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‫ا‬

‫ح وطسلل لثامم بولس أ ب تممص‬

‫ل‬ ‫ب‬

‫ةلوطبب تيمس‬ ‫ةيبرعلا ةياكحلا‬ ‫ةيليللا‬ ‫ةيكيسالكلا‬

‫دازرهش‬

‫ح وطسلل لثامم بولس أ ب تممص‬

‫ي‬

‫ع‬

‫‪SIL‬‬

‫ر‬

‫ي‬

‫ل‬ ‫ب‬

‫ع‬

‫ا‬

‫ر‬

‫صممت بأسلوب مماثل للسطوح‬

‫صممت بأسلوب مماثل للسطوح‬

‫ىبرع‬ ‫ىبرععربى‬ ‫ىبرع عربى‬ ‫ىبرعى عربى‬ ‫ىبرعى عرب‬ ‫عرب‬

‫‪SIL‬‬

‫ىبرع ىبرع ىبرع ىبرع ىبرع‬

‫ىبرع ىبرع ىبرع ىبرع ىبرع‬


V

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From out of the six typefaces originally created for the Guggenheim Museum comes Verlag, a family of 30 sans serifs that brings a welcome eloquence to the can-do sensibility of pre-war Modernism. Originally envisioned Traditionally there are two as a riff on the Guggenheim’s iconic Art Deco lettering, Verlag kinds of numbers: the fixed- developed into its own family of versatile typefaces in order to height “lining figures” that accompany suit the needs of a modern identity program. Because the fonts the capitals, and the variable-height “old style figures” whose shapes mimic the rhythm of the lowercase. Lin- would ultimately represent a range of individual artistic voices ing figures are standard with nearly all geometric sans serifs, not only — from Cézanne to Kandinsky to Matthew Barney — Verlag was because their shapes can more easily echo the pure geometry of the capitals, but because lining figures have long been associated with the same “modern” qualities carefully planned so that its distinct personality would be checked that geometric sans serifs evoke. The type designer’s dilemma is that many of the best by a sense of objectivity. From the rationalist geometric designs geometric sans serifs also have very small x-heights, causing these figures to tower over of the Bauhaus school, such as Futura (1927) and Erbar (1929), the lowercase and stick out in text. So for Verlag, Hoefler & Co. includes a third option: “short-lining figures,” whose forms feel contemporary without overwhelming the low- Verlag gets its crispness and its meticulous planning. Verlag’s r Ve

06

ercase. Intended for use in text, these figures are in the standard positions in Verlag, its lining figures being accessed through the “all caps” OpenType feature. This same OpenType feature activates the lining punctuation, de-

o if, b rldut

The Latin-X™ character set covers Afaan Oromo, Afrikaans, Albanian, Alsatian, Aragonese, Arapaho, Arrernte, Asturian, Aymara, Basque, Bislama, Blackfoot, Bosnian, Breton, Catalan, Cebuano, Chamorro, Cheyenne, Cimbrian, Corsican, Croatian, Czech, Dalecarlian, Danish, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Gallegan, Genoese, German, Glosa, Guarani, Haitian Creole, Hawaiian, Hiligaynon, Hmong Daw, Hopi, Hungarian, Ibanag, Icelandic, Ilokano, Indonesian, Interlingua, Irish, Irish Gaelic, Istro-Romanian, Italian, Japanese transliteration, Jèrriais, Kapampangan, Kashubian, Kiribati, Koongo, Korean transliteration, Kurdish, Ladin (Gardena), Ladin (Valle di Badia), Languedocien, Latin, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Lower Sorbian, Luxembourgeois, MacedoRomanian, Malagasy, Malay (Latinized), Maltese, Manx, Maori, Marshallese, Megleno-Romanian, Míkmaq, Mohawk, Montenegrin (Latinized), Náhuatl, Naxi (Latinized), Norfolk/Pitcairnese, Norwegian, Nyanja, Occitan, Oromo, Pangasinan, Papiamento, Pedi, Piedmontese, Polish, Portuguese, Potawatomi, Quechua, Romanian, Romansch, Rotokas, Rundi, Saint Lucia Creole, Inari Sami, Lule Sami, Samoan, Sardinian, Scots Gaelic, Serbian (Latinized), Seychelles Creole, Shona, Sicilian, Slovak, Slovene, Somali, Sorbian, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Tagalog, Tahitian, Tausug, Tetum, Tok Pisin, Tongan, Tswana, Turkish, Turkmen (Latinized), Tuvalu, Upper Sorbian, Uyghur (Latinized), Veps, Volapük, Votic, Walloon, Walpiri, Welsh, Xhosa, Zhuang, and Zulu. At their worst, geometric sans serifs are in danger of looking sterile, and even the best of these designs can sometimes look unnatural. A design that too rigidly clings to its geometric agenda often faces the additional problem that its family is too small — or too unbalanced — to be useful. The typeface whose capital A is determined to be pointy at all costs will simply have a hard time adapting to different proportions: its condensed will suffer, its compressed more so, and a black compressed will be out of the question. These absences truly limit the font’s value. This same OpenType feature activates the lining punctuation, designed to accompany the caps and lining figures. Verlag includes variants of its monetary symbols, commercial marks, math symbols, enclosures, dashes, slashes, and guillemets. Traditionally there are two kinds of numbers: the

signed

Most fonts contain the accents necessary to accommodate the major Western European languages, at the expense of the rest of the world. Type foundries have traditionally addressed these absences on an ad hoc basis, creating one-off variants like “CE” (Central European) which might handle Polish, Czech,

Unlike legacy formats such as PostScript and TrueType, OpenType fonts are virtually limitless in the number of characters they can contain. In preparation for moving its library into OpenType, Hoefler & Co. established the Language Research Program in 2005, in order to develop updated specifications for its Latin-based character sets. The initial product of this research is our Latin-X™ character set, which expands the reach of a typeface to an additional

O D E R N

Other kinds of sans serifs can take planned excursions from their itineraries in order to work in extreme weights or widths, but these digressions are always evident in a geometric. Verlag addresses the problem by moving the goalpost: even at its most Apollonian, its visual vocabulary includes subtle asymmetries and complex curves that shift the emphasis from looking like circles and triangles to looking like letters. Lining figures are appropriate to a Moderist sans serif, but so is a small lowercase. Verlag’s figures find a way to avoid towering over the text. At their worst, geometric sans serifs are in danger of looking sterile, and even the best of these designs can sometimes look unnatural. A design that too rigidly clings to its geometric agenda often faces the additional problem that its family is too small — or too

"Scheherazade" "Verlag"  

Typography Project: research two typefaces and create a design that the typefaces are used for. Scheherazade is an Arabic type based on the...

"Scheherazade" "Verlag"  

Typography Project: research two typefaces and create a design that the typefaces are used for. Scheherazade is an Arabic type based on the...

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