quote

☙ Do łáſkáwégo Czytelniká Niniejsza książka jest efektem dwuletniej pracy nad jednym z pierwszych dokonań polskiej typografii – „Nowym Karakterem Polskim”.

Swoim projektem pragnę oddać wyrazy szacunku Wielmożnym M. Panom: Janu Januszowskiemu, Janu Kochanowskiemu i Łukaszowi Górnickiemu, oraz upamiętnić ich nowatorskie idee i dokonania.

Choć w pogoni za ideałem trudno mi zakończyć pracę, mam nadzieję, że: „Czytelnik łáſkáwy, tym ſye nieobráżáiąc, z łáſką pryymie, y łáſkaw będzie, Proßę”.

☙ 75

fot. Wiktoria WĹ&#x201A;oczewska

Maciej

Biography

Maciej is a designer based in Warsaw. He specialises in typefaces for different purposes with extra opentype features. Attention to detail and hard work are his distinctive features which developed during his studies at the Academy of Fine Arts in Warsaw.

He is also a co-owner of Portrait Insitute â&#x20AC;&#x201C; creative, photography business and Picador Graphic&Typeface

77

e o g title About

Designer:

Maciej Włoczewski Design date: 2017-2018 Styles:

18 styles Languages: CE, SE, WE & more...

Shop: www.capitalics.wtf

Praho Pro is a part of Warsaw Types – a project based on Warsaw’s local typographic heritage. The project, presented at the Museum of Praga, is a collaboration of 12 young Polish typographers.

Praho Pro is a multilingual family inspired by the unique, historical character of Praga district of Poland's capital – Warsaw. High contrast, thin serifs, sharp terminals and large x-height are key features for distinctive headlines. The whole family consist of 9 weights and real italics, small caps, superscript and subscript letters, oldstyle, tabular figures and fractions. It covers Latin and Cyrillic script.

Every weight has almost 2000 glyphs.

Family Name

Praho Pro Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Mac » Mac

2745 » 2745

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & Lining Figures [ osf lnum ]

Local forms [ locl ]

fi f l ffi » fi fl ffi

2H2O » 2 H2O

3/8 » 3/8

Ligatures [ liga ]

Superscript/subscript [ sups subs ]

Fractions [ frac ]

78 | Title Goes Here

☞ Praho Pro – Maciej Włoczewski

e r e h es Test ride

Praho Pro 10/13 pt

BURNING DAYLIGHT by Jack London Part ii.

Small Caps

Italic & Bold Italic

Ligatures

Superscript

Chapter xxiv Three days later, Daylight rode to Berkeley in his red car. It was for the last time, for on the morrow the big machine passed into another's possession. It had been a strenuous three days, for his smash had been the biggest the panic had precipitated in California. The papers had been filled with it, and a great cry of indignation had gone up from the very men who later found that Daylight had fully protected their interests.

It was these facts, coming slowly to light, that gave rise to the widely repeated charge that Daylight had gone insane. It was the unanimous conviction among business men that no sane man could possibly behave in such fashion. On the other hand, neither his prolonged steady drinking nor his affair with Dede became public, so the only conclusion attainable was that the wild financier from Alaska3 had gone lunatic.

And Daylight had grinned and confirmed the suspicion by refusing to see the reporters.

He halted the automobile before Dede's door, and met her with his same rushing tactics, enclosing her in his arms before a word could be uttered. Not until afterward, when she had recovered herself from him and got him seated, did he begin to speak. (â&#x20AC;Ś)

Oldstyle Figures

John Griffith London (born John Griffith Chaney;[1] January 12, 1876 â&#x20AC;&#x201C; November 22, 1916)[2][3][4][5] was an American novelist, journalist, and social activist. A pioneer in the world of commercial magazine fiction, he was one of the first writers to become a worldwide celebrity and earn a large fortune from writing. He was also an innovator in the genre that would later become known as science fiction.

His most famous works include The Call of the Wild and White Fang, both set in the Klondike Gold Rush, as well as the short stories "To Build a Fire", "An Odyssey of the North", and "Love of Life". He also wrote about the South Pacific in stories such as "The Pearls of Parlay" and "The Heathen".

79

Overview

Warszawski Szyk

Alapokmányban az Egyesült Nemzetek

Weź nóż w dłoń, by ściąć sęk Den svenska översättningen

Обладает также целым

Hamburgefons

Saccharomycetidae

Mt. Everest

Weź nóż w dłoń, by ściąć sęk

Aerologiinstitutt 80 | Title Goes Here

☞ Praho Pro – Maciej Włoczewski

Quote

You can't wait for inspiration.

You have to go after it with a club.

Jack London

81

e o g title About

Ultra Heavy Weight Font Champion – that's Kotto Slab. Bold curves and catchy endings. You can always count on Kotto – quirky posters, creative projects or long texts. That doesn't matter. Easy to use and easy to pair with other typefaces. Matching italics and OpenType features will make your work faster. Try it with sans and serif fonts – you won't regret it.

Designer:

Maciej Włoczewski Design date: 2018-2019 Styles: 22\ styles Languages:

CE, SE, WE & more...

Shop: www.capitalics.wtf

Family Name

Kotto Slab Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Slab » Slab

2745 » 2745

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & Lining Figures [ osf lnum ]

Local forms [ locl ]

↔↖→↕

2H2O » 2H2O

1/9 » 1/9

Arrows

Superscript/subscript [ sups subs ]

Fractions [ frac ]

82 | Title Goes Here

☞ Kotto Slab – Maciej Włoczewski

e r e h es Test ride

Kotto Slab 10/13 pt

Small Caps

Italic

Mr. Street was very busy with his telegraphic matters--and considering that he had eight or nine hundred miles of rugged, snowy, uninhabited mountains, and waterless, treeless, melancholy deserts to traverse with his wire, it was natural and needful that he should be as busy as possible. He could not go comfortably along and cut his poles by the road-side, either, but they had to be hauled by ox teams across those exhausting deserts--and it was two days' journey from water to water, in one or two of them. Mr. Street's contract was a vast work, every way one looked at it; and yet to comprehend what the vague words eight hundred miles of rugged mountains and dismal deserts mean, one must go over the ground in person--pen and ink descriptions cannot convey the dreary reality to the reader. And after all, Mr. S.'s mightiest difficulty turned out to be one which he had never taken into the account at all. Unto Mormons he had sub-let the hardest and heaviest half of his great undertaking, and all of a sudden they concluded that they were going to make little or nothing, and so they tranquilly threw their poles overboard in mountain or desert, just as it happened when they took the notion, and drove home and went about their customary business! They were under written contract to Mr. Street, but they did not care anything for that. They said they would "admire" to see a "Gentile" force a Mormon to fulfil a losing contract in Utah! And they made themselves very merry over the matter. Street said--for it was he that told us these things:

I was in dismay. I was under heavy bonds to complete my contract in a given time, and this disaster looked very much like ruin. It was an astounding thing; it was such a wholly unlooked-for difficulty, that I was entirely nonplussed. I am a business man--have always been a business man--do not know anything but business--and so you can imagine how like being struck by lightning it was to find myself in a country where written contracts were worthless!--that main security, that sheet- anchor, that absolute necessity, of business. My confidence left me. There was no use in making new contracts--that was plain. I talked with first one prominent citizen and then another. They all sympathized with

83

Overview

Ascot Racecourse

Tierra del Fuego

Carnegie Varldsmastarur Incabloc 17 Jewels

Reggio nell'Emilia They were under written contract to Mr. Street, but they did not care anything for that. They said they would "admire" to see a "Gentile" force a Mormon to fulfil...

Chicago

Giovanni di Pietro di Bernardone 84 | Title Goes Here

☞ Kotto Slab – Maciej Włoczewski

Quote

If you want to change the future, you must change what you're doing in the present.

Mark Twain

85

e o g title About

Picador Sans is a modern sans serif typeface. Intriguingly condensed. Distinctively eye-catching. Interestingly well-developed.

This family covers Latin script – every weight has more than 1200 glyphs. The whole family consist of 10 weights and italics, small caps, superscript and subscript letters, oldstyle, tabular figures, ligatures and fractions. Picador Sans is a perfect match for the elegance of serif Praho Pro.

Designer:

Maciej Włoczewski Design date: 2018

Styles:

18 styles Languages: CE, SE, WE & more...

Shop: www.capitalics.wtf

Family Name

Picador Sans Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Sans » Sans

1348 » 1348

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & lining Figures [ osf lnum ]

Local forms [ locl ]

fl ff

2H2O » 2H2O

1/4 » 1/4

Ligatures [ liga ]

Superscript/subscript [ sups subs ]

Fractions [ frac ]

86 | Title Goes Here

☞ Picador Sans – Maciej Włoczewski

e r e h es Test ride

Picador Sans 10/13 pt

Small Caps

THE HAUNTED MANOR by Stanisław Moniuszko

Opera in four acts | Libretto: Jan Chęciński | World premiere: 28 September 1865, Teatr Wielki, Warsaw | In the original Polish with English subtitles Description

Italic

Bold

Oldstyle Figures

Although Polish is my mother tongue, what I love the most is to hear also other languages around myself (…). Since fate opened up our borders, I have frequently travelled without a specifically defined purpose (…) Just to see my own reflection in a different mirror. It is necessary, because mirrors are known to lie, so if you spend your entire life admiring yourself in only one of them, you might not really know what you truly look like, writes Robert Makłowicz in his book Café Museum. Choosing foreign artists as the director and designers of The Haunted Manor (director David Pountney, set designer Leslie Travers and costume designer Marie-Jeanne Lecca) allows us to see ourselves in a different mirror. It allows us to step beyond the task often assigned to us at school: Describe whose image the Sword-bearer depicts in his aria (the answer goes: the ideal son-in-law, who must love his homeland dearly, be brave as a lion, be always at the ready to spill blood for his country). What do we see in the mirror held to us by the British artists? Poland in the 1920s – the time of intensive modernization and reconstruction of our national identity. Modern, Bauhaus solids form the framework for nostalgia, notes the set designer. The director employs an interesting device – the Sword-bearer’s daughters stage tableaux vivants, very popular at the time – and thus the finale in Kalinów sees Rococo landscapes come to life, along with genre scenes à la Watteau, or Marie Antoinette’s style… This sentimental journey reminds one of Woody Allen’s reflection on nostalgia contained in his film Midnight in Paris.

Act 1 Two brothers, Stefan and Zbigniew, bid farewell to their fellow soldiers. They make a solemn promise to remain single so as not to be diverted by domestic issues should their country need them in the future (chorus and duet). Back at their country estate, the servants are preparing for the brothers’ arrival home (chorus), together with their faithful companion Maciej. The three men reflect nostalgically on their childhood home (trio).

Their Aunt, Chamberlain’s wife, arrives – a notorious matchmaker. She has marriage plans for her nephews (trio) which the boys resist, planning instead to put the affairs of their estate in order by collecting their debts. She is horrified when they announce that they will begin at Kalinowo, a house which she claims is haunted. Undeterred, the three men set off (finale).

87

Dýragarður Overview

Guggenheim Museum Opéra de Paris 1669–2018

Bordeaux

Two brothers, Stefan and Zbigniew, bid farewell to their fellow soldiers. They make a solemn promise to remain single so as not to be diverted by domestic issues should their country need them in the future (chorus and duet).

pospolite ruszenie

The Haunted Manor 88 | Title Goes Here

☞ Picador Sans – Maciej Włoczewski

Quote

Ten zegar stary, gdyby świat, Kuranty ciął jak z nut, Zepsuty wszakże od stu lat, Nakręcać próżny trud.

Aria Skołuby, akt III

89

e o g title About

Designer:

Maciej Włoczewski Design date: 2018-2019 Styles:

7 styles Languages: CE, SE, WE & more...

Shop: www.capitalics.wtf

Disalina is a typeface adjusted to your needs. You are looking for geometrical shapes, stylized ligatures or lettering reminiscent of Art Nouveau? Three stylistic sets that are included in every weight will make your project more creative. The Disalina family was inspired by the lettering and posters of late 1800s and the beginning of the 1900s. It merges beautiful vintage design and modern graphic thinking. The whole family consists of 7 weights – you will find different OpenType features such as ligatures, stylistic sets, arrows, swashes and more. Disalina is a true friend – no more different fonts to mix & match different styles.

Family Name

Disalina Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789?!

OpenType Features

MILK » MILK

1348 » 1348

BOWL

Stylistic sets [ ss01 ss02 ss03 ]

Different Figures [ ss01 ]

Swashes [ swsh ]

NOIKO » NOIKO

ŠŐŁȚŶŞ

←↕↔↘

Ligatures [ liga ]

Diacritics

Arrows

90 | Title Goes Here

☞ Disalina – Maciej Włoczewski

e r e h es Test ride

Disalina glyphs

�������������������������� �����������������������������

����������������������� Stylistic set 1

� � � � ������� � � � � � � � ������� ���������������������������

Stylistic set 2

���������������������������� �������������������������� ���������������������������

Stylistic set 3

����� � � � � � � � � � � � � � � � � � � � � �������������������������� ����������������������������� � � � � � � � � � � � � � � � ������� � � � � � � � �������������� � � � � � �

Swashes

������������������������ ������������������������������ ������������������������ � � � � � � � � � � ����� � � � � � � � � ���� ���� � � � � � � � � � � � � � � � �� �

Ligatures

����������������� ���������������� �������������������������������� ��������������������������������� ��������������������������� ������������������

91

Overview

st. Moritz

→1928-2019←

Confoederatio Helvetica

MACONDO MEZZOFORTE

MOONLIGHT LORENZO ‘78 92 | Title Goes Here

☞ Disalina – Maciej Włoczewski

Quote

ART CANNOT BE MODERN. ART IS PRIMORDIALLY ETERNAL. EGON SCHIELE

93

e o g title About

Designer:

Maciej Włoczewski Design date: 2019

Styles:

18 styles Languages: CE, SE, WE & more...

Shop: www.capitalics.wtf

Jagerlay was brought to life to cope with diverse and complex data gathered in presentations, corporate identity and other office documents. Its geometric shape and characteristic endings are reminiscent of classic typography from sci-fi movies from the 1980s. The simple design makes Jagerlay outstandingly easy to use for every user. Jagerlay pairs with other typefaces in the blink of an eye – it goes well with display, serif or script fonts.

The whole family consists of 9 weights and matching italics. Every style has almost 900 glyphs. Jagerlay has many OpenType features such as tabular figures, fractions, superscript and subscript, small caps and arrows. Low contrast makes it easy to read. The rest makes it easy to use.

Family Name

Jagerlay Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Mont » Mont

2H2O » 2H2O

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Superscript/subscript [ sups subs ]

Local forms [ locl ]

↕↖↗↔

ÄÑťÌÇß

3/5 » 3/5

Arrows

Diacritics

Fractions [ frac ]

94 | Title Goes Here

☞ Jagerlay – Maciej Włoczewski

e r e h es Test ride

Jagerlay 13/15,6 pt

Microsoft OfficeÂŽ is a family of client soft-

ware, server software, and services developed

by Microsoft. It was first announced by Bill Gates on August 1, 1988, at Comdex in Las

Small Caps

Vegas. Initially a marketing term for an office suite (bundled set of productivity applications), the first version of Office contained MICROSOFT WORD, MICROSOFT EXCEL, AND MICROSOFT POWERPOINT .

(...)

Italic

Superscript

Microsoft was founded by Bill Gates and Paul Allen on April 4, 1975, to develop and sell BASIC interpreters for the Altair 8800. It rose to dominate the personal computer operating system market with MS-DOS in the mid-1980s, followed by Microsoft Windows. The company's 1986 initial public offering (IPO), and subsequent rise in its share price, created three billionaires and an estimated 12,000 millionaires among Microsoft employees. Since the 1990s, it has increasingly diversified from the operating system market and has made a number of corporate acquisitions, their largest being the acquisition of LinkedIn for $26.2 billion in December 2016,[7] followed by their acquisition of Skype Technologies for $8.5 billion in May 2011.[8] As of 2015, Microsoft is market-dominant in the IBM PC compatible operating system market and the office software suite market, although it has lost the majority of the overall operating system market to Android.[9]

95

Overview

Loro Piana Tasmanian Super 150s Wool

Norteamérica

The Simpsons Doughnuts № 1 Hawai'i Press, Honolulu

Drytooling

Breakfast of Champions As of 2015, Microsoft is market-dominant in the IBM PC compatible operating system market and the office software suite market, although it has lost the majority of the overall operating system market to Android.[9]

Kaiserbrötchen Madagascar Vanilla & Pure Origin Belezean Chocolate

Production 96 | Title Goes Here

☞ Jagerlay – Maciej Włoczewski

Quote

Success is a lousy teacher. It seduces smart people into thinking they canâ&#x20AC;&#x2122;t lose.

Bill Gates

97

e o g title About

Artigua. High contrast, sharp endings and geometrical shapes – these are the main features of Artigua. The relation of vertical and horizontal lines reduces with weight – this makes Regular appropriate for longer texts and Black ideal for headings. Whole family contains small caps, subscript, superscript, italics, fractions old style and tabular figures.

Over 1100 glyphs and 18 fonts makes a perfect match for clean and minimal projects. With Artigua it’s super easy to prepare adverts, books or web headings.

Designer:

Maciej Włoczewski Design date: 2016

Styles:

18 styles Languages: CE, SE, WE & more...

Shop: www.capitalics.wtf

Family Name

Artigua Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Coke » Coke

2745 » 2745

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & Lining Figures [ osf lnum ]

Local forms [ locl ]

↔↖→↕

2H2O » 2H2O

1/9 » 1/9

Arrows

Superscript/subscript [ sups subs ]

Fractions [ frac ]

98 | Title Goes Here

☞ Artigua – Maciej Włoczewski

e r e h es Test ride

Artigua 10/13pt

HEART OF DARKNESS by Joseph Conrad Chapter ii

Superscript

Italic

Small Caps

Forthwith a change came over the waters, and the serenity became less brilliant but more profound*. The old river in its broad reach rested unruffled at the decline of day, after ages of good service done to the race that peopled its banks, spread out in the tranquil dignity of a waterway leading to the uttermost ends of the earth. We looked at the venerable stream not in the vivid flush of a short day that comes and departs for ever, but in the august light of abiding memories. And indeed nothing is easier for a man who has, as the phrase goes, “followed the sea” with reverence¹ and affection, than to evoke the great spirit of the past upon the lower reaches of the Thames.

The tidal current runs to and fro in its unceasing service, crowded with [page 268] memories of men and ships it had borne to the rest of home or to the battles of the sea. It had known and served all the men of whom the nation is proud, from Sir Francis Drake to Sir John Franklin, knights all, titled and untitled – the great knights-errant of the sea. It had «borne» all the ships whose names are like jewels flashing in the night of time, from the Golden Hind returning with her round flanks full of treasure, to be visited by the Queen’s Highness and thus pass out of the gigantic tale, to the Erebus and Terror, bound on other conquests– and that never returned. It had known the ships and the men. They had sailed from Deptford, from Greenwich, from Erith – the adventurers and the settlers; kings’ ships and the ships of men on Change; captains, admirals, the dark “interlopers” of the Eastern trade, and the commissioned “generals” of East India fleets.

Hunters for gold or pursuers of fame, they all had gone out on that stream, bearing the sword, and often the torch, messengers of the might within the land, bearers of a spark from the sacred fire. What greatness had not floated on the ebb of that river into the mystery of an unknown earth! ...

The dreams of men, the seed of commonwealths, the germs of empires. (...)

99

Overview

La Scala – MACBETH Da die Anerkennung der angeborenen

Business week 2017 Weź nóż w dłoń, by ściąć

Pietro Mangini

Wojewoda Mazowiecki

undervisningsinstitutioner Wojewoda Mazowiecki

Fresh & Modern Uluslararasında dostça ilişkiler 100 | Title Goes Here

☞ Artigua – Maciej Włoczewski

Quote

Yo, que me figuraba el Paraíso / Bajo la especie de una biblioteca.

I have always imagined Paradise as a kind of library. ☞

Jorge Luis Borges Poem of the Gifts

101

e o g title About

Designer:

Maciej Włoczewski Design date: 2015

Styles:

18 styles Languages: CE, SE, WE & more...

Shop: www.capitalics.wtf

Mato Sans. Legible and dynamic shape, tons of OpenType options, different scripts – that’s Mato Sans. Difficult small size, long text in Vietnamese, huge heading in Russian or table full of figures to create? It’s not a problem with this family. There are over 2000 glyphs in every weight with such features: superscript and subscript characters, tabular lining and old style figures, small caps, fractions, arrows or even case sensitive parenthesis.

Mato Sans was designed for use in Latin as well as in Cyrillic script.

Every font contains an extended set of Cyrillic characters including special, local glyphs for Bulgarian, Macedonian and Serbian.

Family Name

Mato Sans Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

Coke » Coke

7836 » 7836

ŞŢşţ » ȘȚșț

Small Caps [ smcp & c2sc ]

Oldstyle & Lining Figures [ osf lnum ]

Local forms [ locl ]

↔↖→↕

2H2O » 2H2O

3/8 » 3/8

Arrows

Superscript/subscript [ sups subs ]

Fractions [ frac ]

102 | Title Goes Here

☞ Mato Sans – Maciej Włoczewski

e r e h es Test ride

Oldstyle Figures

• Romeo and Juliet • 1597-2019

Mato Sans 10/13pt

William Shakespeare

Mato Sans Italic

Small Caps

[Enter several of both Houses, who join the fray; then enter Citizens with clubs.]

1 Citizen Clubs, bills, and partisans! strike! beat them down!

Down with the Capulets! Down with the Montagues!

[Enter Capulet in his gown, and Lady Capulet.]

Capulet What noise is this?—Give me my long sword, ho!

Lady Capulet A crutch, a crutch!—Why call you for a sword?

Capulet My sword, I say!—Old Montague is come, And flourishes his blade in spite of me.

[Enter Montague and his Lady Montague.]

Montague Thou villain Capulet!— Hold me not, let me go.

Lady Montague Thou shalt not stir one foot to seek a foe.

[Enter Prince, with Attendants.]

Prince Rebellious subjects, enemies to peace, Profaners of this neighbour-stained steel,— Will they not hear?—What, ho! you men, you beasts, That quench the fire of your pernicious rage With purple fountains issuing from your veins,— On pain of torture, from those bloody hands Throw your mistemper’d weapons to the ground And hear the sentence of your moved prince.— Three civil brawls, bred of an airy word, By thee, old Capulet, and Montague, Have thrice disturb’d the quiet of our streets; And made Verona’s ancient citizens Cast by their grave beseeming ornaments,

103

Manhattan Overview

� GO STRAIGHT говяжий бульон

Böll&Goethe

789,43kg/m3

Mahogany! intervenções 104 | Title Goes Here

☞ Mato Sans – Maciej Włoczewski

Quote

If you can look into the seeds of time, and say which grain will grow and which will not, speak then unto me. â&#x2020;&#x2019; William Shakespeare 1564-1616

105

fot. Maciej Biniek

A Ĺ I M LUD K

Biography

Ludka is a type designer, SHE graduated WITH HONOURS FROM the faculty of graphic arts of the Academy of Fine Arts in Warsaw.

Project Of The Year Award in Young Blood category, WINNER IN the 17th edition of Graduation Project.

Her designs are heavily based on insightful historical research.

She mixes current trends with tradition. As an avid editiorial designer she is focused on creating functional and versatile typefaces serving multiple purposes.

107

e o g title About

Designer:

Ludka Biniek Design date: 2017-2018 Styles:

10 styles Languages: CE, SE, WE

Shop: www.capitalics.wtf

Family Name

Geller: A truly faithful ally for every designer looking for fresh yet familiar and reliable font choice. Geller was created as a part of graduation project in Typowa Pracownia at Academy of Fine Arts in Warsaw. It is a typeface family especially intended for newspapers, magazines, and advertising.

Geller family comes in two optical sizes – headline and text, so it is a complete solution for editorial purposes. During the design process, the technical needs of certain typographic fractions were examined. The capital letters were specially and purposely designed: its modern proportions (derived from Didone fonts) with optimized inner lights as well as short ascenders and descenders work very well within titles and leads. In addition to a wide range of OpenType features, Geller contains bullets & dingbats providing many possibilities of entry points in editorial design. Compact diacritics, proportionally tall x-height, narrow letter construction, all these features allow easy typesetting of narrow text columns and spreads.

Geller Headline & Text Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

¿qué?€50 » ¿QUÉ?€50

125457890 » 13547890

124578.90,03 » |1|2|3|5|

All caps & case sensitive forms [ smcp case ]

Oldstyle & Lining Figures [ osf lnum ]

Tabular Figures [ tnum ]

1935 /220 gr » 1935 /220 gr

1a prima » 1� prima

COL·LEGI » COĿLEGI

Automatic fractions [ frac ]

Ordinal indicator [ ordn ]

Language feature: Catalan [ locl ]

108 | Title Goes Here

☞ Geller Headline & Text – Ludka Biniek

e r e h es Test ride

Geller Text Light 10/12 pt

Lining Figures Small Caps

Superscript

Standard Ligatures

Catch-22 n. 1. a situation in which a person is frustrated by a paradoxical rule or set of circumstances that preclude any attempt to escape from them. 2. a situation in which any move that a person can make will lead to trouble [C20: from the title of a novel (1961) by J. Heller], [Collins] Regular surveys of the most significant novels of the 20th Century, whether chosen by literary critics or the book buying public, tend to produce the same set of titles. Joyce's Ulysses, Fitzgerald's The Great Gatsby, Salinger's The Catcher in the Rye, 100 years of Solitude by Gabriel Garcia Marquez. But only one of the titles regularly appearing in those critics and readers' top tens introduced a phrase to the English language that would go on to have a life of its own, and which sums up a concept that seems to have been around forever.1 Yup, It’s Him: A Pynchon Mystery Solved: Last Tuesday, long-suffering fans of the reclusive writer Thomas Pynchon received a double gift. Pynchon’s latest book, “Inherent Vice,” a stoned-out detective story set in early-‘70s L.A., was released by Penguin Press (read the Journal’s review). And to promote it, the publisher put out a cool video trailer featuring a narrator whose slow, lazy cadence sounds suspiciously like that of Pynchon’s, as evidenced by a guest appearance on "The Simpsons" and this clip from what appears to be a German TV spot. Inquiries by GalleyCat and others as to whether Pynchon is the guy channeling the novel’s main character, beach bum private eye Doc Sportello, have been met with “no comment” from Penguin Press and the video’s producers, Meerkat Media. And, of course, the man himself is mum (Would Pynchon fans expect anything else?).

In an effort to solve the mystery, Speakeasy did a little sleuthing and called Ed Primeau, a Michigan-based sound engineer and voice identification expert.

Like handwriting analysis, voice identification is an inexact science, often used by law enforcement to rule out a suspect rather than to provide a 100% clear-cut ID. Still, people have unique vocal timbres and deliveries, especially Pynchon, who sounds like actor John Astin (i.e. Gomez Addams from the old TV show), mixed with a Midwest corn farmer, with a dollop of aging stoner.

So is it possible to rule out the man in the “Inherent Vice” trailer as being the same guy in the Simpsons episode and German TV clip? Not at all, according to Primeau. In fact, he says, based on a preliminary analysis the speech pattern and inflection is “virtually identical” in all three clips.2

1. What is Catch-22? And why does the book matter?. BBC News. 12 March 2002.

Retrieved 11 March 2011.

2. Kurutz, Steven. Yup, It's Him: A Pynchon Mystery Solved. The Wall Street Journal blogs. Retrieved February 1, 2015.

109

Overview

110 | Title Goes Here

☞ Geller Headline & Text – Ludka Biniek

Quote

What goes around may come around, but it never ends up exactly the same place, you ever notice? â&#x2DC;&#x203A;Inherent Vice

by Thomas Pynchon

111

błażej

Biography

born in 1974. Professor of Fine Arts, painter and printmaker (practices mainly lithography); studied at the Academy of Fine Arts in Warsaw, 1994-1999; has worked at the Faculty of Graphic Arts of his alma mater: Head of the Studio of Lithography; Dean of the Faculty, since 2012

113

e o g title About

Kapra Neue Pro is a younger sister of Kapra Neue – it was the #1 bestselling Grotesque Sans released in 2017 on MyFonts and is a grandson of Kapra. Now you really have a lot of options to choose!

New family is full of everything – 96 weights contain a wide range of instances, from Condensed to Expanded, everything with rounded corners or with sharp ones. Now, font has also: small caps, Cyrillic script, and old-style figures. Kapra Neue Pro is inspired by a You And Me Monthly magazine, published by National Magazines Publisher RSW Prasa in Poland, from May 1960 till December 1973.

Designer:

Błażej Ostoja Lniski Design date: 2016

Styles:

96 styles Languages: CE, SE, WE

Shop: www.typoforge.com

Family Name

Kapra Neue Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

z˙eˆa˜ » żêã

Hello » hello

ŞŢşţ » ȘȚșț

Combining Marks [ ccmp ]

Small Caps [ smcp & c2sc ]

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19/84

2019 » 2019

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

Oldstyle & Lining Figures [ osf lnum ]

114 | Title Goes Here

☞ Kapra Neue – Błażej Ostoja Lniski

e r e h es Test ride

Kapra Neue 10/12 pt

Small Caps

Bold

Lithography is a technique that requires expert skills, beginning with the preparation of the plate, through the skilful combination of overlapping layers of colour from successive plates, and ending with the appropriately selected paper weight. For each colour, it is necessary to prepare a separate plate. The classic plate is made of stone, and the image is drawn on the polished stone surface; some of its areas are greased and these are going to be fixed (with a mixture of acid and gum arabic); subsequently, a printed copy is produced in the form of a positive of the drawn image. The whole process is fairly complicated; nothing cannot be speeded up. Any temptation to take a shortcut must be resisted. Time plays an important role in this case. Lithography does not like surfeit in any form – cannot stand excessive crowding, pressure, tension. This technique is not about extruding something, digging into the depths (or, as some believe, carving out), but about leaving a mark. It is a matter of nuances, delicacy in dealing with lithographic matter. Every detail is important: selecting the stone, the degree of polishing its surface, the kind of grain, the concentration of acid used for the preparation of the drawing, and the time of maturation of the stone under gum arabic, which affects the degree of fixation and the quality of the drawing. Under the influence of all these operations the stone is warming up, so during making subsequent prints one should control the situation and constantly adjust printing parameters – even something as obvious as the amount of applied paint. All this requires a lot of patience and concentration. One perfect copy conceals long and complicated preparations. As a result, during printing, there are numerous side products, such as trial impressions, artist’s proofs or the interleaving papers used to draw the excess ink from the plate or to protect the print against soiling. One stone plate is used a number of times; after printing, the stone surface is polished and prepared for future use. The stone often contains information about previous drawings in the form of grease stains that are invisible at first glance. When working on a new graphic piece, another battle is taking place on the stone’s surface: water fighting grease. And it may happen that in the process of printing the old drawing comes out and becomes superimposed on the new one creating a kind of palimpsest puzzle. And the stone stripped of successive layers comes to be reduced, slowly losing its potential, inevitably heading towards self-destruction. The project "Lithography as a palimpsest" consists of works created in the Busato family Printing Studios, or more precisely, they are rejected prints, proofs, sheets of paper, on which lithographs by successive artists are superimposed upon each other, creating a kind of multi-layered puzzle. It is an invitation to a game, or maybe play with form, in which strict rules have been replaced by freedom and coincidence. This situation provokes thinking over and reinterpreting, or repositioning, the ambivalent concepts of the copy and the original.

We are dealing with randomness and probability, various correlations and determinants. In the world of random variables, we cannot accurately predict anything, but the recipient may suspect that there is a key to deciphering the riddle. We cannot speak of any hierarchy or sequence of events. The arrangement of the elements of each composition is the result of random actions.

We know "how" and approximately "what", but "when" is rather vague. Maybe just "here" and "now"? In this world, the category of time is subject to suspension. Another question that arises is: where is the author and who is he/she? In this case we cannot talk about an individual, but

115

Overview

ACADEMY OF FINE ARTS Lithography is a technique that requires expert skills, beginning with the preparation of the plate, through the skilful combination of overlapping layers of colour from successive plates, and ending with...

PRINTMAKING HISTORY

Mannréttindayrlýsing Headline Goes Here

Vers la Réconciliation This situation provokes thinking over and reinterpreting, or repositioning, the ambivalent concepts of the copy and the original 116 | Title Goes Here

☞ Kapra Neue – Błażej Ostoja Lniski

Quote

Time plays an important role in this case.

Magdalena Boffito

117

e o g title About

Designer:

Błażej Ostoja Lniski Design date: 2016

Styles:

10 styles Languages: CE, SE, WE

Shop: www.typoforge.com

Merlo Neue is the younger brother of Merlo. New family received refreshed, more square proportions and a new shape of many glyphs.

However, what is the most important in new Merlo, is the wide range of instances – nine new weights, from Hairline to super dark Black – which allows to use the family in a complex way, depending on the user’s needs. Italic version has narrower and lighter proportions. Font has a glyph set for Latin script and old-style figures.

Merlo Neue would be a great choice for display use as well as for the longer texts. Merlo Neue is inspired by a You And Me Monthly published by National Magazines Publisher RSW Prasa from May 1960 till December 1973 in Poland.

Family Name

Merlo Neue Basic Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!

OpenType Features

z˙eˆa˜ » żêã

2019 » 2019

ŞŢşţ » ȘȚșț

Combining Marks [ ccmp ]

Oldstyle & Lining Figures [ osf lnum ]

Local Forms [ locl ]

2H2O » 2H2O

19/84 » 19 / 84

SÒÓN

Superscript & Subscript [ sups & subs ]

Fractions [ frac ]

More OT Features Soon

118 | Title Goes Here

☞ Merlo Neue – Błażej Ostoja Lniski

e r e h es Test ride

Merlo Neue 10/12 pt

Italic

Bold

Lithography is a technique that requires expert skills, beginning with the preparation of the plate, through the skilful combination of overlapping layers of colour from successive plates, and ending with the appropriately selected paper weight. For each colour, it is necessary to prepare a separate plate. The classic plate is made of stone, and the image is drawn on the polished stone surface; some of its areas are greased and these are going to be fixed (with a mixture of acid and gum arabic); subsequently, a printed copy is produced in the form of a positive of the drawn image. The whole process is fairly complicated; nothing cannot be speeded up. Any temptation to take a shortcut must be resisted. Time plays an important role in this case.

Lithography does not like surfeit in any form – cannot stand excessive crowding, pressure, tension. This technique is not about extruding something, digging into the depths (or, as some believe, carving out), but about leaving a mark. It is a matter of nuances, delicacy in dealing with lithographic matter. Every detail is important: selecting the stone, the degree of polishing its surface, the kind of grain, the concentration of acid used for the preparation of the drawing, and the time of maturation of the stone under gum arabic, which affects the degree of fixation and the quality of the drawing. Under the influence of all these operations the stone is warming up, so during making subsequent prints one should control the situation and constantly adjust printing parameters – even something as obvious as the amount of applied paint. All this requires a lot of patience and concentration. One perfect copy conceals long and complicated preparations. As a result, during printing, there are numerous side products, such as trial impressions, artist’s proofs or the interleaving papers used to draw the excess ink from the plate or to protect the print against soiling. One stone plate is used a number of times; after printing, the stone surface is polished and prepared for future use.

The stone often contains information about previous drawings in the form of grease stains that are invisible at first glance. When working on a new graphic piece, another battle is taking place on the stone’s surface: water fighting grease. And it may happen that in the process of printing the old drawing comes out and becomes superimposed on the new one creating a kind of palimpsest puzzle. And the stone stripped of successive layers comes to be reduced, slowly losing its potential, inevitably heading towards self-destruction. The project "Lithography as a palimpsest" consists of works created in the Busato family Printing Studios, or more precisely, they are rejected prints,

119

Overview

Musikakademie

STARČEVAČKA Filmuj rzeź żądań, pość, gnęb

Upplýsingatækni Lithography is a technique that requires expert skills, beginning with the preparation of the plate, through the skilful combination of overlapping layers of colour from successive plates, and ending with the appropriately selected paper weight. For each colour, it is necessary to...

BUSINESS WEEK Da die Anerkennung der angeborenen 120 | Title Goes Here

☞ Merlo Neue – Błażej Ostoja Lniski

Quote

All this requires a lot of patience and concentration. One perfect copy conceals long and complicated preparations.

Magdalena Boffito

121

! u o y k n a th t a u o y e e &s c i l a t i p a c . www g r o f o p y t . www

at: cs.com ge.com

TITLE GOES HERE

Special thanks to: Michał Opiłowski, Adam Twardoch, Andrzej Ludwik Włoszczyński, Andrzej Tomaszewski, asp w Warszawie, Borys Kosmynka, Eksperymentalne Laboratorium Naukowo-Badawcze, Filip & Ula Tofil, Fundacja Bęc Zmiana, Grzegorz Laszczyk, Grzegorz Murzynowski, Henryk Gostyński, Igor Kubik, Jacek Walesiak, Jakub Leśniewski, prof. Lech Majewski, Łukasz Dziedzic, Łukasz Kempiński, Ministerstwo Kultury i Dziedzictwa Narodowego, Nadia Januszko, Narodowe Centrum Kultury, Piotr Górski, Robert Chwałowski, Robert Oleś, stgu, prof. Wiktor Jędrzejec, Zbyszek Czapnik and all others, who contributed to creation and publishing of the title goes here project.

Published by: FOUNDATION OF THE ACADEMY OF FINE ARTS IN WARSAW & MACHALSKI.WTF Graphic design & typesetting: Mateusz Machalski & Ania Wieluńska Proofreading: Ania Wieluńska & Michał Jarociński & Adam Twardoch Printed and bound by: Drukarnia Klimiuk

Edition: 1000 Typefaces: Bona Nova & Meat isbn: 978-83-949587-3-2

Dofinansowano ze środków Narodowego Centrum Kultury w ramach programu Kultura – Interwencje 2019

www.asp.waw.pl | www.fundacja.asp.waw.pl